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In which children's cartoon show do Angelica and Chucky appear? | Rugrats Fan Reviews & Ratings - TV.com
One Of The Original Animated Nickelodeon Shows That I Consider A Classic
9.0
By Matt_Rap17 , Aug 25, 2016
Rugrats is what I consider one of the most innocent & charming animated shows Nickelodeon has ever made, and I think it is a great show for kids of any age. The show is about toddlers, it may sound like nothing, but it is really a lot more than that. Some of the toddlers include: Tommy, the leader of the group of toddlers. Chuckie, a very sensitive toddler. Phillip & Lillian, who are both twins. Dil, who is the baby of the group. And the oldest but best of the group, the creepy Angelica. What fascinates me about this show are all the angles this show takes with each episode. The best angles I think mainly come from Chuckie & especially Angelica, who are some of the great characters of this show. Their perspectives on everything about the large world around them is very amusing & interesting to watch. Tommy also has some funny perspectives over the world, but he doesn't have as great of a personality as the other two. The twins are some of my least favorite, but they are not that bad of characters as you can see some of the differences between the two. Some of the adults I honestly laughed at, and they had some good personalities. Such as Grandpa Lou, who is the likeable & lazy grandpa. Another great adult character is Chas, the father of Chuckie, who reminds me of Ned Flanders from "The Simpsons" except a bit more sensitive. The animation of this show does seem a bit dated, but that's forgivable as it was animated in the early 90s. The music in the show is not bad, it does sound a bit silly though, but it works well. Overall: Rugrats is a classic Nickelodeon show that people may be turned off by because it is about toddlers, but it's a great one as it has some great toddler characters, it shows perspective with the toddler characters, some adults are really memorable, & it's very charming.
3.5/4 Stars
| Rugrats |
Who is the school bus driver in 'The Simpsons'? | 20 Times "Rugrats" Was Nightmarishly Creepy - "Angelica's Worst Nightmare" | Guff
20 Times "Rugrats" Was Nightmarishly Creepy
Published May 27, 2015 · By Robin Zlotnick
20 Times "Rugrats" Was Nightmarishly Creepy
"Angelica's Worst Nightmare"
"Angelica's Worst Nightmare"
In this episode, Angelica learns that her mom is going to have another baby, and the thought of adults diverting their attention from her spoiled little self for one second sends her into a straight tizzy.
She has a nightmare in which her parents have forgotten all about her and focus entirely on her baby brother, who is actually gigantic and threatens Angelica with a terrifying, mob boss voice. He and his terrible lisp chase Angelica through the house until he catches up to her and EATS HER, exclaiming, "Now you're num-nums!" I can tell you that from an oldest child's standpoint, this episode cut deep.
"In the Dreamtime - Part 1"
"In the Dreamtime - Part 1"
Less than a minute into this episode, Chuckie is surrounded by Alice in Wonderland-level trippy sights, like a snake made out of a hose, giant flowers, and a creepy naked man only wearing leaves around his...sensitive areas. Shortly after, the most horrible thing imaginable happens. Chuckie asks Tommy what's going on, and Tommy turns around, has the face above, and exclaims in a terrifying clown voice, "I'm not Tommy!"
Chuckie awakes from his nightmare, relieved to find it was just a dream. But then the dream within a dream continues...
"The Case of the Missing Rugrat"
"The Case of the Missing Rugrat"
This was the most personally traumatic episode of Rugrats for me, due, in part, to the kidnapping, but mostly due to the crusty, dusty, crazy old ladies. Tommy accidentally ends up in a car that makes its way to the Grey Gardens-esque world of Emma and Clarice Pendragon, two sisters who have way too many cats and live in the squalor of a dark, dank and decrepit old mansion.
They take a liking to Tommy because they think he resembles their father (he doesn't). Emma and Clarice dress him in creepy doll clothes and start calling him "Bostwick," and they stop the butler from calling the authorities because they believe Tommy was sent to them to be the heir to their nonexistent family riches.
Though Tommy is returned relatively unharmed (physically at least) at the end of the episode, we were scarred for life.
"Chuckie's Wonderful Life"
"Chuckie's Wonderful Life"
In this beyond depressing episode, based on It's a Wonderful Life, Chuckie decides to run away. But before he does, his "gardening" angel appears and shows him what life would be like if he didn't exist.
In this bizarro world, Chuckie's dad is 100% bonkers; his house is covered in floor-to-ceiling greasy pizza boxes and he talks to a sock puppet. Phil and Lil are monster children who run around breaking things, most of all their defeated parents' hearts. Tommy is left starving and dirty while his parents slave away to serve all the food they can find to a bloated, greedy Angelica who's too fat to move.
It's DARK, people. We watched this as CHILDREN.
"Give and Take"
"Give and Take"
"Hi, I'm Boppo," repeats the boomerang clown toy that terrorizes the Rugrats in this episode. Chuckie is obsessed with Boppo until, of course, Angelica makes him realize Boppo's just a creepy, old clown; then Bops becomes instantly terrifying. And let's just say deflating giant inflatable clowns doesn't make them less scary.
"The Last Babysitter"
"The Last Babysitter"
The classic horror movies start with a babysitter home alone with the kids, mysterious phone calls, blackouts, scary noises and a monster in the basement. That is also what happens in this super-scary episode of Rugrats. Although it turns out not to be a real monster in the end, there are enough spooky shadows and door slamming to scare even the hardest horror fans.
"Legend of the Satchmo"
"Legend of the Satchmo"
Ah, the classic "Adult-tells-kids-an-inappropriately-scary-story-and-they-freak-out-at-everything" episode. Grandpa takes the kids camping (in the backyard) and tell the troop of toddlers the legend of the Sasquatch. The Rugrats hear "Satchmo" and spend the episode running and screaming from branches swaying in the wind and shadows of Stu. Even though you knew they were safe, the spooky darkness of the episode was fairly legit.
"Chuckie vs. the Potty"
"Chuckie vs. the Potty"
Parenting 101: If you want a kid to learn to use the potty, don't put a terrifying clown face on it. Also, don't let your child be routinely tortured and traumatized by an evil, blonde toddler. It will lead to horrible nightmares equating the potty with the electric chair (tough stuff for kids).
"The Inside Story"
"The Inside Story"
You KNOW you ate inches around the watermelon seeds when you were a little kid because of this episode. If one evil toddler could scare us all into thinking watermelons would grow inside of us, it was Angelica.
"The Mattress"
"The Mattress"
Grandpa needs a new mattress but he's really stubborn about it. Never mind that it's the nastiest mattress on the planet, frightening in and of itself, and looks like Norman Bates's mother's bed from Psycho . That was surely imprinted on the minds of all of the impressionable youth that watched this episode. Oh, and also the dream sequence when the mattress comes to life and chases after them.
"Chuckie's New Shirt"
"Chuckie's New Shirt"
This episode of Rugrats explores the horrifying experience everyone has where you change something about your appearance and you don't even recognize yourself anymore. All the adults say they can "hardly recognize you!" and you lose your sense of identity and die alone.
Okay, so maybe that doesn't happen, but it's a real fear! Change is hard. And evil. And no one should ever do it, ever. That's definitely healthy.
"In the Dreamtime - Part 2"
"In the Dreamtime - Part 2"
In the second part of the episode, Chuckie tells Tommy about the dream in which he was a clown, but it soon becomes clear this is also a dream. (Or should we say, nightmare?) The Rugrats climb stairs upon stairs, only to come to a hall with portraits of babies with no necks and six eyes. Chuckie leaps into space and falls until he wakes again.
Then, Chuckie finds himself right at the start of his first dream. We do not trust this reality farther than we can throw it. And neither does Chuckie. Convinced he's dreaming, he goes into the neighbor's yard and confronts their scary dog, which makes him realize he's definitely awake.
That night, Chaz tucks Chuckie into bed and goes to find Stu in his living room. ONLY IT'S EVIL DREAM CLOWN STU who says, "I'm not Stu!" and laughs maniacally and that's the end of the episode.
"Dust Bunnies"
"Dust Bunnies"
Spring cleaning is horrible enough to make any adult run screaming, let alone kids. This episode has Angelica spooking Chuckie and Tommy with false tales of dust bunnies, evil bunnies that only come out when the furniture is moved. They're pictured as scraggly things with long serpentine ears that wrap around Chuckie and drag him to his death. You know, classic kid stuff! NOT. Terrifying even today.
"Real or Robots?"
"Real or Robots?"
This episode, like all haunting moments as a child, begins with Tommy and Chuckie watching a movie that's way too scary for them. A mad robot scientist with an evil chuckle takes over the world by changing all the dads to robots. Though Stu turns off the movie, it still rattles Tommy's mind as he tries to sleep, and they decide they have to find out if Tommy's dad is real or a robot.
Of course their investigation coincides with Stu's struggle with sleepwalking and the kids find themselves chased by a dad zombie all over the house.
"Grandpa's Bad Bug"
"Grandpa's Bad Bug"
After a night of partying, Grandpa lies to Stu and Didi, says he's got a "bug," and goes to sleep it off. Of course, the Rugrats think an actual bug is inside of him and they spend the whole episode trying to get it out. Thinking his poor innocent uvula is the bug, they reach toy pliers right in there and yank while he's asleep!
In case that isn't gag-worthy enough for you, the kids also fill sleeping Grandpa's bed with "good bugs" that will help get the bad bug out of him. If you've ever gotten an itch while in bed and become convinced you're entirely covered in creepy crawlies, maybe skip this episode.
"Special Delivery"
"Special Delivery"
When Tommy sneaks his way into the mailman's bag, he ends up at the post office, where he goes through a conveyor belt maze and ends up getting thrown down a shoot with "cancelled" packages. He almost ends up in this bin with a skeleton visible at the bottom, suggesting that this happened to a person once before and that that person ACTUALLY DIED DOWN THERE.
"The Mysterious Mr. Friend"
"The Mysterious Mr. Friend"
Stu Pickles' mad scientist/inventor ways led to many creepy contraptions throughout the course of the show, but none so overtly, horrifically terrifying as Mr. Friend. From the Frankenstein beginning of the episode to the Rugrats' misunderstanding of the robot clown's name (Mr. Fiend) to the army of them that go after the Rugrats at the end, this episode is full of nightmares.
"Regarding Stuie"
"Regarding Stuie"
In "Regarding Stuie," Tommy's dad hits his head and wakes up as a baby. This is all fun and games for the Rugrats until Tommy realizes with "Stuie the baby" around, his dad, Stu, is GONE FOREVER. That's some heavy stuff for a kid in diapers. It's heartbreaking and terrifying and Stu doesn't even go to the hospital for the concussion he most certainly experienced.
"Under Chuckie's Bed"
"Under Chuckie's Bed"
Chuckie goes through a lot of changes throughout the show, being the older of the Rugrats. In this episode, he gets his very first big boy bed, and there's obviously a monster with horrible, sharp teeth living under it that offers him candy to join him in the dark. Monsters may not exist, but they're still scary!
"A Visit from Lipschitz"
"A Visit from Lipschitz"
We all remember Dr. Lipschitz, the child psychologist Didi is obsessed with in Rugrats. Well, in this episode, he actually comes to the Pickles residence for dinner. He's a vaguely European Dr. Phil slash mad scientist type, and he might be Chuckie's new "mommy" (much to his dismay).
Lipschitz is left with the kids in the Pickles house, so naturally he decides to take a bubble bath, roll on the floor in a robe crying and give the kids piggy back rides. You probably don't remember this episode because it's extremely disturbing and problematic in every way imaginable.
Published May 27, 2015 | By Robin Zlotnick
1. "Angelica's Worst Nightmare"
1/20
In this episode, Angelica learns that her mom is going to have another baby, and the thought of adults diverting their attention from her spoiled little self for one second sends her into a straight tizzy.
She has a nightmare in which her parents have forgotten all about her and focus entirely on her baby brother, who is actually gigantic and threatens Angelica with a terrifying, mob boss voice. He and his terrible lisp chase Angelica through the house until he catches up to her and EATS HER, exclaiming, "Now you're num-nums!" I can tell you that from an oldest child's standpoint, this episode cut deep.
By Robin Zlotnick May 27, 2015
1
"Angelica's Worst Nightmare"
In this episode, Angelica learns that her mom is going to have another baby, and the thought of adults diverting their attention from her spoiled little self for one second sends her into a straight tizzy.
She has a nightmare in which her parents have forgotten all about her and focus entirely on her baby brother, who is actually gigantic and threatens Angelica with a terrifying, mob boss voice. He and his terrible lisp chase Angelica through the house until he catches up to her and EATS HER, exclaiming, "Now you're num-nums!" I can tell you that from an oldest child's standpoint, this episode cut deep.
1/20
By Robin Zlotnick May 27, 2015
"Angelica's Worst Nightmare"
1/20
In this episode, Angelica learns that her mom is going to have another baby, and the thought of adults diverting their attention from her spoiled little self for one second sends her into a straight tizzy.
She has a nightmare in which her parents have forgotten all about her and focus entirely on her baby brother, who is actually gigantic and threatens Angelica with a terrifying, mob boss voice. He and his terrible lisp chase Angelica through the house until he catches up to her and EATS HER, exclaiming, "Now you're num-nums!" I can tell you that from an oldest child's standpoint, this episode cut deep.
20 Times "Rugrats" Was Nightmarishly Creepy
1. "Angelica's Worst Nightmare"
In this episode, Angelica learns that her mom is going to have another baby, and the thought of adults diverting their attention from her spoiled little self for one second sends her into a straight tizzy.
She has a nightmare in which her parents have forgotten all about her and focus entirely on her baby brother, who is actually gigantic and threatens Angelica with a terrifying, mob boss voice. He and his terrible lisp chase Angelica through the house until he catches up to her and EATS HER, exclaiming, "Now you're num-nums!" I can tell you that from an oldest child's standpoint, this episode cut deep.
20 Times "Rugrats" Was Nightmarishly Creepy
2. "In the Dreamtime - Part 1"
Less than a minute into this episode, Chuckie is surrounded by Alice in Wonderland-level trippy sights, like a snake made out of a hose, giant flowers, and a creepy naked man only wearing leaves around his...sensitive areas. Shortly after, the most horrible thing imaginable happens. Chuckie asks Tommy what's going on, and Tommy turns around, has the face above, and exclaims in a terrifying clown voice, "I'm not Tommy!"
Chuckie awakes from his nightmare, relieved to find it was just a dream. But then the dream within a dream continues...
20 Times "Rugrats" Was Nightmarishly Creepy
3. "The Case of the Missing Rugrat"
This was the most personally traumatic episode of Rugrats for me, due, in part, to the kidnapping, but mostly due to the crusty, dusty, crazy old ladies. Tommy accidentally ends up in a car that makes its way to the Grey Gardens-esque world of Emma and Clarice Pendragon, two sisters who have way too many cats and live in the squalor of a dark, dank and decrepit old mansion.
They take a liking to Tommy because they think he resembles their father (he doesn't). Emma and Clarice dress him in creepy doll clothes and start calling him "Bostwick," and they stop the butler from calling the authorities because they believe Tommy was sent to them to be the heir to their nonexistent family riches.
Though Tommy is returned relatively unharmed (physically at least) at the end of the episode, we were scarred for life.
20 Times "Rugrats" Was Nightmarishly Creepy
4. "Chuckie's Wonderful Life"
In this beyond depressing episode, based on It's a Wonderful Life, Chuckie decides to run away. But before he does, his "gardening" angel appears and shows him what life would be like if he didn't exist.
In this bizarro world, Chuckie's dad is 100% bonkers; his house is covered in floor-to-ceiling greasy pizza boxes and he talks to a sock puppet. Phil and Lil are monster children who run around breaking things, most of all their defeated parents' hearts. Tommy is left starving and dirty while his parents slave away to serve all the food they can find to a bloated, greedy Angelica who's too fat to move.
It's DARK, people. We watched this as CHILDREN.
20 Times "Rugrats" Was Nightmarishly Creepy
5. "Give and Take"
"Hi, I'm Boppo," repeats the boomerang clown toy that terrorizes the Rugrats in this episode. Chuckie is obsessed with Boppo until, of course, Angelica makes him realize Boppo's just a creepy, old clown; then Bops becomes instantly terrifying. And let's just say deflating giant inflatable clowns doesn't make them less scary.
20 Times "Rugrats" Was Nightmarishly Creepy
6. "The Last Babysitter"
The classic horror movies start with a babysitter home alone with the kids, mysterious phone calls, blackouts, scary noises and a monster in the basement. That is also what happens in this super-scary episode of Rugrats. Although it turns out not to be a real monster in the end, there are enough spooky shadows and door slamming to scare even the hardest horror fans.
20 Times "Rugrats" Was Nightmarishly Creepy
7. "Legend of the Satchmo"
Ah, the classic "Adult-tells-kids-an-inappropriately-scary-story-and-they-freak-out-at-everything" episode. Grandpa takes the kids camping (in the backyard) and tell the troop of toddlers the legend of the Sasquatch. The Rugrats hear "Satchmo" and spend the episode running and screaming from branches swaying in the wind and shadows of Stu. Even though you knew they were safe, the spooky darkness of the episode was fairly legit.
20 Times "Rugrats" Was Nightmarishly Creepy
8. "Chuckie vs. the Potty"
Parenting 101: If you want a kid to learn to use the potty, don't put a terrifying clown face on it. Also, don't let your child be routinely tortured and traumatized by an evil, blonde toddler. It will lead to horrible nightmares equating the potty with the electric chair (tough stuff for kids).
20 Times "Rugrats" Was Nightmarishly Creepy
9. "The Inside Story"
You KNOW you ate inches around the watermelon seeds when you were a little kid because of this episode. If one evil toddler could scare us all into thinking watermelons would grow inside of us, it was Angelica.
20 Times "Rugrats" Was Nightmarishly Creepy
10. "The Mattress"
Grandpa needs a new mattress but he's really stubborn about it. Never mind that it's the nastiest mattress on the planet, frightening in and of itself, and looks like Norman Bates's mother's bed from Psycho . That was surely imprinted on the minds of all of the impressionable youth that watched this episode. Oh, and also the dream sequence when the mattress comes to life and chases after them.
20 Times "Rugrats" Was Nightmarishly Creepy
11. "Chuckie's New Shirt"
This episode of Rugrats explores the horrifying experience everyone has where you change something about your appearance and you don't even recognize yourself anymore. All the adults say they can "hardly recognize you!" and you lose your sense of identity and die alone.
Okay, so maybe that doesn't happen, but it's a real fear! Change is hard. And evil. And no one should ever do it, ever. That's definitely healthy.
20 Times "Rugrats" Was Nightmarishly Creepy
12. "In the Dreamtime - Part 2"
In the second part of the episode, Chuckie tells Tommy about the dream in which he was a clown, but it soon becomes clear this is also a dream. (Or should we say, nightmare?) The Rugrats climb stairs upon stairs, only to come to a hall with portraits of babies with no necks and six eyes. Chuckie leaps into space and falls until he wakes again.
Then, Chuckie finds himself right at the start of his first dream. We do not trust this reality farther than we can throw it. And neither does Chuckie. Convinced he's dreaming, he goes into the neighbor's yard and confronts their scary dog, which makes him realize he's definitely awake.
That night, Chaz tucks Chuckie into bed and goes to find Stu in his living room. ONLY IT'S EVIL DREAM CLOWN STU who says, "I'm not Stu!" and laughs maniacally and that's the end of the episode.
20 Times "Rugrats" Was Nightmarishly Creepy
13. "Dust Bunnies"
Spring cleaning is horrible enough to make any adult run screaming, let alone kids. This episode has Angelica spooking Chuckie and Tommy with false tales of dust bunnies, evil bunnies that only come out when the furniture is moved. They're pictured as scraggly things with long serpentine ears that wrap around Chuckie and drag him to his death. You know, classic kid stuff! NOT. Terrifying even today.
20 Times "Rugrats" Was Nightmarishly Creepy
14. "Real or Robots?"
This episode, like all haunting moments as a child, begins with Tommy and Chuckie watching a movie that's way too scary for them. A mad robot scientist with an evil chuckle takes over the world by changing all the dads to robots. Though Stu turns off the movie, it still rattles Tommy's mind as he tries to sleep, and they decide they have to find out if Tommy's dad is real or a robot.
Of course their investigation coincides with Stu's struggle with sleepwalking and the kids find themselves chased by a dad zombie all over the house.
20 Times "Rugrats" Was Nightmarishly Creepy
15. "Grandpa's Bad Bug"
After a night of partying, Grandpa lies to Stu and Didi, says he's got a "bug," and goes to sleep it off. Of course, the Rugrats think an actual bug is inside of him and they spend the whole episode trying to get it out. Thinking his poor innocent uvula is the bug, they reach toy pliers right in there and yank while he's asleep!
In case that isn't gag-worthy enough for you, the kids also fill sleeping Grandpa's bed with "good bugs" that will help get the bad bug out of him. If you've ever gotten an itch while in bed and become convinced you're entirely covered in creepy crawlies, maybe skip this episode.
20 Times "Rugrats" Was Nightmarishly Creepy
16. "Special Delivery"
When Tommy sneaks his way into the mailman's bag, he ends up at the post office, where he goes through a conveyor belt maze and ends up getting thrown down a shoot with "cancelled" packages. He almost ends up in this bin with a skeleton visible at the bottom, suggesting that this happened to a person once before and that that person ACTUALLY DIED DOWN THERE.
20 Times "Rugrats" Was Nightmarishly Creepy
17. "The Mysterious Mr. Friend"
Stu Pickles' mad scientist/inventor ways led to many creepy contraptions throughout the course of the show, but none so overtly, horrifically terrifying as Mr. Friend. From the Frankenstein beginning of the episode to the Rugrats' misunderstanding of the robot clown's name (Mr. Fiend) to the army of them that go after the Rugrats at the end, this episode is full of nightmares.
20 Times "Rugrats" Was Nightmarishly Creepy
18. "Regarding Stuie"
In "Regarding Stuie," Tommy's dad hits his head and wakes up as a baby. This is all fun and games for the Rugrats until Tommy realizes with "Stuie the baby" around, his dad, Stu, is GONE FOREVER. That's some heavy stuff for a kid in diapers. It's heartbreaking and terrifying and Stu doesn't even go to the hospital for the concussion he most certainly experienced.
20 Times "Rugrats" Was Nightmarishly Creepy
19. "Under Chuckie's Bed"
Chuckie goes through a lot of changes throughout the show, being the older of the Rugrats. In this episode, he gets his very first big boy bed, and there's obviously a monster with horrible, sharp teeth living under it that offers him candy to join him in the dark. Monsters may not exist, but they're still scary!
20 Times "Rugrats" Was Nightmarishly Creepy
20. "A Visit from Lipschitz"
We all remember Dr. Lipschitz, the child psychologist Didi is obsessed with in Rugrats. Well, in this episode, he actually comes to the Pickles residence for dinner. He's a vaguely European Dr. Phil slash mad scientist type, and he might be Chuckie's new "mommy" (much to his dismay).
Lipschitz is left with the kids in the Pickles house, so naturally he decides to take a bubble bath, roll on the floor in a robe crying and give the kids piggy back rides. You probably don't remember this episode because it's extremely disturbing and problematic in every way imaginable.
| i don't know |
For which taxi company did Danny DeVito work in 'Taxi'? | Taxi - TV Show, Episode Guide & Schedule | TWC Central
Cab company employees share in each other's lives.
Taxi
Cab company employees share in each other's lives.
Taxi
Classic 1970s ensemble comedy is witty but gritty.
Consumerism
Violence
• • • • •
Parents need to know that this 1970s sitcom set in the garage of a New York City taxi company has a pretty gritty feel, and some of the subject matter can be inappropriate for younger viewers. There's trash talking, some sexual innuendo, and references to cigarette, alcohol, and drug use. The show's humor was cutting edge when it originally aired; some of that edge will seem dated to today's audiences. But the characters have warm relationships with each other, their dialogue is witty, and the show ultimately celebrates the value of friendship and loyalty.
Close
Cab company employees share in each other's lives.
Episode Guide
Season 5 Episode 24:
Simka's Monthlies
Latka is worried that Simka's wacky behavior might cost her the right to remain in America permanently.
Season 5 Episode 23:
A Grand Gesture
Jim gives each of the cabbies $1,000 to give to a needy soul so they can experience the joy he feels by giving it away.
Season 5 Episode 22:
Jim's Mario's
Jim tries to convince his family that he did not squander his inheritance by buying a run-down restaurant.
Season 5 Episode 21:
Tony's Baby
On the eve of the biggest fight of his career, Tony's girlfriend announces she may be expecting his baby.
Season 5 Episode 19:
Louie and the Blind Girl
Louie is worried his blind girlfriend will no longer love him if an operation to restore her sight is successful.
Season 5 Episode 18:
Alex Gets Burned by an Old Flame
Alex falls in love with Jim's old girlfriend, who shows up at the garage hoping to rekindle their romance.
Season 5 Episode 16:
Retrospective
Season 5 Episode 14:
Alex's Old Buddy
Alex becomes obsessed with his dog's well-being when he finds out his beloved pet hasn't long to live.
Season 5 Episode 13:
Louie Moves Uptown
Louie wants to move into a classy apartment building, but first he must be approved by a panel of snobby tenants.
Season 5 Episode 12:
Get Me Through the Holidays
Alex takes his ex-wife to Latka and Simka's "traditional" Christmas party to rid her of the holiday blues.
Season 5 Episode 11:
Zena's Honeymoon
When Louie learns that his old girlfriend Zena is getting married, he invites himself along on her honeymoon.
Season 5 Episode 10:
Elaine and the Monk
After 10 years of strict monastic life, Simka's cousin visits New York and immediately sets his sights on Elaine.
Season 5 Episode 9:
Travels With My Dad
Tony faces a difficult decision when his father asks him to join him as a merchant seaman.
Season 5 Episode 7:
Alex the Gofer
Alex dreams of a career in show business after he takes a part-time job as an assistant to a Broadway producer.
Season 5 Episode 6:
Crime and Punishment
Jeff is fired after he confesses to stealing from the garage in order to protect the real villain.
Season 5 Episode 5:
Scenskees From a Marriage
Latka and Simka host a dinner party to decide which one of the cabbies will be chosen to have an affair with Simka.
Season 5 Episode 4:
Scenskees From a Marriage
When Simka learns that Latka has been unfaithful, she is bound by tradition to repeat his indiscretion with one of his co-workers.
Season 5 Episode 3:
Alex Goes Off the Wagon
The Rev. Jim comes to the rescue when Alex is consumed by gambling fever after a lucky night in Atlantic City, N.J.
Season 5 Episode 2:
Jim's Inheritance
Jim is left a fortune when his father dies but must convince a judge he's mentally competent in order to collect.
Season 5 Episode 1:
Love, Un-American Style
Latka and Simka host a matchmaking party where each of the cabbies is guaranteed to meet his or her perfect mate.
Season 4 Episode 24:
The Road Not Taken
Season 1 Episode 21:
Hollywood Calling
Life at the Sunshine Cab Co. turns to unnatural festivity when a film company arrives to make a movie about taxi drivers.
Season 1 Episode 20:
Alex Tastes Death and Finds a Nice Restaurant
Alex trades in his driving clothes for a waiter's tuxedo when his ear is almost shot off during a holdup attempt.
Season 1 Episode 19:
Mama Gravas
Latka assumes he will soon have a new father when Alex and his mother have an evening love affair.
Season 1 Episode 18:
Bobby's Big Break
Bobby tears up his cabbie license when it seems he has finally landed a long-running role in a soap opera.
Season 1 Episode 17:
Elaine and the Lame Duck
Alex arranges a date between Elaine and one of his fares, who is a real loser with women.
Season 1 Episode 16:
Louie Sees the Light
Louie promises to turn over a new leaf when he fears he may die during an operation.
Season 1 Episode 15:
Friends
Tony and Bobby's friendship comes to an end when Bobby allows Tony's prized pet fish to die.
A Full House for Christmas
Alex gets into a high-stakes poker game with Louie's cardsharp brother from Las Vegas.
Season 1 Episode 12:
Memories of Cab 804
Latka works to save the cracked-up Cab 804 while the cabbies fondly recall times in the legendary car.
Season 1 Episode 11:
Memories of Cab 804
When John cracks up Cab 804, the cabbies reminisce about events that occurred when they each drove the legendary taxi.
Season 1 Episode 10:
Men Are Such Beasts
Bobby is distraught when a Bronx cab driver he has been dating joins the Sunshine Cab Co. to be closer to him.
| sunshine cab co |
What was the name of the family in 'The Cosby Show'? | Taxi - TV Show, Episode Guide & Schedule | TWC Central
Cab company employees share in each other's lives.
Taxi
Cab company employees share in each other's lives.
Taxi
Classic 1970s ensemble comedy is witty but gritty.
Consumerism
Violence
• • • • •
Parents need to know that this 1970s sitcom set in the garage of a New York City taxi company has a pretty gritty feel, and some of the subject matter can be inappropriate for younger viewers. There's trash talking, some sexual innuendo, and references to cigarette, alcohol, and drug use. The show's humor was cutting edge when it originally aired; some of that edge will seem dated to today's audiences. But the characters have warm relationships with each other, their dialogue is witty, and the show ultimately celebrates the value of friendship and loyalty.
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Cab company employees share in each other's lives.
Episode Guide
Season 5 Episode 24:
Simka's Monthlies
Latka is worried that Simka's wacky behavior might cost her the right to remain in America permanently.
Season 5 Episode 23:
A Grand Gesture
Jim gives each of the cabbies $1,000 to give to a needy soul so they can experience the joy he feels by giving it away.
Season 5 Episode 22:
Jim's Mario's
Jim tries to convince his family that he did not squander his inheritance by buying a run-down restaurant.
Season 5 Episode 21:
Tony's Baby
On the eve of the biggest fight of his career, Tony's girlfriend announces she may be expecting his baby.
Season 5 Episode 19:
Louie and the Blind Girl
Louie is worried his blind girlfriend will no longer love him if an operation to restore her sight is successful.
Season 5 Episode 18:
Alex Gets Burned by an Old Flame
Alex falls in love with Jim's old girlfriend, who shows up at the garage hoping to rekindle their romance.
Season 5 Episode 16:
Retrospective
Season 5 Episode 14:
Alex's Old Buddy
Alex becomes obsessed with his dog's well-being when he finds out his beloved pet hasn't long to live.
Season 5 Episode 13:
Louie Moves Uptown
Louie wants to move into a classy apartment building, but first he must be approved by a panel of snobby tenants.
Season 5 Episode 12:
Get Me Through the Holidays
Alex takes his ex-wife to Latka and Simka's "traditional" Christmas party to rid her of the holiday blues.
Season 5 Episode 11:
Zena's Honeymoon
When Louie learns that his old girlfriend Zena is getting married, he invites himself along on her honeymoon.
Season 5 Episode 10:
Elaine and the Monk
After 10 years of strict monastic life, Simka's cousin visits New York and immediately sets his sights on Elaine.
Season 5 Episode 9:
Travels With My Dad
Tony faces a difficult decision when his father asks him to join him as a merchant seaman.
Season 5 Episode 7:
Alex the Gofer
Alex dreams of a career in show business after he takes a part-time job as an assistant to a Broadway producer.
Season 5 Episode 6:
Crime and Punishment
Jeff is fired after he confesses to stealing from the garage in order to protect the real villain.
Season 5 Episode 5:
Scenskees From a Marriage
Latka and Simka host a dinner party to decide which one of the cabbies will be chosen to have an affair with Simka.
Season 5 Episode 4:
Scenskees From a Marriage
When Simka learns that Latka has been unfaithful, she is bound by tradition to repeat his indiscretion with one of his co-workers.
Season 5 Episode 3:
Alex Goes Off the Wagon
The Rev. Jim comes to the rescue when Alex is consumed by gambling fever after a lucky night in Atlantic City, N.J.
Season 5 Episode 2:
Jim's Inheritance
Jim is left a fortune when his father dies but must convince a judge he's mentally competent in order to collect.
Season 5 Episode 1:
Love, Un-American Style
Latka and Simka host a matchmaking party where each of the cabbies is guaranteed to meet his or her perfect mate.
Season 4 Episode 24:
The Road Not Taken
Season 1 Episode 21:
Hollywood Calling
Life at the Sunshine Cab Co. turns to unnatural festivity when a film company arrives to make a movie about taxi drivers.
Season 1 Episode 20:
Alex Tastes Death and Finds a Nice Restaurant
Alex trades in his driving clothes for a waiter's tuxedo when his ear is almost shot off during a holdup attempt.
Season 1 Episode 19:
Mama Gravas
Latka assumes he will soon have a new father when Alex and his mother have an evening love affair.
Season 1 Episode 18:
Bobby's Big Break
Bobby tears up his cabbie license when it seems he has finally landed a long-running role in a soap opera.
Season 1 Episode 17:
Elaine and the Lame Duck
Alex arranges a date between Elaine and one of his fares, who is a real loser with women.
Season 1 Episode 16:
Louie Sees the Light
Louie promises to turn over a new leaf when he fears he may die during an operation.
Season 1 Episode 15:
Friends
Tony and Bobby's friendship comes to an end when Bobby allows Tony's prized pet fish to die.
A Full House for Christmas
Alex gets into a high-stakes poker game with Louie's cardsharp brother from Las Vegas.
Season 1 Episode 12:
Memories of Cab 804
Latka works to save the cracked-up Cab 804 while the cabbies fondly recall times in the legendary car.
Season 1 Episode 11:
Memories of Cab 804
When John cracks up Cab 804, the cabbies reminisce about events that occurred when they each drove the legendary taxi.
Season 1 Episode 10:
Men Are Such Beasts
Bobby is distraught when a Bronx cab driver he has been dating joins the Sunshine Cab Co. to be closer to him.
| i don't know |
Which TV series featured a character called 'Face'? | Blackface! - The History of Racist Blackface Stereotypes
Blackface!
The mask which the actor wears is apt to become his face -- Plato
Blackface is more than just burnt cork applied as makeup.
It is a style of entertainment based on racist Black stereotypes
that began in minstrel shows and continues today.
That Really Works!
The stock characters of blackface minstrelsy have played a significant role in disseminating racist images, attitudes and perceptions worldwide. Every immigrant group was stereotyped on the music hall stage during the 19th Century, but the history of prejudice, hostility, and ignorance towards black people has insured a unique longevity to the stereotypes. White America's conceptions of Black entertainers were shaped by minstrelsy's mocking caricatures and for over one hundred years the belief that Blacks were racially and socially inferior was fostered by legions of both white and black performers in blackface.
Racist Black Stereotypes
Originating in the White man's characterizations of plantation slaves and free blacks during the era of minstrel shows (1830-1890), the caricatures took such a firm hold on the American imagination that audiences expected any person with dark skin, no matter what their background, to conform to one or more of the stereotypes:
Jim Crow
The term Jim Crow originated in 1830 when a White minstrel show performer, Thomas "Daddy" Rice, blackened his face with burnt cork and danced a jig while singing the lyrics to the song,
"Jump Jim Crow."
Zip Coon
First performed by George Dixon in 1834, Zip Coon made a mockery of free blacks. An arrogant, ostentatious figure, he dressed in high style and spoke in a series of malaprops and puns that undermined his attempts to appear dignified.
Jim Crow and Zip Coon eventually merged into a single stereotype called simply "coon."
Mammy
Mammy is a source of earthy wisdom who is fiercely independent and brooks no backtalk. Although her image changed a little over the years, she was always a favorite of advertisers.
Uncle Tom
Toms are typically good, gentle, religious and sober. Images of Uncle Toms were another favorite of advertisers and "Uncle Ben" is still being used to sell rice.
Buck
The Buck is a large Black man who is proud, sometimes menacing, and always interested in White women.
Wench/Jezebel
The temptress. During the minstrel era, wenches were typically a male in female garb. In film, wenches were usually female mulattos.
Mulatto
A mixed-blood male or female. In film, often portrayed as a tragic figure who either intentionally or unintentionally passes for White until they discover they have Negro blood or are discovered by another character to be Black.
Pickaninny
Picaninnies have bulging eyes, unkempt hair, red lips and wide mouths into which they stuff huge slices of watermelon.
These stereotypes were staples during the minstrel era and carried over into vaudeville, film and television.
Blackface in Minstrel Shows
Blackface makeup was either a layer of burnt cork on a layer of coca butter or black grease paint. In the early years exaggerated red lips were painted around their mouths, like those of today's circus clowns. In later years the lips were usually painted white or unpainted. Costumes were usually gaudy combinations of formal wear; swallowtail coats, striped trousers, and top hats.
Minstrel show entertainment included imitating black music and dance and speaking in a "plantation" dialect. The shows featured a variety of jokes, songs, dances and skits that were based on the ugliest stereotypes of African American slaves. From 1840 to 1890, minstrel shows were the most popular form of entertainment in America.
White audiences in the 19th Century wouldn't accept real black entertainers on stage unless they performed in blackface makeup. One of the first Blacks to perform in blackface for White audiences was the man who invented tap dancing, William Henry Lane, aka Master Juba . Lane's talent and skill were extraordinary and eventually he became famous enough that he was able to perform in his own skin.
In the late 1800s one of the most popular of the blackface performances was the adaptation of Uncle Tom's Cabin; an antislavery tale, it met with few objections even from anti-theater religious leaders. A mixture of minstrel show, circus, and spectacle; with trained dogs, ponies, and sometimes even a crocodile, it remained the most popular play in America for over a century.
The American minstrel show was effectively dead by WW1, yet some old-timers continued to peddle the same blackface stereotypes later in vaudeville, films and television. It's one of the interesting twists of history that in the first half of the twentieth century, the main purveyors of the old-fashioned blackface minstrel tradition were Black performers, who'd began in show business wearing the blackface mask -- either literally or figuratively -- and were reluctant to give it up.
But they also had little choice in the roles they were offered. Until well into the 1950s, Black male actors were limited to stereotypical roles: Coons, for example, Stepin Fetchit , Mantan Moreland , and Willie Best ; and Toms, the most famous were Bill "Bojangles" Robinson and Eddie "Rochester" Anderson . Likewise, the only film roles for Black women were maids and mammys, and the most famous mammy of all was Hattie McDaniel , best known for her Oscar-winning role as "Mammy" in Gone With the Wind.
Vaudeville
Vaudeville was popular in the United States from the 1880s until the early 1930s. It offered a more family-friendly atmosphere than the variety shows that had come before, which catered mostly to rowdy working-class audiences.
Vaudeville began at Tony Pastor's Opera House in New York's Bowery. By 1900, it had become a nationwide network of hundreds of theaters and was the dominant form of American mass entertainment. Each show was a variety of separate, unrelated acts -- short plays, musicians, acrobats, animal acts, dancers, magicians, and comedy routines -- grouped together on a common bill. For a time, vaudeville was the most popular form of live theater but it died out with the advent of talking pictures. Many of the 20th Century's most famous performers got their start in Vaudeville including Eddie Cantor, Al Jolson, Charlie Chaplin, The Marx Brothers, WC Fields, Jack Benny, and Bob Hope.
The heritage of blackface minstrelsy played a major part in the evolution of the song, dance, comedy acts and routines that vaudeville popularized, but actual performances in blackface were mostly relegated to a single skit or a song. However blackface in vaudeville also provided opportunities for Blacks who performed in blackface. The success of Black comedians such as Ernest Hogan, Bert Williams, and George Walker opened the door for multiracial casts and for later black performers to take the stage without blackface.
Blackface on Broadway
The most popular Black stage performer of the early 1900s was a brilliant comedian named Bert Williams , who performed a coon stereotype in blackface he called the Jonah Man. Williams teamed up with George W. Walker, and billing themselves as "Two Real Coons" they soon became one of the most successful comedy duos, while their act went from vaudeville to Broadway and evolved into full-scale musical comedy. They produced, wrote and starred in In Dahomey (1902), the first Black musical comedy to open on Broadway. After his partner died, Williams became the first Black to headline a Ziegfield Follies show and the first Black comedian to produce and star in his own silent films.
Bert Williams and George Walker
Silent Movies
The popularity of early film brought with it the propagation of racial stereotypes to large audiences around the world. Early silent movies such as The Wooing and Wedding of a Coon in 1904, The Slave in 1905, The Sambo Series 1909-1911 and The Nigger in 1915 offered the existing stereotypes through an exciting new medium.
The premiere of Birth of a Nation in 1915 marked a change in emphasis from the pretentious and inept Jim Crow stereotypes to that of the Savage Negro. In D.W. Griffith's film, the Ku Klux Klan rescues the South, and Southern women in particular, from savage Blacks who have gained power over Whites with the help of Northern carpetbaggers. Griffith later admitted that his film was designed to, "create a feeling of abhorrence in white people, especially white women, against colored men."
Race Movies
Northern Blacks responded to Birth of a Nation by producing their own movies. "Race movies" were all-black affairs that were made for Black audiences. The most successful Black film producer of the first half of the Twentieth Century was a former railway porter and novelist named Oscar Micheaux. His Chicago-based Micheaux Film Corporation, which operated from 1918–1940 produced over 44 films. Micheaux's most important film was Within Our Gates (1920), an uncompromising look at racial attitudes and prejudice among both Blacks and Whites, and it included both a rape and a lynching.
The growth of truly independent Black film production was cut short by the Great Depression and the added costs associated with the change in technology from silent to sound. Few of the small independent Black film companies survived the changes and even fewer remained independent once Hollywood stepped in and took control of Black filmmaking by providing the financing. Race movies then changed from organic Black entertainment to knock-offs of standard Hollywood fare; like westerns, crime dramas and musicals; but featuring an all-Black cast.
Racist Cartoons
Between 1930 and 1950, animators at Warner Brothers, Walt Disney, MGM, Merrie Melodies, Looney Tunes, R.K.O., and many other independent studios, produced thousands of cartoons that perpetuated the same old racist stereotypes. This period is now known as the golden age of animation, and until the mid 1960s, cartoons were screened before all feature films. Later, these same cartoons would cycle endlessly for decades on broadcast TV or cable syndication.
Eventually the worst of the racist cartoons were removed from television or heavily edited, but many are available on the internet if one knows where to look. To modern audiences, many of these cartoons are quite shocking and graphically illustrate how pervasive and institutionalized racism was in our culture just a short time ago.
Radio
The most popular radio show of all time was The Amos 'n' Andy Show. The characters were created by Freeman Gosden and Charles Correll; two white actors with blackface and vaudeville experience. NBC began broadcasting Amos 'n' Andy on radio August 19th, 1929 and it was an instant success. It was the first radio program to be distributed by syndication in the United States. The show ran as a nightly radio serial from 1928 until 1943 and as a weekly situation comedy from 1943 until 1955. Portraying blackface racist stereotypes on radio was a bit of a challenge because there were no visuals. The stereotypical voice characterizations needed to be even more exaggerated to help listeners distinguish between characters.
Although Amos and Andy is cited most often as an example of blackface radio performances, there were many other stereotypical blackface characters in old time radio shows like Two Black Crows, Beulah and Aunt Jemima. Two Black Crows were based on coon stereotypes while both Beulah and Aunt Jemima were based on the "Mammy" stereotype. Beulah was a supporting character on the popular Fibber McGee and Molly radio series and became a spin-off show. The show was broadcast on radio from 1945 to 1954, and originally portrayed by White actor Marlin Hurt. Hattie McDaniel eventually took the role on radio and was one of four black women to play Beulah on the later television series.
Amos 'n' Andy on radio and TV
Early Television and the Civil Rights Movement
When integration became Federal law in the 1950s it put small Black theaters out of business and that brought an end to the production of race movies. Blacks continued to play servant roles in mainstream movies but the only Blacks to appear in early television were those who performed racist caricatures. Much of early television's variety entertainment was transplanted from vaudeville, while many situation comedies came from radio. Popular radio shows like Amos and Andy and Beulah were an instant success on television. But it wasn't long before a backlash developed from Black leaders who objected to the racist stereotypes and especially the fact that they were the only portrayals of blacks on TV.
Even as the TV series Amos 'n' Andy premiered in June 1951, the NAACP was in federal court trying unsuccessfully to get an injunction to prevent CBS from televising it. In 1951, Amos 'n' Andy ranked 13th in the Nielsen ratings and in 1952 it won an Emmy award. The NAACP responded by initiating a boycott of its sponsor, Blatz beer. By April 1953 Blatz withdrew its sponsorship and CBS announced "The network has bowed to the change in national thinking." Yet the series was in syndication more than 4 times as long as it was broadcast on the network. It remained in syndication for 13 years after it was withdrawn from the network schedule. As late as 1963, it still played on 50 US stations. The programs were finally locked in vaults as of 1966, but videotapes and DVDs continue to circulate among collectors.
NAACP protests also resulted in blackface scenes being cut from TV showings of such films as Babes in Arms and Holiday Inn. 15 years passed from Amos 'n' Andy until the introduction of another Black situation comedy (Julia in 1968). The series failed to gain an audience and that may explain why during the 1970's, stereotypical "coons and mammies" were again featured in shows such as Sanford and Son, The Jeffersons, Good Times, What's Happening and Diff'rent Strokes.
Blacksploitation (blaxploitation) Films
The 1970s also saw a resurgence of movies tailored to Black audiences in a genre called “Blacksploitation” films. Sweet Sweetback's Baadasssss Song (1971) starred Melvin Van Peebles, who also wrote, produced and directed. In the film, his character is a black prostitute who is forced to go on the run after he saves a young Black Panther who was being beaten by two corrupt White cops. The film is often credited with the invention of the Blacksploitation genre, because its success proved that there was a lucrative market for such films. The film cost only $150,000 -- most of it put up by Peebles -- and grossed over $15 million. Superfly, Shaft, Blackula, Black Caesar, Hell up in Harlem, Black Gestapo, Foxy Brown, and many others quickly followed.
Melvin Van Peebles
Most Blacksploitation films were small, independent productions that dealt with crime and the effects of illegal drugs on the inner cities. The cause was usually portrayed as being a result of White racism and exploitation of poor Blacks. Most White cops and politicians were portrayed as corrupt, forcing Black antiheroes to take matters into their own hands. Heavy on graphic sex scenes, gratuitous nudity and violence, as well as stereotypes of pimps, whores, and black criminals, the films eventually generated a backlash led by Black leaders that put an end to Blacksploitation films by 1980.
An Enduring Legacy
In Bamboozled (2000), Spike Lee addresses the legacy of blackface minstrelsy, and raises the question of who is wearing the blackface now. Many of the Black characters in television comedies today are derived from the same racist stereotypes of blacks that have existed since the days of minstrel shows. The FOX Television sitcom, South Central (1994) was, in the words of Brotherhood Crusade President Danny Blackwell, "the Amos 'n' Andy of 1994." The Parent 'Hood (1995-2000), a program aimed at family viewers, relied on working class coon and mammy caricatures for a good portion of its humor.
In Homeboys in Outer Space (1996), Flex Alexander and Darryl M. Bell, "mercenary brothaa-aas, down for one anothaa-aaa" explore black stereotypes and the galaxy in their Space Hoopty; a lowrider-style spacecraft equipped with a computer named Loquatia spouting "ghetto sass." More recently, Fox Television's Method & Red (2004) transplanted hip hop recording artists Method Man & Redman to a White upper-class suburb in New Jersey, where they began "Puttin' the Urban into Suburban" to the horror of their White neighbors. The Cleveland Show (2009-present) is basically Family Guy in blackface with a liberal helping of negative Black stereotypes. 180 years after "Daddy" Rice donned blackface makeup and sang Jump Jim Crow for white audiences, Black television comedies today are still relying on the same old coon and mammy stereotypes for cheap laughs.
| The A-Team |
In which month is the Royal Ascot race meeting held? | Whitechapel (TV Series 2009– ) - IMDb
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17 January 2017 4:34 PM, UTC
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A fast-tracked inspector, a hardened detective sergeant, and an expert in historical homicides investigate modern crimes with connections to the past in the Whitechapel district of London.
Creators:
Buchan explains that the killers are cannibals, eating their victims to assume their power and goodness. Following Josie's disappearance Miles and Chandler learn that she too was interviewed by Dunn ...
8.3
Baby-sitter Sasha Lowood is murdered by a man dressed as the mythical Bogey-Man at the same time that Calum Mantus,who killed his family in a manner identical to Sasha's slaying,escapes from a secure...
8.1
In the sewers beneath as Whitechapel church two workmen find the disembowelled corpse of young runner Thomas Griffin. Dr Llewellyn believes his killer removed his stomach and entrails. A camera ...
8.1
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Edit
Storyline
Set in 2008 and against the hugely atmospheric background of Whitechapel, London, a modern police force are fighting an old adversary. A series of bloody, tragic and impossible crimes would suggest someone is carrying out copycat Jack the Ripper murders. The murders are investigated by our three unlikely heroes: Chandler, a fast-tracked, media savvy DI on his first big murder case; Miles, nearing retirement, a front-line, hard-bitten DS, and Buchan, the eccentrically brilliant Jack the Ripper tour guide. Written by anonymous
2 February 2009 (UK) See more »
Also Known As:
Das Syndikat der Brüder Kray See more »
Filming Locations:
Did You Know?
Trivia
During Season 1, real offal was used for the 'gore' on the murdered prostitutes and would develop quite a stench. In Season 2 onwards, prosthetics and make up were used instead. See more »
Goofs
The Met don't use interview rooms with two way mirrors. That's an Americanism. See more »
Connections
(United Kingdom) – See all my reviews
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| i don't know |
The Curtis Cup, is awarded for which sport? | LGU > The Curtis Cup
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The Continent of Europe won the Junior and Senior Vagliano Trophies in a stunning yet extremely tense final day at Malone Golf Club, Northern Ireland.
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JOINT STATEMENT FROM THE LADIES’ GOLF UNION AND THE R&A
Exploratory discussions are underway between the Ladies’ Golf Union (LGU) and The R&A towards establishing a more closely coordinated working relationship and the possibility of a merger between the two organisations.
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LGU SADDENED AT LOSS OF CATHERINE BAILEY
All at the LGU were saddened to hear of the death of Catherine Bailey (Tandridge) on Wednesday 4th February.
Catherine was Senior Ladies’ British Champion 1988 & 1989. She represented Surrey for many years and was a member of at least 3 winning teams in the County Championship Finals.
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LGU APPOINTS HELEN AS TEAM MANAGER
Lincolnshire Ladies' County Captain and seven times County champion, Helen Hewlett (nee Dobson) has accepted an invitation from the Ladies’ Golf Union, to be team manager of the Great Britain & Ireland teams for the Vagliano Trophy matches at Malone Golf Club, Belfast on June 26-27 and next year's Curtis Cup match at Dun Laoghaire Golf Club, near Dublin.
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In 1962 Bruce Chanel had his only UK hit with what song? | Bruce Channel — Free listening, videos, concerts, stats and photos at Last.fm
rock and roll
Bruce Channel (born as Bruce McMeans, on November 28, 1940, in Jacksonville, Texas) was a musician best known as a 'one-hit-wonder' known for his 1962 number one song " Hey! Baby " (also known as " Hey Baby ") while also being a songwriter for other artists.
Channel originally performed on the Louisiana Hayride radio show, and then joined up with harmonica-player Delbert McClinton singing country music. Bruce wrote "Hey! Baby" in 1959, together with Margaret Cobb , and had been… read more
| Hey Baby |
American band 'Nirvana' released their first album in 1989. What was the title of the album? | Hey Baby! ~ Bruce Channel - Delbert McClinton ~ Acoustic Cover w/ Recording King "The Hawaiian" - YouTube
Hey Baby! ~ Bruce Channel - Delbert McClinton ~ Acoustic Cover w/ Recording King "The Hawaiian"
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Uploaded on Jan 10, 2011
(c)1962 Words & Music Bruce Channel - Margarett Cobb
Arr. stagwolf
Hey Hey-ey Baby, I wanna know if you´ll be my girl
Hey Hey-ey Baby, I wanna know if you´ll be my girl
When I saw you walking down at street, I said
That´s the kind of gal I´d like to meet
She´s so pretty Lord she´s fine
I´m gonna make her mine all mine, I said#
When you turned and walked away, hey
That´s when I wanna say
C´mon baby, give me a whirl
I wanna know if you´ll be my girl
Hey Hey-ey Baby, I wanna know if you´ll be my girl
Hey Hey-ey Baby, I wanna know if you´ll be my girl
If you´ll be my girl.. if you´ll be my girl.. if you´ll be my girl
~~~
In 2001, 20-year-old Austrian producer/DJ Gerry Friedle, who performed under the name of DJ Otzi, recorded a Euro Dance version of this with added "ooh aahs." When he was a DJ he was always doing "ooh aahs" and he found the audience loved it. His version reached #1 in the UK, rising from #45 to replace Bob The Builder at the top, the highest ever leap to #1 in the UK. Otzi's initial goal in life was to be a farmer; a plan he was forced to abandon due to a fear of cows. He turned to music during chemotherapy for testicular cancer. He had 2 more UK top 10 hits, following up with his version of Manfred Mann's "Do Wah Diddy"(#9) and the following year a #10 hit with a remixed version of this to coincide with the 2002 soccer World Cup. By this time "Hey Baby" had become a song football supporters sang at matches.
~~~
Channel wrote this around 1959 with his friend Margaret Cobb. He had already been performing the tune for a couple of years before recording it amidst a series of demos for Fort Worth producer Major Bill Smith. First released locally on Smith's label, it was picked up for national distribution by Smash.
Delbert McClinton played the harmonica part. At one Channel's shows, he was supported by a then-unknown Liverpool group, the Beatles. John Lennon was so impressed with the harmonica intro that he asked McClinton how to play it. A year later a similar harmonica passage showed up on The Beatles "Love Me Do."
Category
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Who appeared 'As' Johnny and The Gamblers in the film Grease? | Grease (Movie) | Grease Wiki | Fandom powered by Wikia
Edit
In the summer of 1959, local boy Danny Zucco and vacationing Sandy Olsen meet at the beach and fall in love. When the summer comes to an end, Sandy—who is going back to Australia—frets that they may never meet again, but Danny tells her that their love is "only the beginning". The film moves to the start of the seniors' term at Rydell High School. Danny, a greaser, is a member of the T-Birds, consisting of his best friend Kenickie, Doody, Sonny, and Putzie. The Pink Ladies also arrive, consisting of Rizzo, Frenchy, Marty, and Jan. After her parents decided not to return to Australia, Sandy enrolls at Rydell and befriends Frenchy, who considers dropping out of school to become a beautician. Oblivious to each other's presence at school, Danny and Sandy tell their respective groups the accounts of events during the pair's brief romance. Upon learning Danny is Sandy's sweetheart, Rizzo arranges for the two to reunite, but Danny is forced to maintain his bad-boy attitude in front of his pals, upsetting Sandy. Frenchy invites the girls to a pajama party, but Sandy falls ill from trying a cigarette and drinking. The T-Birds almost crash the party in Kenickie's Greased Lightning car, but a guilty Danny leaves, followed by Rizzo, who departs to make out with Kenickie, who is actually her boyfriend. The two are disturbed by Leo, leader of the T-Birds' rival gang, the Scorpions, and his girlfriend Cha-Cha, leading to a planned race between Kenickie and Leo. Wishing to win his way back into Sandy's affection, Danny turns to Coach Calhoun to get into sports, eventually becoming a runner. He reunites with Sandy and they attempt to go on a date, but their friends crash it, resulting in Kenickie and Rizzo arguing and parting. Left alone, Frenchy is visited by a guardian angel who advises her to return to school after a mishap in beauty class leaves her with candy-pink hair. The school dance arrives, broadcast live on television and hosted by DJ Vince Fontaine, who flirts with Marty. Rizzo and Kenickie attempt to spite one another by bringing Leo and Cha-Cha as their dates, while Danny and Sandy come together. During a dance, Danny and Cha-Cha (who were once boyfriend and girlfriend) perform together and win a dance-off. Danny tries to make it up to Sandy by taking her to a drive-in theater but ends up making several passes on her, causing Sandy to flee. Meanwhile, Rizzo fears she is pregnant after missing a period and confides to Marty, but Sonny overhears and spreads the rumor which eventually reaches Kenickie who is the potential father. The race arrives, but Kenickie is knocked out by his own car door thanks to the careless behavior of his friend Putzie, so Danny takes up the challenge. He and Leo race until Leo crashes and leaves humiliated, with Danny as the victor. Sandy watches from afar, concluding she still loves Danny and decides to change her attitude and look to impress him. On the last day of school, while Principal McGee and her assistant Blanche sob about the departing class, the class celebrates their graduation at the fair on the school grounds. Rizzo discovers she is not pregnant after all and reunites with Kenickie. Danny has become a jock, but is shocked when Sandy appears dressed in leather and is seen smoking. In song, the two admit they love each other and reunite. The film ends with Danny and Sandy departing in the Greased Lightning car together, which then takes flight, and the pair waves goodbye to their friends. The film ends with credits in the style of a yearbook.
Cast
Edit
Principal cast John Travolta as Danny Zucco Olivia Newton-John as Sandy Olsen Jeff Conaway as Kenickie Stockard Channing as Betty Rizzo Barry Pearl as Doody Michael Tucci as Sonny Latierre Kelly Ward as Putzie Didi Conn as Frenchy Jamie Donnelly as Jan Dinah Manoff as Marty Maraschino School staff/others Eve Arden as Principal McGee Dody Goodman as Blanche Hodel Sid Caesar as Coach Calhoun Eddie Deezen as Eugene Felsnic Susan Buckner as Patty Simcox Lorenzo Lamas as Tom Chisum Dennis C. Stewart as Leo Balmudo Annette Charles as Charlene "Cha-Cha" DiGregorio Joan Blondell as Vi Ellen Travolta as Waitress Frankie Avalon as Teen Angel Edd Byrnes as Vince Fontaine Sha-Na-Na as Johnny Casino and the Gamblers Alice Ghostley as Mrs. Murdock Darrell Zwerling as Mr. Lynch Dick Patterson as Mr. Rudie Fannie Flagg as Nurse Wilkins Michael Biehn as Mike (uncredited)
Production
Edit
Casting Singer Olivia Newton-John, cast at Travolta's urging,[4] had done little acting before this film. She appeared in the 1970 film Toomorrow, a science fiction musical that pre-dated her initial chart success with 1971's "If Not for You". Cast with Newton-John and three male leads in an attempt by Don Kirshner to create another Monkees, the film failed miserably. This led Newton-John to demand a screen test for Grease to avoid another career setback. The screen test was done with the drive-in movie scene. Two actors who were considered for leading roles in the film were Henry Winkler and Marie Osmond. Winkler, who was playing Fonzie on Happy Days, was originally chosen to play Danny, but having twice already played similarly leather-clad 1950s hoods in 1974's The Lords of Flatbush as well as Happy Days, turned down the role for fear of being typecast. Osmond turned down the role of Sandy because she did not like the fact that Sandy had to "turn bad" to get the boy.[5] Adult film star Harry Reems was originally signed to play Coach Calhoun;[6] however, executives at Paramount nixed the idea due to Reems' previous work in adult films,[7] and producers cast Sid Caesar instead. Caesar was one of several veterans of 1950s television (Eve Arden, Frankie Avalon, Joan Blondell, Edd Byrnes, Alice Ghostley, Dody Goodman) to be cast in supporting roles. Randal Kleiser directed John Travolta (who requested him for Grease)[8] and Kelly Ward in The Boy in the Plastic Bubble two years prior to Grease. Additionally, he had previously worked (as an extra) alongside Frankie Avalon in 1966's Fireball 500.
Filming locations
The car race in the film took place at the L.A. River. The opening beach scene was shot at Malibu's Leo Carrillo State Beach, making explicit reference to From Here to Eternity. The exterior Rydell scenes, including the basketball, baseball and track segments, were shot at Venice High School in Venice, California, while the Rydell interiors, including the high school dance, were filmed at Huntington Park High School. The sleepover was shot at a private house in East Hollywood. The Paramount Pictures studio lot was the location of the scenes that involve Frosty Palace and the musical numbers "Greased Lightning" and "Beauty School Dropout". The drive-in movie scenes were shot at the Burbank Pickwick Drive-In (it was closed and torn down in 1989 and a shopping center took its place). The race was filmed at the Los Angeles River, between the First and Seventh Street Bridges, where many other films have been shot.[9] The final scene where the carnival took place used John Marshall High School.[10]
Post-production
Scenes inside the Frosty Palace contain obvious blurring of various Coca-Cola signs.[11] Prior to the film's release, the producer Allan Carr had made a product-placement deal with Coca-Cola's main competitor Pepsi (for example, a Pepsi logo can be seen in the animated opening sequence). When Carr saw the footage of the scene with Coca-Cola products and signage, he ordered director Randal Kleiser to either reshoot the scene with Pepsi products or remove the Coca-Cola logos from the scene. As reshoots were deemed too expensive and time-consuming, optical mattes were used to cover up or blur out the Coca-Cola references. The 'blurring' covered up trademarked menu signage and a large wall poster, but a red cooler with the logo could not be sufficiently altered so was left unchanged. According to Kleiser, "We just had to hope that Pepsi wouldn't complain. They didn't."[12][13] In the 2010 sing-along version (see below), the blurred Coke poster has been digitally removed. In its place is more of the wavy wall design that surrounded it. John Wilson did the animated title sequence for the start of the film.
Realease And Reception
Edit
Grease was originally released to theaters on June 16, 1978. It was released in the US on VHS during the 1980s; the last VHS release was on June 23, 1998 and titled the 20th Anniversary Edition following a theatrical re-release that March. On September 24, 2002, it was released on DVD for the first time. On September 19, 2006, it was re-released on DVD as the Rockin' Rydell Edition, which came with a black Rydell High T-Bird jacket cover, a white Rydell "R" letterman's sweater cover or the Target-exclusive Pink Ladies cover. It was released on Blu-ray Disc on May 5, 2009.
Box office
Commercially, Grease is box office success. In its opening weekend, the film grossed $8,941,717 in 862 theaters in the United States and Canada, ranking #2 (behind Jaws 2) at the box office.[14] Grease has grossed $188,755,690 domestically and $206,200,000 internationally, totaling $394,955,690 worldwide. In the United States, it is the number #1 highest-grossing musical, to date.
Critical reception
Grease received mostly positive reviews from movie critics[16] and is considered by many as one of the best films of 1978.[17][18][19][20] It currently holds an 82% "Certified Fresh" rating on the review aggregate website Rotten Tomatoes with a consensus that reads "Grease is a pleasing, energetic musical with infectiously catchy songs and an ode to young love that never gets old."[21] It holds a score of 70/100 on a similar website Metacritic.[16] Vincent Canby called the film "terrific fun", describing it as a "contemporary fantasy about a 1950s teen-age musical—a larger, funnier, wittier and more imaginative-than-Hollywood movie with a life that is all its own"; Canby pointed out that the film was "somewhat in the manner of Close Encounters of the Third Kind, which recalls the science-fiction films of the '50s in a manner more elegant and more benign than anything that was ever made then, Grease is a multimillion-dollar evocation of the B-picture quickies that Sam Katzman used to turn out in the '50s (Don't Knock the Rock, 1957) and that American International carried to the sea in the 1960s (Beach Party, 1963)."[22] Grease was voted the best musical ever on Channel 4's 100 greatest musicals.[23] In 2008, the film was selected by Empire magazine as one of The 500 Greatest Movies of All Time.[24] Grease was re-released to theaters in 1998 to mark the 20th anniversary; this re-release contained (before and after the mastering) the old Viacom variation of the 1986 logo with the fanfare used on Black Rain, Wayne's World, The Accused, Pet Sematary, and Fatal Attraction; in turn this is similar to how the original master began with its original theme (accompanied with 1975 logo), which seems to be a horn re-orchestration of the intro to "Love is a Many-Splendored Thing".[citation needed] That version is shown on TV to this day, however a few select Viacom networks run the original master instead. The film was also ranked number 21 on Entertainment Weekly's list of the 50 Best High School Movies.[25][26]
Sequels And Spin-offs
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Grease 2 (1982) was a sequel to Grease starring Maxwell Caulfield and Michelle Pfeiffer. As mentioned, only a few cast members from the original movie such as Dody Goodman, Sid Caesar, Eddie Deezen, Didi Conn, Dennis Stewart and Eve Arden reprise their respective roles. Dick Patterson returned, playing a different character. It was not nearly as successful, grossing just $15 million on its $13 million budget. Patricia Birch, the original movie's choreographer, directed the ill-fated sequel. It would be the only movie that she would direct. After the success of the original, Paramount intended to turn Grease into a multi-picture franchise with three sequels planned and a TV series down the road. When Grease 2 flopped at the box office, all the plans were scrapped.[27] On July 8, 2010, a sing-along version of Grease was released to select theaters around the U.S.[28] A trailer was released in May 2010 with cigarettes digitally removed from certain scenes, implying heavy editing; however, Paramount confirmed these changes were done only for the film's advertising,[29] and the rating for the film itself changed from its original PG to that of PG-13 for "sexual content including references, teen smoking and drinking, and language."[30] The movie was shown for two weekends only; additional cities lobbied by fans from the Paramount official website started a week later and screened for one weekend.[31]
Soundtrack
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he soundtrack album ended 1978 as the second-best selling album of the year in the United States, exceeded only by another soundtrack album, from the film Saturday Night Fever, which also starred Travolta.[3] The song "Hopelessly Devoted to You" was nominated for an Academy Award for Best Music—Original Song. The song "You're the One That I Want" was released as a single prior to the film's release and became an immediate chart-topper, despite not being in the stage show or having been seen in the film at that time.[32] Additionally, the dance number to "You're the One That I Want" was nominated for TV Land's award for "Movie Dance Sequence You Reenacted in Your Living Room" in 2008.[33] In the United Kingdom, the two Travolta/Newton-John duets, "You're the One That I Want" and "Summer Nights", were both number one hits and as of 2011 are still among the 20 best-selling singles of all time (at Nos. 6 and 19 respectively).[34] The movie's title song was also a number-one hit single for Frankie Valli.[35] The song "Look at Me, I'm Sandra Dee" references Sal Mineo in the original stage version. Mineo was stabbed to death a year before filming, so the line was changed to refer to Elvis Presley instead. The Troy Donahue reference is in the original stage version. Coincidentally, this scene, and the scene before and after that were filmed on August 16, 1977, the date of Elvis Presley's death.[36] Some of the songs were not present in the film; songs that appear in the film but not in the soundtrack are "La Bamba" by Ritchie Valens, "Whole Lotta Shaking Going On" by Jerry Lee Lewis, "Alma Mater", "Alma Mater Parody", and "Rydell Fight Song". "Alone at a Drive-in Movie (instrumental)", "Mooning", and "Freddy My Love" are not present in the film, although all three are listed in the end credits in-addition to being on the soundtrack. The songs appear in the film in the following order: "Love is a Many-Splendored Thing" "Grease" "Alma Mater" "Summer Nights" — Danny, Sandy, Pink Ladies and T-Birds "Rydell Fight Song" — Rydell Marching Band "Look at Me, I'm Sandra Dee" — Rizzo and Pink Ladies "Alma Mater Parody" — T-Birds "Hopelessly Devoted to You" — Sandy "Greased Lightnin'" — Danny and T-Birds "La Bamba" "It's Raining on Prom Night" "Whole Lotta Shaking Going Going On" "Beauty School Dropout" — Teen Angel and Female Angels "Rock n' Roll Party Queen" "Rock n' Roll is Here to Stay" — Johnny Casino and the Gamblers "Those Magic Changes" — Johnny Casino and the Gamblers; Danny sings along onscreen "Tears on My Pillow" — Johnny Casino and the Gamblers "Hound Dog" — Johnny Casino and the Gamblers "Born to Hand Jive" — Johnny Casino and the Gamblers "Blue Moon" — Johnny Casino and the Gamblers "Sandy" — Danny "There Are Worse Things I Could Do" — Rizzo "Look at Me, I'm Sandra Dee (Reprise)" — Sandy "You're the One That I Want" — Danny, Sandy, Pink Ladies, and T-Birds "We Go Together" — Cast "Grease (Reprise)"
Trivia
Edit
Henry Winkler, who became a sensation as "Fonzie" on "Happy Days", was considered for the role of Danny Zuko. However, he turned down the role for fear of being typecast. Susan Dey and Deborah Raffin were the first choices for the role of Sandy (Dey declined the role after her manager advised against it). Marie Osmond later claimed on "Larry King Live" that she had been also been offered the role but declined "on moral grounds" though she later admitted this to be untrue. Due to a zipper breaking, Olivia Newton-John had to be sewn into the trousers she wears in the last sequence (the carnival at Rydell). Jeff Conaway (6' 1½" (1.87 m)) had to walk slightly stooped so that John Travolta (6' 2" (1.88 m)) would appear taller. Set in high school, most of the principal cast were way past their teenage years. When filming began in June 1977, John Travolta was 23, Olivia Newton-John was 28, Stockard Channing was 33, Jeff Conaway was 26, Barry Pearl was 27, Michael Tucci was 31, Kelly Ward was 20, Didi Conn was 25; Jamie Donnelly was 30, and Annette Charles was 29. Only Dinah Manoff, Lorenzo Lamas, and Eddie Deezen, all 19, were still teenagers. Randal Kleiser hated the song "You're The One That I Want" saying it "sounded awful". "You're the One That I Want" took just one afternoon to film. When Olivia Newton-John was cast as Sandy, her character's background had to be changed to accommodate Newton-John's own background. In the original Broadway musical Sandy was an all-American girl and her last name was Dumbrowski. In the movie version, she became Sandy Olsson, foreign-exchange student from Australia. Also, because of Newton-John's casting, John Farrar (Newton-John's frequent songwriter) had to write two new songs for the film while other songs from the Broadway musical were dropped. Although cut from the movie, The Alma Mater/Parody instrumental from the stage version can be heard in the office on the last day and during the carnival scenes. Several musical numbers were not used in the film. They appear, however, as jukebox tunes, or band numbers at the high school dance. Among them "Freddy, My Love", "Those Magic Changes", and "It's Raining on Prom Night" all of which were performed by characters in the stage musical.
| Sha Na Na |
Who became the first member of 'The Animals' to leave the group in 1965? | Grease | Reelviews Movie Reviews
Array ( [page] => reelviews [view] => grease )
Grease (United States, 1978)
A movie review by James Berardinelli
Grease is a perfect way to become immersed in the recent past. Not only was it one of the top box office draws in 1978, but it capped off a decade of '50s frenzy (that began, ironically, with the off-Broadway opening of the play Grease in 1972). The stars were '70s icons, with John Travolta having come off his phenomenally successful outing in Saturday Night Fever and Olivia Newton-John having made her American acting debut after repeated stays atop world-wide pop charts. The songs are '50s style hits that have shown their enduring popularity. The soundtrack for Grease sold well in 1978 and is still going strong two decades later.
Many fans of movie musicals recall Grease with fondness. It certainly isn't a momentous film, and stands a considerable distance downslope from the pinnacle its genre, but it became a huge hit in an era when the musical was well into its death throes. Aside from the likes of Little Shop of Horrors (1986), the Disney animated films, and Evita (1996), there have been few memorable, big-budget motion picture musicals since Grease. The film was also popular enough to spawn a sequel, catchily titled Grease 2, but the less said about that sad endeavor, the better.
There are several reasons why Paramount Pictures has chosen to re-release Grease on its twentieth anniversary, all of which have something to do with money. '70s nostalgia is in full bloom (America has a thing about looking back 20 years), Travolta is hot again, and the CD is a cash cow. The biggest reason, however, is the unexpected windfall created last March when 20th Century Fox unveiled a spruced-up Star Wars. No one thinks Grease's 1998 box office total will come close to that of the first installment of George Lucas' space opera, but it should still make a tidy profit. The digitally-remastered soundtrack (which sounds great) and the enhanced color can only help.
Grease boasts what all successful motion picture musicals have: likable stars, a simple but not trivial plot, and a lot of enjoyable music. Familiarity with the soundtrack is undoubtedly one of the reasons for the film's popularity – several of the songs have achieved pop hit status. Who can't recognize "Grease," "Hopelessly Devoted to You," "You're the One that I Want," "Greased Lightning," and "Summer Nights"? These may not represent great music, but they're a lot of fun to listen to, as their abiding appeal proves. (Incidentally, three of those, "Grease," "Hopelessly Devoted," and "You're the One" were penned specifically for the movie; the others are leftovers from the stage show.)
The plot, such as it is, opens during the summer of 1958 when, to the tune of "Love is a Many Splendored Thing," Danny (Travolta) and Sandy (Newton-John) fall in love. After pledging their undying affection, they go their separate ways, returning to the reality that every teenager must face after Labor Day -- high school. The two are in for a surprise, however. Sandy has changed schools, and, unbeknownst to Danny or her, they are now both in Rydell High's Senior Class. Their eventual reunion, however, is anything but joyous. Although Danny is secretly delighted to see Sandy, he realizes that an overt display of joy will look bad in front of his tough friends, so he plays it cool. To Sandy, the reaction is like a slap in the face. The two then spend the rest of the movie dancing around each other, eventually getting together for the musical finale.
In addition to the songs, highlights of Grease include Travolta's daffy, limber performance as Danny, Newton-John's sexy-but-sweet Sandy, and a cast of adults trying vainly to pass themselves off as high-schoolers. Despite all of the silliness and singing, the exuberance of youth lies at the core of Grease, and, although everything is greatly exaggerated here, the film brings back memories of what it was like to hang out in the school yard, take a date to a drive-in movie, and attend a prom.
As Danny, the leader of the leather jacket-wearing T-Birds, Travolta is a riot. Alternately swaggering to prove his "coolness" and re-affirming his ability on the dance floor, the actor gives the kind of performance that's perfect for the role. His comic aptitude, often on display during the '70s in "Welcome Back Kotter," is used to good effect in a montage where Danny tries out at several sports in order to prove his worth to Sandy. Meanwhile, Newton-John is equally solid, even though, at the time, she was far better known for making records than movies. Sandy's transformation from shy wallflower to leather-clad babe is one of the film's best-remembered moments. (During that sequence, I especially like the panicked glance Sandy casts at her friends when she's not sure what to do with the cigarette.) Newton-John and Travolta develop a palpable chemistry, which is why they re-teamed five years later in the failed romantic comedy Two of a Kind, a movie that was unable to revive their then-flagging careers.
The supporting cast contains a number of familiar faces. The T-Birds are played by Jeff Conaway, Barry Pearl, Michael Tucci, and Kelly Ward, while their female counterparts, the Pink Ladies, are Stockard Channing (as the tough-talking Rizzo), Didi Conn, Jamie Donnelly, and Dinah Manoff. Frankie Avalon, the teen idol who spent a lot of time in the '60s on the beach with Annette Funicello, has a cameo as an angel. Eve Arden, of "Our Miss Brooks," is Principal McGee. Comedian Sid Ceasar plays Coach Calhoun, Alice Ghostley (Esmeralda on "Bewitched") is Mrs. Murdock, and the singing group Sha-Na-Na doubles as Johnny Casino & the Gamblers.
Grease works as a musical, a comedy, a light romance, and a gentle satire of teenage life during the '50s. In part because of its persistent high spirits, it's a delight to watch, even 20 years after it first appeared on the screen. There's no doubt that Grease has a devoted legion of fans, so it will be interesting to see how well the movie performs at the box office. After all, it is readily available on video tape, and, unlike last year's big re-release, there are no restored outtakes and enhanced special effects. The only things Grease has to rely upon are its reputation and its music. For me, at least, that's enough for a trip to the theater.
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He was a 60s chart topper but who was it that played 'The Artful Dodger in the 1948 film 'Oliver Twist'? | Anthony Newley Biography | OLDIES.com
Anthony Newley Biography
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George Anthony Newley, 24 September 1931, London, England, d. 14 April 1999, Jensen Beach, Florida, USA. One of the UKs most highly successful songwriters, actors and singers of the 60s. Born in Hackney, east London, Newley was evacuated to Hertfordshire during World War II. He attended the Italia Conti Stage School in London before working as a child actor in several films, including The Little Ballerina, Vice Versa, and David Leans acclaimed version of Oliver Twist (1948) in which he played the Artful Dodger. A brief spell of national service ended after six weeks on psychiatric grounds. He made his London theatrical debut in John Crankos revue, Cranks in 1955, and had character parts in well over 20 films before he was cast as rock n roll star Jeep Jackson in 1959s Idle On Parade.
Newleys four-track vocal EP, and his version of the films hit ballad, Jerry Lordans Ive Waited So Long, started a three-year UK chart run that included Personality, If She Should Come To You, And The Heavens Cried, the novelty numbers Pop Goes The Weasel and Strawberry Fair and two UK number 1 hits, Why and Lionel Barts Do You Mind?. Newley also made the album charts in 1960 with his set of standards, Love Is A Now And Then Thing. He made further appearances in the charts with Tony (1961), and the comedy album Fool Britannia (1963), on which he was joined by his wife, Joan Collins, and Peter Sellers. In 1961 Newley collaborated with Leslie Bricusse on the book, music and lyrics for the offbeat stage musical, Stop The World - I Want To Get Off. Newley also directed, and played the central role of Littlechap. The show, which stayed in the West End for 16 months, ran for over 500 performances on Broadway, and was filmed in 1966. It produced several hit songs, including What Kind Of Fool Am I?, Once In A Lifetime and Gonna Build A Mountain.
In 1964 Bricusse and Newley wrote the lyric to John Barrys music for Shirley Bassey to sing over the titles of the James Bond movie, Goldfinger. The teams next musical show in 1965, The Roar Of The Greasepaint - The Smell Of The Crowd, with comedian Norman Wisdom in the lead, toured the north of England but did not make the West End. When it went to Broadway Newley took over (co-starring with Cyril Ritchard), but was not able to match the success of Stop The World, despite an impressive score that contained such numbers as Who Can I Turn To?, A Wonderful Day Like Today, The Joker, Look At That Face and This Dream. In 1967 Newley appeared with Rex Harrison and Richard Attenborough in the film musical Doctor Dolittle, with script and songs by Bricusse. Despite winning an Oscar for Talk To The Animals, the film was considered an expensive flop, as was Newleys own movie project in 1969, a pseudo-autobiographical sex-fantasy entitled Can Hieronymus Merkin Ever Forget Mercy Humppe And Find True Happiness? Far more successful, in 1971, was Willy Wonka And The Chocolate Factory, a Roald Dahl story with music and lyrics by Bricusse and Newley. Sammy Davis Jnr. had a million-selling record with one of the songs, The Candy Man. Bricusse and Newley also wrote several numbers for the 1971 NBC television musical adaptation of Peter Pan, starring Mia Farrow and Danny Kaye. The Good Old Bad Old Days! opened in London in 1972 and had a decent run of 309 performances. Newley sang some of the songs, including The People Tree, on his 1972 album, Aint It Funny.
In 1989, a London revival of Stop The World - I Want To Get Off, directed by Newley, and in which he also appeared, closed after five weeks. In the same year, he was inducted into the Songwriters Hall of Fame, along with Bricusse. In 1991, Newley appeared on UK television with his ex-wife, Joan Collins, in Noël Cowards Tonight At 8.30, with its famous Red Peppers segment. In the following year, having lived in California for some years, Newley announced that he was returning to the UK, and bought a house there to share with his 90-year-old mother. In the early 90s he presentedOnce Upon A Song, an anthology of his own material, at the Kings Head Theatre in London, and occasionally played the title role in regional productions of the musical Scrooge, which Bricusse had adapted for the stage from his 1970 film. During the remainder of the 90s Newley continued to perform his accomplished cabaret act (in which he amusingly bemoaned the fact that he had not had a hit with one of his own songs) at venues such as the Rainbow & Stars in New York and Londons Café Royal. In 1998 he worked in a rather less sophisticated environment when playing crooked car dealer Vince Watson in one of the UKs top-rated television soap operas, EastEnders. Tara Newley, the daughter of Newley and Joan Collins, has worked as a radio and television presenter, and in 1994 released her first record entitled Save Me From Myself. Newley lost his battle with cancer and died in April 1999.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.
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Biography
Anthony Newley was one of entertainment's genuine triple threats: an actor, singer, and composer with an international following, equally adept and prodigious in all three fields. Moreover, he enjoyed success as a performer in such seemingly mutually exclusive fields as rock & roll and the legitimate stage. And even more improbably, he did it with a working-class Cockney persona that should never have found much currency outside of England. Indeed, for 30 years he was one of the most imposing talents to come out of England this side of the Beatles. He was born Anthony George Newley on September 24, 1931, the son of George Anthony and Frances Grace Newley, in Hackney, a working-class section of London. Neither of his parents was involved in performing or music, and it was only a sequence of events growing out of World War II that led him toward either of those fields. Newley's education was interrupted by the German blitz, and he was evacuated to a foster home in the countryside. Along with some friends, he eventually found his way to Brighton and the home of George Pescud, a retired music hall performer who introduced Newley to performing, singing with him in the local choir and performing skits. Pescud opened up Newley and his friends to a range of arts, including music, writing, and painting, that he might otherwise never have appreciated or understood. Newley, who was not yet 14 at the conclusion of the war, decided to remain on his own rather than return to the home of his mother (his parents having divorced in the '30s), and bounced between jobs before setting his sights on studying acting. Unable to pay for his education at the acting school for which he auditioned, he worked at the school as an office boy, intending to work his way through. After only three weeks, however, Newley was spotted by a movie director named Geoffrey de Barkus, who was in the process of preparing a film called The Adventures of Dusty Bates, and recruited the boy for the title role. Newley was scarcely a skilled actor, but he photographed extremely well and when playing roles that weren't too challenging, seemed natural. He also got better as he went along from role to role over the next few years. In 1948, he was cast in the best of his boyhood parts when David Lean chose Newley to play the Artful Dodger in his screen adaptation of Oliver Twist. One of the most ambitious and controversial screen versions of a literary classic, Oliver Twist didn't open in America for three years, owing to distributors' objections to Sir Alec Guinness' portrayal of Fagin, but it was still a career maker for many in the cast. Newley was one of the best things in this brilliant film, with several great scenes and a superb performance in the film's denouement. Newley arrived as an actor just at the point when he was called up into the Army in 1949, but he was unable to adjust psychologically to the requirements of military service. On the recommendation of an Army psychiatrist, he was released in 1950. He picked up his screen career right where he left off with a string of well-made British films, including The Golden Salamander, Above Us the Waves, Cockleshell Heroes, and X the Unknown, running the gamut from wartime re-enactments to science fiction thrillers. During 1956, Newley joined the cast of an experimental four-person show called Cranks, written by John Cranko and John Addison, which was sufficiently popular enough in London to get transplanted to Broadway. It was poorly received by New York critics, except for Newley, who played multiple roles and got an excellent notice from Brooks Atkinson in the New York Times. Newley was back in movies after the closing of Cranks, and one of his more unusual film appearances at the end of the '50s was in Idle on Parade. The British picture was loosely inspired by Elvis Presley having been drafted and was about a rock & roll singer named Jeep Jones, who is called up for military service. The film also yielded Newley's first chart-topping hit, "I've Waited So Long," ironically a rock & roll-style number. That single opened up a recording career for Newley, as well as a series of appearances as a singer on the music hall stage and on British television. Between 1959 and 1961, Newley charted seven more Top Ten British hits in the pop/rock vein, including "Personality" and "Pop Goes the Weasel," and a pair of number one singles, "Why" and "Do You Mind." By 1961, he had two LPs out and seemed to be following the route of every other English rock & roll star (though, of course, he was older than any of his rivals in that field by nearly a decade), moving toward pop music on Love Is a Now and Then Thing and Tony. Newley's experience in Cranks, however, had whetted his appetite to do something new and serious in music and theater. His opportunity came in 1961 -- partly as an outgrowth of his chart success, which made Newley less of a risk in such a venture -- when he was invited to devise his own stage production. He teamed up with an acquaintance, Leslie Bricusse, who brought Newley to New York (where Bricusse was already scheduled to work on a new show for Beatrice Lillie) and in a month-long burst of creative activity, they devised Stop the World -- I Want to Get Off. A mix of songs, dance, pantomime, and dialogue, it was a satirical look at the seven ages of man that became a huge hit on London's West End when it opened on July 21, 1961, starring and directed by Anthony Newley. It also yielded three hit songs, "What Kind of Fool Am I," " Once in a Lifetime," and "Gonna Build a Mountain." The show opened in New York 15 months later with Newley in the lead; it ended up running nearly two years, including a national tour for Newley. When he returned to England, he and Bricusse were one of the hottest songwriting teams in music, and among their subsequent hits was the title song to Goldfinger. Newley and his second wife, Joan Collins, in collaboration with Bricusse, also wrote and recorded a hit musical comedy album, Fool Brittania, inspired by the Profumo scandal that had shaken the British government to its roots. Newley also starred in a film, The Small World of Sammy Lee, an expanded version of a theatrical work that he'd done on-stage in 1958. Several film projects for Newley as star and director (including a version of Stop the World that ended up directed by someone else) were announced during this period but never made. Instead, in 1965 he and Bricusse returned to the stage with The Roar of the Greasepaint -- The Smell of the Crowd. The British production, starring Norman Wisdom, was never successful, but the American production starring Newley himself, with Cyril Ritchard, enjoyed extended previews and a six-month run on Broadway. It yielded a successful cast album and several of the musical's songs were later covered by a wide range of pop artists. By that time, Newley announced that he had tired of musical theater and turned to other media, most notably film. He was cast in and co-authored the score for the 1967 musical Doctor Doolittle, starring Rex Harrison, which was a notorious flop (nearly sinking Fox, the studio that produced it). Two years later, he directed and starred in the semi-autobiographical film Can Hieronymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, which became a failure of huge proportions. Then in 1971, he and Bricusse teamed up again to write the score for the musical Willy Wonka & the Chocolate Factory, which was a box office success and yielded an early '70s pop standard in the guise of "The Candy Man," which was a hit single for Sammy Davis, Jr. That same year, Newley and Bricusse wrote songs for an NBC television version of Peter Pan. In 1972, Newley and Bricusse collaborated on one final stage work, The Good Old Bad Old Days, which was a modest success. Newley's career stalled from the mid-'70s on in terms of new triumphs. He did films, including It Seemed Like a Good Idea at the Time, but they made very little impression; the Sammy Davis, Jr. adaptation of Stop the World -- I Want to Get Off, filmed as Sammy Stops the World, was a failure as well. Newley's last new collection of material was the 1978 album The Singer and His Songs. He worked as an actor in small parts on projects such as the PBS production of Alice in Wonderland in 1982, but Newley was otherwise not very visible. By the '90s, he was in his sixties and one of the deans of English musical theater, moving into character roles and taking on new projects. A resident of California since the '70s, he returned to England as well, assembling a revue of his original music, called Once Upon a Song. He also played the title role in the Leslie Bricusse musical version of Scrooge, and occasionally returned to cabaret performance. Little-known to the outside world, Newley had contracted cancer, which he battled for years between and around these performing ventures. He died of cancer at his home in Jensen Beach, FL, on April 14, 1999. In the time since his passing, Newley's music and especially his records from the '60s have acquired a new generation of listeners in England, and his albums are much sought after, following years of languishing in cut-out and bargain bins. ~ Bruce Eder
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Which singer, formerly part of a famous duo, starred in several films including: Moonstruck; Good Times and Chastity? | Cher (Singer) - Pics, Videos, Dating, & News
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Encouraged by Imperial, Cher worked with Sonny on her second solo single on the label, a cover version of Bob Dylan's "All I Really Want to Do", which peaked at number 15 on the U.S. Billboard Hot 100 in 1965. … Read More
Meanwhile, the Byrds had released their own version of the same song. When competition on the singles charts started between Cher and the Byrds, the group's record label began to promote the B-side of the Byrds' single. Roger McGuinn of the Byrds commented, "We loved the Cher version... We didn't want to hassle. So we just turned our record over." Cher's debut album, All I Really Want to Do (1965), reached number 16 on the Billboard 200; it was later described by AllMusic's Tim Sendra as "one of the stronger folk-pop records of the era". Read Less
In early 1965, Caesar and Cleo began calling themselves Sonny & Cher.
Following the recording of "I Got You Babe", they traveled to England in July 1965 at the Rolling Stones' advice; Cher recalled, "they had told us... that Americans just didn't get us and that if we were going to make it big, we were going to have to go to England." … Read More
According to writer Cintra Wilson, "English newspaper photographers showed up when S&C were thrown out of the London Hilton of their outfits the night they arrivedâliterally overnight, they were stars. London went gaga for the heretofore-unseen S&C look, which was neither mod nor rocker."<br /><br /> "I Got You Babe" reached number one on the Billboard Hot 100 chart and became, according to AllMusic's Bruce Eder, "one of the biggest-selling and most beloved pop/rock hits of the mid-'60s"; Rolling Stone listed it among "The 500 Greatest Songs of All Time" in 2003. As the song knocked the Beatles off the top of the British charts, English teenagers began to emulate Sonny and Cher's fashion style, such as bell-bottoms, striped pants, ruffled shirts, industrial zippers and fur vests. Upon their return to the U.S., the duo made several appearances on the teen-pop showcases Hullabaloo and Shindig! and completed a tour of some of the largest arenas in the U.S. Their shows attracted Cher look-alikesâ"girls who were ironing their hair straight and dyeing it black, to go with their vests and bell-bottoms". Cher expanded her creative range by designing a clothing line. Read Less
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Sonny and Cher's first album, Look at Us (1965), released for the Atco Records division of Atlantic Records, spent eight weeks at number two on the Billboard 200, behind the Beatles' Help! Their material became popular, and the duo successfully competed with the dominant British Invasion and Motown sounds of the era. Read Less
Sonny and Cher charted ten Billboard top 40 singles between 1965 and 1972, including five top-ten singles: "I Got You Babe", "Baby Don't Go", "The Beat Goes On", "All I Ever Need Is You", and "A Cowboy's Work Is Never Done". … Read More
At one point, they had five songs in the top 50 at the same time, a feat equaled only by the Beatles and Elvis Presley. By the end of 1967, they had sold 40 million records worldwide and had become, according to Time magazine's Ginia Bellafante, rock's "it" couple.<br /><br /> Cher's following releases kept her solo career fully competitive with her work with Sonny. The Sonny Side of Chér (1966) features "Bang Bang (My Baby Shot Me Down)", which reached number two in America and became her first million-seller solo single. Chér, also released in 1966, contains the Burt Bacharach and Hal David composition "Alfie", which was added to the credits of the American version of the 1966 film of the same name and became the first stateside version of the popular song. With Love, Chér (1967) includes songs described by biographer Mark Bego as "little soap-opera stories set to rock music" such as the U.S. top-ten single "You Better Sit Down Kids". Read Less
TWENTIES
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Cher (born Cherilyn Sarkisian; May 20, 1946) is an American singer and actress. Called the Goddess of Pop, she is described as embodying female autonomy in a male-dominated industry. She is known for her distinctive contralto singing voice and for having worked in numerous areas of entertainment, as well as adopting a variety of styles and appearances during her five-decade-long career. <br /><br />Cher gained popularity in 1965 as one half of the folk rock husband-wife duo Sonny & Cher after their song "I Got You Babe" reached number one on the American and British charts. She began her solo career simultaneously, releasing in 1966 her first million-seller song, "Bang Bang (My Baby Shot Me Down)". She became a television personality in the 1970s with her shows The Sonny & Cher Comedy Hour, watched by over 30 million viewers weekly during its three-year run, and Cher. She emerged as a fashion trendsetter by wearing elaborate outfits on her television shows. While working on television, she established herself as a solo artist with the U.S. Billboard Hot 100 chart-topping singles "Gypsys, Tramps & Thieves", "Half-Breed", and "Dark Lady". Read Less
After her divorce from Sonny Bono in 1975, Cher launched a comeback in 1979 with the disco-oriented album Take Me Home and earned $300,000 a week for her 1980 - 82 residency show in Las Vegas.
Records, and she began work on her first album under the label in 1975. … Read More
According to Bego, "it was their intention that album was going to make millions of fans around the world take her seriously as a rock star, and not just a pop singer." Despite Cher's efforts to develop her musical range by listening to artists such as Stevie Wonder, Elton John, James Taylor, Carly Simon, Joni Mitchell, and Bob Dylan, the resulting album, Stars, was commercially and critically unsuccessful. Janet Maslin of The Village Voice wrote, "Cher is just no rock and roller... Image, not music, is Cher Bono's main ingredient for both records and TV." The album has since become a cult classic and is generally considered among her best work. Read Less
On February 16, 1975, Cher returned to television with a solo show on CBS. … Read More
Called Cher, it began as a highly rated special with guests Flip Wilson, Elton John, and Bette Midler. The show was produced by Geffen and centered on Cher's songs, monologues, comedy performance, and her variation of clothing, which was the largest for a weekly TV show. Early critical reception was favorable; Los Angeles Times exclaimed that "Sonny without Cher was a disaster. Cher without Sonny, on the other hand, could be the best thing that's happened to weekly television this season." Cher lasted for less than a year, replaced by a new show in which she professionally reunited with ex-husband Sonny; she said, "doing a show alone was more than I could handle." Read Less
On June 30, 1975, four days after finalizing her divorce from Sonny, Cher married rock musician Gregg Allman, co-founder of The Allman Brothers Band. … Read More
She filed for divorce nine days later because of his heroin and liquor problems, but they reconciled within a month. They had one son, Elijah Blue, on July 10, 1976. Read Less
Their divorce was finalized on June 26, 1975.
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Cher emerged as a fashion trendsetter in the 1960s, popularizing "hippie fashion with bell-bottoms, bandanas, and Cherokee-inspired tunics". She began working as a model in 1967 for photographer Richard Avedon after then-Vogue editor Diana Vreeland discovered her at a party for Jacqueline Kennedy that year. Read Less
Avedon took the controversial photo of Cher in a beaded and feathered nude gown for the cover of Time magazine in 1975. … Read More
Through her 1970s television shows, she became a sex symbol with her inventive and revealing Bob Mackie-designed outfits, and fought the network censors to bare her navel. Although Cher has been erroneously attributed to being the first woman to expose her navel on television, she was the most prominent to do so since the establishment of the American Code of Practices for Television Broadcasters in 1951, which prompted network censors to ban navel exposure on U.S. television. People dubbed Cher the "pioneer of the belly beautiful". In 1972, after she was featured on the annual "Best Dressed Women" lists, Mackie stated: "There hasn't been a girl like Cher since Dietrich and Garbo. She's a high-fashion star who appeals to people of all ages."<br /><br /> In May 1999, after the Council of Fashion Designers of America recognized Cher with an award for her influence in fashion, Robin Givhan of Los Angeles Times called her a "fashion visionary" for "striking just the right note of contemporary wretched excess". Givhan referenced Tom Ford, Anna Sui and Dolce & Gabbana as "influential designers who have evoked her name as a source of inspiration and guidance." She concluded that "Cher's Native American showgirl sexpot persona now seems to epitomize the fashion industry's rush to celebrate ethnicity, adornment and sex appeal." Alexander Fury of The Independent lauded Cher as "the ultimate fashion icon" and traced her influence among female celebrities such as Beyoncé, Jennifer Lopez, and Kim Kardashian, stating that "they all graduated from the Cher school of never sharing the stage, with anyone, or anything ⦠They're trying to share the spotlight, to have Cher's success." Read Less
THIRTIES
1976 30 Years Old Sonny and Cher's TV reunion, The Sonny and Cher Show, debuted on CBS in February 1976âthe first show ever to star a divorced couple.
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In 1982, Cher made her Broadway debut in the play Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean and starred in the film adaptation of the same title. … Read More
She subsequently earned critical acclaim for her performances in films such as Silkwood (1983), Mask (1985), and Moonstruck (1987), for which she won the Academy Award for Best Actress. She then revived her musical career by recording the rock-inflected albums Cher (1987), Heart of Stone (1989), and Love Hurts (1991), all of which yielded several successful singles. She reached a new commercial peak in 1998 with the album Believe, whose title track became the biggest-selling single of all time by a female artist in the UK; it features the pioneering use of Auto-Tune, also known as the "Cher effect". Her 2002 - 05 Living Proof: The Farewell Tour became one of the highest-grossing concert tours of all time, earning $250 million. In 2008, she signed a $180 million deal to headline the Colosseum at Caesars Palace in Las Vegas for three years. After seven years of absence, she returned to film in the 2010 musical Burlesque. Cher's first studio album in 12 years, Closer to the Truth (2013), became her highest-charting solo album in the U.S. to date at number three. Read Less
In 1982, Columbia Records released the album I Paralyze, later deemed by Bego as Cher's "strongest and most consistent solo album in years" despite its low sales. … Read More
With decreasing album sales and a lack of commercially successful singles, Cher decided to further develop her acting career. While she had previously aspired to venture into film, she had only the critically and commercially unsuccessful movies Good Times and Chastity to her credit, and the Hollywood establishment did not take her seriously as an actress. Read Less
She moved to New York in 1982 to take acting lessons with Lee Strasberg, founder of the Actors Studio, but never enrolled after her plans changed. … Read More
She auditioned for and was signed by director Robert Altman for the Broadway stage production Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, playing a member of a James Dean fan club holding a 20-year reunion. That year, Altman cast her again in the film adaptation of the same title. Cher credits Altman for launching her acting career: "Without Bob Altman I would have never had a film career. Everyone told him not to cast me... I am convinced that Bob was the only one who was brave enough to do it." Read Less
1983 37 Years Old Director Mike Nichols, who had seen Cher onstage in Jimmy Dean, offered her the part of Dolly Pelliker, a plant co-worker and Meryl Streep's lesbian roommate in the film Silkwood. When it premiered in 1983, audiences questioned Cher's ability as an actress. … Read More
She recalls attending a film preview during which the audience laughed when they saw her name in the credits. For her performance, Cher won the Golden Globe Award for Best Supporting Actress â Motion Picture. Read Less
1985 39 Years Old In 1985, Cher formed the film production company Isis. … Read More
Her next film, Mask (1985), reached number two at the box office and was Cher's first critical and commercial success as a leading actress. For her role as a drug addict biker with a teenage son who has a severe physical deformity, she won the Cannes Film Festival Award for Best Actress. During the making of the film, however, she clashed with director Peter Bogdanovich. She attended the 58th Academy Awards in a tarantula-like costume "to show her scorn for the 'system'", according to authors James Parish and Michael Pitts. The incident garnered her much publicity. Read Less
FORTIES
1986 40 Years Old She had romantic relationships with actors Val Kilmer, Eric Stoltz, and Tom Cruise, hockey player Ron Duguay, film producer Josh Donen, Bon Jovi guitarist Richie Sambora, and Rob Camilletti, an 18-years-younger bagel baker whom she dated from 1986 to 1989.
At the 1989 People's Choice Awards, Cher won the Favorite All-Around Female Star Award.
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Cher's public image is also reflected in her music videos and live performances, in which she "repeatedly comments on her own construction, on her search for perfection and on the performance of the female body", wrote Tasker. Unlike other music video and stage acts of that time who often featured female backers who would mimic the singer's performance, Cher uses a male dancer dressed as her in the 1992 concert video Cher at the Mirage; Author Diane Negra commented, "In authorizing her own quotation, Cher acknowledges herself as fictionalized production, and proffers to her audience a pleasurable plurality." James Sullivan of San Francisco Chronicle wrote that "Cher is well aware that her chameleonic glitz set the stage for the current era of stadium-size razzle-dazzle. She's comfortable enough to see such imitation as flattery, not theft." <br /><br />Cher was ranked 17th on VH1's list of the "50 Greatest Women of the Video Era". The 1980 video for "Hell on Wheels" involves cinematic techniques and was one of the first music videos ever. Read Less
Deemed "controversial" for her performance on a Navy warship, straddling a cannon, and wearing a leather thong that revealed her tattooed buttocks, the 1989 music video for "If I Could Turn Back Time" was the first ever to be banned by MTV.
1990 - 1994 4 More Events
1990 44 Years Old She embarked on the Heart of Stone Tour in 1990. … Read More
Most critics liked the tour's nostalgic nature and admired Cher's showmanship. Its parent television special Cher at the Mirage (1991) was filmed during a concert in Las Vegas.<br /><br /> In her first film in three years, Mermaids (1990), Cher paid tribute to her own mother in this story about a woman who moves her two daughters from town to town at the end of a love affair. She conflicted with the film's first two directors, Lasse Hallström and Frank Oz, who were replaced by Richard Benjamin. Believing Cher would be the star attraction, the producers allowed her creative control for the film. Mermaids was a moderate box office success and received mixed reviews. One of the two songs Cher recorded for the film's soundtrack, "The Shoop Shoop Song (It's in His Kiss)", topped the UK Singles Chart for five weeks. Read Less
1991 45 Years Old …
Cher's final studio album for Geffen Records, Love Hurts (1991), stayed at number one in the UK for six weeks and produced the UK top-ten single "Love and Understanding". The album was certified gold by the RIAA. Read Less
In later years, Cher commented that her Geffen label "hit years" had been especially significant to her, "because I was getting to do songs that I really loved... songs that really represented me, and they were popular!" She released the exercise book Forever Fit in 1991, followed by the 1992 fitness videos CherFitness: A New Attitude and CherFitness: Body Confidence.
1992 46 Years Old She embarked on the Love Hurts Tour during 1992. … Read More
That year, the UK-only compilation album Greatest Hits: 1965â1992 peaked at number one in the country for seven weeks. It features three new songs: "Oh No Not My Baby", "Whenever You're Near", and "Many Rivers to Cross".<br /><br /> Partially due to her experiences filming Mermaids, Cher turned down leading roles in such films as The War of the Roses and Thelma & Louise. According to Berman, "After the success of Moonstruck, she was so worried about her next career move that she was overly cautious." In the early 1990s, she contracted the EpsteinâBarr virus and developed chronic fatigue syndrome, which left her too exhausted to sustain her music and film careers. Because she needed to earn money and was not healthy enough to work on other projects, she starred in infomercials launching health, beauty, and diet products, which earned her close to $10 million in fees. The skits were parodied on Saturday Night Live and critics considered them a sellout, many suggesting her film career was over. She told Ladies' Home Journal, "Suddenly I became the Infomercial Queen and it didn't occur to me that people would focus on that and strip me of all my other things." Read Less
1994 48 Years Old …
Cher made cameo appearances in the Robert Altman films The Player (1992) and Prêt-à -Porter (1994). Read Less
During 1994, she started a mail-order catalogue business, Sanctuary, selling Gothic-themed products, and contributed a rock version of "I Got You Babe" to MTV's animated series Beavis and Butt-head.
1995 49 Years Old Alongside Chrissie Hynde, Neneh Cherry, and Eric Clapton, she topped the UK Singles Chart in 1995 with the charity single "Love Can Build a Bridge". … Read More
Later that year, she signed with Warner Music UK's label WEA and released the album It's a Man's World (1995), which came out of her idea of covering men's songs from a woman's point of view. In general, critics favored the album and its R&B influences, some saying her voice had improved. Stephen Holden of The New York Times wrote that "From an artistic standpoint, this soulful collection of grown-up pop songs ⦠is the high point of her recording career." It's a Man's World reached number 10 on the UK Albums Chart and spawned the UK top-ten single "One by One". Tracks were remixed for the American release of the album, abandoning its original rock sound in favor of a style more accessible to U.S. radio; it reached number 64 on the Billboard 200. Read Less
FIFTIES
1996 - 1997 2 More Events
1996 50 Years Old In 1996, Cher played the wife of a businessman who hires a hitman to murder her in the Chazz Palminteri-scripted dark comedy film Faithful. … Read More
Although the film received negative reviews from critics, Cher was praised for her role; The New York Times Janet Maslin wrote that she "does her game best to find comic potential in a victim's role." Cher refused to promote the film, claiming it was "horrible". She made her directing debut with a segment in the abortion-themed anthology If These Walls Could Talk (1996), in which she also starred as a doctor murdered by an anti-abortion fanatic. It drew the highest ratings for an original HBO movie to date, registering an 18.7 rating with a 25 share in HBO homes and attracting 6.9 million viewers. Read Less
1997 51 Years Old Her music played a large role in the American TV series The X-Files episode "The Post-Modern Prometheus", which aired in November 1997. … Read More
Written for her, it tells the story of a scientist's grotesque creature who adores Cher because of her role in Mask, in which her character cares for her disfigured son. Read Less
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Cher's highly anticipated dance-oriented follow-up to Believe, Living Proof (2001), entered the Billboard 200 at number nine and was certified gold by the RIAA. The album includes the UK top-ten single "The Music's No Good Without You" and "Song for the Lonely", the latter song dedicated to "the courageous people of New York" following the September 11 attacks. Read Less
In May 2002, she performed during the benefit concert VH1 Divas Las Vegas.
At the 2002 Billboard Music Awards, she won the Dance/Club Play Artist of the Year Award and was presented with the Artist Achievement Award by Steven Tyler for having "helped redefine popular music with massive success on the Billboard charts". … Read More
That year, her wealth was estimated at $600 million. Read Less
In June 2002, Cher embarked on the Living Proof: The Farewell Tour, announced as the final live concert tour of her career, although she vowed to continue making records and films. … Read More
The show highlighted her successes in music, television, and film, featuring video clips from the 1960s onwards and an elaborate backdrop and stage set-up. Initially scheduled for 49 shows, the worldwide tour was extended several times. By October 2003, it had become the most successful tour ever by a woman, grossing $145 million from 200 shows and playing to 2.2 million fans. A collection of live tracks taken from the tour was released in 2003 as the album Live! The Farewell Tour. The NBC special Cher â The Farewell Tour (2003) attracted 17 million viewers. It was the highest rated network-TV concert special of 2003 and earned Cher the Primetime Emmy Award for Outstanding Variety, Music, or Comedy Special. Read Less
After leaving Warner UK in 2002, Cher signed a worldwide deal with the U.S. division of Warner Bros. … Read More
Records in September 2003. The Very Best of Cher (2003), a greatest-hits collection that surveys her entire career, peaked at number four on the Billboard 200 and was certified double platinum by the RIAA. She played herself in the Farrelly brothers comedy Stuck on You (2003), mocking her public image as she appears in bed with a much younger boyfriend. Read Less
LATE ADULTHOOD
| Cher |
Who had a hit in 1965 with 'England Swings'? | Cher facts, information, pictures | Encyclopedia.com articles about Cher
(Sonny and Cher)
PERSONAL
Full name, Cherilyn Sarkisian LaPierre; born May 20, 1946, in El Centro, CA; daughter of John Sarkisian (a truck driver) and Georgia Holt (a model and actress; original name, Jackie Jean Crouch); adopted daughter of Gilbert LaPiere (a banker); half–sister of Georganne LaPiere (an actress); married Sonny Bono (a singer, restaurateur, and politician), October 27, 1964 (some sources say 1969; divorced, May 1975 [some sources say February 20, 1974]); married Gregg Allman (a musician), June 1975 (divorced); children: (first marriage) Chastity Bono (an activist); (second marriage) Elijah Blue Allman (a musician). Education: Studied drama with Jeff Corey.
Addresses:
Agent—International Creative Management, 8942 Wilshire Blvd., Beverly Hills, CA 90211. Office—Bill Sammeth Organization, P.O. Box 960, Beverly Hills, CA 90213–0960; Reprise Records, 3000 Wilshire Blvd., Burbank, CA 91505–4694. Manager—Lindsay Scott Management, 8899 Beverly Blvd., Ste. 600, Los Angeles, CA 90048. Publicist—Warner Bros. Records, 75 Rockefeller Center, New York, NY 10019.
Career:
Actress, producer, director, and singer. Backup singer for the musical groups the Crystals and the Ronettes; performer and recording artist with Sonny Bono as Caesar and Cleo, then as Sonny and Cher, beginning in 1964; member of the rock band Black Rose, c. 1979–80; nightclub performer in Las Vegas, NV, and Atlantic City, NJ. Head of Isis Productions, an independent film company; founder of Sanctuary, a catalog sales company, 1994; creator of an Internet catalog at Cher.com, 1999. Also appeared in commercials and infomercials.
Awards, Honors:
Grammy Award nomination, best female pop vocal, National Academy of Recording Arts and Sciences, 1971, for "Gypsies, Tramps, and Thieves"; Emmy Award nominations, outstanding single variety or musical program, 1972, and outstanding variety musical series, 1972, 1973, and 1974, and Golden Globe Award, best actress in a television comedy or musical, 1974, all for The Sonny and Cher Comedy Hour; Emmy Award nomination, outstanding comedy, variety or music series, 1975, for Cher; Golden Globe Award nomination, best actress in a supporting role, 1983, for Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean; Golden Globe Award, best actress in a supporting role in a motion picture, Academy Award nomination, best supporting actress, 1983, Film Award nomination, best supporting actress, British Academy of Film and Television Arts, 1985, for Silk-wood; Palm d'Or, best actress, Cannes International Film Festival, 1985, Golden Globe Award nomination, best performance by an actress in a supporting role, 1986, for Mask; Hasty Pudding Woman of the Year, Hasty Pudding Theatricals, Harvard University, 1985; Academy Award, best actress, Golden Globe Award, best actress in a motion picture comedy or musical, 1987, David di Donatello Award, best foreign actress, Silver Ribbon Award, best actress, Italian National Syndicate of Film Journalists, 1988, and Film Award nomination, best actress, British Academy of Film and Television Arts, 1989, all for Moonstruck; Golden Globe Award nomination, best performance by an actress in a supporting role in a series, miniseries, or motion picture, Golden Satellite Award nomination, best performance by an actress in a supporting role, 1997, for If These Walls Could Talk; Vanguard Award, GLAAD Media Awards, 1998; Star on the Walk of Fame (with Sonny Bono), 1998; Fashion Award, 18th Annual American Fashion Awards, 1999; Legend Award, World Music Awards, 1999; platinum and gold record awards, Recording Industry Association of America; Emmy Award nomination, outstanding individual performance, 2000, for Cher: Live in Concert from Las Vegas; Lucy Award (with others), Women in Film Lucy Awards, 2000; Emmy Award nomination, outstanding variety, music or comedy special, 2003, for Cher: The Farewell Tour.
CREDITS
Herself, Wild on the Beach (also known as Beach House Party), Twentieth Century–Fox, 1965.
Herself, Good Times (also known as Sonny & Cher in Good Times), Columbia, 1967.
Title role, Chastity, American International Pictures, 1969.
Sissy, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, Cinecom International, 1982.
Dolly Pelliker, Silkwood, Twentieth Century–Fox, 1983.
Florence "Rusty" Dennis, Mask (also known as Peter Bogdanovich's "Mask"), Universal, 1985.
Kathleen Riley, Suspect, TriStar, 1987.
Alexandra Medford, The Witches of Eastwick, Warner Bros., 1987.
Loretta Castorini, Moonstruck, Metro–Goldwyn–Mayer/United Artists, 1987.
Rachel Flax, Mermaids, Orion, 1990.
Herself, The Player, Fine Line, 1992.
Herself, Ready to Wear (also known as Pret–a–Porter), Miramax, 1994.
Margaret O'Donnell, Faithful, New Line Cinema, 1996.
Elsa Morganthal Strauss–Armistan, Tea with Mussolini (also known as Un te con Mussolini), Metro–Goldwyn–Mayer, 1999.
Mayor of the Sunset Strip, Samuel Goldwyn, 2002.
Television Appearances; Series:
(With Sonny Bono as Sonny and Cher) Host, The Sonny and Cher Comedy Hour, CBS, 1971–74.
Host, Cher, CBS, 1975–76.
(With Sonny Bono as Sonny and Cher) Host, The Sonny and Cher Show, CBS, 1976–77.
Parabens, 1993.
Dr. Beth Thompson, "1996," If These Walls Could Talk, HBO, 1996.
Television Appearances; Specials:
Sonny & Cher: Nitty Gritty Hour, 1970.
Third wife, The First Nine Months Are the Hardest, NBC, 1971.
How to Handle a Woman, NBC, 1972.
The Flip Wilson Special, NBC, 1975.
Host, Cher … Special, ABC, 1978.
Host, Cher and Other Fantasies, NBC, 1979.
Night of 100 Stars, ABC, 1982.
Host, Cher—A Celebration at Caesar's Palace, Showtime, 1983.
The Barbara Walters Special, ABC, 1985, 1988.
Bugs Bunny/Looney Tunes All–Star 50th Anniversary, 1986.
(In archive footage) The Muppets: A Celebration of 30 Years, 1986.
Superstars and Their Moms, ABC, 1987.
Pee–Wee's Playhouse Christmas Special (also known as Christmas at Pee Wee's Playhouse and Pee–Wee Herman's Christmas Special), CBS, 1988.
Comic Relief III, HBO, 1989.
An Evening with Bette, Cher, Goldie, Meryl, Olivia, Lily, and Robin, ABC, 1990.
(Uncredited; in archive footage) Superstar: The Life and Times of Andy Warhol, 1990.
Cher … at the Mirage, CBS, 1991.
Host, Cher's Video Canteen, 1991.
Host, Coca–Cola Pop Music Backstage Pass to Summer, 1991.
Host, MTV's 10th Anniversary Special, MTV, 1991.
Dame Edna's Hollywood, NBC, 1991.
In a New Light, ABC, 1992.
The Grand Opening of Euro Disney, CBS, 1992.
Tina Turner: Going Home, The Disney Channel, 1993.
What Is This Thing Called Love? (also known as The Barbara Walters Special), ABC, 1993.
(In archive footage) Victor Borges Tivoli 150 aar, 1993.
(In archive footage) Rowan & Martin's Laugh–In: 25th Anniversary Reunion, 1993.
The Atlantic Records Story, 1994.
Comic Relief: Behind the Nose, BBC, 1995.
Happy Birthday Elizabeth—A Celebration of Life, ABC, 1997.
(Uncredited) Herself, An Audience with Elton John, ITV, 1997.
AFI's 100 Years … 100 Movies, CBS, 1998 and 1999.
Host, Sonny and Me: Cher Remembers, CBS, 1998.
(In archive footage) A Really Big Show: Ed Sullivan's 50th Anniversary, 1998.
The X–Files Movie Special, Fox, 1998.
(In archive footage; with Sonny Bono) Detroit Rock City, 1999.
Super Bowl XXXIII, ABC, 1999.
Cher: Live in Concert at the MGM Grand in Las Vegas (also known as Cher: Live in Concert from Las Vegas), HBO, 1999.
VH1 Divas Live '99, VH1, 1999.
Hollywood Animal Crusaders (documentary), Animal Planet, 1999.
Interviewee, 100 Greatest Dance Songs, VH1, 2000.
Rock to Erase MS, VH1, 2001.
I Love Lucy's 50th Anniversary Special, CBS, 2001.
The Royal Variety Performance 2001, ITV, 2001.
48 edicion de los premios Ondas, 2001.
National Lottery Christmas Cracker (also known as Dale's National Lottery Christmas Cracker), 2001.
Still Cher (documentary), BBC, 2002.
MTV Icon: Aerosmith (documentary), MTV, 2002.
Elvis Lives, NBC, 2002.
Judi Dench: A BAFTA Tribute, BBC, 2002.
American Bandstand's 50th Anniversary Celebration, ABC, 2002.
VH1 Divas Las Vegas, VH1, 2002.
Hollywood Salutes Nicolas Cage: An American Cinematheque Tribute, TNT, 2002.
Inside TV Land: Style and Fashion (documentary), TV Land, 2003.
50 Sexiest Video Moments, VH1, 2003.
Cher: The Farewell Tour, NBC, 2003.
101 Most Shocking Moments in Entertainment, E! Entertainment Television, 2003.
Cher: The E! True Hollywood Story (documentary), E! Entertainment Television, 2003.
Reel Comedy Stuck On You, Comedy Central, 2003.
The Eurovision Song Contest Semi Final, 2004.
ABBA: Our Last Video Ever (also known as The Last Video), 2004.
The Eurovision Song Contest, 2004.
(In archive footage) 101 Biggest Celebrity Oops, E! Entertainment Television, 2004.
Introducing Graham Norton, Comedy Central, 2004.
Dick Clark's New Year's Primetime Rockin' Eve 2005, ABC, 2004.
Television Appearances; Miniseries:
(In archive footage) Retrosexual: The 80's (documentary), VH1, 2004.
Television Appearances; Awards Presentations:
Copresenter, The 45th Annual Academy Awards, NBC, 1973.
The 16th Annual Grammy Awards, CBS, 1974.
The 46th Annual Academy Awards, NBC, 1974.
The 55th Annual Academy Awards Presentation, ABC, 1983.
The 56th Annual Academy Awards Presentation, ABC, 1984.
Presenter, The 58th Annual Academy Awards Presentation, ABC, 1986.
MTV 1988 Video Music Awards, MTV, 1988.
The 60th Annual Academy Awards Presentation, ABC, 1988.
MTV 1989 Video Music Awards, MTV, 1989.
The 61st Annual Academy Awards Presentation, ABC, 1989.
Presenter, MTV 1991 Video Music Awards, MTV, 1991.
The 1991 Billboard Music Awards, 1991.
The American Film Institute Salute to Jack Nicholson, CBS, 1994.
The 1998 Billboard Music Awards, 1998.
The 70th Annual Academy Awards, ABC, 1998.
Honoree, The 18th Annual American Fashion Awards, 1999.
Honoree, The 1999 World Music Awards, 1999.
The 26th Annual American Music Awards, 1999.
The BRIT Awards '99, 1999.
Presenter, The 52nd Annual Primetime Emmy Awards, ABC, 2000.
The 72nd Annual Academy Awards Presentation, ABC, 2000.
The 29th Annual American Music Awards, ABC, 2002.
The 2002 Billboard Music Awards, Fox, 2002.
Television Appearances; Pilots:
Tom Snyder's Celebrity Spotlight, NBC, 1980.
Television Appearances; Episodic:
Where the Action Is, 1965.
(As Sonny and Cher) Top of the Pops, BBC, 1965, 1966.
Herself, "The Puzzler Is Coming," Batman, ABC, 1966.
Herself, "The Duo Is Slumming," Batman, ABC, 1966.
(As Sonny and Cher) Beat–Club, 1966, 1967.
The Andy Williams Show, NBC, 1967.
Ramona, "The Hot Number Affair," The Man from U.N.C.L.E., NBC, 1967.
Rowan & Martin's Laugh–In, NBC, 1968, 1969.
The Dick Cavett Show, 1970.
"Love and the Sack," Love, American Style, ABC, 1971.
Voice of herself, "The Secret of Shark Island," The New Scooby–Doo Movies (animated), 1972.
The Carol Burnett Show, 1975.
The Tonight Show Starring Johnny Carson, NBC, 1975, 1977, 1979, 1981, 1983, 1985.
Omnibus, 1980.
Late Night with David Letterman, NBC, 1986, 1987.
Saturday Night Live, NBC, 1987, 1992.
Top of the Pops, 1987, 1991, 1992, 1995, 1996, 1998, 1999, 2001.
Voice of herself, "Here's to Good Friends," Roseanne, ABC, 1988.
Herself, The Howard Stern Show, 1991.
Herself, Dame Edna's Hollywood, 1991.
Los domingos por Norma, 1992.
"El lejano Oeste," Un, dos, tres … responda otra vez, 1993.
"Cerrado por vacaciones," Un, dos, tres … responda otra vez, 1993.
Herself, Don't Forget Your Toothbrush, Channel 4, 1994.
Clive Anderson Talks Back, Channel 4, 1995.
(Two episodes) TFI Friday, Channel 4, 1996.
The RuPaul Show, VH1, 1996.
Herself, Live and Kicking, BBC, 1996, 1999.
The Rosie O'Donnell Show, syndicated, 1996, 1998.
Behind the Music, VH1, 1997.
The National Lottery Stars, 1999.
"Gypsies, Tramps and Weed," Will & Grace, NBC, 2000.
"Wetten, dass …? Aus Erfurt," Wetten, dass …?, 2001.
GMTV, ITV, 2001.
So Graham Norton, Channel 4, 2001.
The Oprah Winfrey Show, syndicated, 2002.
"A.I.: Artificial Insemination," Will & Grace, NBC, 2002.
Access Hollywood, syndicated, 2002.
"Cyndi Lauper," Behind the Music, VH1, 2002.
NFL Monday Night Football, ABC, 2002.
Entertainment Tonight, syndicated, 2003.
Celebrities Uncensored, E! Entertainment Television, 2003.
Tinseltown TV, International Channel, 2004.
Pulse, Fox, 2004.
Rove Live, Ten Network, 2004.
Larry King Live, CNN, 2004.
Appeared in Hullabaloo, NBC; Also appeared in episodes of Beavis and Butthead, MTV; The Glen Campbell Goodtime Hour, CBS; The Hollywood Palace, ABC; and The Merv Griffin Show, NBC, syndicated, and CBS.
Television Work; Movies:
Director of "1996" segment, If These Walls Could Talk, HBO, 1996.
Television Work; Specials:
Executive producer, Sonny & Me: Cher Remembers, CBS, 1998.
Executive producer, Cher: The Farewell Tour, NBC, 2003.
Other Television Work:
Executive producer, Oak Ridge, 1998.
Stage Appearances:
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, Martin Beck Theatre, New York City, 1982.
RECORDINGS
All I Really Want to Do, Imperial, 1965.
Sonny Side of Cher, Imperial, 1966.
With Love, Imperial, 1966.
The Very Best of Cher, Vol. 2, 1975.
Stars, Warner Bros., 1975.
I'd Rather Believe in You, Warner Bros., 1977.
Cherished, Warner Bros., 1977.
Two the Hard Way, Allman & Woman, 1977.
Take Me Home, Casablanca, 1978.
This Is Cher, Sunset, 1978.
Prisoner, Casablanca, 1979.
Take Me Home, Universal Special Products, 1979.
Best of Cher, Vol. 1, 1981.
Best of Cher, Vol. 2, 1981.
I Paralyze, Varese Vintage, 1982.
Golden Greats, 1985.
The Best of Cher, EMI America, 1987.
Cher, Geffen, 1988.
Heart of Stone, Geffen, 1989.
Outrageous, Special Music, 1989.
The Ugly Duckling, Windham Hill, 1990.
Best of Cher, EMI America, 1991.
Love Hurts, Geffen, 1991.
Bang Bang and Other Hits, Capitol, 1992.
All I Really Want to Do/The Sonny Side of Cher, EMI Legends, 1992.
Greatest Hits: 1965–1992, Geffen Records, 1993.
Greatest Hits, Import, 1993.
Take Me Home/Prisoner, Alex, 1994.
It's a Man's World, Warner Bros., 1996.
Cher: The Casablanca Years, PolyGram, 1996.
The Long and Winding Road, Ariola Express, 1996.
You Better Sit Down Kids, Disky, 1996.
Gypsys, Tramps & Thieves: 25 Great Songs, Movie Play, 1997.
Believe, Warner Bros., 1998.
Cher with Sonny, Entertainers, 1998.
Greatest Hits, 1999.
Bittersweet: Love Songs Collection, MCA Records, 1999.
Believe, Import, 1999.
If I Could Turn Back Time: Cher's Greatest Hits, Geffen, 1999.
Take Me Home, 1999.
Bang Bang: The Early Years, Capitol/EMI Records, 1999.
Black Rose, EMI, 1999.
All or Nothing, WEA International, 1999.
Greatest Hits, WEA/Universal, 1999.
20th Century Masters—The Millennium Collection: The Best of Cher, MCA Records, 2000.
Millennium Edition, Universal International, 2000.
Best of Cher, Columbia, 2000.
Maximum Cher, Griffin Music, 2000.
The Way of Love: The Cher Collection, MCA Records, 2000.
Behind the Door: 1964–1974, Raven Records, 2000.
Greatest Hits, Vol. 1, Fuel, 2000.
Holdin' Out for Love, Import, 2001.
Living Proof, WEA International, 2001.
Essential Collection, Hip–O Records, 2001.
Believe, WEA International, 2001.
Living Proof, WEA International, 2002.
Absolutely the Best, Vol. 1, Fuel 2000 Records, 2002.
Blue, Universal International, 2003.
The Very Best of Cher, Warner Bros. Records, 2003.
Live: The Farewell Tour, Warner Bros. Records, 2003.
The Very Best of Cher—Special Edition, Warner Bros. Records, 2003.
20th Century Masters—The Millennium Collection: The Best of Cher, Vol. 2, Hip–O Records, 2004.
The Very Best of Cher—Bonus Tracks, Warner Strategic Marketing, 2005.
All I Really Want to Do/The Sonny Side of Cher, Beat Goes On, 2005.
Albums; With Sonny Bono as Sonny and Cher:
Look at Us, Atco, 1965.
Baby Don't Go, Reprise, 1965.
Wondrous World, Atco, 1966.
In Case You're in Love, Atlantic, 1967.
Good Times, Atlantic, 1967.
The Best of Sonny and Cher, Atlantic, 1968.
Sonny & Cher Live, Kapp, 1969.
The Nitty Gritty Hour, View Video, 1970.
All I Ever Need Is You, Kapp, 1971.
Live in Las Vegas, MCA, 1974.
Mama Was a Rock 'n' Roll Singer, 1974.
Greatest Hits, MCA, 1975.
The Beat Goes On, Atco, 1975.
At Their Best, 1989.
I Got You Babe, Rhino Records, 1993.
The Beat Goes ON: The Best of Sonny & Cher, Rhino Records, 1993.
You Better Sit Down Kids, Great Hits, 1996.
All I Ever Need: The Kapp/MCA Anthology, MCA Records, 1996.
I Got You Babe & Other Hits, Flashback Records, 1997.
Sonny & Cher Greatest Hits, 1998.
The Singles+, BR Music, 2000.
The Essentials, Rhino Records, 2002.
Recorded Live, The Two of Us, Atlantic Singles, Rhino; singles with Sonny Bono include "Baby Don't Go," "The Beat Goes On," "I Got You Babe," and "You Better Sit Down Kids."
Albums; With Others:
(With Gregg Allman) Allman and Woman: Two the Hard Way, Warner Bros., 1976.
(With Black Rose) Black Rose, Casablanca, 1980.
(With others) For Our Children Too!, Wea/Atlantic/Rhino, 1996.
Also recorded the single (with Peter Cetera) "After All" (theme song from the film Chances Are), 1989.
Videos:
(With Sonny Bono as Sonny and Cher) Sonny and Cher: Nitty Gritty Hour, 1970.
Storyteller, Rabbit Ears: The Ugly Duckling, 1985.
Michael Jackson: The Legend Continues, 1988.
Cherfitness: A New Attitude, 1991.
Cherfitness: Body Confidence, 1992.
Cher: Extravaganza—Live at the Mirage, 1992.
(With Sonny Bono as Sonny and Cher) Flashbacks 2: Pop Parade, 1994.
Tina Turner: Celebrate Live (also known as Happy Birthday Tina!), 1999.
Cher: Live in Concert, 1999.
Reflections on "The X–Files," 2004.
The Very Best of Cher: The Video Hits Collection, 2004.
Also appeared in music videos, including (with Peter Cetera) "After All."
Video Director:
The Very Best of Cher: The Video Hits Collection, 2004.
Video Games:
Voice of Isadora, Nine, 1996.
WRITINGS
(With Robert Haas) Forever Fit: The Lifetime Plan for Health, Beauty, and Fitness, Bantam, 1991.
(With Andrew Ennis and Joan Nielsen) Cooking for Cher, Simon & Schuster, 1997.
The First Time (autobiography), Simon & Schuster, 1998.
Videos:
The Very Best of Cher: The Video Hits Collection, 2004.
OTHER SOURCES
Contemporary Musicians, Volume 35, Gale, 2002.
Goodall, Nigel, Cher in Her Own Words, Omnibus Press, 1992.
Jacobs, Linda, Cher: Simply Cher, EMC Corp., 1975.
Petrucelli, Rita, Cher: Singer and Actress, illustrated by Luciano Lazzarino, Rourke Enterprises, 1989.
Taraborrelli, J. Randy, Cher: A Biography, St. Martin's Press, 1986.
Periodicals:
Billboard, September 18, 1999, p. 134.
Entertainment Weekly, May 31, 1996, p. 22; February 5, 1999, p. S7; April 23, 1999, pp. 16–21; November 1, 1999, p. 116.
Interview, October, 1994, p. 172; December, 1998, pp. 94–99.
Ladies Home Journal, November, 1996, p. 178; July, 1999, p. 42.
New York Times, March 20, 1988.
People Weekly, January 21, 1991; May 25, 1998, p. 84;
November 22, 1999, pp. 10–11.
Premier, February, 1988.
Rolling Stone, April 15, 1999, p. 45.
TV Guide, May 16, 1998, pp. 28–30, 33.
Women's Wear Daily, September 13, 1999, p. 94S.
Cite this article
Sources
Performing artist Cher has been a mainstay of the Hollywood glitterati for more than three decades, and her personal star seems to be waxing still. Few would quarrel with Mademoiselle contributor Diana Maychick, who calls Cher “a breed unto herself” who “has lived enough lives to fill a novel.” Professionally, the statuesque performer has had equal success as a singer, a comedienne, and an actress, with highly successful records and an Academy Award and Grammy Award to her credit. Personally, a series of tempestuous relationships with several rock stars, producers, and actors has helped keep her name in the news even when her career stagnated.
As a reporter for Time noted, the arc of Cher’s rise to stardom “proves that at least one American dream lives: she gives evidence that show biz can still reach out among the adolescent millions and—with a little luck and a lot of hype—transform a mildly talented young woman into a multimillion dollar property.” Ironically, though known for her cool onstage demeanor and effectively understated acting, Cher admits to a chronic case of stage fright. “I’ve been running on fear,” she told Mademoiselle. But, she added, she has learned that “you take your terror and you do it.”
A younger generation might recognize Cher as simply a film actress, but it was as a popular singer that she first gained national notoriety. Her initial success in the music industry can be attributed to her former husband/partner, the late Sonny Bono; they married in 1964 when Cher was only 17 years old. Bono had some prior experience as a songwriter and record producer, and he recognized Cher’s star potential. However, noted a Time reporter, “they both must have known that she needed him. Her ambition may have been fierce, but like her talent it was vague and undefined.” First Bono talked Cher into concentrating on singing rather than acting, her art of choice. Then, after she had done some studio backup work for other artists, he began to write songs specifically for her.
Bono told Time that Cher “was too frightened to perform by herself,” so he provided vocal harmony “just to be with her.” After a short stint as Caesar and Cleo they began singing as Sonny and Cher, and their third record release—featuring the 1965 soft-rock tune “I Got You, Babe”—sold more than four million copies and made them instant headliners. By the fall of that year they had five singles on the top 40 charts simultaneously and were playing at major rock concerts in the United States and Europe .
The Sonny and Cher sound drew on folk and rock roots, especially the work of Bob Dylan . A critic for the Rolling Stone Record Guide contends that the couple “always cultivated an exuberant vulgarity in order to disarm Sixties songwriting … to push it into a more comfortably sentimental direction.” This “exuberant vulgarity” extended to their wardrobes as well; both
For the Record…
Born Cherilyn Sarkesian on May 20, 1946, in El Centro, CA; daughter of John and Georgia (a model; maiden name, Holt) Sarkesian; stepdaughter of Gilbert LaPiere (a bank manager); married Sonny (Salvatore Philip) Bono (a record producer, songwriter, and entertainer; died 1998), October 27, 1964; divorced, May 1975; married Gregg Allman (a musician), June 1975; divorced; children: (with Bono) Chastity, (with Allman) Elijah Blue.
Singer, with husband, Sonny Bono, in duo Sonny and Cher, 1964–75, 1977; recorded and performed as a soloist, 1965—; star of musical variety television shows The Sonny and Cher Comedy Hour, 1971–74, Cher, 1975–76, and The Sonny and Cher Show, 1977; member of rock group Black Rose, 1979–80; actress in feature films, including Good Times, 1966, Chastity, 1969, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, 1982 (also performed role on Broadway ), Silkwood, 1983, Mask, 1985, The Witches of East-wick, 1987, Moonstruck, 1988, Mermaids, 1990, and Tea with Mussolini, 1999; released multiplatinum album, Believe, 1998; released Not.Com.mercial, 2000.
Awards: Academy Award, Best Actress for Moonstruck, 1988; Golden Globe, Best Actress for Moonstruck, 1988; Vanguard Award and star on the Walk of Fame, both for “Sonny and Cher,” 1998; Grammy Award, Best Dance Recording for “Believe,” 1999.
Addresses: Record company —Chers Plattenfirma, WEA Records, Arndtstr. 16, 22805 Hamburg, Denmark , website: http://www.wea.de . Website —Cher Official Website: http://www.cher.com .
favored hip-hugging bell-bottom pants and a gaudy array of hippy-style shirts and vests. Then, observes Time, “fashion changed. Hard rock, acid rock, were suddenly in, and Sonny and Cher were out.”
Their plunge in popularity was accelerated by their vocal criticism of drug use. Cher told Time that after she and Sonny made a public service film denouncing drugs, their fans “thought we were stupid.” Deeply in debt after a movie project called “Chastity” bombed, the couple was forced to reassess their act and make drastic changes. Against Cher’s wishes they opted for a more mainstream approach in sound and style, and they turned to nightclubs for performing venues. It was in this environment that Sonny and Cher developed the comic repartee and musical variety formula that they would take to television so successfully.
Between 1971 and 1974, The Sonny and Cher Comedy Hour was seen weekly by more than 30 million viewers. Simultaneously, Cher began a solo singing career in the pop format; her best known hits were “Half Breed” and “Gypsies, Tramps, and Thieves,” both of which reached number one on the charts. By virtue of her glamorous Bob Mackie gowns and ever-changing hairstyles—a look Rolling Stone correspondent Lynn Hirschberg called “ridiculously sexy for television”—Cher cultivated an image of materialistic excess that was tempered by the themes of hurt and vulnerability in her music. “Television always made Cher accessible,” Hirschberg wrote. “She seemed like a lot of fun…. She appealed to the junky impulses in everyone.”
In 1975, Sonny and Cher divorced; both starred in their own variety shows, but only Cher’s was a success. Still, the dissolution of Sonny and Cher marked the beginning of a difficult period for her. Gradually her show declined in popularity, and her personal life was made chaotic by her marriage to and subsequent divorce from band leader Gregg Allman. She became tabloid fodder as a result of extended liaisons with producer David Geffen and with Gene Simmons of the colorful rock group Kiss. By 1977, she told Rolling Stone her career “cooled down to an ice cube.” Musically she experimented with a fully orchestrated studio sound on the 1977 album I’d Rather Believe In You and then turned to disco on 1978’s Take Me Home. Neither record achieved the popularity of her previous offerings. She renewed her attempts at musical innovation in 1980 when she formed the hard rock band Black Rose. The effort was a critical disaster; Jim Farber reported in Rolling Stone that “newspaper reviews were pointedly negative,” singling out Cher for their barbs even though she deliberately understated her role in the band. “The critics panned us,” Cher told Rolling Stone. “And they didn’t attack the record. They attacked me. It was like, ‘How dare Cher sing rock & roll?’”
Stung by this defeat, Cher returned to the more conventional Las Vegas stage show and tried to inch her way onto a stage or into a film as a serious actress. In the latter capacity—as an actress—she met with unanticipated but welcome critical favor. In movies such as Silkwood in 1983, Mask in 1985, and Moonstruck In 1987, “Cher not only triumphs as an actress, but finally vanquishes her glitzy Vegas image,” according to Newsweek contributor Cathleen McGuigan. Indeed, Cher won the Academy Award for Best Actress for her performance in Moonstruck. Cher also appeared in Tea with Mussolini in 1999.
Even as she won respect for her acting, this ambitious performer never relinquished her musical career. She continued recording and singing regularly in New York , Las Vegas, and Atlantic City, while constantly entertaining the idea of starring in a movie musical. She released new albums throughout the 1990s and into the 2000s, including It’s a Man’s World in 1996, the multiplatinum Believe in 1998 for which the title track won a Grammy Award in 1999, and Not.Com.mercial, an album sold strictly on the Internet , in 2000. She also dabbled in directing in 1996 and following the death of Bono in a skiing accident in 1998, published a memoir.
Time suggested that by whatever medium she might choose, Cher will continue “to woo the world through performance.” Cher herself told Time: “From the time I could talk I began to sing. Singing just came from the inside—something I’d do without thinking whenever I felt good or was really blue…. It released my tensions.”
Sources
Performing artist Cher has been a mainstay of the Hollywood glitterati for more than two decades, and her personal star seems to be waxing still. Few would quarrel with Mademoiselle contributor Diana Maychick, who calls Cher “a breed unto herself” who “has lived enough lives to fill a novel.” Professionally, the statuesque performer has had equal success as a singer, a comedienne, and an actress, with Gold Records and Academy Award nominations to her credit. Personally, a series of tempestuous relationships with several rock stars, producers, and actors has helped keep her name in the news even when her career stagnated.
As a reporter for Time magazine noted, the arc of Cher’s rise to stardom “proves that at least one American dream lives: she gives evidence that show biz can still reach out among the adolescent millions and—with a little luck and a lot of hype—transform a mildly talented young woman into a multimillion dollar property.” Ironically, though known for her cool onstage demeanor and effectively understated acting, Cher admits to a chronic case of stage fright. “I’ve been running on fear,” she told Mademoiselle. But, she added, she has learned that “you take your terror and you do it.”
A younger generation might recognize Cher as simply a film actress, but it was as a popular singer that she first gained national notoriety. Her initial success in the music industry can be attributed to her former husband/partner Sonny Bono; they married in 1964 when Cher was only seventeen. Bono had had some prior experience as a songwriter and record producer, and he recognized Cher’s star potential. However, noted the Time reporter, “they both must have known that she needed him. Her ambition may have been fierce, but like her talent it was vague and undefined.” First Bono talked Cher into concentrating on singing rather than acting, her art of choice. Then, after she had done some studio backup work for other artists, he began to write songs specifically for her.
Bono told Time that Cher “was too frightened to perform by herself,” so he provided vocal harmony “just to be with her.” After a short stint as “Caesar and Cleo” they began singing as Sonny and Cher, and their third record release—the 1965 soft-rock tune “I Got You, Babe”—sold more than four million copies and made them instant headliners. By the fall of that year they had five singles on the Top-40 charts simultaneously and were playing at major rock concerts in the United States and Europe .
The Sonny and Cher sound drew on folk and rock roots, especially the work of Bob Dylan . A critic for the Rolling Stone Record Guide contends that the couple “always cultivated an exuberant vulgarity in order to disarm
For the Record…
Full name, Cherilyn LaPiere; born Cherilyn Sarkesian, May 20, 1946, in El Centro, Calif.; daughter of John and Georgia (a model; maiden name, Holt) Sarkesian; stepdaughter of Gilbert LaPiere (a bank manager); married Sonny (Salvatore Philip) Bono (a record producer, songwriter, and entertainer), October 27, 1964 (divorced, May, 1975); married Gregg Allman (a musician), June, 1975 (divorced); children: (first marriage) Chastity; (second marriage) Elijah Blue.
Singer, with husband, Sonny Bono, in duo Sonny and Cher, 1964-75, and 1977; has also recorded and performed as a soloist, 1965—. Star of musical variety television shows “The Sonny and Cher Comedy Hour,” 1971-74, “Cher,” 1975-76, and “The Sonny and Cher Show,” 1977. Member of rock group Black Rose, 1979-80. Actress in feature films, including “Good Times,” 1966, “Chastity,” 1969, “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean,” 1982 (also performed role on Broadway ), “Silkwood,” 1983, “Mask,” 1985, “The Witches of Eastwick,” 1987, and “Moonstruck,” 1988.
Awards: Academy Award nomination for best supporting actress, 1983, for “Silkwood”; Academy Award for best actress, 1988, for “Moonstruck.”
Addresses: Home —2727 Benedict Canyon Dr., Beverly Hills, CA 90210.
Sixties songwriting … to push it into a more comfortably sentimental direction.” This “exuberant vulgarity” extended to their wardrobes as well; both favored hip-hugging bell-bottom pants and a gaudy array of hippy-style shirts and vests. Then, observes the Time reporter, “fashion changed. Hard rock, acid rock, were suddenly in, and Sonny and Cher were out.”
Their sudden plunge in popularity was accelerated by their vocal criticism of drug use. Cher told Time that after she and Sonny made a public service film denouncing drugs, their fans “thought we were stupid.” Deeply in debt after a movie project called “Chastity” bombed, the couple were forced to reassess their act and make drastic changes. Against Cher’s wishes they opted for a more mainstream approach in sound and style, and they turned to nightclubs for performing venues. It was in this environment that Sonny and Cher developed the comic repartee and musical variety formula that they would take to television so successfully.
Between 1971 and 1974, “The Sonny and Cher Comedy Hour” was seen weekly by more than thirty million viewers. Simultaneously, Cher began a solo singing career in the pop format; her best known hits were “Half Breed” and “Gypsies, Tramps, and Thieves,” both of which reached number one on the charts. By virtue of her glamorous Bob Mackie gowns and ever-changing hairstyles—a look Rolling Stone correspondent Lynn Hirschberg called “ridiculously sexy for television”—Cher cultivated an image of materialistic excess that was tempered by the themes of hurt and vulnerability in her music. “Television always made Cher accessible,” Hirschberg wrote. “She seemed like a lot of fun…. She appealed to the junky impulses in everyone.”
In 1975, Sonny and Cher divorced; both starred in their own variety shows, but only Cher’s was a success. Still, the dissolution of Sonny and Cher marked the beginning of a difficult period for her. Gradually her show declined in popularity, and her personal life was made chaotic by her marriage and divorce of band leader Gregg Allman and extended liasons with producer David Geffen and Gene Simmons, actor and member of the colorful rock group Kiss. By 1977, she told Rolling Stone, her career “cooled down to an ice cube.” Musically she experimented with a fully-orchestrated studio sound on the 1977 album I’d Rather Believe In You and then turned to disco on the 1978 Take Me Home. Neither record achieved the popularity of her previous offerings.
Cher’s last attempt at musical innovation came in 1980 when she formed the hard rock band Black Rose. The effort was a critical disaster; Jim Farber reported in Rolling Stone that “newspaper reviews were pointedly negative,” singling out Cher for their barbs even though she deliberately understated her role in the band. “The critics panned us,” Cher told Rolling Stone.”And they didn’t attack the record. They attacked me. It was like, ‘How dare Cher sing rock & roll?’”
Stung by this defeat, Cher returned to her more conventional Las Vegas stage show and tried to inch her way onto a stage or into a film as a serious actress. In the latter capacity—as an actress—she has met with unexpected but welcome critical favor. In movies such as “Silkwood,” “Mask,” and “Moonstruck,” to quote Newsweek contributor Cathleen McGuigan, “Cher not only triumphs as an actress, but finally vanquishes her glitzy Vegas image.”
Although she has won respect for her acting, the ambitious performer has not relinquished her musical career. She still sings in New York , Las Vegas, and Atlantic City, and she is constantly entertaining the idea of starring in a movie musical. Time suggested that by whatever medium she chooses, Cher will continue “to woo the world through performance.” Cher herself told Time: “From the time I could talk I began to sing. Singing just came from the inside—something I’d do without thinking whenever I felt good or was really blue…. It released my tensions.”
Tea With Mussolini (Zeffirelli) (as Elsa); Cher: Live in Concert from Las Vegas (doc) (as herself)
Films as Director:
If These Walls Could Talk (for TV) (co-d, + ro)
Publications
Cher in Her Own Words, compiled by Nigel Goodall, London, 1992.
By CHER: articles—
Interview with Allan Hunter, in Films and Filming (London), August 1985.
Interview in Time Out (London), 21 October 1987.
Interview with A. Kass, in Films and Filming (London), December 1987.
"Cher: Chez la femme," interview with Harlan Jacobson, in Film Comment (New York), January/February 1988.
Interview with Eugenie Ross-Leming and David Standish, in Playboy (Chicago), December 1988.
Interview with Bruce Roberts, in Interview (New York), October 1994.
"Young Men Pick Me. Middle-aged Men Never Ask Me Out," interview with Andrew Duncan in Radio Times (London), 25 November 1995.
"Straight Up," interview with E. Weitzman, in Interview (New York), December 1998.
On CHER: books—
Taraborelli, J. Randy, Cher: A Biography, New York, 1986.
Quirk, Lawrence J., Totally Uninhibited: The Life and Wild Times of Cher, New York, 1991.
St. Michael, Mick, Cher: The Visual Documentary, London, 1993.
On CHER: articles—
Born: Cherilyn Sarkisian LaPierre; El Centro, California , 20 May 1946
Genre: Pop, Rock
Best-selling album since 1990: Believe (1998)
Hit songs since 1990: "Believe," "Strong Enough"
Few performers have earned the label "survivor" more deservedly than Cher. Constantly reinventing herself during a forty-year career, the indomitable performer has triumphed over fluctuations in popular taste to become an American institution, one of the few singers more famous for who she is than for her music. Cher's celebrity persona has sometimes obscured the appealing quality of her recordings. While her voice often sounds awkward and her phrasing excessively blunt, Cher puts tremendous energy and strength of spirit into her music. Never one to err on the side of subtlety, she infuses her performances with an aggression and straightforwardness that transcend technical limitations. Focusing mostly on acting during the 1980s, she re-entered the music spotlight in the late 1990s to release one of the most successful albums of her career. By 1999, at age fifty-three, Cher had won an entirely new generation of fans.
Sonny and Cher
Born in El Centro, California, Cher was raised by a struggling actress mother with few financial means, her father having left the family when Cher was three years old. At sixteen, Cher moved alone to Los Angeles , where she worked as a background singer in order to support her acting ambitions. The next year she met Salvatore "Sonny" Bono, a songwriter and protégé of hit pop producer Phil Spector. The pair soon married and formed a professional alliance as the singing duo Caesar and Cleo. As Sonny and Cher, they scored a smash hit in 1965 with "I Got You Babe," a charming pop confection featuring clumsy but sincere vocals and a lilting, sing-song arrangement. Unfortunately, Sonny and Cher's popularity faded near the end of the 1960s after they starred in two poorly received films. Plagued by subsequent troubles with the Internal Revenue Service, they decided to embark upon a television career. Their TV program, The Sonny and Cher Comedy Hour, was a huge success and ran in various forms from 1971 to 1976. At the same time Cher pursued a career as a solo artist, recording in a more adult, yet equally intense, style. Songs such as "Gypsies, Tramps, and Thieves" (1971) and "I Saw a Man and He Danced with His Wife" (1974) dealt with themes of teen pregnancy and adultery, and, along with her trend-setting fashion sense, contributed to Cher's bold, daring image during this period.
Splitting from husband Bono in the mid-1970s, Cher recorded a disco hit, the promiscuously themed "Take Me Home" (1979), before returning to her first love, acting. Fine performances followed in films such as Silkwood (1983) and Mask (1985). In 1988 she won an Academy Award for her funny, touching performance in the romantic comedy Moonstruck (1987).
1990s Stardom
By the late 1980s and early 1990s Cher was balancing a dual acting and singing career, recording hits and shooting music videos that emphasized her outrageous taste. In 1989 her video for the song "If I Could Turn Back Time" was banned by music video network MTV after viewers complained about her revealing costume. While many of Cher's late-1980s and early-1990s songs were hard-rock-influenced "power ballads," with heavy drums and blaring electric guitar, she displayed a softer, warmer side on the 1996 album, It's a Man's World. On the opening track, "One by One," she sings with a breathiness that recalls 1960s pop vocalist Dusty Springfield, while "Not Enough Love in the World" conveys a sweetness that is out of character with her brash earlier recordings. "The Sun Ain't Gonna Shine (Anymore)" is another highlight, a well-orchestrated song that Cher sings with soaring exuberance. Taken as a whole, It's a Man's World presents a subtler Cher whose awareness of her vocal strengths has deepened. While her voice could not be described as pretty in the conventional sense, it is nonetheless distinctive and powerful. Like that of pop singer Barbra Streisand, it is immediately recognizable and uniquely her own. Still, Cher's mid-1990s recordings were often overshadowed by her ongoing presence in tabloid newspapers, whose writers speculated on her bouts with chronic fatigue syndrome and the extent of her plastic surgery. In 1998, however, she found herself back in the musical spotlight with the album Believe, which brought her a degree of popular acceptance she had not experienced in years. During this period Cher became an activist for gay rights after her daughter with Bono, Chastity, came out as a lesbian. The late 1990s were also marked by loss: Former husband and longtime friend Sonny was killed in a skiing accident in 1998.
In early 2002 Cher released Living Proof, another collection of techno-disco dance songs emphasizing themes of unity and strength. Although not as compelling as Believe, Living Proof succeeds through Cher's undiminished energy and professionalism. When the album's first single, the inspirational "Song for the Lonely," entered the Top 100 hit charts, Cher set a new record in pop music: Her hits have spanned thirty-seven years, the longest period for any artist. Soon after Living Proof 's release she announced plans for a farewell tour in 2002, but later extended the dates into 2003. Cher pulled out all of the stops for these live performances, creating a circuslike atmosphere through a host of larger-than-life stage devices. Starting the show by riding a giant chandelier onto the stage amidst dancers and acrobats, she then disappeared and returned on top of a large puppet elephant. The show's theatricality helps explain Cher's enduring appeal. As much performance artist as singer, Cher makes each appearance an event.
Spot Light: Believe
In 1998 Cher had not had a major hit in nine years, although her albums continued to sell among a core group of fans. That year she worked with a young, relatively unknown production and songwriting team, Mark Taylor and Brian Rawling, in their small, low-tech London studio. The result was Believe, an album that brought Cher's thirty-five-year career to new heights. The title track, featuring an electronic dance rhythm suggestive of 1970s disco music, became the best-selling single of 1998 and remained on the charts through the next year. Although the energetic beat recalls disco's good-time party atmosphere, Cher's haunting vocals and the bittersweet lyrics—"Do you believe in life after love?"—point to the sadness of the post-AIDS era. The song's most unusual element is the use of an electronic vocoder, an instrument that makes Cher's voice sound distorted and robotic. Rather than ruining her performance, the vocoder adds a spiky layer of character in keeping with the singer's unconventional personality. Impressively, Taylor and Rawling sustain the single's enthusiasm throughout the album's remaining nine songs, taking Cher through a series of catchy tunes, hook-laden tracks, and infectious beats. For all their sophistication, songs such as "The Power" and "All or Nothing" reveal a gritty, homemade quality that captures Cher's fighting spirit and tough essence. Attesting on Believe that, "I know that I'll get through this / Cause I know that I am strong," Cher sings with the knowledge and experience of a true show-business survivor.
Remaining a star through five decades of changing trends, Cher is more than a pop singer; she is a force, an all-around performer with a canny sense of style and publicity. Recording in virtually every pop musical style since the 1960s, from teen ballads to disco, she has set a standard for endurance and energy. Never a subtle vocalist, Cher succeeds through her sweeping sense of drama and astute understanding of the dynamics of performance. Despite the ever-changing musical backdrops, she retains her individuality and spirit.
SELECTIVE DISCOGRAPHY:
With Love, Cher (Imperial, 1967); Gypsies, Tramps, and Thieves (Kapp, 1971); Take Me Home (Casablanca, 1979); Heart of Stone (Geffen, 1989); It's a Man's World (Warner Bros., 1996); Believe (Warner Bros., 1998); Living Proof (Warner Bros., 2002).
SELECTIVE FILMOGRAPHY:
Silkwood (1983); Mask (1985); Moonstruck (1987); Faithful (1995); If These Walls Could Talk (1996); Tea with Mussolini (1999).
WEBSITE:
| i don't know |
What was Elvis's last single prior to his death? | Presley, Elvis: Song release, song elvis, moody blue
Song release
Could you possibly tell me what was the last song Elvis released before his death?
Thanks in advance,
Answer
Hello Alison,
Elvis' last single release prior to his death was "Way Down" / "Pledging My Love", which was released in the US on June 6th 1977.
The album "Moody Blue" was released in July.
Elvis died on August 16th.
Glad to be of help. Cheers.....Mel.
| Way Down |
Albatross was Fleetwood Mac's only No. 1 single hit. True or false? | Presley, Elvis: Song release, song elvis, moody blue
Song release
Could you possibly tell me what was the last song Elvis released before his death?
Thanks in advance,
Answer
Hello Alison,
Elvis' last single release prior to his death was "Way Down" / "Pledging My Love", which was released in the US on June 6th 1977.
The album "Moody Blue" was released in July.
Elvis died on August 16th.
Glad to be of help. Cheers.....Mel.
| i don't know |
What is the title of the first single by 'Prince' to reach the UK Top 30? | Prince - Prince Vault
Prince
7 June 1958, Minneapolis, Minnesota, USA
Date Of Death:
21 April 1958, Chanhassen, Minnesota, USA
Activity:
Multi-instrumentalist musician, Singer, Songwriter, Arranger, Composer, Record Producer, Actor, Film Director.
Aliases(s):
Guitar, Bass Guitar, Piano, Keyboards, Synthesizer, Clavinet, Drums, Various percussion instruments.
Bands
All Awards Shows
Prince Rogers Nelson was an American musician. He performed mononymously as Prince, but has also been known by various other names, among them an unpronounceable symbol '
' (alternatively spelled out as O(+>) which he used as his name between 1993 and 2000, during which time he was usually referred to as The Artist Formerly Known as Prince, the acronym "TAFKAP" or simply The Artist .
Prince was a hugely prolific artist, having released over 900 songs both under his own name and with other artists. He has won seven Grammy Awards, a Golden Globe, and an Academy Award. He was inducted into the Rock and Roll Hall of Fame the first year he was eligible in 2004.
In 2004, he was named the top male pop artist of the past 25 years by ARC Rock on the Net , and Rolling Stone ranked Prince #27 on their list of the 100 Greatest Artists of All Time .
From his early material, rooted in R&B, soul and funk, Prince has expanded his musical palette throughout his career, absorbing many other genres including pop, rock, jazz, new wave, psychedelica and hip hop. Some of his primary influences include Sly Stone, Miles Davis, Jimi Hendrix, Joni Mitchell, James Brown, Parliament-Funkadelic and Carlos Santana.
The distinctive characteristics of his early-to-mid 1980s work, such as sparse and industrial-sounding drum machine arrangements and the use of synthesizer riffs to serve the role traditionally occupied by horn riffs in earlier R&B, funk and soul music, were called the "Minneapolis sound" and have proved very influential.
Musical Career
Early Life
Prince Rogers Nelson was born June 7, 1958 in Minneapolis, Minnesota to John L. Nelson and Matti Shaw. John was a pianist and songwriter, and Matti was a jazz singer. He was named after his father, whose stage name was Prince Rogers, and who performed with a jazz group called the Prince Rogers Trio. In a 1991 Current Affair interview, John L. Nelson stated, “I named my son Prince because I wanted him to do everything I wanted to do.” His childhood nickname was Skipper.
After the birth of his sister Tyka in 1960, Prince's parents gradually drifted apart. After they formally separated when Prince was ten, he had a troubled relationship with his stepfather that resulted in him going to live with his father. Prince lived briefly with his father, but was thrown out after his father found him in bed with a female friend and later he settled in with a neighborhood family, the Andersons, befriending their son, Andre Anderson (later called André Cymone ).
Prince and Anderson joined Prince's cousin Charles Smith in a band called Grand Central that they formed in high school (Smith would later be replaced by Morris Day .) His initial contributions were on keyboard and guitar, but would share vocals with Anderson in what was mainly an instrumental band, playing clubs and parties in the Minneapolis area.
As time went by and Prince's musical interests broadened, he found himself producing the arrangements for the band. Grand Central and started playing original music drawing on a range of influences including Sly & the Family Stone , James Brown , Earth, Wind & Fire , Miles Davis , Parliament-Funkadelic , Carlos Santana and Jimi Hendrix . At one point Prince was a student at the Minnesota Dance Theatre.
In 1976, he started work on a demo tape with producer Chris Moon in a Minneapolis studio. Prince also had the patronage of Owen Husney (of The High Spirits), to whom Moon introduced him, a connection that helped him produce a high-quality demo recording. Husney started contacting major labels and ran a campaign promoting Prince as a star of the future, resulting in a bidding war eventually won by Warner Bros. Records as they were the only label to offer Prince creative control of his songs.
First Steps
Pepé Willie , husband of Prince's cousin, Shantel, was an early influence in Prince's career. Along with Husney , Willie was mentor and manager for Prince during the Grand Central days, and he employed Prince for his own recordings.
In 1977, Willie formed the band 94 East , with Marcy Ingvoldstad and Kristie Lazenberry that would later include André Cymone and Prince. Prince would compose most of the music for Willie 's lyrics and typically played guitar and keyboards in the studio, while also contributing many songs for the group, including Just Another Sucker .
The band recorded an album, Minneapolis Genius – The Historic 1977 Recordings . Although it was not a solo album and was not commercially released until many years later, it is considered Prince's first professional album. For unknown reasons, Prince does not acknowledge the existence of this album. In 1995, the original recordings with Prince and André Cymone were released by Willie as " 94 East featuring Prince": Symbolic Beginning.
For You
Prince released his first major-label album, For You , on 7 April 1978 . The majority of For You was written and performed by Prince, except for the song Soft And Wet (lyrics co-written by Moon). This was the first of Prince's albums containing the now ubiquitous legend: "Produced, Arranged, Composed and Performed by Prince".
Like most albums in his career, For You was recorded without a band; Prince purportedly played all 27 instruments on the album, though they were different types of string, percussion, and keyboard instruments.
Prince spent twice his initial advance recording the album, which sold modestly and charted low on the Billboard Top LP's & Tapes charts, while reaching an honest #21 on Billboard Soul LP's chart. The single Soft And Wet performed quite well on the Billboard Hot Soul Singles charts, reaching #12; it only reached #92 on the Billboard Hot 100 chart. Just As Long As We're Together didn't enter the Billboard Hot 100, and flopped at #91 on the Billboard Hot Soul Singles chart.
Prince used Prince's Music Co. for publishing songs from this album.
By 1979, Prince had recruited his first backing band featuring childhood friend Andre Anderson, rechristened André Cymone , on bass, Dez Dickerson on guitar, Gayle Chapman and Matt Fink (later Dr. Fink) on keyboards, and Bobby Z. on drums. Prince intentionally enlisted a multi-racial, mixed-gender group, much like the band put together by one of his greatest influences, Sly Stone.
They had their first shows at the Capri Theatre on January 5 and 6th in 1979. Reportedly, Prince mostly mumbled into the microphone, whilst Dez and Andre ran back and forth into the audience. Warner Bros. Records executives were at the second show, which was plagued with electrical difficulties and a snowstorm, and decided Prince had promise but the band needed more time to gel before it could tour. This was just after their gear was stolen from their rehearsal base at Del’s Tyre Mart.
In October 1979, Prince released his follow-up self-titled album Prince , which reached #4 on the Billboard Soul LP's charts; it contained two R&B hits: I Wanna Be Your Lover and Why You Wanna Treat Me So Bad? .
These two R&B hits were performed on January 26, 1980 , on American Bandstand with this first backing band. Legend has it that Prince became annoyed when, during the interview segment, Dick Clark expressed surprise that Prince and his bandmates hailed from Minneapolis "of all places". Prince refused to speak, instead answering a question by gesturing with his hand. It was later admitted by Dez Dickerson that it was planned from the beginning as a way to throw Dick Clark off his game. Dickerson was quoted as saying, "Great. We're illiterate, but we play well".
For his second album, Prince used Ecnirp Music – BMI (CAE/IPI #: 64634572) for publishing his songs, which he would also use for his next album Dirty Mind too.
Prince was certified gold status, while the single I Wanna Be Your Lover hit #11 on the Billboard Hot 100 and reached #1 on the Billboard Hot Soul Singles charts. Prince opened for Rick James Tour '80 with the label "punk funk" being applied to both artists, although it reportedly didn't sit comfortably with Prince.
The 80's
Dirty Mind
Prince gained critical acclaim with his 1980 release of Dirty Mind , again entirely self-recorded and released using the demos of the songs. Dirty Mind is particularly notable for its sexually explicit material, in particular the title track, Head , and controversial Sister . During this period, Prince began to attract attention for the clothes he wore on-stage: high-heeled shoes, boots and black bikini briefs and tended to flaunt and express an intense sexuality on-stage. On tour, Lisa Coleman replaced keyboardist Gayle Chapman in the band, who felt the sexually explicit lyrics and stage antics of Prince's concerts conflicted with her religious beliefs.
His stylistic choices brought him trouble as an opening act for The Rolling Stones' for two Los Angeles Coliseum shows in 1981, where he was infamously pelted with garbage while wearing bikini briefs, leg warmers, high-heeled boots, and a trench coat, eventually booed off the stage for his wardrobe and androgynous lyrics. These shows occurred just before the release of Controversy and also when he was breaking in his new bassist Mark Brown (later Brown Mark ), who was then just 18 and out of high school.
Controversy
Soon after he released the album Controversy, with the single of the same name charting internationally for the first time. In February 1981 , Prince made his first appearance on Saturday Night Live performing Partyup . Starting with the album Controversy , Prince used Controversy Music[8] – ASCAP for publishing his songs, which he would use for his following sixteen records until Emancipation in 1996.
In 1981, Prince formed a "side project" (a misnomer label, given that his band was only used for performances and contributed little to recording sessions) band called The Time . Prince was able to do this thanks to a clause in his contract with Warner Bros. The Time released four albums between 1981 and 1990, with Prince writing and performing all instruments and backing vocals throughout, with the lead vocals handled by Morris Day .
1999
In 1982, he released the 1999 double-album (released in some countries as a single-album) which "broke" Prince into the mainstream in the US and internationally, selling over three million copies. The title track was a protest against nuclear proliferation and became his first top ten hit internationally.
With his video for Little Red Corvette he joined Michael Jackson and Lionel Richie as part of the first wave of African American artists on MTV. The song Delirious also went top ten on the Billboard Hot 100. The album was placed at number six in The Village Voice's annual Pazz & Jop critics poll for 1983. Around this time Prince began crediting his band as The Revolution , which consisted of Dez Dickerson on guitar, Lisa Coleman and Dr. Fink on keyboards, Bobby Z. on drums, and Brown Mark on bass.
The band's name was printed in reverse on the cover of 1999 ; however Prince refrained using the name " The Revolution " until Dickerson left the band due to religious reasons, while in the 2003 book Possessed: The Rise and Fall of Prince , Alex Hahn states that Prince wanted Dickerson to commit to a new three year contract with the group, but Dickerson refused and struck out on his own. Dickerson was replaced by Wendy Melvoin , a childhood friend of Lisa . The band members were known for being solid musicians and a strong live act, but their talents would be used sparsely in the studio. Their presence in Prince's recordings, however, would increase through the mid-1980s.
The Revolution
Purple Rain
Prince's 1984 album, Purple Rain (concurrent with the film of the same name) sold more than thirteen million copies in the US and spent twenty-four consecutive weeks at #1 on the Billboard 200. The Academy Award-winning film grossed more than $80 million in the US alone, and has proved to be Prince's biggest cinematic success to date.
Two songs from Purple Rain , When Doves Cry and Let's Go Crazy , topped the US pop singles chart and were hits around the world, while the title track reached #2 on the Billboard Hot 100. Prince simultaneously held the spots #1 film, #1 single, and #1 album in the US. He won the Academy Award for Best Original Song Score for Purple Rain ", and the album ranks at 72 in the top 100 of Rolling Stone's 500 Greatest Albums of All Time list; the album is also listed in The All-TIME 100 Albums of TIME Magazine.
It was the album's song Darling Nikki that Tipper Gore overheard her twelve-year-old daughter, Karenna, listening that inspired her to found the Parents Music Resource Center. The center has advocated the mandatory use of a warning label ("Parental Advisory: Explicit Lyrics") on the covers of records that have been judged to contain language or lyrical content unsuitable for minors. The recording industry voluntarily complied with their request in response to the Senate hearings.
Around The World In A Day
In 1985, after the successful Purple Rain Tour , Prince announced that he would discontinue both live performances and music videos after the release of Around The World In A Day , which held the #1 spot on the Billboard 200 for three weeks. Prince's ban on music videos supposedly ended when the album stalled in the charts and, after a video for Raspberry Beret , then reached number two on the Billboard Hot 100.
Parade
Prince released the album Parade in 1986. The album hit #3 on the Billboard 200 and #2 on the R&B charts. The first single, Kiss , would top the Billboard Hot 100. The song was originally written for another Prince side project, Mazarati . At the same time, another song originally written for Apollonia 6 , Manic Monday by The Bangles , reached #2 on the Hot 100. Parade served as the soundtrack for Prince's second film Under The Cherry Moon .
Prince both directed and starred in the movie, that also featured Kristen Scott Thomas as his love interest, Mary Sharon, in her first feature film role. Following the film and album release, Prince returned to touring with several scattered Hit & Run shows in the U.S. and embarked on his first full scale European tour, the Parade Tour in the summer of 1986, and ending the tour in September with his first appearance in Japan.
At the end of the Parade Tour , Prince disbanded The Revolution , as he let go Wendy and Coleman|Lisa , replaced Bobby Z. with Sheila E. , and Brown Mark quit, having wanted to leave before the Parade Tour . All that remained of the original line-up was keyboardist Matt Fink . Brought in to replace them were Miko Weaver on guitar, Atlanta Bliss on trumpet, Eric Leeds on saxophone, (all of whom had joined the expanded "Counter-Revolution" line-up on the Parade Tour ) Boni Boyer on keyboards, Levi Seacer, Jr. on bass, as well as dancer and love interest, Cat Glover .
Prince also appeared on Madonna's studio album Like a Prayer, co-writing and singing the duet Love Song and playing electric guitar (uncredited) on "Like a Prayer", "Keep It Together", and "Act of Contrition".
Solo Again
Sign O' The Times
Prior to the disbanding of The Revolution , Prince was working on two separate projects. The Revolution album, Dream Factory and a solo effort, Camille . Unlike the three previous band albums, Dream Factory included significant input from the band members and even featured a number of songs with lead vocals by Wendy and Lisa , while the Camille project saw Prince create a new persona primarily singing in a sped up, female-sounding voice. With the dismissal of The Revolution , Prince consolidated material from both shelved albums, along with some new songs, into a three-LP album to be titled Crystal Ball . However, with the low sales of his previous two albums, Warner forced Prince to make the release a double album and Sign O' The Times was released on March 31, 1987.
The album peaked at #6 on the Billboard 200 albums chart. The first single, Sign O' The Times , would chart at #3 on the Hot 100. The follow-up single, If I Was Your Girlfriend charted poorly at #67 on the Hot 100, but went to #12 on R&B chart. The third single, a duet with Sheena Easton, U Got The Look charted at #2 on the Hot 100, #11 on the R&B chart, and the final single I Could Never Take The Place Of Your Man finished at #10 on Hot 100 and #14 on the R&B chart.
Despite the album receiving the greatest critical acclaim of any album in Prince's career, including being named the top album of the year by the Pazz & Jop critics' poll, album sales steadily declined, although it eventually sold 3.2 million copies. In Europe however, it performed well and Prince promoted the album overseas with a lengthy tour. Putting together a new backing band from the remnants of The Revolution , Prince added bassist Levi Seacer, Jr. , Boni Boyer on keyboards, and dancer/choreographer Cat Glover to go with new drummer Sheila E. and holdovers Miko Weaver , Dr. Fink , Eric Leeds , Atlanta Bliss , and 'the Bodyguards' ( Jerome Benton , Wally Safford , and Greg Brooks ) for the Sign O' The Times Tour .
The tour was a huge success overseas with Warner and Prince's managers wanting to bring it to the U.S. to resuscitate sagging sales of Sign O' The Times , however Prince balked at a full U.S. tour, as he was ready to produce a new album. A compromise was made where he filmed the last two nights of the tour to be released in movie theaters as a concert film. Unfortunately, the film quality was deemed sub-par and reshoots were performed at his Paisley Park studios. The film Sign O' The Times was released on November 20, 1987. Much like the album, the film was critically praised, (at least more than the previous year's Under The Cherry Moon ) however its box office receipts were minimal and it quickly left theaters.
Lovesexy
The next album intended for release was to be The Black Album . More instrumental and funk and R&B themed than recent releases, The Black Album also saw Prince experiment with rap on the songs Bob George and Dead On It . Prince was set to release the album with a complete monochromatic black cover with only the catalog number printed, but at the last minute, even though 500,000 copies had been pressed, Prince had a spiritual epiphany that the album was evil and had the album recalled. (Although it would later be released by Warner Bros. . as a limited edition album in 1994.) Prince went back in the studio for eight weeks and recorded Lovesexy .
Released on May 10, 1988, Lovesexy serves as a spiritual opposite to the dark The Black Album . Every song is a solo effort by Prince, with exception of
No which was recorded with his backing band at the time, dubbed the "Lovesexy Band" by fans. Lovesexy would reach #11 on the Billboard 200 and #5 on the R&B albums chart. The lead single, Alphabet St. , peaked at #8 on the Hot 100 and #3 on the R&B chart, but finished with only selling 750,000 copies.
Prince again took his post- Revolution backing band (minus 'the Bodyguards') on a three leg, 84 show Lovesexy Tour , that although, it played to huge crowds and were well received shows, financially lost money due to the expensive sets and props incorporated.
Batman
In 1989, Prince began work on a number of musical projects, including Rave Unto the Joy Fantastic and early drafts of his Graffiti Bridge film, but both were put on hold when he was asked by Batman director Tim Burton to record several songs for the upcoming live-action adaptation. Prince went into the studio and produced an entire 9-track album that Warner Bros. released on June 20, 1989. Batman peaked at #1 on the Billboard 200, selling 4.4 million copies.
The single Batdance topped the Billboard and R&B charts. Additionally, the singles Partyman (also featuring the vocals of Prince's then girlfriend, nicknamed Anna Fantastic ) charted at #18 on the Hot 100 and at #5 on the R&B chart, while the love ballad Scandalous went to #5 on the R&B chart. However, he did have to sign away all publishing rights to the songs on the album to Warner Bros. as part of the deal to do the soundtrack.
The 90's
Graffiti Bridge
In 1990, Prince went back on tour with a revamped band for his stripped down, back-to-basics Nude Tour . With the departures of Boni Boyer , Sheila E. , the horns, and Cat , Prince brought in Rosie Gaines on keys, drummer Michael B , and dancing trio, The Game Boyz , Tony M. , Kirk Johnson , and Damon Dickson . The European and Japanese tour was a financial success with its short, greatest hits setlist.
As the year progressed, Prince finished production on his fourth film, Graffiti Bridge and the album of the same name. Initially, Warner Bros. was reluctant to fund the film, however with Prince's assurances it would be a sequel to Purple Rain as well as the involvement of the original members of The Time , the studio green-lit the project. Released on August 20, 1990, the album reached #6 on the Billboard 200 and R&B albums chart. The single Thieves In The Temple reaching #6 on the Hot 100 and #1 on the R&B chart.
The film, released on November 20, 1990, was a critical and box office flop, grossing just $4.2 million. After the release of the film and album the last remaining members of The Revolution , Miko Weaver and Dr. Fink left Prince's band.
Diamonds And Pearls
1991 marked the debut of Prince's new band, the The New Power Generation . The name come from a concept developed into his previous album, through the number New Power Generation . With guitarist Miko Weaver and long-time keyboardist Doctor Fink gone, Prince added bass player Sonny T. , Tommy Barbarella on keyboards, and a brass section known as the Hornheadz to go along with Levi Seacer, Jr. (taking over on guitar), Rosie Gaines , Michael Bland , and Game Boyz .
With significant input from his band members, Diamonds And Pearls was released on October 1, 1991. Reaching #3 on the Billboard 200 Diamonds And Pearls saw the singles Gett Off chart at #21 on the Hot 100 and #6 on the R&B charts while Cream gave Prince his fifth US number one single.
1992 saw Prince and The New Power Generation release his twelfth album titled with an unpronounceable symbol:
(later copyrighted as Love Symbol #2).
would peak at #5 on the Billboard 200. While the label wanted 7 to be the first single, Prince fought to have My Name Is Prince as he "felt that the song's more hip-hoppery would appeal to the same audience" that had purchased the previous album.
Prince got his way but My Name Is Prince only managed to reach #36 on Billboard Hot 100 and #23 on the R&B chart. The follow-up single Sexy M.F. fared worse, charting at #66 on the Hot 100 and #76 on the R&B chart. The label's preferred lead single choice 7 would be the album's lone top ten hit reaching #7.
would go on to sell 2.8 million copies worldwide.
The Hits / The B-Sides
After two failed attempts in 1990 and 1991, Warner Bros. finally released a greatest hits compilation with the three-disc The Hits / The B-Sides in 1993. The first two discs were also sold separately as The Hits 1 and The Hits 2 .
In addition to featuring the majority of Prince's hit singles (with the exception of Batdance and other songs that appeared on the Batman soundtrack), The Hits / The B-Sides includes an array of previously hard-to-find recordings, notably B-sides spanning the majority of Prince's career, as well as a handful of previously unreleased tracks such as The Revolution -recorded Power Fantastic and a live recording of Nothing Compares 2 U with Rosie Gaines . Two new songs, Pink Cashmere and Peach , were chosen as promotional singles to accompany the compilation album.
1993 also marked the year in which Prince changed his stage name
, which is a combination of the symbols for male (♂) and female (♀). Because the symbol was and is unpronounceable, he was often referred to as "Symbol", "The Artist Formerly Known as Prince", or simply "The Artist".
Increased Output
The Black Album
In 1994, Prince's attitude towards his artistic output underwent a notable shift. He began to view releasing albums in quick succession as a means of ejecting himself from his contractual obligations to Warner Bros. The label, he believed, was intent on limiting his artistic freedom by insisting that he release albums more sporadically. He also blamed Warner Bros. for the poor commercial performance of the
album, claiming that it was insufficiently marketed by Warner . It was out of these developments that the aborted Black Album was officially released, approximately seven years after its initial recording and near-release.
The "new" release, which was already in wide circulation as a bootleg, sold relatively poorly.
Come
Following that disappointing venture, Warner Bros. succumbed to Prince's wishes to release an album of new material, to be entitled Come . When Come was eventually released, it confirmed all of Warner's fears. It became Prince's poorest-selling album to date, struggling to even shift 500,000 copies. Even more frustrating was the fact that Prince insisted on crediting the album to "Prince 1958–1993".
The Gold Experience
Prince pushed to have his next album The Gold Experience released simultaneously with
-era material. Warner Bros. allowed the single The Most Beautiful Girl In The World to be released via a small, independent distributor, Bellmark Records, in February 1994. The release was successful, reaching #1 on the U.S. Billboard Hot 100 and #1 in many other countries, but it would not prove to be a model for subsequent releases. Warner Bros. Records still resisted releasing The Gold Experience, fearing poor sales and citing "market saturation" as a defense.
When eventually released in September 1995, The Gold Experience failed to sell well, although it reached the top 10 of the Billboard 200 initially, and many reviewed it as Prince's best effort since Sign O' The Times . The album is now out-of-print.
Chaos And Disorder , released in 1996, was Prince's final album of new material for Warner Bros. as well as one of his least commercially successful releases.
Free at last
Emancipation
Prince attempted a major comeback later that year when, free of any further contractual obligations to Warner Bros. he released Emancipation . The album was released via his own NPG Records with distribution through EMI. To publish his songs on Emancipation , Prince did not use Controversy Music – ASCAP, which he had used for all his records since 1981, but rather used Emancipated Music Inc. – ASCAP.
While certified Platinum by the RIAA, some critics felt that the sprawling 36-song, 3-CD set (each disc was exactly 60 minutes long) lacked focus, and might have worked better as a single or double disc set. Emancipation is the first record featuring covers by Prince of songs of other artists: Joan Osborne's top ten hit song of 1995 One Of Us ; Betcha By Golly Wow! (written by Thomas Randolf Bell and Linda Creed);
Crystall Ball
Prince released Crystal Ball a 5-CD collection of unreleased material, in 1998. The distribution of this album was disorderly, with some fans pre-ordering the album on his website up to a year before it was eventually shipped to them, and months after the record had gone on sale in retail stores. The retail edition has only four discs, as it is missing the Kamasutra disk. There are also two different packaging editions for retail, one being in a 4-disc sized jewel case with a simplistic white cover and the
-symbol in a colored circle; the other is all four discs in a round translucent snap jewel case. The discs are the same, as is the CD jacket.
Newpower Soul
The Newpower Soul album released three months later failed to make much of an impression on the charts. His collaboration on Chaka Khan's Come 2 My House, and Larry Graham's GCS2000, both released on the NPG Records label around the same time as Newpower Soul met with the same fate, despite heavy promotion and live appearances on Vibe with Sinbad, and the NBC Today show's Summer Concert Series.
Rave Un2 The Joy Fantastic
In 1999, Prince once again signed with a major label Arista Records to release a new record, Rave Un2 The Joy Fantastic . In an attempt to make his new album a success, Prince easily gave more interviews than at any other point in his career, appearing on MTV's TRL (with his album cover on the front of the Virgin Megastore, in the background on TRL throughout the whole show), Larry King Live (with Larry Graham ) and other media outlets. Nevertheless, Rave Un2 the Joy Fantastic failed to perform well commercially.
The Vault... Old Friends 4 Sale
A few months earlier, Warner Bros. had also released The Vault... Old Friends 4 Sale , a collection of unreleased material recorded by Prince throughout his career, and his final recording commitment on his contract with Warner Bros.
The greatest success he had during the year was with the EP 1999: The New Master , released in time for Prince to collect a small portion of the sales dollars Warner Bros. had been seeing for the album and singles of the original 1999. Both critics and fans panned 1999: The New Master , declaring it unimaginative.
The pay-per-view concert, Rave Un2 the Year 2000 , was broadcast on 31 December 1999 and consisted of footage from the 17 December and 18 December concerts of his 1999 tour. The concert featured appearances by many guest musicians including Lenny Kravitz, George Clinton, and The Time. It was released to home video the following year. A remix album, Rave In2 The Joy Fantastic (as opposed to "Un2") was released exclusively through Prince's NPG Music Club in April 2000.
The 00's
Turnaround
On 16 May 2000, Prince ceased using the
moniker and returned to using "Prince" again, after his publishing contract with Warner/Chappell expired. In a press conference, he stated that, after being freed from undesirable relationships associated with the name "Prince", he would formally revert to using his real name. Prince still frequently uses the symbol as a logo and on album artwork and continues to play a
-shaped guitar.
The Rainbow Children
For several years following the release of Rave Un2 The Joy Fantastic , Prince primarily released new music through his Internet subscription service, NPGOnlineLtd.com (later NPGMusicClub.com). Two albums that show substantive jazz influence were available commercially at record stores: 2001's The Rainbow Children and, later, the 2003 instrumental record N.E.W.S. which was nominated for a Best Pop Instrumental Album Grammy. Another album of largely jazz-influenced music, Xpectation , was released via download in 2003 to members of the NPG Music Club .
During this time, Prince sought to engage more effectively with his fan base via the NPG Music Club , pre-concert sound checks, and at yearly "celebrations" at Paisley Park, his music studios.
Fans were invited into the studio for tours, interviews, discussions and music-listening sessions. Some of these fan discussions were filmed for an unreleased documentary, directed by Kevin Smith. Smith discusses what happened during those days at length in his An Evening with Kevin Smith DVD. Performances were also arranged to showcase Prince's talents, as well as to collaborate with popular and well-established artists and guests including Alicia Keys, The Time, Erykah Badu, Nikka Costa, George Clinton, Norah Jones.
One Nite Alone...
Released on 14 May 2002 (first shipment arrive) the 25th full-length studio album by Prince is his first album of new material to be released exclusively through the NPG Music Club . The album was mailed to NPG Music Club members worldwide in May 2002 and later in the year, included as a separately-packaged fourth disc with the NPG Music Club edition of One Nite Alone... Live! .
The album is a solo recording by Prince, featuring John Blackwell on drums on only two tracks, Here On Earth and A Case Of U . Sparse in nature, the piece focus on piano and vocals, while other instruments and sound effects appear throughout.
On 1 March 2002, Prince embarks on the One Nite Alone... Tour to promote his latest outputs in the USA, Canada, Europe and Japan. The tour ends in Nagoya in late November. The setlist mainly focused on his last two efforts, added with a few hits and and selected tracks from his Warner era albums. Jazz oriented, reminiscent of the sound produced on The Rainbow Children, the concerts included a piano solo piece to enable Prince to showcase tracks from One Nite Alone. At rare occasions, Prince replaced the piano solo piece by a guitar acoustic solo segment.
A lot of efforts were made to continue to engage with fans: NPG Music Club members were given early entry to venues, enabling them to witness soundchecks. Members were also given priority ticketing to aftershows on the website, a first in Prince's career.
The One Nite Alone... Tour over, decision was made to issue a live album and a DVD out of it.
One Nite Alone... Live!
Released his first live album, One Nite Alone... Live! , which features performances from the One Nite Alone tour. The 3-CD box set, which also includes a disc of "aftershow" music entitled One Nite Alone... The Aftershow: It Ain't Over! , failed to chart.
The first audio document of Prince's concerts, the 2 first CDs includes tracks from nine different shows from eight venues on the One Nite Alone... Tour . The tracklist is fairly representative of a typical night's show on the tour, although it misses the number of cover versions performed regularly on the tour, leaving only Prince compositions.
The third CD One Nite Alone... The Aftershow: It Ain't Over is the first official audio document of Prince's aftershow concerts and includes tracks from three different concerts following shows on the One Nite Alone... Tour .
Musicology
On 8 February 2004, Prince appeared at the Grammy Awards with Beyoncé Knowles. In a performance that opened the show, Prince and Knowles performed a medley of Purple Rain , Let's Go Crazy , Baby I'm A Star , and Knowles' "Crazy in Love" to positive reviews (video). The following month, Prince was inducted into the Rock and Roll Hall of Fame. The award was presented to him by Alicia Keys along with Big Boi and André 3000 of OutKast. As well as performing a trio of his own hits during the ceremony, Prince also participated in a tribute to fellow inductee George Harrison in a rendition of the deceased artist's "While My Guitar Gently Weeps", playing a long guitar solo that ended the song (video).
On 19 February, The Tavis Smiley Show broadcast included a performance of Reflection from Prince's Musicology album. Prince was accompanied by Wendy Melvoin , formerly of The Revolution .
In April 2004, Prince released Musicology through a one-album agreement with Columbia Records. The album rose as high as the top five on a number of international charts (including the United States, United Kingdom, Germany and Australia). The US chart success was assisted by the CD being included as part of the concert ticket purchase, and each CD thereby qualifying (as chart rules then stood) towards US chart placement.
That same year, Pollstar named Prince the top concert draw among musicians in USA. Grossing an estimated $87.4 million, Prince's Musicology Tour was the most profitable tour in the music industry for 2004. The artist played an impressive run of 96 concerts; the average ticket price for a show was US$61. Further highlighting the success of the album, Prince's Musicology went on to receive two Grammy wins, for Best Male R&B Vocal Performance for Call My Name and Best Traditional R&B Vocal Performance for the title track.
Musicology was also nominated for Best R&B Song, Best R&B Album, while Cinnamon Girl was nominated for Best Male Pop Vocal Performance. The album became the artist's most commercially successful since Diamonds And Pearls , partly due to a radical scheme devised which included in Billboard's sales figures those that were distributed to each customer during ticket sales for the Musicology Tour .
Prince was ranked 7th Greatest Artist of All Time in Acclaimed Music's list of The 1000 Greatest Artist of All Time. In 2004, Rolling Stone magazine ranked Prince #28 on their list of the 100 Greatest Artists of All Time. In December 2004, Prince was ranked #5 on the Top Pop Artists of the Past 25 Years list by [www.rockonthenet.com]. He was the highest-ranked male performer on the list.
In April 2005, Prince played guitar (along with En Vogue singing backing vocals) on Stevie Wonder's single "So What the Fuss", Wonder's first since 1999.
In the aftermath of Hurricane Katrina, which devastated the city of New Orleans on 29 August 2005, Prince offered a personal response by recording two new songs, S.S.T. and the instrumental Brand New Orleans , at Paisley Park in the early hours of 2 September. Prince again performed all instrumental and vocal parts. These recordings were quickly dispersed to the public via Prince's NPG Music Club , and S.S.T. was later picked up by iTunes, where it reached #1 on the store's R&B chart. On 25 October, Sony Records released a version of the single on CD.
Move To Universal
3121
In late 2005 Prince signed with Universal Records to release his album, 3121 , on 21 March 2006, (3/21). The first single was the Latin-tinged Te Amo Corazón , the video for which was directed by actress Salma Hayek and filmed in Marrakech, Morocco, featuring Argentine actress and singer Mía Maestro. The song was covered by Viktoria Tolstoy on her album Pictures of Me, along with another Prince song, Strollin' . The video for the second single, Black Sweat , was nominated at the MTV VMAs for Best Cinematography. The immediate success of 3121 gave Prince his first #1 debut on the Billboard 200 with the album.
To promote the new album, Prince was the musical guest on Saturday Night Live on February 4, 2006, seventeen years after his last SNL appearance. He performed two songs from the album, Fury and Beautiful, Loved And Blessed , with Támar Davis . Prince also held a contest to win a trip to see a 'Purple Ticket Concert' at his private residence in Hollywood, California. Seven winning tickets were placed inside 3121 CD packages in the US, and other tickets were given away in various contests on the internet and around the world. On 6 May 2006, twenty-four prize winners (with a guest each) attended a star-studded private party and performance at Prince's home.
On June 12, 2006, Prince received a Webby Lifetime Achievement Award in recognition of his "visionary" use of the Internet; Prince was the first major artist to release an entire album, 1997's Crystal Ball , exclusively on the internet. A few weeks after winning the award, Prince abruptly shut down his official NPG Music Club website at 12:00 a.m. on July 4, 2006 after over five years of operation. The NPG Music Club sent out an email, claiming that: "In its current 4m there is a feeling that the NPG Music Club gone as far as it can go. In a world without limitations and infinite possibilities, has the time come 2 once again make a leap of faith and begin anew? These r ?s we in The NPG need 2 answer. In doing so, we have decided 2 put the club on hiatus until further notice."
On the day of the music club's shutdown, a lawsuit was filed against Prince by the British company HM Publishing (owners of the Nature Publishing Group, also NPG). Despite these events occurring on the same day, Prince's attorney has called it pure coincidence and stated that the site did not close due to the trademark dispute.
Prince appeared at multiple award ceremonies in 2006. On February 15, 2006, Prince performed at the BRIT Awards along with Wendy and Lisa and Sheila E. He played Te Amo Corazón and Fury from 3121 and Purple Rain and Let's Go Crazy from Purple Rain . On June 27, 2006, Prince appeared at the BET Awards, where he was awarded Best Male R&B Artist.
In addition to receiving his award, Prince performed a medley of Chaka Khan songs for Khan's BET Lifetime Award. Prince had previously written and performed several songs with the singer. In November 2006, Prince was inducted into the UK Music Hall of Fame, appearing to collect his award but not performing. Also in November 2006, Prince opened a nightclub named 3121 in Las Vegas at the Rio All Suite Hotel and Casino. He performed weekly on Friday and Saturday nights until April 2007 His contract with the Rio ended.
Ultimate
On August 22, 2006, Warner Bros. Records released Ultimate , a compilation of remastered material. The double disc set contains one CD of previous hits, and another of extended versions and mixes of material that had largely only previously been available on vinyl record B-sides.
Prince wrote and performed a song for the hit 2006 animated film "Happy Feet". The song, entitled The Song Of The Heart , appears on the film's soundtrack, which also features a cover of Prince's 1986 hit Kiss , sung by Nicole Kidman and Hugh Jackman. In January 2007, "Song of the Heart" won a Golden Globe for Best Original Song. Prince arrived late supposedly due to traffic problems and thus was unable to make an acceptance speech, but actor Hugh Grant prompted him later in the ceremony to take a bow.
21 Nights
On February 2, 2007, Prince played at the Super Bowl XLI press conference. He and the band played a set comprising of Chuck Berry's hit, Johnny B. Goode", Anotherloverholenyohead from Parade and Get On The Boat from 3121 . Prince performed at the Super Bowl XLI halftime show in Miami, Florida on February 4, 2007. The performance consisted of three Purple Rain tracks ( Let's Go Crazy , Baby I'm A Star and the title track), along with cover versions of "We Will Rock You" by Queen, "All Along the Watchtower" by Bob Dylan, the Foo Fighters song "Best Of You" and "Proud Mary" by Creedence Clearwater Revival. Coincidentally, Miami had rain on the day of the Super Bowl, which was lit purple during the performance of Purple Rain . He played on a large stage shaped as his famous symbol. The event was carried to 140 million television viewers, the largest audience of his life.
Prince announced that he would play 21 concerts in London over the summer of 2007. The 21 Nights In London : The Earth Tour included 21 nights at the 20,000 capacity O² Arena. Tickets for the O² Arena were priced at £31.21 (including a free copy of Prince's latest album), in order to make the concerts "affordable for everybody". The residency at the O² Arena was increased to 15 nights after all 140,000 tickets for the original seven sold out in just 20 minutes. It was then further extended to 21 nights.
On 10 May 2007 , Prince performed a 'secret' gig at London's Koko in front of a small crowd (between) fans and celebrities. Tickets went on sale that morning on a first-come-first-served basis (again at £31.21). A prelude to the forthcoming summer gigs in London, Prince played a relaxed set of classic hits including " Kiss (changing the lyric from "You don't have to watch Dynasty" to "Desperate Housewives"), Girls & Boys and Nothing Compares 2 U alongside more recent tracks, plus a well-received cover version of Gnarls Barkley's "Crazy".
Prince made an appearance at the 2007 ALMA Awards, performing with Sheila E. in June 2007.
Planet Earth
On 28 June 2007 , the UK national newspaper The Mail on Sunday revealed that it had made a deal to give Prince's new album, Planet Earth , away for free with an "imminent" edition of the paper, making it the first place in the world to get the album. This move sparked controversy among music distributors and also led the UK arm of Prince's distributor, Sony BMG, to withdraw from distributing the album in UK stores. The UK's largest high street music retailer, HMV decided to stock the paper on release day due to the giveaway.
On 7 July 2007 Prince returned to his hometown of Minneapolis to perform three shows in what was unofficially declared Prince Day in Minnesota. He performed concerts at the Macy's Auditorium on Nicollet Mall, the Target Center and First Avenue.
Prince at the Montreux Jazz Festival in 2007. To be developed.
On 25 April 2008 , Prince performed on The Tonight Show with Jay Leno, where he debuted a new song, "Turn Me Loose". Days after, he headlined the Coachella Festival 2008.
Indigo Nights
In October 2008 Prince released a live album entitled Indigo Nights , as well as 21 Nights, an accompanying book of poems, lyrics and photos. The book chronicled his record-breaking tenure at London's O² Arena in 2007, while the album is a collection of songs performed live at aftershows in the IndigO².
LotusFlow3r
On 18 December 2008, Prince premiered 4 songs from his new album on LA's Indie 103 radio show, comprising a cover of Crimson And Clover by Tommy James and the Shondells, together with Colonized Mind , Wall Of Berlin and 4ever . The same day, another new Prince composition entitled (There'll Never B) Another Like Me premiered on the website, www.mplsound.com - replacing a shorter, instrumental version of the song which streamed several days previously. In a subsequent interview with the Los Angeles Times, Prince announced his intention to release three separate albums in 2009: LotusFlow3r , MPLSound , and an album, credited to the new protege, Bria Valente , called Elixer .
On 3 January 2009, a new website ( http://www.lotusflow3r.com ) was launched, streaming some of the recently-aired material ( Crimson And Clover , (There'll Never B) Another Like Me and Here Eye Come ) and promising opportunities to listen to and buy music by Prince and guests, watch videos and buy concert tickets for future events. Prince recently released 3 more songs on his new website: Chocolate Box , Colonized Mind , and All This Love .
On 31 January 2009, Prince launched more music on the Lotusflow3r website, releasing two new songs: Disco Jellyfish , and Another Boy by Bria Valente .
Prince set a new standard for his live performances on March 28th 2009, in Los Angeles, playing 3 concert within a single day at 3 different venues. He revised the idea later in the year with the "2 in 1" night formula, a concept he previewed in Montreux, on July 18th: two concerts the same night in the same venue. He refined it a month later on August 13th in Monaco, finding in Salle Garnier a venue of exception. After seeing a fashion show in Le Grand Palais, in Paris, Prince revamped "2 in 1" into "All Day, All Night" and performed two consecutive concerts on October 11th 2009.
Prince closed the decade with a one-off concert in his hometown, on October 24th, 2009.
The 10's
A newly written song, Purple And Gold , was made available to stream on www.vikings.com from 21 January 2010 as a "fight-song" to support the Minnesota Vikings (football team) in the NFL playoffs.
The following month, Prince let Minneapolis-area public radio station 89.3 The Current premiere his new song Cause And Effect as a gesture in support of independent radio.
In a poll by BBC 6 Music listeners in April 2010, Prince was ranked the eighth-best guitarist of the previous 30 years.
Prince released a new single on Minneapolis radio station 89.3 The Current called "Hot Summer" on June 7, his 52nd birthday. Also in June, Prince appeared on the cover of the July 2010 issue of Ebony and he received a "Lifetime Achievement Award" at the 2010 BET Awards .
Rejection of the Internet and touring
20TEN
Prince released his album 20TEN in July 2010 as a free covermount with publications in the UK, Belgium, Germany, and France. Prince has refused access to the album to digital download services. He also closed his official website, LotusFlow3r.com. In an interview with the Daily Mirror, Prince said: "The Internet's completely over. I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it... Anyway, all these computers and digital gadgets are no good. They just fill your head with numbers and that can't be good for you."
On July 4, 2010 Prince began his 20TEN Tour , a summer concert tour in Europe. The second leg, named Prince Live 2010 began on October 15 and ended with a concert following the Abu Dhabi Grand Prix on November 14. Prince Live 2010 feature a new NPG line-up including John Blackwell on drums to replace Cora Coleman-Dunham , Ida Kristine Nielsen on bass instead of Josh Dunham , and Sheila E. on percussion.
Welcome 2 America Tour
On 8 October 2010 , french radio station Europe 1 debut the clip of a new song, Rich Friends , from 20TEN Deluxe (thought to be a deluxe edition of 20TEN that never materialized). The track, a previously-unreleased song, was streamed in full (with three station IDs overdubbed onto the track) on KTU.com (the website of New York, NY, USA, radio station 103.5 KTU), beginning on 14 October 2010 .
A live recording of Stratus , a cover version of the 1973 Billy Cobham track, was streamed on Drfunkenberry.com , beginning on 2 November 2010 . The recording, taken from 22 October 2010, MCH MultiArena / Jyske Bank Boxen, Herning, Denmark , is the first available recording to feature new bass guitarist Ida Nielsen .
Prince was inducted in the Grammy Hall of Fame on December 7, 2010.
On 13 December 2010 , KTU.com released an audio podcast of Prince's appearance the same day on New York, NY, USA, radio station 103.5 KTU, giving a brief interview about the upcoming Welcome 2 America Tour , due to start 2 days after, on December 15, 2010. This is believed to be the first authorized podcast of a Prince interview.
Prince took the opportunity of the Welcome 2 America Tour to preview new songs: Black Muse , sung by Shelby J. , Liv Warfield & Elisa Dease while Prince was offstage, was played during the first Welcome 2 America Tour show, 15 December 2010 ., Welcome 2 America was premiered on 18 December 2010 , and lyrics from the track have been included a few times in performances of Dreamer since then. The lyrics of Gingerbread Man have been sung over the backing music of The Question Of U / The One a few times, beginning 29 December 2010 .
On February 12, 2011, Prince presented Barbra Streisand with an award and donated $1.5 million to charities. On the same day, it was reported that he was unimpressed about Glee covering his hit " Kiss ", and that he had not authorized this.
Welcome 2 America Euro 2011 Tour
On May 18, 2011, it was announced that Prince would be headlining Hop Farm Festival on July 3, 2011, marking his first UK show since 2007 and his first ever UK festival appearance.
Like he did during the Welcome 2 America Tour , Prince previewed new songs during the Welcome 2 America Euro 2011 Tour : We Live (2 Get Funky) , was performed on the French TV show Le Grand Journal , broadcast live on TV and online (although the song was first played live three days earlier, 24 June 2011 ) and he sang lyrics to a new song, Only Heaven Knows (over the music of Thank You For Talkin' To Me Africa on 30 June 2011 at Stade de France, Saint-Denis, France.
Also played were: a previously-unknown song by new bandmember Andy Allo , People Pleaser , which contains writing input by Prince, a song tentatively known as When She Comes , performed at the one-off show on 11 May 2011 and another song tentatively titled U Will B was played on 5 May 2011 .
Later in the summer, Zürcher Oberländer reported that Prince recorded at Powerplay Studios, Maur, Switzerland, from 20 - 31 August 2011 .
Welcome 2 Canada Tour
Despite having previously rejected the internet for music distribution, On 23 November 2011 a single of Extraloveable , containing a 2011 re-recording of the previously-unreleased 1982 track Extraloveable , was released on iTunes Canada. The song features a rap by Andy Allo , and was presented as a Canadian exclusive to celebrate the tour to come, but it was also available in Europe and in Australia from the 24th onwards. It was also made available on Spotify . The digital single was released in the USA a few days after on 29 November 2011 .
Swiss record label Purple Music released a new version of the 2009 single Dance 4 Me on 9 December 2011 , containing newly-created remixes of the track. The single was available under Vinyl , Vinyl Picture Disc and CD formats.
On 23 February 2012 Swiss record label Purple Music released 2nite , a Bria Valente single, containing newly-created remixes of the track written and produced by Prince (originally from her 2009 album Elixer ).
Superconductor
On 8 March 2012 , a 1:09 clip of the studio version of People Pleaser by Andy Allo (executive produced by, and likely featuring Prince) was streamed on drfunkenberry.com to accompany an announcement about the album Superconductor .
Superconductor, released on 20 November 2012, includes six songs written by Andy Allo, and three songs co-written by Prince: Superconductor , The Calm and Long Gone .
Prince was also the album's executive producer, along with Trombone Shorty (marking his first appearance on a Prince -related album), Maceo Parker and the Hornheadz (making their first appearance on a Prince -related album since 2001's The Rainbow Children ) and members of the New Power Generation .
Both tracks served as promotion for the Welcome 2 Australia Tour which started on 11 May 2012 in Sydney.
On 30 May 2012 , TripleM.com.au released an audio podcast of Prince's telephone interview the same day on Melbourne, Australia, radio station 105.1 Triple M, giving a brief interview about the Welcome 2 Australia Tour on the day of its final show during an in-studio interview with tour dancer Damaris Lewis .
Welcome 2 Chicago Residency
On 12 June 2012 , a 19:00 rehearsal version of Days Of Wild containing interpolations of Wild And Loose , Ain't Nobody and America by Prince and the New Power Generation was streamed on various NPG members social media pages.
On 31 August 2012 , a residency at Chicago's United Center was announced for September. Falling somewhat short of a residency, only three shows came to fruition.
3rdEyeGirl
On 22 November 2012 , swiss label Purple Music released a new Prince single, Rock And Roll Love Affair . Available on Vinyl, CD and Digital formats, the single include the original version of the song, a radio mix and 4 Jamie Lewis remixes. The single, which featured Andy Allo had been on rotation on European radios since 12 October 2012.
During the remainder of 2012, Prince assembled a new band 3rdEyeGirl . A YouTube account was created on 31 December 2012 to launch the first band video, a December 2012 rehearsal of Bambi , introducing Hannah Ford and Donna Grantis .
In January 2013, unreleased material such as an extended version of Laydown and a remix of Rock And Roll Love Affair , were streamed via the YouTube account, soon promoted by a newly created [ 3rdEyeGirl twitter Account ]. New songs were also posted: Same Page Different Book and a live excerpt of Chapter & Verse .
Soon after a three night residency was organized in Minneapolis at Dakota Jazz Club & Restaurant where Prince introduced three band line-ups:
A rock-oriented band, 3rdEyeGirl featuring himself (guitar), Hannah Ford (drums), Ida Nielsen (bass) and Donna Grantis (guitar).
On 25 January 2013 Andy Allo unveiled a 6:22 acoustic version of a new song, U Will B on her Facebook page . This is to date the last Prince collaboration stream she posted on the internet.
On 4 February 2013 European record label Purple Music released Prince's single Screwdriver in digital format.
The next day, Prince new merchant website 3rdEyeGirl.com released an unreleased remix of Screwdriver and a new song, Breakfast Can Wait , in digital format.
On 10 February 2013 a new website, prince2013.com was launched, and released a Screwdriver|video for the song Screwdriver ; the video was available in .mov and .mp4 formats. It was also made available on 3rdEyeGirl.com . 5 days later, the video was deleted from both websites, and replaced it by an edited version, available in .mov and .mp4 formats for the same price.
On 15 February 2013 3rdEyeGirl.com released Boyfriend , a new song. Three days later the website again released a new song: That Girl Thang , an acoustic guitar number.
On 22 February 2013 3rdEyeGirl.com released Live Out Loud , the first song featuring 3rdEyeGirl lead vocals by Hannah Ford , Donna Grantis and Ida Nielsen ; Live Out Loud|a music video for the song was then released on 2 March 2013 .
On 13 March 2013 a 2:32 video entitled Plectrumelectrum : an extremely short film by Madison Dubé (shot in Paisley Park) was streamed on her Vimeo account and promoted by 3rdEyeGirl Twitter account . The track performed a rearranged version of " Elektra (Elektra Suite) ", a number composed by Donna Grantis that she had formerly released in 2012 on her album: "Suites".
On 3 April 2013 a 4:37 'audio video' instrumental rehearsal medley of Boom followed by Stratus (dubbed BOOMSTRATUS) was streamed on Madison Dubé's Vimeo account , with revolving photographs of the 3rdEyeGirl band as background images behind the track. It was removed within minutes, as Madison Dubé stated it was a work-in-progress. The same instrumental version was put back on line a few hours later.
Live Out Loud Tour
The tour consisted of 18 dates in selected cities on the West Coast of America, with an additional stop in Vancouver as tour opener, and a last concert organized in Minneapolis, Myth Live . Most dates featured two concerts. The tour, meant to present 3rdEyeGirl to the public, was mostly promoted on the band an associates social media accounts (Twitter, Facebook, YouTube).
After the tour, videos and new songs continued to regularly be streamed or released online.
Launched by Prince on 12 June 2013 via LiveStream.com , the new TV channel had broadcast for the first four days of its existence in a row, from 19 June 2013 to 23 June 2013 . Two new broadcasts were then aired on 26 June 2013 and 27 June 2013 . All these were from Paisley Park Studios .
On 30 June 2013 , part of a show was broadcast live from Chicago. After that the broadcasts continued with an irregular interval.
Broadcasts were usually not advertised until about one hour before show time. An announcement was often made on the channel's blog, reading for example "Tune in shortly for a surprise". Some Broadcasts were not advertised though, and went on air without notice. Members could subscribe to get a notification via e-mail or text when the TV broadcast went live. Duration of the broadcasts varied from three to 90 minutes.
Prince and 3rdEyeGirl used the TV broadcast to present a lot of new material, covers, unseen live footage and rehearsals:
Between mid-August to October 2013, live material was posted on 3rdEyeGirl social media channels instead of 3rdEye TV .
3rdEye TV ceased broadcast after episode #21, on 5 October 2013.
A Singles Market
For the remainder of 2013 and throughout 2014, Prince continued to release one-off singles or unreleased songs either on iTunes or on YouTube.
Breakfast Can Wait
On 24 October 2013 , a 5-track EP titled The Breakfast Experience was released on iTunes, containing different versions of Breakfast Can Wait , remixed by Joshua Welton . A video teaser for the EP was previously released on the 3rdEyeGirl YouTube account on 12 October 2013 .
Da Bourgeoisie
On 18 November 2013 , a download of a 'demo' later revealed to be titled Da Bourgeoisie was posted on 3rdEyeGirl Twitter account . The final version was made available on 3rdEyeTunes.com on 25 November 2013 .
The last days of 2013 were dedicated to a three nights residency at Mohegan Sun Arena in Uncasville, USA.
Pretzelbodylogic
On 28 January 2014 , a short audio sample of Pretzelbodylogic , a new song, was put on 3rdEyeGirl YouTube account . Pretzelbodylogic single was released on iTunes 3 days after.
February 2014 was dedicated to a hit and run club tour in London. Announced at last minute notice, most of the times less than twelve hours before showtime, tickets for the show were to be collected at venue ticket office, with a strict rule of one ticket per person and immediate venue entry.
The surprise gigs generated a lot of press in the United Kingdom, serving promotion for a 3rdEyeGirl forthcoming PlectrumElectrum album.
Fallinlove2nite
Prince appeared in New Girl , a special episode broadcast on FOX immediately after their Sports’ coverage of SUPER BOWL XLVIII on 2 February 2014 at 10:30-11:00 p.m. ET/7:30-8:00 p.m. PT and attracted an audience of 25.8 million viewers.
The episode featured a new track, credited to "Prince feat. Zooey Deschanel". The song was officially premiered on radio station 102.3 KJLH, based in Los Angeles, CA, USA, before being officially released on 17 March 2014 on iTunes.
Breakdown
Released as a digital single released 18 April 2014 as a stand-alone Prince single, Breakdown was made available on iTunes and Spotify several hours after a press release announcing a major deal between Prince and Warner Bros. Records.
Plectrumelectrum
The release of PlectrumElectrum on 30 September 2014 (29 September 2014 in Europe) marks both a return to work with Warner Bros. Records and the final act of the 3rdEyeGirl project as Prince will refocus later on his solo act.
The album reached number 1 on the Billboard Top Rock Albums chart, and 8 on The Billboard 200. It also entered the main charts in Europe, Australia and Japan, reaching top 10 positions in Austria, Denmark, France, Japan, Norway, Switzerland and the Netherlands.
Last Projects
Art Official Age
Prince releases Art Official Age , his 37th full-length studio album, four years after the previous album 20TEN , and on the same day Plectrumelectrum was released. Prince worked heavily with Joshua Welton on the album, and Welton received co-producer credit on it.
The album achieved better success that his 3rdEyeGirl counterpart: it reached number 1 on the Billboard Top R&B/Hip Hop Albums chart, number 1 on the Billboard R&B albums chart, and 5 on The Billboard 200. It also entered the main charts in Europe, Australia and Japan, reaching top 5 positions in Denmark, France, Japan, Norway, Switzerland and the Netherlands and top 10 positions in Austria, Ireland, Italy, Sweden and the United Kingdom.
Tidal
In May 2015, Prince returns to using an internet platform as a promotion and selling tool with a partnership with Tidal.
On 7 August 2015, Prince's new album Hitnrun Phase One was announced as a Tidal exclusive, and when the album was made available on Tidal on 7 September 2015, it was accompanied by a significant presence of exclusive material on the platform.
In addition to Hitnrun Phase One , several out-of-print albums were made available, including some NPG Music Club albums that had not previously been available in high definition: The Chocolate Invasion (with a slightly altered tracklist from its initial release in 2004), The Slaughterhouse , Xpectation and C-Note . Also available was The Truth , previously only available as part of the Crystal Ball set, as well as the majority of the rest of Prince's main album catalog.
A "Purple Pick of the Week" section was also created, with a significant presence on the main Tidal homepage.
Hit And Run Phase One
Formerly announced as a Tidal exclusive, Prince releases Hitnrun Phase One worldwide on 14 September 2015. The album, recorded solely by Prince and Joshua Welton , was very electronic oriented, exploring the sound produced on the track Art Official Cage on the previous album.
The album reached position 7 on the Billboard Top R&B/Hip-Hop Albums charts and 70 on the Billboard 200. It failed to reach top 10 positions in Europe, Australia and Japan.
Hit And Run Phase Two
Released on 12 December 2015 on Tidal, Hitnrun Phase Two is the counterpart of Phase One, focusing on a more traditional old school funk in Prince's canon. The album gathered new material as well as four singles that had already been released between 2011 and early 2015. It received a confidential release on CD, but wasn't distributed in retail stores throughout the world. It has been given away at concerts and other events and besides on Tidal is also available on iTunes with little to no promotion.
On 16 February 2016, Prince launched Prince: Piano & A Microphone tour in Australia, which he continued with selected dates in the USA and Canada in March and April
Mononeon
In the 1980s and early 1990s, Prince was thought to be romantically linked with many celebrities, including Madonna (although that proved to be false), Anna Fantastic , Carmen Electra , Sheena Easton , Susan Moonsie , Troy Beyer , Susanna_Hoffs , Kim Basinger and Nona Gaye .
Kim Basinger
Prince had an on and off relationship with high school girlfriend Susan Moonsie from about 1980 till 1985. There were a combination of reasons that led to the end of their relationship, she first attempted to end their relationship around 1983 when Prince was infatuated with fellow Vanity 6 bandmate, Denise Matthews , aka Vanity. Moonsie chose to stop her relationship with him and even became good friends with Vanity , although after the disintegration of that relationship, the two began seeing one another although never an official couple again. The relationship continued as such until 1984, as Prince got as close to a monogamous relationship with Susannah Melvoin ( Wendy 's twin sister) and resulted in a heated argument that served as the inspiration for "When Doves Cry".
During the Dirty Mind Tour in 1980, Prince met 18 year-old back-up singer, Jill Jones who was performing with Teena Marie as an opening act for his tour. Prince loved her voice, encouraged her to sing, and stayed in touch with Jones. She became a backup vocalist, and girlfriend, for Prince when he invited her to the Sunset Sound recording studios in 1982, to sing backing vocals for several tracks on the 1999 album and went on tour with him for the 1999 Tour .
In January 1982, he met then B-movie actress and nude model Denise Matthews at the American Music Awards ceremony. Prince re-named her Vanity , stating he saw his female reflection when he looked at her. However, the relationship was very tumultuous, as Denise Matthews was a very strong-willed woman where as Prince liked timid women. The fact that she wasn't his only girlfriend at the time led Vanity to drinking and drug abuse heavily and ultimately left the Prince camp just before shooting was to begin on the Purple Rain film.
| 1999 |
The two best selling singles in 1964 in the UK were by the recently deceased singer Jim Reeves. What were the titles? | Record-Breakers and Trivia - everyHit.com
>>> But what's the longest word in a lyric?
Word featuring in most titles
The word "The" features in more hit titles than any other word (2506). Runner-up, a long way behind is "You" (1489) (as of w/e 11th Oct 2003)
Word starting most titles
The word "I" starts more hit titles than any other word (644). Then it's "Love" (234), "Don't" (219) and "You" (214) (as of w/e 11th Oct 2003)
Least Different Letters Making Up An Artist - Title Combination
U2 - "One" (5 characters). This uses a number so it could be argued that the real record-holders are ABC - "SOS" and Moby - "Go" (both 6 letters). However, "Doop" by Doop has just 3 different letters! Least different letters for a non eponymous single is 4 for Abba - "SOS."
Palindromic Title by a Palindromic Artist
"SOS" by Abba is the only palindromic hit song by a palindromic artist.
The Vowel-Free Titles: The following are the only titles of four letters or more to be vowel free (excluding numeric titles like "1999"):
Crash Test Dummies - "Mmm Mmm Mmm Mmm"
Julian Cope - "Try Try Try"
Blackout - "Mr DJ"
Pop Will Eat Itself - "RSVP"
Fall Out Boy - "Thnks Fr Th Mmrs"
Alphabetically First and Last Words In Titles
Alphabetically, the first word to appear in any song title is, somewhat obviously, "A"; it has appeared in several hundred titles. More obscure though, alphabetically speaking, the last word to appear in any title is "Zululand" (in King Kurt's 1983 hit, "Destination Zululand").
Least Different Words Used For Multi-Worded Titles:
Excluding single-worded titles, Destiny's Child are the only act to have three Top 40 hits and use no more than three different words in them; "No No No" (no. 5, 1998), "Bills, Bills, Bills" (no. 6, 1999), and "Jumpin' Jumpin'" (no. 5, 2000)
Biggest Name-Droppers:
Two groups have managed to take six girls' names into the Top 40:
The Everly Brothers: "Wake Up Little Susie" (1957), "Claudette" (1958), "Take A Message To Mary" (1959), "Poor Jenny" (1959), "Cathy's Clown" (1960), and "Lucille" (1960).
The Bachelors: ""Charmaine" (1963), "Diane" (1964), "Ramona" (1964), "Marie" (1965), "Hello Dolly" (1966) and "Marta" (1967). Thanks to chart guru Jon Kutner who points out that the Bachelors have a seventh if we include "Walk With Faith In Your Heart"!
Lyrical Connections Between Successive Number 1s
A favourite question in pop quizzes goes something like this:
"Which is the only record to have been knocked off the no.1 spot by a record whose title can be found in the lyric of the first song?"
The 'classic' answer is "Bohemian Rhapsody" by Queen. It contains the famous "mamma mia, mamma mia, mamma mia let me go" line. In January 1976, it was replaced at the top of the chart by none other than Abba's "Mamma Mia".
But a more striking (and more bizarre) answer arises from 1959 when Emile Ford & The Checkmates' "What Do You Want To Make Those Eyes At Me For" unseated Adam Faith's "What Do You Want" from number one. It's particularly odd as, during the transition, the tracks tied for the top spot and shared the position for one week!
But there are other examples, albeit less dramatic (ie. one-word titles), of this phenomenon:
In 1958, The Kalin Twins made no. 1 with "When". It replaced The Everly Brothers at the top; both tracks on their double A-Side "All I Have To Do Is Dream" and "Claudette" contained the word "When."
Two years later Anthony Newley made no. 1 with "Why". It replaced Michael Holliday's "Starry Eyed" at no. 1; the opening line of that song is "Why am I so starry eyed?"
In 1988, The Pet Shop Boys made no. 1 with "Heart". It replaced Aswad's "Don't Turn Around" at no. 1 (which contains the lines "Don't worry about this heart of mine" and "Coz you're gonna see my heart breaking").
The most recent example was seen in 2000. Madonna made no. 1 with "Music". It replaced Spiller's "Groovejet (If This Ain't Love)" at no. 1 (which contains the line "While we are moving, the music is soothing").
There are two instances of the reverse of this phenomenon - a track being toppled from no.1 by another which contains its full title in the lyric:
In 1960, Anthony Newley's "Why" was topped from no.1 by Adam Faith's "Poor Me" which contained "Why oh why do voices say to me, sit and cry, that this was meant to be."
In 1975, Telly Savalas "If" was topped from no.1 by The Bay City Rollers "Bye Bye Baby" which opened with the line "If you hate me after what I say."
Here's a interesting sub-category; Lyrical Prophecy Of Topping The Chart
On 15th Nov 1980, Blondie's "The Tide Is High" reached number 1. It included the line, "I'm gonna be your number one." It was knocked off the top spot on 29th Nov by Abba's "Super Trouper" which includes the line "feeling like a number one."
Most Popular Title For A Top 40 Single
Songs entitled "Angel" and "Crazy" have each made the Top 40 in 12 completely different tracks (ie. different tune / lyrics; not different versions of the same song).
Runners-up are: "I Believe" (10) and "Stay" (9).
The full list is here .
First Self-Penned Number 1
Mantovani's "Cara Mia" (July 1954; the 20th no. 1); it was composed by Mantovani and Bunny Lewis (under pen names Tulio Trapani and Lee Lange respectively).
Not until the 43rd Number 1 was an act entirely responsible for writing its own chart-topper; The Dreamweavers' "It's Almost Tomorrow" (March 1956).
Over twenty-eight years later Steveie Wonder became the first artist ever to write, produce and entirely perform a Number 1 ("I Just Called To Say I Love You", Sep 1984).
Eponymous Number Ones
When Mr. Blobby went to number one with "Mr Blobby" in 1993 it was the first time in 41 years of chart history that an eponymously title song achieved this feat. However, less than four months "Doop" hit number one by a band called Doop!
Hits In Most Languages
German pop/dance trio Sash! are the only act to have hits in four different languages. In 1997/8 they made the Top 40 with "Encore Une Fois" (in French), "Ecuador" (in Spanish), "Stay" and others (in English) and "La Primavera" (in Italian). Furthermore, though Sash's 1999 hit "Colour The World" was ostensively sung in English, it contained African lyrics by Nigerian vocalist Dr Alban and Finish singer Inka!
Petula Clark is the only British act to have hits in three languages; "Casanova" in German, "Ya Ya Twist" and "Chariot" in French and a host of others in English.
One group has graced the charts with hits in three languages. Kraftwerk had success with "Autobahn" (in their native German), "Tour De France" (French), five other Top 40 titles in English and one bilingual ("Expo 2000" mixed German and English).
Most Expletives
The Super Furry Animals 1996 hit "The Man Don't Give A..." contained 49 expletives; a record for a Top 40 single. The most for a solo hit is 33 in Eamon's 2004 track "F**k It (I Don't Want You Back)." This single also holds the record for most expletives in a chart-topper. The 'award' for most profanities in a hit by a female artist goes to Frankee whose 2004 number 1 "F.U.R.B. (F U Right Back)" (an answer song to Eamon's) contained 22 swear words.
Biggest Hit By A Non-Human Artist
In terms of chart success, this coverted title goes to The Archies for "Sugar Sugar" which spent 8 weeks at number 1 in 1969 (and stayed in the Top 40 for 22 weeks).
Created for mass consumption by bubblegum-pop genius Don Kirshner (the man who gave us the Monkees), the Archies existed on television as an animated series based on the comic book characters of the same name. The voices behind the singing cartoon characters were vocalists Ron Dante, Toni Wine and Andy Kim.
The biggest-selling single by a non-human group is "Teletubbies Say Eh-Oh" by The Teletubbies (1997, 1.1 million copies).
The biggest-selling single by a non-human soloist(!) is "Can We Fix It?" by Bob The Builder (year 2000, 1.0 million).
The Weirdness Of Blur's "Song 2"
The track "Song 2" was track 2 on the album "Blur". It was single 2 to be released from the album. It reached number 2 in the chart - and was just 2 minutes long!
Position-dodging
The Eurythmics have had 9 top ten hits. No two songs have peaked at the same position. The only position they have failed to achieve is No. 7 (they also have one number 11 hit and one number 12 hit, too!)
Most Graceful Retreat From Number 1
In chart history, four singles haven fallen from the Number 1 spot by one position for four consecutive weeks (ie. No. 1 to No. 2 to 3, 4, 5). They are:
Dickie Valentine - "Finger Of Suspicion" (1954) [1-2-3-4-5-5-4-9-17]
Tommy Edwards - "It's All In The Game" (1958) [1-2-3-4-5-4-8-11-15-27]
Michael Jackson - "You Are Not Alone" (1995) [1-2-3-4-5-7-9-13-25-30-31]
Eminem - "The Real Slim Shady" (2000) [1-2-3-4-5-7-8-10-11-15-23-33-38]
The following singles managed to 'double' their fall from the top for four consecutive weeks:
Chicago - "If You Leave Me Now" (1976) [1-2-4-8-16-16-28-30-39]
Ian & The Blockheads - "Hit Me With Your Rhythm Stick" (1978) [1-2-4-8-16-21]
Abba - "The Winner Takes It All" (1980) [1-2-4-8-16-30]
Wet Wet Wet - "Love Is All Around" (1994) [1-2-4-8-16-21-35- 39]
The record for languishing at No. 2 on the way out (for 8 weeks!) goes to:
Johnnie Ray - "Such A Night" (1954) [1-2-2-2-2-2-2-2-2-3-7-7-9-10-12]
Most 'Impressive' Symmetrical Chart Careers For A Title
Ten records in history have experienced symmetrical chart careers of four weeks (none has a longer symmetrical career). Of these, only four climbed as far as the top 30. They are:
Gloria Estefan - "Get On Your Feet" (1989) [34-23-23-34]
The Beloved - "The Sun Rising" (1989) [37-26-26-37]
Re-Flex - "The Politics Of Dancing" (1984) [34-28-28-34]
Eric Clapton - "Wonderful Tonight (live)" (1991) [35-30-30-35]
Artist 'Lapping' Himself
During the time Bryan Adams hit "(Everything I Do) I Do It For You" was at number one, his follow up single, "Can't Stop This Thing We Started", not only entered the chart, but climbed to number 12, fell down the chart and disappeared from the chart altogether.
First Chart Has-Been
Jane Wyman was the first chart act to completely disappear from the chart, never to return. 12th Dec 1952 was her second and final week on the chart singing 'Zing A Little Zong' with Bing Crosby.
When Was The Last Time...?
... there were no entries in the Top 10:
In March 2006, a new chart rule enabled download sales to count towards a single's chart position the week prior to the title being available in a 'hard' form (eg. CD). As download sales represented a relatively low proportion of overall sales at the time, this led to the return of a phenomenon which had been in decline for many years; titles entering the charts below their peak position and climbing! In w/e 29th April 2006 there were no new entries inside the Top 10, the first time that this had happened for more than four years. This looks set to become a more regular occurrence as it was repeated on the weeks ending 13th May, 8th July, 19th Aug, 2nd Sep, 30th Sep, 2nd Dec 2006 as well as 27th Jan, 10th Feb, 24th Feb, 3rd Mar, 17th Mar, 7th Apr, 5th May, 2nd June, 30th June, 28th July, 22nd Sep, 13 Oct, 17 Nov, 8th Dec 2007, 12th Jan, 2nd Feb, 1st Mar, 8th Mar, 15th, 29th Mar, 26th April, 10th May, 1st Jun, 29 Nov 2008, 31st Jan, 28th Mar, 11th Apr, 16th May 2009. We're going to discontinue this listing soon if this trend continues as it's getting out of hand!
More impressively, on week ending 29th Nov, the highest new entry was at no. 29 (Christian Falk featuring Robyn - "Dream On", though Snow Patrol's "Run" re-entered one place higher). It is rare for the entire upper half of the Top 40 to be devoid of new entries. The previous instances were 26th Apr 2008 when the highest new entry was at no. 25 (Goldfrapp, "Happiness") and 10th Feb 2007, when Kasabian entered at no. 22 with "Me Plus One". Before that, we have to go back to 1994 to find a Top 20 free of debuting singles (outside of the Festive period of course).
The 19th Aug 2006 chart not only featured no new entries into the Top 10, but also no "download-to-physical" climbers, making it doubly unusual.
Moreover, on the week ending 21st Apr 2007, the entire top 10 was a rearrangement of the previous week's top 10 (i.e. no songs climbing into, entering, or falling out of the top 10). This also happened on w/e 16th May 2009.
Throughout the 80s and 90s the number of "high new entries" grew rapidly as record companies became more focussed in targeting chart sales periods for dramatic debut positions. It was then rare (away from Christmas / New Year) to find a Top 10 with no new entries.
The last occurrence of this prior to the aforementioned download rule was w/e 9th Feb 2002 (highest new entry that week; "Dance For Me" by Mary J Blige at number 13).
More than seven years before that, in June 1994, there was a very rare new-entry-free Top 20, "Move Your Body" by Anticapella being the highest debutant at number 21. (NB: this excludes charts inside the festive season when it is usual for the chart to be somewhat stagnant.)
... a single climbed back up to number one:
Occasionally tracks drop from the number one spot and then do a 'U'- turn. Latest to do this was Shakira featuring Wyclef Jean with "Hips Don't Lie." It had topped the chart for w/e 8th July 2006, then being displaced for a total of three weeks by Lily Allen's "Smile" (2 weeks) and McFly's "Don't Stop Me Now / Please Please" (1 week). On w/e 5th Aug 2006 Shakira and Wyclef Jean reclaimed the no. 1 position. Prior to this, Eric Prydz had returned to the top with "Call On Me" in Oct 2004.
... a single spent more than X weeks at number one::
The last single to spend 5 or more weeks at number one was: Duffy - "Mercy" (Feb - Mar 2008) [5 weeks at no. 1] The last single to spend 6 or more weeks at number one was: Leona Lewis - "Bleeding Love" (Nov - Dec 2007) [7 weeks at no. 1]
The last single to spend 8 or more weeks at number one was: Rihanna featuring Jay-Z - "Umbrella" (May - July 2007) [10 weeks at no. 1]
The last single to spend 11 or more weeks at number one was: Wet Wet Wet - "Love Is All Around" (June-Sep 1994) [15 weeks at no. 1]
The last single to spend 16 or more weeks at number one was: Bryan Adams - "(Everything I Do) I Do It For You" (July-Nov 1991) [16 weeks at no. 1 - most ever consecutively.]
The last single to spend 17 or more weeks at number one was: Frankie Laine - "I Believe" (Apr-Sep 1953) [18 weeks at no. 1 - though in three separate spells at the top.]
More information .
... the Top 5 were all New Entries:
The most recent occurrence of the entire top 5 consisting of New Entries was w/e 29th Jan 2005. The previous occasion was w/e 13th Nov 2004; the fact attracted considerable attention as all five of the incumbents were American artists (in descending order: Eminem, Destiny's Child, Britney Spears, Christina Aguilera featuring Missy Elliott, Usher) - a first. The first instance of all Top 5 singles being New Entries was w/e 31st Oct 1998 (Cher, George Michael, U2, Culture Club, Alanis Morissette).
On just two occasions (w/e 15th Apr 2000 and w/e 29th Jan 2005) the entire top 6 were debutantes.
... the Top 5 were all non-movers:
The week with most successive non-movers (excluding Christmas weeks) was in July 1955 when the whole Top 7 remained unchanged. Since then, only the whole of the Top 6 has ever remained static - on four occasions (9th July 1955, 8th April 1961, 30th May 1981 and 8th March 2008).
Top 7 : 9th July 1955
Top 6 : 8th March 2008
1
H Two O featuring Platnum
What's It Gonna Be
Cherry Pink And Apple Blossom White
4
Basshunter ft DJ Mental Theo
Now You're Gone
Where Will The Baby's Dimple Be?
Most New Entries In The Top 40
On w/e 17th May 1997, the Top 40 chart contained a record-breaking twenty new entries (of which only one was a climber from further down the chart). The week ending 5th March 2005 also introduced us to nineteen 'pure' new entries, this time with no climbers.
Most New Entries In The Top 10
There have been seventeen occasions in chart history when seven titles of the Top 10 have been New Entries to the Top 40. The first such occurrence was w/e 19th April 1997. The top 10 looked like this:
Top 10 : 19th April 1997
1
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Gatcombe Park is the home of which member of the royal family? | Home - Festival of British Eventing
Home
You are here: Home
A fun day for all the family
The Festival of British Eventing takes place at Gatcombe Park, the spectacular home of the Princess Royal and her family and incorporates the British Open, Intermediate and Novice Championships, as well as the Amateur Championship, The Corinthian Cup. As well as a weekend of top class eventing there will be a shopping village, and arena attractions with entertainment for all the family.
THE BOX OFFICE IS NOW OPEN
Monday 08 August 2016
Oliver Townend became the first British rider for five years to win The British Open Championship at The Festival of Eventing, presented by the British Equestrian Trade Association (BETA), with a brilliant piece of riding on the talented but quirky Cillnabradden Evo.
| Anne, Princess Royal |
In which city would you travel in a gondola? | Queen Elizabeth II family | Peter Phillips
Full Name: Peter Mark Andrew Phillips
Father: Mark Phillips
Mother: Princess Anne, Princess Royal
Relation to Elizabeth II: Grandson
Born: November 15, 1977 at St Mary's Hospital, Paddington, London
Current Age: 39 years, 2 months, and 5 days
Married: Autumn Kelly on May 17, 2008 at St. George's Chapel, Windsor
Children: Savannah Phillips, Isla Elizabeth Phillips
Peter Phillips was born on 15 November 1977 at St Mary�s hospital, Paddington in London. He is the eldest child of Princess Anne and her first husband Mark Phillips. He was educated at in Shaftesbury, Dorset, and then like other members of the Royal Family at Gordonstoun School in Scotland where he became head boy. He is a keen sportsman and played rugby for the Scottish Schools team. He went on to Exeter University and graduated with a degree in Sports Studies.
After his graduation he worked for Jaguar cars as a hospitality manager and then for Williams Formula One motor racing team as a sponsorship manager. Since September 2005 he has worked for the Royal Bank of Scotland.
Unlike his sister Zara, his private life has been rarely publicised. On 3 August 2007 his engagement was announced to Autumn Kelly a Canadian management consultant whom he met at the Montreal Canadian Grand Prix in 2003. She moved to the UK to be with Peter, and they shared a cottage on the Gatscombe estate in Gloucester.
Peter and Autumn were married at St Georges Chapel, Windsor, on 17 May 2008. He is the first of the Queen's grandchildren to marry. Autumn Kelly was a Roman Catholic so that under the 1701 Act of Settlement Peter would have had to give up his place in line of succession to the throne. However she renounced her Catholic faith and converted Church of England, so he remains 11th in line to the throne. The couple do not undertake any royal duties. He works for the Royal Bank of Scotland and they lived in Hong Kong from 2008 to 2010 before returning to England. Their daughter Savannah was born in Gloucestershire Royal Hospital on 29 December 2010, and is the first great-grandchild of Queen Elizabeth II. Savannah was baptised on Saturday, 23 April 2011, at Holy Cross Church in Avening, Gloucestershire, near the Princess Royal's home Gatcombe Park. On 29 March 2012 their second daughter Isla Elizabeth Phillips was born.
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What did the Pony Express carry? | History: Pony Express
Pony Express
History >> Westward Expansion
The Pony Express was a mail delivery service that ran between Missouri and California. Using the Pony Express, mail could arrive in California in as few as 9 days rather than the weeks it took to arrive when sent by horse carriage.
How did it work?
The Pony Express used a planned out route with a number of stations along the way. Riders would carry the mail from station to station, switching to fresh horses at each station. Every hundred or so miles the rider would be replaced. This allowed the mail to be constantly moving at a good speed.
The Route
The route used by the Pony Express went from St. Joseph, Missouri to Sacramento, California. There were 184 stations along the 1,900 mile route. It followed the Oregon Trail for a ways, and then used the Mormon Trail to Salt Lake City. The trail traveled over the Rocky Mountains, the Sierra Nevada Mountains, and finally to California.
Pony Express Route
from the National Park Service
The Riders
The riders of the Pony Express made $100 a month, which was pretty good money for the time. They worked hard, riding in bad weather, rough terrain, and in dangerous situations. In order to keep the weight down that the horses had to carry, the riders had to weigh less than 125 pounds. A lot of the riders were young, tough, skinny, teenagers who were willing to face the dangers of the ride for the excitement of the job and the money they could earn.
When did the Pony Express run?
The Pony Express was a business. Despite its place in American history, it didn't stay open very long. It opened on April 3, 1860 and closed on October 24, 1861. At the height of its business it had over 400 horses and around 180 riders.
Pony Express Poster
by Unknown
Why did it end?
The Pony Express was forced to close after the opening of the transcontinental telegraph. Telegraphs could be sent much faster and with less expense. In the end, the business venture that was the Pony Express lost a lot of money and became outdated fairly quickly.
Interesting Facts about the Pony Express
The first riders left from Sacramento and St. Joseph on April 3, 1860. They each arrived around 10 days later.
In the winter, the trip generally took around two days longer than in the summer.
The most famous of the Pony Express riders was Buffalo Bill who earned fame putting on Wild West shows.
The initial cost to send a ½ ounce letter was $5. That was a lot of money back in 1860. Prices were lowered to $1 for a ½ ounce letter by the end of the Pony Express.
Only one rider and one shipment of mail were lost during the running of the Pony Express.
Riders would travel 75 to 100 miles a day, switching horses every 10 to 12 miles.
The fastest delivery in the history of the Pony Express was seven days and seventeen hours. It was to deliver President Abraham Lincoln's inaugural address.
The Pony Express was started by William H. Russell, William B. Waddell, and Alexander Majors.
Activities
| Mail |
Finish this saying. 'A stitch in time saves'? | Pony Express
Blog
Pony Express
The Pony Express was a unique attempt to deliver mail to the American West. Although it only operated for 18 months (April 3, 1860 to November 18, 1861) and bit the dust, the express became a colorful fixture of Western history.
Seeking publicity and federal aid for an overland mail service, William H. Russell persuaded William B. Waddell and Alexander Majors to back his Central Overland California and Pikes Peak Express Company, better known as the Pony Express. The firm would carry mail and some small freight for the fledgling Wells Fargo Company between St. Joseph, Missouri , and Sacramento, California.* Senator William M. Gwin of California was the congressional backer of the Pony Express.
Russell handled promotion, Waddell was in charge of finances, and Majors was director of personnel. To draw public attention to the central route in hope of winning the $1 million government mail contract for their business, the partners intended to:
Prove that the central route followed by the Pony Express would be quicker than the longer southern route used by the Butterfield Overland Mail stagecoaches.
Disprove Postmaster General Aaron Brown's assertion that only a southern route into California was practicable for year-round transportation.
The layout and route
The express was a relay. Strong ponies, most averaging 10 miles an hour, cantered between 165 stations at intervals of 10 to 15 miles. Fresh riders and horses were poised at each station to pick up the mail and carry it on. Four hundred horses stocked the Pony Express route. Morgans, mustangs, pintos and thoroughbreds were frequently used.
The Pony Express first functioned weekly, then semiweekly, night and day, all four seasons, with 75 ponies participating both ways. Riders might cover 200 miles a day over 10 days. It took less than two weeks to cover the full distance. That was 12 to 14 days shorter than the time required by the Overland Mail.
The route of nearly 2,000 miles followed the fabled Oregon-California Trail, along the Platte River in Nebraska, and through South Pass in Wyoming. At Fort Bridger, Wyoming, the riders departed from the trail, proceeded south of the Great Salt Lake, then headed west across the desert to the Sierra Nevada mountains at Carson City, Nevada. The route saved more than 100 miles over the southern route.
The stretch between Fort Kearny in Nebraska and Fort Churchill in Nevada was once covered in a record six days. The riders on that occasion bore the news of Abraham Lincoln's election in November, 1860.
There were about 400 station keepers and helpers. The isolated employees maintained the facilities and took care of the horses.
The riders
A California newspaper advertised the following:
"Wanted. Young, skinny, wiry fellows. Not over 18. Must be expert riders. Willing to risk death daily. Orphans preferred."
The riders' ages ranged between a pre-teen boy and a man in his mid-40s. Most riders were in their early 20s. They typically weighed around 120 pounds. Few were orphans. The pay was $100 to $150 a month, handsome for the times.
As a rider neared a station, the keeper brought out a fresh horse, saddled and ready to travel. The rider alighted from his mount, grabbed the rainproof leather mail pouches, attached them to the saddle, and was back on the trail in about two minutes. Typically, each man rode 75 miles, but if a waiting rider could not carry the mail, the previous rider pressed on.
Riders usually packed just a pair of handguns and a blade to fend off assaults by Indians and robbers. One hundred eighty-three men are known to have ridden for the Pony Express.
The demise
The price per half ounce of mail was originally $5, but was later dropped to $1. The Pony Express boosted route town economies, particularly Salt Lake City , but Russell, Waddell, and Majors went bankrupt in 1862. Freight businessman Ben Holladay acquired the Central Overland California and Pikes Peak Express Company at a foreclosure sale in 1862.
Although the Pony Express served a need by providing mail service, it was rendered obsolete by the Western Union Telegraph Company and the advent of the transcontinental railroad .
The mail was lost only once in the 650,000 miles traveled by the Pony Express.
*Some of the mail would then be taken by river steamer to San Francisco .
- - - Books You May Like Include: ----
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Which company made a car called 'Silver Ghost'? | Scorcese to produce ‘Silver Ghost’ film | Top Gear
Scorcese to produce ‘Silver Ghost’ film
Scorcese to produce ‘Silver Ghost’ film
Phantom
Martin Scorcese has announced he is to work alongside Lord Richard Attenborough and Anthony Haas to produce a film called “Silver Ghost”. Now, quieten down at the back and listen.
Scorcese, long the auteur of brutal, bloody, guilt-ridden masterpieces (think Goodfellas, Raging Bull, Taxi Driver) will work alongside Lord Attenborough (Gandhi) in a film about the life of Lord John Douglas-Scott Montagu, Charles Rolls and Henry Royce. And this is where it gets interesting.
You see, Lord Montagu was an MP, and using his platform in Parliament in the early 1900s, campaigned tirelessly on behalf of motorists. He was the first member of the Road Board, helped bring about vehicle registration plates, and even launched a monthly magazine called The Car. Spiffing!
And, as if his stature needed elevating, his was the first car to ever enter the yard of the House of Commons; in 1899, Lord Montagu drove his newly-bought 12hp Daimler - the same car that King Edward VII would later have a ride in - into the yard. Eyewitness accounts suggest he was sideways, in a plume of tyre-smoke exercising full opposite lock. And puffing on a pipe*.
It gets deeper still. Though married, he had a secret love affair with a lady named Eleanor Thornton, and if that name rings a bell, you win an Official Top Gear Point For Interesting Trivia That Exists On An Internet: Eleanor was of course, the inspiration behind the ‘Spirit of Ecstasy’ mascot that sits on the bonnet of every single car made by his good friends Charles Rolls and Henry Royce, designed by his other good friend, Charles Sykes.
Related content
All-new Rolls-Royce ‘Wraith’ announced
Says Marty: “When I read the story of ‘Silver Ghost’, I was mesmerised. I immediately thought this is a picture that has to be made. I didn’t hesitate for a moment.”
Sir Ralph Robins, former chairman of Rolls-Royce plc, said: “It covers the thrilling and tragic events during which one of the greatest engineering names in the world was created.”
The screenplay has been written by Kiera Knightley’s mum, Sharman Macdonald, and although no actors have been linked to the film, Christian Bale is rumoured to be playing Lord Montagu. Just a rumour though, Internet, just a rumour…
We’re excited. Not least because we’re hoping for a full, blood-soaked automotive masterpiece in which Joe Pesci ruthlessly slays Rolls-Royce competitors, Robert De Niro threatens a mirror and Christian Bale - in full Batman garb - lays waste to early 20th century British countryside in a modified Roller. Throw in some drifting, some fire and explosions, and we’ve got a film on our hands.
*This is probably quite untrue.
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| Rolls-Royce |
In which country would you find the 'Sphinx'? | NYC Rolls-Royce Dawn | New Jersey Luxury Cars | Manhattan New York
Written by Manhattan Motorcars on
October 17, 2016
. Posted in In the news , New Car Models , Rolls-Royce
NYC Rolls-Royce Dawn | New Jersey Luxury Cars
If you know anything about Rolls-Royce , you know that all of their vehicles exude a sense of luxury, lavishness, and regality. It’s no surprise that the Robb Report named the all-new 2016 Rolls-Royce Dawn ‘Design of the Year’. The convertible was recognized mere weeks after its international launch in Cape Town, South Africa in the inaugural Robb Report Cars of the Year awards.
The glorious convertible runs on a 6.6-liter twin-turbocharged V12 engine. Dawn’s interior cabin is crafted with the finest leather and wood and can seat four more comfortably than you could ever imagine a convertible to be. The multi-fabric foldaway roof crafted with French seam can be raised and lowered within 22 seconds effortlessly with just the push of a button. Cruise through city streets or country roads with the top down and experience the ultimate ride: the technology and elegance within the Dawn, and the serenity, excitement, and relaxation of nature all around you. The roof was designed in such a way that when it is up, the 2016 Dawn is the world’s quietest convertible, ensuring that you and all of your passengers experience the ride of a lifetime every time you set foot in the car.
The exterior falls perfectly in line with the three previous Rolls-Royce models. All of the angles have been carefully considered so that whether the top is up or down, we see a sleek, aerodynamic vehicle. The classic front grille and wide track demand authority on the road while maintaining the utmost class and prestige.
Here at Manhattan Motorcars in New York, we know that once you’ve driven a luxury motor vehicle, there’s no turning back. Call one of our two locations to schedule a test drive today. We’re more than happy to show you our top of the line inventory and discuss our latest specials.
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Normally a game of table tennis is played up to how many points? | Game Point in Table Tennis
Tactics, Rules, News & much more
You Are Here: Home » Visitor submissions
Game Point in Table Tennis
by Robert
(Sacramento, California, USA)
Hi Martin,
A group of friends and I have recently started playing some casual table tennis and it seems we all remember different rules from our childhood.
This is a very friendly game in the neighborhood but with 15 participants we can't seem to agree on the very last aspect of the game which is game point.
Background:
We are playing what is probably considered the old fashioned way where you need 21 points for a win and the serve changes after every 5 serves.
We play the 7-0 skunk rule just for the sake of embarassing our friendly opponents.
As you can tell, we are not very serious but that doesn't mean we don't want to follow the generally accepted rules of the game.
What are the rules for game point?
In my childhood we always played where the person reached 20 points could not serve game point and service went to the losing opponent.
In other words, even if the game was 20-6 the person with 20 points would never get a game point serve unless the game went to deuce, at which there was a different set of rules.
I don't think that this is a true table tennis rule but instead just a way to give an advantage to the losing opponent to try and give them a chance to come back.
But, can you tell me if there is anything different about game point and who gets the serve?
Also, several of the people in our group take the game point service one step further and say that the losing opponent cannot lose a point on a bad serve (example: hitting into the net or off the table) and they believe that the server must make a valid serve (bounces once on their side, clears the net without being a let, and bounces one time on the opponent side) to start the game point.
Is there any rule that says game point cannot be lost on a bad serve?
----- Martin's Reply -----
Robert,
Thanks for your question.
The rules are exactly the same for game point as they are for any other point.
Each player has two consecutive serves (five in the old 21up system), so if they happen to be serving at game point ... all the better for them!
However, if the score reaches 10-10 (20-20 in the old 21up system), each player has only one serve, and to win the game you need to be two clear points ahead.
The service rules are also exactly the same for game point as they are for any other point.
As soon as the server has deliberately thrown the ball upwards, the ball is "in play", so if the server does not make contact with the ball, or otherwise makes a foul serve, he loses the point.
See these two pages for more information...
| 21 |
In geometry, how many degrees are there in a circle? | Table Tennis Glossary/Terms
Rules
Anti-topspin - a rubber type that deactivates spin and speed, returning a "dead" ball
Backhand - a stroke done directly in front of the body, with the racket turned so that the back of the hand faces the opponent
Backspin - a type of spin where, if struck with a normal racket position, the ball would not make it over the net
Block - a defensive shot done mostly against loops and smashes, where the racket is in a closed position to keep the ball on the table
Chop - a defensive shot that carries a tremendous amount of backspin
Closed - a racket angle that allows the top of the ball to be struck
Dead ball - a ball returned without any spin. Very difficult to execute, read, and return
Doubles - a format in table tennis where two people play on each side and must alternate turns at striking the ball
Drive - an offensive shot used mostly as a setup or in rallies, where the racket is in a normal position and the ball is struck at a medium pace
Drop shot - a surprise shot where the ball is placed precisely near the net
Expedite rule - after a time limit (10 minutes) has expired during a single game, the receiver automatically wins the point if he/she returns the ball successfully 13 times in a row. This forces the server to change his rallying tactics.
Forehand - a stroke done to the right-front (for right-handers) of the body, with the racket in a normal position (palm of hand facing opponent)
International Table Tennis Federation - the international governing body for the sport of table tennis
Inverted - See pips-in
Let - a stoppage of play as a result of a serve hitting the net or interference from outside the playing court
Lob - a defensive shot used against high-speed balls, where the ball (usually with unpredictable spin) is returned very high in the air, causing difficulty in timing and technique
Long pips - a rubber type whose surface consists of fairly long pimples. Produces unpredictable spin.
Loop - an offensive shot that carries a tremendous amount of topspin
Match - a competition format with the winner winning two of three or three of five games
Medium-long - a serve whose second bounce, given the opportunity, would bounce near the very end or just off the table. Difficult because the opponent cannot execute a good attacking stroke
Open - a racket angle that allows the bottom of the ball to be struck
Penhold - a grip where the racket is held exactly as it sounds, with the racket handle held straight up and down
Pips-in - a rubber type whose surface is smooth yet gripping. Produces much spin and in many cases better speed. Also known as inverted rubber
Pips-out - a rubber type whose surface consists of many tiny pimples. Produces much control and speed, but little spin
Push - a defensive shot used to successfully return backspin shots, where the racket is open to lift the backspin over the net
Receive - return of service, usually done tactically to set up an attack
Seemiller - Name of 5 time US champion Dan Seemiller. Also the name of a table tennis grip
Serve - the beginning of a point where one player strikes the ball after tossing it. Usually used tactically to set up a strong attack
Set - one game to 21 points in a match
Shakehands - a grip where the racket is held exactly as it sounds but with the middle, ring, and pinky fingers wrapped around the handle
Short - a serve that, given the opportunity, would bounce at least twice on the table. Difficult because the opponent cannot execute a good attacking stroke
Sidespin - a type of spin where, if struck with a normal racket position, the ball would travel either to the right or left without landing on the table
Skunk - an informal rule in table tennis that says that a player wins a game at a score of 7-0 or 11-1
Smash - an offensive, high-speed shot used against high balls, where the racket is in a normal position to generate the most speed possible. Also called a kill
Topspin - a type of spin where, if struck with a normal racket position, the ball would travel over the opposite side of the table without hitting the surface
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'Chim Chim Cheree' is a line from a song in which film? | Chim Chim Cher-ee | Disney Wiki | Fandom powered by Wikia
(On the) Chim chiminey chim chim
Cher-ee chim cher-oo!"
John Coltrane on the 1965 album The John Coltrane Quartet Plays
Duke Ellington released a complete Album with Mary Poppins songs, Duke Ellington Plays Mary Poppins.
The Howard Roberts Quartet covered this song in 1965.
The New Christy Minstrels on the 1965 album Chim Chim Cher-ee and Other Happy Songs
The Tinseltown Players on the some various albums including Chim Chim Charee & Other Kiddie Favorites
Alvin and the Chipmunks on the 1969 album The Chipmunks Go to the Movies
Louis Armstrong on Disney Songs The Satchmo Way album.
Rex Gildo, in German on 1965's Chim-Chim-Cheri
Mannheim Steamroller on the 1999 album, Mannheim Steamroller Meets the Mouse .
Joe Pernice (as "Chim Cheree") on the 2009 album It Feels So Good When I Stop
Esperanza Spalding on the 2010 album Everybody Wants To Be A Cat
Plastic Tree (in Japanese on the 2011 album V-Rock Disney
Turin Brakes as a 2011 single, with all UK proceeds going to Shelter (charity).
On 2013 album Disney - Koe no Oujisama Vol.3, which features various seiyus covering Disney songs, the song was covered by Takuma Terashima
This page uses content from the English Wikipedia . The article or pieces of the original article was at Chim Chim Cher-ee . The list of authors can be seen in the page history . As with Disney Wiki, the text of Wikipedia is available under the GNU Free Documentation License.
| Mary Poppins |
If you were speaking French, how would you say thank you? | MARY POPPINS - CHIM CHIM CHER-EE LYRICS
Chim Chim Cher-Ee Lyrics
A sweep is as lucky
As lucky can be
Good luck will rub off when
I shakes hands with you
Or blow me a kiss
And that's lucky too
Now as the ladder of life
Has been strung
You may think a sweep's
On the bottommost rung
Though I spends me time
In the ashes and smoke
In this 'ole wide world
There's no happier bloke
A sweep is as lucky
As lucky can be
Good luck will rub off when
I shakes hands with you
Chim, chimney
A sweep is as lucky
As lucky can be
Good luck will rub off when
I shakes hands with you
I choose me bristles
With pride, yes, I do
A broom for the shaft
And a brush for the flute
Up where the smoke
Is all billered and curled
'Tween pavement and stars
Is the chimney sweep world
When there's hardly no day
Nor hardly no night
There's things half in shadow
And halfway in light
On the rooftops of London
Coo, what a sight
When you're with a sweep
You're in glad company
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<table class="songlyrics" style="width: 100%; table-layout: fixed;"><col width="40" /><col /><tbody><tr><th colspan="2">Mary Poppins - Miscellaneous Album Lyrics</th></tr><tr><td class="sl-td-left">1.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/feed-the-birds-tuppence-a-bag-lyrics/" title="Feed The Birds (Tuppence A Bag) Lyrics Mary Poppins">Feed The Birds (Tuppence A Bag)</a></td></tr><tr><td class="sl-td-left">2.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/i-love-to-laugh-lyrics/" title="I Love To Laugh Lyrics Mary Poppins">I Love To Laugh</a></td></tr><tr><td class="sl-td-left">3.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/fidelity-fiduciary-bank-lyrics/" title="Fidelity Fiduciary Bank Lyrics Mary Poppins">Fidelity Fiduciary Bank</a></td></tr><tr><td class="sl-td-left">4.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/a-spoonful-of-sugar-lyrics/" title="A Spoonful Of Sugar Lyrics Mary Poppins">A Spoonful Of Sugar</a></td></tr><tr><td class="sl-td-left">5.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/chim-chim-cher-ee-lyrics/" title="Chim Chim Cher-Ee Lyrics Mary Poppins">Chim Chim Cher-Ee</a></td></tr><tr><td class="sl-td-left">6.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/stay-awake-lyrics/" title="Stay Awake Lyrics Mary Poppins">Stay Awake</a></td></tr><tr><td class="sl-td-left">7.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/the-perfect-nanny-lyrics/" title="The Perfect Nanny Lyrics Mary Poppins">The Perfect Nanny</a></td></tr><tr><td class="sl-td-left">8.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/step-in-time-lyrics/" title="Step In Time Lyrics Mary Poppins">Step In Time</a></td></tr><tr><td class="sl-td-left">9.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/pavement-artist-chim-chim-cher-ee-lyrics/" title="Pavement Artist (Chim Chim Cher-Ee) Lyrics Mary Poppins">Pavement Artist (Chim Chim Cher-Ee)</a></td></tr><tr><td class="sl-td-left">10.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/a-british-bank-the-life-i-lead-lyrics/" title="A British Bank (The Life I Lead) Lyrics Mary Poppins">A British Bank (The Life I Lead)</a></td></tr><tr><td class="sl-td-left">11.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/jolly-holiday-lyrics/" title="Jolly Holiday Lyrics Mary Poppins">Jolly Holiday</a></td></tr><tr><td class="sl-td-left">12.</td><td class="sl-td-right"><a href="http://www.songlyrics.com/mary-poppins/let-s-go-fly-a-kite-lyrics/" title="Let's Go Fly A Kite Lyrics Mary Poppins">Let's Go Fly A Kite</a></td></tr></tbody></table><p class="sl-credit"><a href="http://www.songlyrics.com/mary-poppins-lyrics/" title="Mary Poppins Lyrics">Mary Poppins Lyrics</a> provided by <a href="/" title="Lyrics">SongLyrics.com</a></p>
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In what year did 'Austin' launch the Mini? | Mini Austin Morris Cooper history : AROnline
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The cars : Mini development history, part 1
It changed the way we looked at small cars almost overnight, and sent the designers scurrying back to the drawing boards – the Mini was little short of a major revolution.
We take a look at the development and subsequent life story of Britain’s favourite small car…
Words: Keith Adams, Ian Nicholls
Development and early production
THE Mini is the car that, more than any other, has changed the face of motoring forever. One cannot imagine a cityscape without a Mini being present, but more significantly, it is impossible to look at a small car today without seeing very real evidence of the influence the Mini has had on it. Back in 1990, a panel of 100 industry experts and commentators voted it the most significant car of the century for Autocar magazine in the UK. This sentiment was reflected by the readership of the magazine who, when polled, also named it the most important car of the century, voting it ahead of such cars as the VW Beetle, Ford Model T and Citroën DS.
But what was the reasoning for such a car to be produced, and by the terribly conservative BMC, of all companies?
Response to a crisis
In a word, the Mini was conceived in response to a crisis: it was created from the situation that erupted in the Middle East in less enlightened times, when the Arabs discovered that they could hold the world to ransom using their control of the majority the world’s oil supplies. The situation blew up in September 1956 when Colonel Nasser decided to nationalise the Suez Canal, which the British did not appreciate one bit. The British and French tried to stop him, the Americans pulled the rug from beneath them and the Arabs decided to close their oil pipeline across the Mediterranean. In the ensuing war, the Arabs blew up the Syrian pipeline that provided 20% of Britain’s petrol supply. The upshot of this was that all oil supplies from the Middle East would need to be transported in giant oil tankers around the Cape of Good Hope in South Africa, as the Suez Canal was well and truly closed. This resulted in oil shortages and the renewed popularity of small cars in Europe.
Due to the Middle East crisis, petrol rationing returned to the UK in December 1956 and people began to clamour for more economical means of travel. The sales of 900-1000cc cars quadrupled in the period from 1956 to 1957, while car sales in the wider market slumped. German bubble cars began to appear on these shores, and although they may have been awful to drive, with questionable safety, they did achieve more than 40 miles per gallon, which was the most important statistic a car could boast in those petrol-starved times.
One of the earliest sketches for the Mini design as penned by Alec Issigonis. Note how the car changed remarkably little between concept and production.
The Suez crisis came at a turbulent time in BMC’s history, when the company was grappling with the very real problem of trying to reinvent itself. Alec Issigonis had been working on a front wheel drive Morris Minor replacement, with transverse engine and end-on gearbox, before he was seduced away from the newly-formed BMC in 1952 on the promise of developing a supercar for Alvis Motors. This did not work out for Issigonis, and a call from Leonard Lord at the end of 1955, inviting him back to BMC, could not have come at a better time. Newly back in the fold, Issigonis built a small team of engineers – most notably Jack Daniels , his old associate from the Minor days – and resumed his work for the company.
In a parallel response to Herbert Austin’s disgust at the proliferation of motorcycle/sidecar combinations on UK roads thirty-five years previously, Leonard Lord viewed the popularity of bubble cars with the same distaste. As Lord informed Issigonis in March 1957, “God damn these bloody awful bubble cars. We must drive them off the streets by designing a proper small car”. At this point the emphasis of BMC’s new car development programme was changed from replacing the Minor to producing something new and smaller: a car designated XC9003.
A talented team
One of the first ‘Orange Box’ prototypes from 1957. (Picture: Ian Nicholls)
Issigonis brought Chris Kingham over from Alvis to join Daniels, and these three men set about defining the Mini. Kingham and Daniels were both extremely gifted engineers who not only made many of Issigonis’ ideas happen, but also helped keep his feet on the ground, without tying him down. The entire team comprised these three, four draftsmen and a brace of student engineers. For project ADO15 (the car’s code name was changed when development was moved to the Austin HQ at Longbridge), there was absolutely no question of this being a high budget affair – and yet the demands that Lord placed on these men were extraordinary.
For Issigonis, the car to emulate and ultimately beat in terms of size and packaging was Dante Giacosa’s FIAT 600 (a modernised version of the famous Cinquecento), for this was a practical four-seater which was contained within a size envelope only slightly larger than that intended for the Mini. The packaging solution employed by FIAT was to place the in-line four-cylinder engine out beyond the back axle and the luggage up-front.
At the time, BMC was working on an advanced transverse rear-engined saloon in conjunction with ERA, and it is not inconceivable that this idea was mooted, but this package was not the line of thought that Issigonis wanted to pursue. He saw front wheel drive as the vehicle for his future cars, and the stringent disciplines involved in designing a small car had always fascinated and challenged him. ADO15 would be the first production car to make the point, because he had new ideas that he wished to put into metal.
John Cutler, one of the Mini design team, described how Issigonis arrived at the car’s packaging: ‘The designs originated from putting seats on the shopfloor. Then we got all sorts of people to sit on them – secretaries from the offices, 6ft manual workers – and we got them to indicate what space they needed in the car. We measured how much space would be needed to open a map, where a pocket would be needed to stow the map. It is a very ergonomic car.’
The three most important figures in the Mini’s development and subsequent success: (left to right) John Cooper, Alec Issigonis and Alex Moulton.
Pulling, not pushing
Issigonis had proved with his work on the original Minor replacement he was working on before his misadventure at Alvis that he could package an engine and gearbox into a space that occupied only two feet of the car’s entire length. He could achieve this by mounting the engine transversely, which would give massive benefits in terms of packaging efficiency, but it created the problem of how the engine and gearbox would be accommodated across the car’s width; as the Mini was intended to be a narrow car, the engine with the gearbox mounted end-on would be very difficult to fit between the wheels, whilst maintaining useful steering lock. One way of shortening the engine/gearbox package was to chop off two cylinders from the A-Series engine, creating an in-line, two-cylinder engine of roughly 500cc displacement. The end result was a gutless and rough engine, which was certainly not man enough for the job required.
Just when Issigonis decided to mount the gearbox beneath the engine as part of an in-sump arrangement has now escaped into the mists of time, but this arrangement was incorporated as part of the first Mini mock-up. Not only did it have the now-famous in-sump gearbox, but it also included special Dunlop-developed 10-inch wheels and tyres, Alex Moulton’s rubber suspension and the familiar Mini shape in almost the form in which it was launched, the styling being a scaled down version of the XC9000, a mid-sized Farina replacement that was in the early stages of development.
These three innovations were certainly the making of the Mini, and it is all the more remarkable to note that the conception of the car was such a rapid process: Work on X9003, the original code name for the ADO15 Mini began in March 1957 and by July 1957 the first prototype was running. Another one of the Mini’s design team was John Sheppard, who later described what it was like working for Alec Issigonis: ‘He knew what he wanted and he made sure he got it. He’d come round holding an ounce weight and say, “Have you saved that for me today?”. Weight was very critical. The Mini had to be 10ft long – no more, no less. He was very pedantic like that and very domineering. When it went into production, it was a quarter of an inch over 10ft long. That really annoyed him.’
John Cutler again: ‘The principle was to come up with the bare basics for a car, without ostentation, whilst maximising the space available, and making it as fuel efficient as possible. One of Issigonis’ peeves about American cars was the thickness of their doors. He used to say that you could build a whole car out of the metal they used for one door. He was very insistent that the Mini should have thinner, and therefore lighter, doors.’
Issigonis and his team were eventually able to make the Mini 100lb lighter than the existing Austin A35. The emphasis on weight saving probably helped to ensure the resulting car remained competitive in the fuel economy stakes for a long time to come and set a benchmark that proved difficult to beat, as later British Leyland engineers were to find out.
It was on 19 July 1957 that BMC chairman Leonard Lord and his deputy George Harriman first drove the prototype Mini around the Longbridge complex and the former told Alec Issigonis to ‘build the bloody thing.’ The long accepted version of events, The Mini Story by Laurence Pomeroy published in 1964, dated this event as July 1958. Documentary evidence has now emerged to reveal that the decision to push ahead with the ADO15 project was taken a whole year earlier. The first prototype was soon joined by a second car. The two cars, disguised with Austin A35 grilles, were known internally as the ‘Orange Boxes’ and were based at Cowley for these preliminary trials. The engineers from Morris Motors, Cowley, were headed by Charles Griffin, who would play a significant part in the Mini story and all the later front wheel drive cars that would spring from it.
At night they were thrashed around a well-used test route that Morris test drivers relied on for new car development, taking in a circuitous route through the Cotswolds. During the day, they were driven at the local disused airfield at Chalgrove, circulating around the badly maintained perimeter taxiway. In 500 hours, the cars covered 30,000 miles and this process highlighted weaknesses in the design at that stage. It was at motor show time in October 1957 that BMC’s joint managing director George Harriman teased journalists, telling them that the corporations market researchers had discovered that consumers did not want bubble cars, but a low priced, fully engineered car. He was quoted as saying, ‘Obviously if the corporation can produce such a car which will sell more cheaply, they will do so.’
Someone literally took a padsaw to a Mini to produce this, but it shows very eloquently just how efficiently packaged it really is. The passenger area accounted for an unprecedented 60% of the car’s length, a tribute to the intelligent design.
From the airing of the first prototype, to the car’s launch in August 1959, only a few major mechanical changes were made; a reduction in engine size from 948cc to 848cc was ordered as a direct result of the fact that early prototypes had been clocked at over 92mph, which was considered far too fast for the market the Mini was aimed at. The new capacity was arrived at by reducing the stroke from 73mm in the 948cc version to 68mm in the final 848cc incarnation.
Last minute changes
At this time, the engine was rotated through 180 degrees to face the bulkhead, so that the carburettor was now to the rear of the engine, instead of at the front, where it tended to ice up in cold conditions. According to John Cooper, the real reason why the engine was reversed, however, was that Mini prototypes kept destroying their synchromeshes after about 100 miles. Issigonis was reportedly very upset that this change was required because the car was faster in its original form. Why the engine was rotated, rather than Austin designing a more durable synchomesh can be put down to two factors: time and money – or more correctly, the lack of it. So, carburettor icing was cited as the reason for this reversal of the position of the engine, but the response of John Cooper to this suggestion was that it, ‘was a load of bull!’
Interestingly, the whole point of the re-orientation and the resultant introduction of the transfer gears was to allow for much smaller gears, which produced much less inertia, meaning that there would be less stress on the gearbox’s synchromesh. Testing had shown that even with this fundamental alteration, the Austin A35 synchromesh would not be up to the job, but because the development of the Porsche baulk ring Synchro would not be complete by the planned launch date, they went ahead with the A35 system, anyway!
Another myth perpetuated by Laurence Pomeroy was that the width of the car was increased by two inches, in order to improve accommodation for passengers and engine alike. In fact two inches was taken out of the rear track for purely aesthetic reasons. It was also found as a result of all that flogging round Chalgrove that the body shell around the suspension mounting points was breaking. This led to the suspension being changed so that the rubber units would be mounted on their own subframes, front and rear, in order to lessen stresses on the structure, at the expense of weight and cost.
Wheel size was an ongoing issue at the time and when the Mini finally appeared, few critics saw the significance of this new, smaller design of road wheel – most were convinced that they could not work. Issigonis had furthered the development of the small car by working with Dunlop to produce a road tyre of record-breaking diminutiveness, a process that he had begun with the Morris Minor. At that time, the Minor had the smallest tyres of any volume production car – when Giacosa had conceived the FIAT 500, for example, he had asked Pirelli to produce special tyres to fit on 15in wheel rims. The industry average at the time was a much larger 16 or 17in rim size.
The question of wheel size was very important because the smaller the wheel, the smaller the wheel arch, meaning less intrusion into the passenger compartment. At the start of the Mini project, Issigonis had approached Dunlop, as he had done with the Minor, to develop a new type of tyre that would sit on a wheel that was 4.20 x 10in – almost wheelbarrow dimensions – and Dunlop managed to develop a suitable tyre for the car. The tyres that finally appeared on the Mini were 5.20in in width, rather wider than the prototypes’ 4.80in tyres, and it was as a direct result of the car’s unexpectedly good performance that this change was made.
1959 Morris Mini-Minor: pure, unspoiled Mini. Along with the Austin Se7en, this car caused an absolute sensation when launched during August 1959. People took a long time to latch on to the fact that something so small could accommodate four fully-grown adults and their luggage.
As with all of the next two generations of the corporation’s cars, Alex Moulton was responsible for suspension system. In the Mini, he designed all-new rubber suspension units to replace the spring units that were employed in conventionally suspended cars. Moulton made great use of the variable rate properties provided by using rubber as a springing medium – the advantage being that in a small car, the weight difference between fully-laden and driver-only was proportionally greater than it would be in a larger, heavier car. These rubber cones were smaller than conventional spring/damper units, which meant that Moulton’s system also had significant packaging advantages.
By March 1958 the first two X9003 prototypes had amassed 50,000 miles apiece and the decision was taken to build ten pilot production cars, each differing in detail to the previous example as the design evolved. The ADO15 Mini proved to be a difficult design to productionise and this was a cause of friction between the production engineers and Alec Issigonis. Indeed as early as October 1958 development engineers were having trouble with water leaks and persuading Issigonis to modify his design was proving problematical.
When BMC managing director George Harriman was shown the first pre-production Mini he was not impressed with its bland, plain and austere appearance. He is alleged to have said to Issigonis: ‘What a bloody mess! We’ll never sell that. Spend another few quid on it Alec, and jazz it up a bit. Put some chrome plate on it or something.’
The pre-production Minis had a plain metal front panel with slots stamped in it for a grille, as seen in BMC’s original 1959 promotional film. Dick Burzi’s styling department duly obliged their superiors by adding a grille and other chrome embellishments to the Mini. The original metal grille was later used on the commercial variants of the car.
So, was 621 AOK the first Mini?
The exact chronology of Mini production has been distorted through the passage of time which has resulted in a series of half truths becoming the accepted story. For a long time it has been accepted that 621 AOK, now at the BMH Gaydon museum, was the first production Mini. The truth is as follows. The first production Mini with the chassis number 101 was an Austin Mini Seven built at Longbridge on 3 April 1959. 101 Has long since disappeared into the great scrapyard in the sky, but 102 built the same day amazingly survives. Registered 627 HUE, in 1965 this car was bought by Donald Healey and transformed into a convertible two seater, apparently with the blessing of Alec Issigonis. 627 HUE is now owned by a Japanese Mini collector. Both Minis 101 and 102/627 HUE were delivered to one Alec Issigonis. The initial Austin production was as follows. Austin chassis 103 also survives, registered KEG 77, it was exported to Japan in 1996.
Austin 101 and 102 built 3 April
Austin 103 and 104 built 4 May
Austin 105 built 5 May
It was on 8 May 1959 that Mini production began at Cowley when Morris chassis numbers 101,102, 103, 105, 106, 107, 108, 110, 111, 112 were all built. Bizarrely 104 and 109 were built a few days later. Morris Mini Minor chassis 101 was registered as 621 AOK. So why the confusion ? One can only assume that in February 1965, when the millionth Mini was produced in the aftermath of the second Monte Carlo rally win, that BMC’s PR machine simply made the understandable mistake of assuming Morris 101/621 AOK was the first car of all and it and Alec Issigonis posed outside Longbridge with a 1965 model for PR photographs that have appeared in the printed media ever since. In fact Morris 101/621 AOK was the sixth production Mini. By the time the error was realised it was too late to backtrack and Morris 101/621 AOK has now become the official first Mini.
However Jeff Ruggles of MINI magazine was told an alternative story. According to retired BMC engineer Peter Tothill, who was responsible for the design and supervision of the Mini production line at Cowley and performed rectification work on Mini prototypes, 621 AOK was the first production Mini. Peter Tothill’s story is that four employees – Bob Moore, Tony Monk, Bob Hollis and Peter Tothill himself – built 621 AOK over the weekend of Good Friday 27 March to Easter Monday 30 March 1959.
‘There is absolutely no doubt in my mind, because on the Wednesday of that week, Les Ford (chief planning engineer) said to me, “We want you to build the first ADO15 over the Easter weekend when there will be no-one in the factory, and I want you there.” I had recently got married and we had planned to go away for the weekend, so I had to tell my wife that the trip was off! The car was loaded onto a truck, sheeted up and delivered to Longbridge on the Tuesday, ready for the directors to view on the Wednesday. Tuesday was a holiday in Birmingham because they always worked on Good Friday.’
This version of the Mini story has it that 621 AOK was used as the reference for Longbridge foreman Albert Green to build the first Austin Minis. Peter Tothill reckoned it was impossible for Cowley to pilot build ten ADO15s in one day and that these cars were built in the preceding weeks with records commencing on 8 May 1959. Unfortunately no evidence has emerged to support his story.
By June, 100 cars a day were being built, in order to build up dealer stocks in preparation for the launch in August. In total, the gestation of this car from the instigation of the ADO15 project to its launch was two years and five months. This achievement was all the more remarkable when one considers that the Mini did not follow any other car’s design concepts and was a totally new idea that was implemented in a totally new way.
The first public admission that something new was on the way came on the 17 June 1959, when BMC chairman Sir Leonard Lord revealed some details of the forthcoming cars. He stated that these cars had been through extensive trials and had taken three years to develop. New buildings had been erected and new plant and equipment using the most up-to-date methods installed at a total cost of well over £10m. At the same time it was also revealed that the Austin A40 and Morris Minor would remain in production. The Daily Express newspaper quoted Sir Leonard directly as saying: ‘The most up-to-date methods in the world are being used in the production of the new models which will come out at the end of August.’
Those who think that industrial action was something that resulted as a consequence of the formation of British Leyland will be surprised to read that the situation in the UK car industry in 1959 was as bad as anything that occurred in the 1970s. 1959 Was a terrible year for strikes. The launch of the Mini was endangered by industrial action at the Morris Motors plant at Cowley, where on 15 July 1959, BMC dismissed Mr Frank Horsman, senior shop steward at the factory. Cowley was soon brought to a halt by strike action in a scenario similar to that of two decades later involving Derek Robinson and Longbridge, and it was August 13th before normal working resumed. With launch of the Mini only 13 days away, it was a close run thing.
1959: Mini is launched
Issigonis and the Mini at its launch in August 1959.
When the press first got their hands on BMC’s new car on the 18-19 August 1959 at Chobham in Surrey, they were not shy to praise it; the Mini’s unique personality, exceptional space efficiency, relatively good performance and tenacious front-wheel-drive handling meant that it was a sure fire hit with the critics. It swept aside the conservatism that was rife in the corporation and the perception of BMC in the public’s eye was changed indelibly.
In a sense the press were driving the personalised car of its designer. Because Issigonis didn’t wear a seatbelt or listen to the radio, they were not designed into the Mini, but as he was a chain smoker the car did have an ashtray. The seats were pushed as far forward as possible and set in an upright fashion resulting in the infamous ‘bus driver’ position so beloved of motoring writers and found on later Issigonis cars and even the Metro of 1980.
Launch day itself was the 26 August 1959. This was also the day that the car the Mini was replacing, the Austin A35, went out of production. Perhaps this was because launch day had been brought forward from the 2 September at the last minute. According to Derek Robinson, more of whom later, whereas the A35 had been produced at a track speed of 20 cars per hour at Longbridge, the Mini was produced at a rate of 30 cars per hour. Because BMC had separate dealerships for its component companies, there were two different variants of the ADO15 at launch, the Austin Se7en and the Morris Mini Minor.
At one stage during ADO15’s development, it was referred to as the Austin Newmarket, partly because it was aimed at a new market and because BMC had a track record of naming its cars after places: Oxford, Cambridge, Somerset and Westminster come to mind. The initial production target was 3000 vehicles a week, divided equally between the Longbridge and Cowley plants. The Fisher and Ludlow plant was already geared to produce 4000 bodies a week. Preliminary plans had been made for the cars to be constructed by the Innocenti firm in Milan. Some 2000 of the new cars had already been sent abroad and they were displayed in motor showrooms in nearly 100 countries.
And by the 1st September 1959, the first stoppage had occurred; the first of many in the cars lifetime. On 23 November 1959, BMC announced a £49m expansion plan and stated to shareholders that the planned output of 4000 Minis a week had already become insufficient. It was taking steps immediately to double this output to 8000 a week, and by the end of 1959, 19,749 Minis had been produced.
The word ‘mini’ is now an everyday part of the english vocabulary, but was it in regular use before the ADO15 arrived on the scene, and who came up with the name ‘Mini’ for the car? One assumes ‘Mini’ is a shortened version of either ‘minimum’ or ‘miniature’? Between 1948 and 1966, Bond built the three wheel Minicar with a motorcycle engine, so BMC were not the originators of the word ‘Mini’. According to Thirty Mini Years, the 1989 official Rover souvenir booklet to mark the car’s 30th birthday, it was none other than Lord Nuffield, BMC’s Honourary President who pushed for the adoption of the name ‘Mini’.
Lord Nuffield, who allegedly always referred to Issigonis as ‘that foreign chap’ was quoted as saying, ‘I have a hunch that “Mini” may well prove to be the catchword of the next decade.’
Of course the other issue with the Mini that must be addressed is whether it made or lost money for its maker. The price for the base model of the world’s most advanced family car was £496.95 – astonishingly low. According to some historians, Austin had based the pricing of its cars in the pre-BMC era by mirroring what Morris charged. Austin supremo Leonard Lord believed that William Morris was the master in cost control and simply assumed that Longbridge’s cars cost a similar amount to manufacture. With the formation of BMC, the corporation now looked at Ford for its pricing policy. It appears that BMC simply decided to sell its new baby at a similar price to the sit-up-and-beg Ford Popular, which ceased production in 1959.
In an interview with Jonathan Wood for his book Alec Issigonis: The Man Who Made The Mini, former BMC executive Geoffrey Rose stated: ‘George Harriman (BMC deputy chairman in 1959) would have decided the Mini’s price and one of the key figures in the decision was Harry Williams, a cost accountant… Both Len Lord and George Harriman thought to some extent “volume will deal with it”. It’s on the basis that you make cars all the week until Thursday afternoon and Friday is when all the overheads have been covered and you make the profit. Sad to say, it came down to the sheer arrogance of ‘we’re BMC, we know what we’re doing’. But Alec (Issigonis) would have been completely outside the pricing process. In some board meetings that I attended I used to have to help him through the balance sheet, through the figures.’
The launch of the Mini had upstaged Ford’s own debutante, the Anglia 105E, and both cars were aimed at the same market sector. The base Mini compared with the £589 – the Dagenham product costing a whopping £93 more. How could BMC do it undercut the Anglia so handsomely?
One of the criticisms of BMC by armchair pundits is that it had too many plants spread out over the country. The production of the Mini perfectly illustrates this. The A-Series engines came from Morris Engines at Courthouse Green, Coventry, the front wheel drive transmission came from both Longbridge and Drews Lane, also in Birmingham. The components for Cowley had to be transported from the Coventry and Birmingham areas all the way to Oxford. Body pressings came from the Fisher and Ludlow plant at Llanelli in Wales, one of many factories that the motor industry had been forced to build in areas of high unemployment by the MacMillan government, far away from the midlands. These pressing were then taken to two locations in Birmingham for assembly into bodyshells, the Fisher and Ludlow plant at Castle Bromwich and the West Works at Longbridge.
Minimalist interior: although this is a 1967 Morris Mini-Cooper ‘S’ MkII, it is still an extremely functional design. This Mini received a remote gearchange and more comprehensive instrumentation over the original. Note the sliding windows and huge door-bins – made obsolete a year later by the later wind-up- windows Minis (known as the ADO20).
In its first year of production, the Mini overtook the Morris Minor as the corporation’s bestseller, but it was not all plain sailing for the Issigonis box. The initial problem, as far as UK sales were concerned, was that the Mini was considered too clever and too small for the typical customer that Leonard Lord had designed the car for. Many buyers were from the “blue collar” end of the social spectrum and adjudged the Mini as not for them – how could a car so small have room for them and their families? This response reflects the age-old buyer’s attitude that size is equal to status, and many decided that for the same money they could buy the larger and simpler Ford 100E Popular or Austin A40. No matter that Ford’s runabout was no roomier, had far poorer road-holding and was slower – it was a known quantity to the man in the street.
The other setback for the Mini was that as a car with an accelerated development programme, its reliability was somewhat questionable, and there were some design flaws that became apparent very quickly. The most famous of these early teething troubles was what was known back then as the “great floating carpet epic”. If driven in the rain, the carpets would soon emit a musty odour, which coupled with the squelching sounds they made when one stood on them, meant only one thing: water ingress.
The editor of Motorsport magazine in the winter of 1959/60 wrote: ‘When driving the “World’s Most Exciting Car” I found it to live up to its reputation – part of the excitement being to see which foot got wet first!’ It didn’t help that Issigonis appeared to be in denial about the problem, despite getting his own feet wet on a test drive. The engineers grappled with this problem for some time before the cause was traced to the late addition of a reinforcing box sill to the outer edge of the body, through which water was trickling. What made this all the more painful for BMC was that the only solution to the problem was an expensive re-design of the floorpan. In total BMC had to repair some 8000 leaking Minis under warranty.
Mini landmarks
By December 1962, half a million Minis had been built
By 1965, that had doubled to one million…
…and in 1969, that had doubled again. The expressions on George Turnbull’s (left) and Alec Issigonis’
faces tell us all we need to know…
Lord Stokes celebrating the three millionth Mini off the line, 25th October 1972…
Sue Cuff was on hand to see off the four millionth Mini in 1976.
And in 1986, the five millionth Mini had been produced – Noel Edmonds saw it off the line.
Other problems included internal oil leaks that sprayed the clutch plate; a mis-specified synchromesh that resulted in crunchy gear changes; exposed plugs and distributor at the front of the engine, which had Minis spluttering to a halt in the rain – water again! Not to mention a floor mounted starter switch that would also get a soaking, with predictable results. So, the early customers were acting as unpaid development engineers for BMC, and it was lucky for the corporation that the Mini’s design was so intrinsically right that these early setbacks did not push the car under and result in BMC reverting to the production of stolid and uninspiring cars.
All these problems were eventually licked, but it did mean that sales were slower to pick up than Leonard Lord had first expected.
1960: expansion
In January 1960, the Mini Van was launched – and on the 18th of that month, 800 workers began a night shift at Cowley to boost production of the Mini. On the 16th September, BMC announced two new estate car versions of the Mini, the Morris Mini Traveller and the Austin Seven Countryman. Both these cars featured an external wooden frame, but unlike other BMC estates, these were for decoration and were not structural. The autumn of 1960 was blighted by a series of industrial disputes as BMC tried to ramp up Mini production. Then, due to a recession in the motor trade BMC were forced to put 23,500 men on short time working, but the Mini was unaffected as demand for the car increased. Weekly production at the time was 3000.
1960 Was the year the Mini really took off, some 116,677 leaving the factories and already selling better than the Austin A35 at its peak. The success of the ADO15 soon brought it to the attention of Ford UK’s senior product planner, a native of Walsall, Terry Beckett.
He later commented: ‘We were very frustrated from 1959 onwards with the advent of the Mini. This was in view of the fact that historically, since the mid-’30s and the Ford £100 car, we had pre-eminence in that sector of the market by offering the lowest priced car which we coupled with value for money service. I can remember in one month in 1960, the Mini achieved a 19% market penetration. That was just one model’.
One of the legends about the Mini is how Ford bought an example and took it apart down to the spot welds to see how BMC could sell it for such a low price. Although it has never been stated whether the car they took apart was the basic or De Luxe model. Terry Beckett recalled: ‘We then determined how much it would cost us to build it. On our cost analysis, which we thought was ahead of theirs, we really didn’t see how the car could be produced in this way to make a profit.’
According to Beckett, Ford calculated that BMC was losing £30 on every Mini it made. He added: ‘I could see ways in which we could take cost out of the Mini without in any way reducing its sales appeal… BMC could have priced it at £30 more, and not lost any sales at all. You can track the decline of BMC from that single product: it took up a huge amount of resources, it sterilised cash flow and it was a pretty disastrous venture’.
Strong words indeed, but Terry Beckett became one of British industry’s most outstanding executives, ultimately becoming the chairman of Ford of Britain, and head of the CBI. Beckett revealed that Ford of Britain did come under pressure from dealers, customers, fleet owners and above all the parent company in Detroit to respond to the Mini. ‘The great thing was that the Mini was a fine piece of innovative engineering and there we were with very conventional motor cars,’ Just to ensure that Ford UK had got their sums right, another Mini was taken to the Company’s product planning headquarters at Aveley in Essex and stripped down to the last nut and bolt.
‘…and we arrived at the same results we had achieved in the first place,’ commented Sir Terence Beckett.
Ford could now relax, they had proved that if they tackled the Mini head on in the marketplace, they could only do so by making a loss themselves. The major back-story of the car sales wars of the 1960s would be Beckett’s marketing brilliance versus Issigonis’ engineering genius. And in 1976 Ford overtook British Leyland as Britain’s favourite vendor of automobiles. One of Terence Beckett’s team was the late Alex Trotman, who rose even higher, heading Ford worldwide and gaining a peerage in the process. In a television interview, he recalled that the Mini cost around the same as the Anglia to manufacture – and Ford was making £50 profit car. In Ford’s opinion, the Mini cost around £539 to build, a similar figure to the list price of the De Luxe. By September, 1960 BMC was claiming that weekly Mini production had now reached 3300.
1961: race on Sunday, sell on Monday…
In January 1961 the Mini Pick Up arrived on the market. However the Mini’s immunity to the recession ended and production was now down to 2000 cars a week, although this was still higher than most British cars at the time. By February business had picked up and it was soon back to normal. BMC’s Australian subsidiary began producing Minis in March 1961, known locally as the Morris 850. The antipodean Mini was produced at BMC Australia’s Zetland plant in a suburb of Sydney. In BMC’s annual report for 1960-61, the company stated that Mini production had risen by 62% in the period, despite an overall drop in production for all vehicles of 10%.
The Riley Elf (along with its brother, the Wolseley Hornet) was the first of two attempts (the second, being the Clubman, pictured below) to extend the Mini concept by lengthening it: the structural modifications to the Mini were all aft of the B-pillar, where out back a saloon-type boot was added. One advantage of the Riley (and Wolseley) front-end treatment, was the full-depth radiator grille, which allowed for improved under-bonnet access when compared with the standard item.
Be that as it may, while the average man in the street remained largely ignorant of the Mini’s strong points, other people began to notice them – most notably John Cooper . Cooper was aware of the car’s basic strengths, as both his Formula One drivers, Jack Brabham and Bruce McLaren drove and raved about Minis, and Cooper himself knew all about the tuning potential of the A-Series engine following his experiences with it in his Formula Junior cars. Cooper made tentative approaches to Issigonis in 1960, selling the idea of a high performance variation of the Mini, but Sir Alec was still harbouring a dream that his Mini was a car for everyman and as such was not that keen on it being seen as a performance car. Such was Cooper’s persistence that he ended up going over his colleague Issigonis’ head and straight to George Harriman , explaining the advantages of his idea. After a brief meeting Harriman told John Cooper to go away and build the car, but as Cooper later recalled with one proviso: ‘Harriman said that we had to make 1000 – but we eventually made 150,000!’
The Mini-Cooper, launched on the 20th September 1961, eventually went on to become part of motoring folklore, amassing countless rally wins, particularly in the Monte Carlo, where the Cooper performed remarkable feats of giant killing. On the road, the Mini-Cooper was also a remarkable success, becoming the performance car for a generation; but considering the car was such a success, it seems all the more sad that the BMC-Cooper arrangement was never made official, and John Cooper only earned a £2 royalty payment (plus reasonably healthy retainer) for the use of his name on each one sold. However, on the back of the success of the Cooper models, and the countless celebrity endorsements, the rest of the range received a shot in the arm in terms of sales success.
Curiously the Mini-Cooper received a new internal project code, ADO50, while other versions of the ADO15 platform which had more substantial differences, such as the commercial variants remained ADO15s. For a fuller description of events, see the separate development story. 12 October 1961 saw the announcement of two more variations on the Mini theme, the Riley Elf and Wolseley Hornet. These were the posh Minis with Riley the slightly more upmarket.
According to LJK Setright they were designed, ‘…to appeal to those small minded snobs who found the idea of a Mini intriguing but the name of Austin or Morris offensive and the evidence of austerity.’ Jeff Daniels wrote, in 1980, harshly of the cars. ‘The Wolseley Hornet and Riley Elf are awful reminders of what happened when every BMC dealer and marque manager demanded his version of the Mini.’
The Elf/Hornet employed an extended boot and vertical fins. At the front they both had a vertical grille and wood trim in the interior as well as more chrome than the standard Mini’s. Of course when Jeff Daniels wrote his words, the Rover badge adorned the imposing five door Rover SD1 executive car and the Austin Metro was about to launched. He couldn’t have possibly imagined a Rover badged Metro…
Some journalists were just as harsh when the cars were current. Small Car magazine, soon to morph into CAR wrote: ‘We guess it’s no exaggeration to say that the first Issigonis Wolseley Hornet was among the ugliest, most uncomfortable and least desirable cars ever offered to the great British public. At any rate the one we tested in the winter of 1962 so disappointed us we couldn’t bring ourselves to write a word about it.’
Alec Issigonis seems to have distanced himself from these models and delegated development to the engineers working under him and BMC’s senior stylist, the Argentinean born Dick Burzi. The Elf/Hornets were shamelessly aimed at women drivers as a sort of miniaturized Jaguar or Rover and seemed to epitomise the kind of Britain that was fading away as the 1960s progressed. Also in the Autumn of 1961 BMC introduced stronger steel wheels on the Mini. This was in response the the racing fraternities experience of shattering wheels under extreme cornering.
On 7 November 1961, the first of many corporate changes occurred in the Mini’s lifespan when Sir Leonard Lord retired to be replaced as chairman of BMC by Sir George Harriman and on 13 November, Alec Issigonis was appointed BMC Technical Director. This was followed by the appointment of Charles Griffin as Chief Engineer, Cars. By now Alec Issigonis had divided BMC’s engineering staff into three cells. Cell A was responsible for the continuing development of the Mini, and was headed by Jack Daniels. Cell B worked on the project known as the ADO17 and was led by Chris Kingham. Cell C worked on the forthcoming ADO16, and was led by the aforementioned Charles Griffin. From 1962, the Austin Seven was renamed the Austin Mini. By now BMC was claiming that Mini production was running at 3800 per week.
1962
On the 15 August 1962, the ADO16 was announced as the Morris 1100, and later in every conceivable BMC guise. With a 1098cc A-Series engine, Pininfarina styling and Alex Moulton’s Hydrolastic suspension, the ADO16 was a more refined, larger, roomier supermini, before the term was coined. The ADO16 was an instant hit and would remain Britain’s best selling car for a decade. The ADO16 would form a partnership with the Mini that would span the globe and attain the zenith of the British motor industry. Unfortunately only 10% of parts were common to both vehicles.
On the 21st September, Ford’s impeccably-costed Cortina was launched. Even the steering wheel had been re-designed four times to bring it in under budget. Now the four cars that would define the 1960s in automotive terms, were all on the market, the Mini, the Jaguar E-type, the BMC 1100 and the Ford Cortina. A sign that perhaps the Mini was underpriced was printed by The Times on the 23 November: ‘British Motor Corporation’s Mini range has certainly proved a success so far as sales are concerned, but the competitive pricing has bitten deeply into profit margins.
‘Mr George Harriman now reveals in his statement that the £5m plus fall in profits to £11.5m was based on a turnover of £311m, almost exactly the same level as in the previous year. Last year 60% of the group’s total output was represented by products of under 1000cc. This compares with 57% for the previous year, and only 43% five years ago. Clearly this trend, plus the narrow margins, makes it essential to maintain turnover by expanding output. In the last trading period the output of Minis reached 182,864 units, of which the home market absorbed 125,877. Exports are; however, increasing steadily and in the last three months of the financial year were averaging 1308 a week.’
During the life of the Mk1 Mini, BMC did make an effort to reduce manufacturing costs, although, no pun intended, the savings were miniscule. It can’t have helped that there were allegedly 48 different makes of carpet for the car. Fortunately by now demand for the basic Mini had now dropped to 9% of production.
1963: the range expands across the globe
In October 1962 the Mini-Cooper was also launched in Australia, while back in the UK an all metal version of the Countryman and Traveller estates was launched which retailed at a lower price than the wood framed models. The winter of 1962/63 was cold and bitter, and outside Longbridge in the snow on the 7 January 1963, Alec Issigonis and Charles Griffin demonstrated the prototype twin engined Mini Moke to the media. Even Norman Wisdom, who was appearing in pantomime in Birmingham, was in attendance.
George Harriman told the Times: ‘This was originally conceived by Mr Issigonis and myself from the idea of an 0-8-0 locomotive, which has its wheels linked on either side. After producing some experimental versions we found that the traction of the two Mini engines balanced each other and that it was possible to run one in top gear and the other in bottom simultaneously.’
However it would be another year before the Moke went into production and the twin engined version proved to be a technical cul de sac. Also in January 1963 BMC announced Mk2 versions of the Riley Elf and Wolseley Hornet featuring a single carburettor 998cc engine, the first type of Mini to use what eventually became the mainstream unit.
On 2 April 1963, the Mini-Cooper 1071S was announced, followed by the news on April 19th that Alec Issigonis, the BMC Technical Director had been appointed to the main board. On 7 May it was revealed that weekly Mini production had reached 5500. On November 22nd 1963 BMC released a financial statement, with chairman George Harriman outlining a rosy future. Frederick Ellis of the Daily Express wrote: ‘And it is a case of the Mini-cars making a giant size impact on the market. For Mr Harriman also reveals that whereas in the previous year 60% of his sales were cars under 1000cc, last year the proportion rose to 73% of total output. The BMC chief makes the point that this makes the company more than ever dependent on a vast production in order to boost profits. With the profit on Minis far smaller than on the bigger cars, Mr Harriman says that a further lift in output is , “the vital need”.’
On 30 August 1963 the Guardian reported: ‘The BMC Austin Mini and Morris Mini-Minor are four years old today. A total of 662,337 Minis of all types have been produced, and 200,000 have been exported, 50% to Europe and 25% to Australia, where the Mini is second best selling car after the locally produced Holden. BMC is now producing 5750 cars of this type every week. There are 18 different models in four different marques, ranging from the basic saloons to the Wolseley Hornet and Riley Elf, from plain vans to estate cars.’
In its 25 November 1963 edition the Times reported, ‘BMC’s net profit on each Mini has been little more than £5, and their market outside Europe has been negligible.’
BMC had become dependent on volume to pay its way in the world and attaining the desired production would prove problematical. The Mini’s most successful year as far as UK sales was early on in the cars life span. 134,346 Were sold in Britain in 1963, followed by 123,429 in 1964. It never came close to matching these figures again.
1964
1964: Monte magic
On 23 January 1964, things really started to come together for the Mini when Paddy Hopkirk and Henry Liddon won the Monte Carlo Rally in Mini-Cooper 1071S 33 EJB. The returning car was given a heroes welcome by the media. One of the world’s premier motorsport events had been won by a low budget small car that looked like something a district nurse would drive, or so BMC’s PR men would have you believe. In reality the Cooper S Minis cost a bit more than the basic 850.
In the aftermath of the Monte Carlo win, Alec Issigonis said: ‘The amazing point is that I planned the ADO15 not as a competition car but as family transport. But I think that when exceptional drivers get hold of the car, they can exploit its steering, suspension and roadholding-all of which I felt were important for a family car.’ The motor sport success of the Mini created a whole go faster and accessories industry, ranging from the likes of Downton Engineering to back street bodgers as owners of even 850 cars craved more get up and go. The cars go-kart handling and low ride height made the driver feel like they were in a racing car, even if in reality there was a limitation to performance from the 848cc engine. Also in January 1964, production of the Mini Moke began, but it was not available in Britain until August of that year.
In February 1964, BMC announced it had built one million front wheel drive vehicles. BMC said that 1,002,129 had been produced, including 782,838 Austin and Morris Minis and 219,291 Morris, MG, and Austin 1100s. Of the total, 325,441 or 32.5%-were exported. BMC was producing 11,350 Issigonis-designed front-wheel-drive models a week, with demand still exceeding production and being further increased.
In March, BMC announced they would be launching two more Mini variants at the forthcoming Geneva Motor Show. They were the Cooper 970S and 1275S. Although the Mini developed the image as a peoples car, the purchaser needed to be in a different income bracket to afford the 1275S. In September 1964, the basic Morris Mini Minor cost £449, which didn’t get you a heater. The Morris Mini-Cooper 1275S cost £757, a whopping 68% more. By June, the US army was reported to be evaluating the Mini Moke, but the trials came to nothing. In September, BMC revealed details to the press about the new Hydrolastic Minis. Hydrolastic was to be fitted to the mainstream Minis to give that big car ride, or so BMC believed its potential customers thought.
The fitment of Hydrolastic suspension to the Mini was and is controversial. Did it improve the car, or was it a costly diversion? Certainly many BMC engineers felt it was not worth the effort on a car which had dubious profitability. Hydrolastic appeared to improve the ride of the Mini, but impaired the handling. Also BMC engineers allegedly altered Alex Moulton’s suspension settings. Production at BMC’s Cowley factory, which was dominated by the Mini and ADO16 was not going well. In the year to September 1964, 254 unofficial strikes which caused 750,000 lost man-hours occurred, which was not good news for a company now dependent on high volume production to make a profit.
In October 1964, BMC announced B-Series engined Austin 1800, codenamed ADO17 , intended to sell at a higher price than the 1100 and earn the corporation serious profits. This proved to be a step to far in expanding the Mini formula. Alec Issigonis’ ego, dogmatism and contempt for market research had produced a car that was both to big and expensive for its intended market slot and plans for producing 4000 a week had to be hastily revised downwards and the car never remotely approached the sales success of the Mini and ADO16.
To be fair to Issigonis, at the time the media felt he could do no wrong and most pundits felt the 1800 would be another triumph for BMC. Indeed, after the success of 1964 with both the Mini and 1100, Issigonis became seen as some sort of motoring guru by the media, the Albert Einstein of the auto industry, the man who could predict the future of the car. The ADO17, although incredibly spacious, exposed Issigonis’s flaws in expanding the Mini formula. Whereas the 1100 had evolved from the Mini in being more styled and input from Charles Griffin’s team at Cowley had resulted in improved interior ergonomics, the 1800 reverted to the basic Mini’s stark interior, complete with bus driver steering position and in a bigger car the switches were even harder to reach.
The ADO17 dispensed with subframes, but to compensate the body was over-engineered, suggesting some of the design discipline that had characterised the Mini’s development was lacking. Early cars were unreliable and consumers bought the Ford Cortina in droves instead, much to Terry Beckett’s delight. The upshot of all this was to strengthen Ford and weaken BMC and this was later to come to a head in 1967.
1965
In January 1965 the Mini-Cooper 1275S AJB 44B of Timo Makinen and Paul Easter won the Monte Carlo Rally. Alec Issigonis, speaking after the event said: ‘Racing, while valuable in spectacle and publicity, I am certain, does not improve the breed.’
He then added: ‘But rallying does, because it is so closely allied to road use. It forces development. It tends to exaggerate many mechanical features, to underline weaknesses. It is directly through rally experience that we have strengthened our gearboxes enormously.’ Had the Mini’s competition work directly influenced his designs? ‘I do not know. We used to think that if you had very good engine breathing it gave no low-speed torque. But this kind of rallying shows that you can have both. I would say the influence of rally work is quite subtle. But, given these conditions of ice and snow, we see the Mini could not be a more suitable engineering package, enabling us to take on the five- or seven-litre cars, which we cannot do on the race track. Even so, it was not designed as a competition car.’
On 3 February 1965, the millionth Mini was produced, which conveniently dovetailed with the second Monte Carlo win, enabled BMC’s publicity machine to exploit the situation. It had become a mini world, where small was beautiful. No one could possibly have imagined that a decade later the Mini’s manufacturer would be effectively bankrupt.
During May 1965, the UK production of the Mini attained its highest weekly production figure, when both Cowley and Longbridge produced 5000 cars. On 22 July, BMC announced it was taking over the Pressed Steel Company, the Oxford based car body manufacturer, for £34m. Then on August 6 BMC announced it would be producing some of its vehicles at a plant at Seneffe in southern Belgium. This enabled the company to circumvent tariffs on imported non-European Union vehicles. In October 1965, the Italian firm of Innocenti began to licence build its own version of the Mini, known as the Innocenti Mini Minor 850 at its factory in Milan. At 860,000 lire, the Innocenti Mini Minor 850 was quite a bit more expensive than the rival Fiat 850, but as the Milan firm was to be an extremely profitable operation, it is quite possible that unlike BMC, the Italians had thoroughly costed the price of Mini manufacture.
In October, BMC announced the automatic transmission Mini and 1100. The all-British system was designed by the Automotive Products Group and developed with BMC over the previous 18 months, the joint investment amounting to £3m. It was the first marriage of an automatic transmission to a transverse engine – achieved by putting it in the sump – and the world’s smallest automatic with a torque converter replacing the clutch. By then, UK Mini and 1100 production was recorded as running at 11,000 to 12,000 a week.
1965 Was a year of significant developments for the Australian Mini. In May 1965 the Mini Van was introduced down under and in June the Morris 850 was renamed the Morris Mini Minor, in line with the Cowley built cars. In September 1965 the 1275cc Cooper S joined the Antipodean range. The most interesting development was the introduction of wind-up windows to all Australian Minis; a luxury that European buyers would have to wait for.
1966: production changes
January 1966 arrived and the works Minis were disqualified from the Monte Carlo Rally for headlight infringements. Once again Timo Makinen and Paul Easter finished first on the road. BMC exploited the furore over the disqualification to its advantage. In February, Moke production began in Australia. There were more corporate changes in June 1966, when Joe Edwards, boss of the newly absorbed Pressed Steel Company, was appointed managing director of BMC; while Sir George Harriman remained chairman.
BMC had started to drift aimlessly with disappointing financial results; and it was Joe Edwards’ task to restore it to health. This was followed on 11 July 1966 by the merger of BMC and Sir William Lyons Jaguar group of companies to form British Motor Holdings (BMH). This was effectively a takeover of Jaguar by BMC, with Sir George Harriman remaining chairman. At about the same time, the newly re-elected Labour government imposed some deflationary measures on the economy, resulting in a slow down in the new car trade. By November 1966, BMC had announced plans to make 10,000 workers redundant, as part of Joe Edwards’ plan to reduce overmanning, and had put over 20,000 more on short-time working.
This sparked off protest strikes, but the most serious was a strike by delivery drivers, which resulted in BMC plants becoming overcrowded with new cars to such an extent that the company was forced to shut down all production. The media had a field day, publishing photographs of disused airfields overcrowded with cars that could not be delivered to dealers. Although the various disputes were resolved by December, the ramifications of what for BMC was an embarrassing period, was far reaching.
While BMC was losing face in public, and market share, it also announced another revision to the Mini range in October 1966. The Wolseley Hornet and Riley Elf went into Mk3 guise with wind-up windows and internal door hinges.
1967
Soon it was January 1967 and Monte Carlo Rally time. Rauno Aaltonen and Henry Liddon swept to victory in Cooper 1275S LBL 6D, and this time it was official. The Times quoted Alec Issigonis at the Geneva Motor Show in March saying of the Mini: ‘In a four-seater of that size there is no room for styling.’ However on the 13 April 1967, British Motor Holdings declared it had lost £7.5m in the six months to January 1967. This represented an adverse swing of £13m in pre-tax profit. Although there had been mitigating circumstances for this big loss – the problems of 1966 were a major factor – the government became convinced that BMH, or at least the BMC component, was going to hit the rocks. From then, on the Wilson government actively encouraged a merger between BMH and Sir Donald Stokes Leyland Motor Corporation.
The pundits in the media all had their say, denigrating BMC and exulting Ford and Vauxhall’s business methods. The business editor of the Observer newspaper, Anthony Bambridge, was one of them, although he did make an interesting point when he wrote: ‘Mini sales are slipping. In 1963 they held 15% of the home market. Last year this had slid to 10%, and is now under 7%.’
It appears the real reason for the Mini’s sales decline in the UK market was BMC’s inability to satisfy domestic demand and that a considerable portion of British production was earmarked for export regardless of home demand. The post-war Atlee Government’s exhortation to ‘export or die’ still had a powerful hold over manufacturing industry and the feeling that Britain had to earn its keep in the world still held sway. Back in 1963, the Mini had been just another small car, albeit an innovative one, with little appeal to overseas buyers, by 1967 it was a fashionable automotive sensation, and production had still not peaked.
Just to reinforce the seriousness that BMC regarded exports, in June 1967 it announced the appointment of the improbably named 48-year-old Filmer (Phil) Paradise, the extrovert cigar-smoking American who had headed Ford’s operation in Italy until a few months before. He became managing director BMC International Services, BMC Europe and BMC Switzerland and he was based at the corporation’s European headquarters at Lausanne. By September 1967 Paradise was extolling the Mini’s virtues to the press.
‘The Mini craze’, he told reporters at the Frankfurt motor show, ‘has brought much pleasure to a world that seems to enjoy expressing in a shorthand, diminutive way, and the Mini is a lot of automobile in a small package.’
While all this was going on BMC began, rather late in the day, to investigate a facelift, which went on to become the Mk2 Mini. The Motor Show of October 1967 brought the arrival of the Mk2 Austin and Morris Mini, as announced on the 17 October; and from there on, there was no Mini Minor nomenclature. The revised car featured a larger rear window, near rear light clusters, and a restyled grille, which was probably intended to give the Mini a family resemblance to the other Issigonis front wheel drive cars. In truth, the new grille was probably more time consuming to fit on the production line than the Mk1 moustache surround and grille. The Austin and Morris each had alternate grilles, although there does seem to have been more of an effort to commonise parts. The Mk2 models also offered the 998cc engine, previously found in the Elf/Hornet models. From now on the familiar Mini 850 and 1000 appeared in the BMC range.
But because the design of the facelifted model had not been started until March 1967, BMC’s component suppliers could not supply the new grille and tail lamps in adequate numbers – if at all. BMC ended up storing 22,000 incomplete cars, again this was reported in the media. There was also a shortage of the 998cc A-Series engine, which now that it was fitted to the mainstream Mini was expected to prove the most popular power unit. And these shortages were to endure for at least four months. This apparent mismanagement and administrative chaos further played into the hands of the Wilson government who saw the Leyland Motor Corporation as the saviours of the British owned motor industry.
On 19 October, BMC announced that Roy Haynes, Ford of Britain’s chief stylist who shaped the Mk2 Cortina and MkIV Zephyr/Zodiac, was to become BMC’s director of styling. Haynes was also trained as a product planner and was recruited as part of Joe Edwards’ plan to rejuvenate BMC. And the Mini would feature on Haynes list of things to do.
When Autocar got its hands on a MK2 Mini, KOV 247F, a Morris Mini 1000, it wrote: ‘We were expecting the new Mini to be announced with winding windows, like certain versions built in Australia. This must now be the only car without them, and they are sadly missed. It is also time such economies as cable release interior door handles were brought up to date; and some of the standards of fit and finish were disappointing. Carpets still do not lie snugly on the floor – a criticism we made in 1959.’
Overall the magazine felt the Mk2 was a ‘great improvement’, but while the press clamoured for wind-up windows, it was not something that BMC’s technical director was prepared to give them.
Sometime between 1965 and 1967, the concept that BMC was not making money on Mini began to seep into the minds of the company’s senior executives. Production engineer Peter Tothill, quoted in Jonathan Wood’s book, Alec Issigonis: The Man Who Made The Mini, recalled a meeting at Longbridge: ‘They’d come to realise the massive cost penalty being incurred by the Mini. A cost comparison was done between it, the (Austin) A40 and the (Morris) Minor and all the bits were laid out to see if any parts could be commonised. If, for instance, we used the same sun visor we’d save half a penny a visor. The trouble was the Mini was over-engineered, there was so much cost built into the car with, for example, a penalty of £20 to £25 on the sub frames and suspension. Because it worked at a ratio of 5:1 you’ve got forged arms instead of pressings and ball and roller bearings for the pivots.’
1968: the big year
As part of Joe Edwards rationalisation plan, production of the Mini ceased at Cowley in January 1968, thus eliminating the transportation costs from Morris engines and Castle Bromwich. From now on all UK production of the Mini would be at Longbridge. Following the formation of British Leyland Motor Corporation (BLMC), the BMC directors’ zones of responsibility were reshuffled – mainly because of Alec Issigonis’ decision to devote himself full-time to more creative and forward looking concepts of research and development. This was when Issigonis decided to design a new Mini, the project that became the 9X .
Tensions between BMH and Leyland executives resulted in Joe Edwards resigning from BLMC, leaving the old BMC effectively under Leyland’s control. The BLMC officially came into existence on the 14 May 1968 with Sir George Harriman as chairman and Sir Donald Stokes as chief executive. Harriman had in reality agreed to stand down after a few months, while Stokes temporarily took over running the former BMC. He drafted in Harry Webster, Triumph’s technical director, to take over the equivalent post at Longbridge, usurping Issigonis, who was sidelined into research and development.
While these corporate moves were taking place, while Issigonis was working away on the 9X, at his styling studio at Cowley, Roy Haynes and his team were beavering away on the Mk3 Mini and Clubman. On 30 May, a camera recorded for posterity a Mini Clubman hatchback. Sadly money for development projects was now hard to come by, and money, or lack of it would now dictate British Leyland’s small car policy.
On 17 September, Sir Donald Stokes replaced Sir George Harriman as chairman of BLMC. George Turnbull was imported from running Triumph to become the managing director of the Austin Morris division. Also that month all the Mini models now received an all synchromesh gearbox. Graham Turner in his book The Leyland Papers claimed that in 1968 the Mini was making a profit of £15 per unit, although the method of calculating this was later disputed.
In October, the Authi factory at Pamplona in Spain produced its first Mini, a car known as the 1275C. During 1965 BMC had gone into partnership with the wholly Spanish owned AUTHI (Automoviles de Turismo Hispano Ingleses SA) in an attempt to circumvent government restrictions on cars imported into Spain. Authi was already manufacturing ADO16 1100 models in an upmarket local version and hoped to perform the same trick with the Mini in what was Europe’s fastest growing car market, albeit one still presided over by dictator General Franco. Further models followed in 1969; the 1000E and 1000S models. In the same month, UK production of the Moke ceased. It was not a car suitable for the British climate, and production would now centre on sunnier climes.
In May 1969, the final Alec Issigonis design (excepting the aborted 9X Mini replacement) was announced. The Austin Maxi was a further evolution of the original Mini theme, this time using a five door spacious hatchback body, a new overhead cam engine mated to a transmission in sump five-speed gearbox. However, like the 1800 it had boxy styling and was plagued with reliability issues which deterred buyers. By 1969 consumers had become used to the Issigonis design philosophy and were no longer prepared to put up with poor quality and unreliability in the name of innovation as they had done in 1959. Like the 1800 the Maxi flopped, further re-enforcing the view of some BLMC executives that Alec Issigonis was a liability, not an asset to the corporation.
During 1968 Alec Issigonis calculated that an inline RWD 1275cc engine and gearbox cost just over £42, but the transverse equivalent cost around £54. And there were more expensive add-ons as a consequence of this. All this was not lost on Roy Haynes, who although was working on the Mini Clubman, was not a fan of Issigonis’ baby. He and other Ford imports like product planner John Bacchus saw it as an expensive, unprofitable financial disaster. Perhaps a legacy of Terry Beckett’s dissection and costing of a Mini soon after its launch? Within days of the official formation of British Leyland in May 1968, Roy Haynes had written to the Company’s Finance Director John Barber, another Ford import, advocating the development of a simple, profitable rear wheel drive car to appeal to the fleet market. This became the Morris Marina.
1969: Mark 3 and Clubman arrives
Development by marketing: how not to improve the Mini in two easy steps. Graft on a Maxi front end and replace the cult performance Cooper models with a de-tuned version. The Clubman was soon nicknamed the “Clubfoot” by Mini aficionados.
On 19 June 1969 the two millionth Mini rolled off the production line at Longbridge, the first British car to attain this mark. Sir Alec Issigonis, as he now was, was there posing with Austin Morris managing director George Turnbull, who in a advance press release stated: ‘The Mini will be the backbone of our production in the Longbridge plant, the biggest in the group, for many years to come. Harry Webster, our chief engineer, and his team have many good ideas up their sleeves for keeping the Mini ever fresh in the future.’
The statement alludes to the fact that Issigonis no longer had any real influence on the development of his baby. On the day itself Turnbull added: ‘Alec is British Leyland’s secret weapon. No one else in the car industry has anyone quite in his class. He is essentially a man of vision, of long term thinking, but always with a revolutionary approach to design problems. We don’t care how way out his ideas are. We can soon put them through the commercial mincer.’
In July 1969 BLMC bought a 50% stake in Nueva Montana Quijano (NMQ), a heavy industrial group in the north of Spain and owners of Authi, and assumed responsibility for the management of Authi of Pamplona and the other NMQ automotive operations. Now British Leyland was taking direct control of Spanish Mini and ADO16 manufacture.
Lord Stokes and his new management team, which included Filmer Paradise, now promoted and brought back from Europe, were not fans of badge-engineering, and so began phasing out some of the multiplicity of marque and model types. In August 1969 the Riley Elf and Wolseley Hornet ceased production after 59,367 examples. The booted Minis were only produced at a rate of 125 per week with a bodyshell subtlely different to the rest of the range and BLMC had a replacement on the way in the shape of the Clubman. In the Autumn of 1969, production of the Mk3 Mini and Clubman began, but production of the Mk2 range was to continue until the end of the year.
The new bodyshell was substantially re-jigged, and doors with wind up windows and internal hinges were now standard across the range. And the separate marque badges were gone. No more Austin or Morris Mini; it was now Mini in its own right. With Alec Issigonis now sidelined the introduction of wind-up windows was a formality, although they would prove to be something of a bête noire with the man himself and he would have his own MK3 Minis converted to sliding door windows.
There was a new upmarket Mini, the Clubman, with a new nose designed by Roy Haynes and his team. The estate now came with a Clubman nose and the 1275GT arrived to replace the 998cc Mini-Cooper. The 1275GT was a parts bin special, using Cooper S brake discs and a single carburettor 59bhp 1275cc engine. For the first five years of its life the 1275GT wore 10in Rostye wheels manufactured by Rubery Owen, from which the wheels name was derived. This steel wheel design was very fashionable at the time and featured on several other top selling cars of the era. The Owen family in fact owned the BRM Formula One team. Lord Stokes and Filmer Paradise’s loathing for badge engineering must have been justified in sales terms, because the Mini Clubman proved far more popular than the Elf/Hornet they replaced.
With the Mk3 Mini, there seems to have been a conscious effort to reduce the cost of manufacture. Out went Hydrolastic suspension, and a reversion to the rubber cones of 1959-1964. Also gone from the Mini was some of the chrome brightwork, such as upper doortrims and the bumper overriders. Eliminating time consuming activities such as this in the factory seems to have had some effect, as the Mk3s were produced in greater numbers – with the best year being 1971 when 318,475 left Longbridge and overseas plants. Although the Mk3 was announced in October 1969, the only cars to have escape Longbridge before 1970 were for press use only; for the last Austin and Morris Mini Mk2s weren’t manufactured until December 1969 – and the last Mk2 Cooper S was completed on the 23 February 1970.
In late 1969, the Mini K was launched in Australia, fitted with a 51bhp 1098cc engine, the local content of the car was now up to 80%.
If the Mini became one of the iconic symbols of the 1960s, the company that made it came to symbolise the malaise in Britain during the 1970s. Strikes, picket lines and idle men warming their hands outside factory gates over braziers, thwarting the ambitions of the salesman who wanted to sell Britain and its products to the world. But the decision to group all of Britain’s independent motor manufacturers under the British Leyland banner was a disaster. The public came to associate British Leyland with strikes, to negative effect.
One of the priorities BLMC had to deal with was the abolition of piece-work and its replacement by measured day work. All its American owned rivals were operating the measured day work system. Every time a model was modified in any way, piecework rates had to be re-negotiated with the shop stewards. This caused friction and led to many stoppages. The Mini was not immune to this and the change from the ADO15 to ADO20, resulted in production being restricted by disputes. However, on 21 January 1970, George Turnbull was confident enough to enough to announce that weekly production of the Mini was to increase by another 350 cars.
About the Author: Keith Adams
Created www.austin-rover.co.uk in 2001 and built it to become the world's foremost reference source for all things BMC, Leyland and Rover Group, before renaming it AROnline in 2007. Is the Editor of the Parkers website and price guide, formerly editor of Classic Car Weekly, and launch editor/creator of Modern Clsssics magazine. Has contributed to various motoring titles including Octane, Practical Classics, Evo, Honest John, CAR magazine, Autocar, Pistonheads, Diesel Car, Practical Performance Car, Performance French Car, Car Mechanics, Jaguar World Monthly, MG Enthusiast, Modern MINI, Practical Classics, Fifth Gear Website, Radio 4, and the the Motoring Independent... Likes 'conditionally challenged' motors and taking them on unfeasable adventures all across Europe.
| one thousand nine hundred and fifty nine |
Who became the leader of the British Liberal Party in 1908? | Original MINI Cooper - Find Out This Little Car's Origins And More
[SEE ALSO – Sculpture Artists Creates Life size Mini Replica Using Nails]
Original Mini Cooper History
The Mini started its life in 1959, it was a revolutionary two door compact car that quickly became a sixties icon. Morris and Austin teamed up to make this little economical car due to the fuel shortage crisis at the time.
The Mini was revealed to the press in April 1959 and by August 1959 several thousand models had been built and were ready to sell. The Mini came with a 848 cc engine and had a top speed of 72 mph (116 km/h). Production totaled 1,190,000 for this Mark I Mini.
This small car did not receive the name Mini until later in its life, it was originally called the Austin 850 and Morris 850 in North America and France. In Denmark it was known as the Austin Partner (until 1964) and Morris Mascot (until 1981). In the U.K. and Australia it was called the Morris Mini Minor and the Austin Seven. After 1961 the car’s name was finally changed to Morris Mini and Austin Mini.
Mini Cooper
John Cooper, owner of the Cooper Car Company, designer and builder of Formula One and rally cars, could see the potential in the Mini car and teamed up with Sir Alec Issigonis and together they created the first Mini Cooper in 1961.
The original Mini Coopers were upgraded with front disc breaks, a 997cc engine, double carburettor, and modified camshaft and header. All these enhancements increased the Mini’s bhp to 55 making this car sporty enough to enter the racing world.
In 1963 a more powerful Mini car was released, the Mini Cooper S, this had the added benefit of a 1071 cc engine with a 70.61 mm bore and nitrated steel crankshaft and strengthened bottom end to allow further tuning and larger servo-assisted disc brakes.
The Mini Cooper S went on to win Monte Carlo Rally victories in 1964, 1965 and 1967.
Other Mini Versions
Wolseley Hornet and Riley Elf
There were many other versions of the Mini added to production such as the Wolseley Hornet and Riley Elf (1961–1969). These two Mini cars were built as a more luxurious version of the Mini, the rear on the these two models were given an extended rear finned boot and also the front had a more distinctive grill. In total there were 30,912 Riley Elfs and 28,455 Wolseley Hornets built
Morris Mini Traveler and Austin Mini Countryman
The famous Morris Mini Traveler and Austin Mini Countryman (1961–1969) were other versions introduced and were only available in the U.K. These two models were two-door estate cars with double “barn”-style rear doors. They also had wood trim added to exterior which gave them an American 1950s style. Approximately 108,000 Austin Mini Countrymen and 99,000 Morris Mini Travelers were built.
Mini Van
The Mini Van was a popular version and this was built on the same extended chassis as the Mini Traveler and Mini Countryman. In 1978 the name was changed to the Mini 95 after its 0.95 tons weight but the public still continued to call them minivans. There were 521,494 Mini Vans built.
Mini Moke
The Mini Moke was around from 1964 to 1968 in the UK, 1966–1982 in Australia and 1983–1989 in Portugal). This was a special 4WD drive version and was originally designed for the British army but was dismissed due to its lack of ground clearance. The Mini Moke went on to feature in the popular 1967 British TV series called The Prisoner and was also used as police cars in countries such Barbados and Macau. About 50,000 Mini Mokes were made.
Mini Pickup
The Mini Pick-up (1961–1982) like the van, was renamed as the Mini 95 in 1978. A total of 58,179 Mini Pickups were built.
Mark II Mini
In 1967 the Mini was slightly redesigned and the Mark II was launched. One of the changes was a new chrome grill which stayed with the Mini through the rest of its production years. There was 429,000 Mark II Minis produced.
A couple of years after its release the Mark II Mini became a movie star in the successful 1969 film The Italian Job, which features a gang of thieves escaping in three Mini cars. During the movie these mini coopers took full advantage of their size and drove down staircases, through storm drains, over buildings and finally into the back of a moving bus.
Mini Clubman
In 1969 a new type of Mini was introduced, the Mini Clubman. This new style had a completely different front end and was designed to replace the Wolseley Hornet and Riley Elf. The Clubman estate also replaced the Morris Mini Traveller and Austin Mini Countryman. Unlike the Mini’s center dashboard display, the instruments were displayed directly in front of the driver.
Mini 1275 GT
Also in 1969 the Mini 1275GT was released, this was to replace the Cooper S in 1971. The Mini 1275GT had the same body as the Clubman but was not called Clubman just Mini 1275GT.
The Mini 1275GT was quick of the mark and went 0–60 mph (97 km/h) in 12.9 seconds but due to the front’s lack of aerodynamics it struggled to reach a top speed of 90mph (140 km/h).
The long-nose Clubman and 1275GT offered better crash safety, were better equipped, and had much better access to the engine, but they were more expensive and aerodynamically inferior to the original 1959 design. The Mini Clubman and 1275GT were replaced in 1980 by the new hatchback Austin Metro. By 1980, 275,583 Clubman saloons, 197,606 Clubman Estates and 110,673 1275GTs had been made.
Mark III Mini
In 1970 the Mark III Mini was launched which had a modified body shell and the sliding windows were replaced by winding ones.
The original Mini Cooper remained popular through the seventies but with other car companies releasing models such as the Ford Fiesta, Volkswagen Polo, and Vauxhall Chevette the Mini was starting to look outdated. Austin released a new car in 1980 to compete with these other car manufacturers, it was called the Austin Metro which was to replace the Mini Clubman.
Demise of the original Mini
Due to the Metro’s release the Mini’s popularity dwindled and 1981 was the Mini’s last year in the top ten of Britain’s top selling cars. It struggled to reach ninth and the Metro was fifth.
Even though the popularity of the Mini dwindled the little car managed to hag on and stayed in production throughout the eighties. In 1989 the Mini Cooper model was relaunched again which gave it’s popularity a boost up through the nineties. Finally in the year 2000 the last Mini rolled of the production line.
Mini TV Stars
The original Mini Cooper has had a successful TV career and appeared in Movies such as the Italian Job, Bourne Identity, Goodbye Pork Pie and Austin Powers. It was also used in the Popular TV series Mr Bean.
Customized Minis
There are many Minis all around the world that have been dramatically altered for certain events and purposes and here are just a few.
Mini Monster truck
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The friendship treaty between France and England, signed in 1904, was called what? | Avalon Project - The Entente Cordiale Between England and France - April 8, 1904
The Entente Cordiale Between England and France - April 8, 1904
Great Britain, Parliamentary Papers London, 1911, Vol. CIII, Cmd. 5969 Formally titled, the 'Declaration between the United Kingdom and France Respecting Egypt and Morocco, Together with the Secret Articles Signed at the Same Time.'
The Franco-British Declaration, 1904
ARTICLE 1.
His Britannic Majesty's Government declare that they have no intention of altering the political status of Egypt.
The Government of the French Republic, for their part, declare that they will not obstruct the action of Great Britain in that country....
It is agreed that the post of Director-General of Antiquities in Egypt shall continue, as in the past, to be entrusted to a French savant.
The French schools in Egypt shall continue to enjoy the same liberty as in the past.
ARTICLE 2.
The Government of the French Republic declare that they have no intention of altering the political status of Morocco.
His Britannic Majesty's Government, for their part, recognise that it appertains to France, more particularly as a Power whose dominions are conterminous for a great distance with those of Morocco, to preserve order in that country, and to provide assistance for the purpose of all administrative, economic, financial , and military reforms which it may require.
They declare that they will not obstruct the action taken by France for this purpose, provided that such action shall leave intact the rights which Great Britain, in virtue of treaties, conventions, and usage, enjoys in Morocco, including the right of coasting trade between the ports of Morocco, enjoyed by British vessels since 1901.
ARTICLE 4.
The two Governments, being equally attached to the principle of commercial liberty both in Egypt and Morocco, declare that they will not, in those countries, countenance any inequality either in the imposition of customs duties or other taxes, or of railway transport charges. The trade of both nations with Morocco and with Egypt shall enjoy the same treatment in transit through the French and British possessions in Africa. An agreement between the two Governments shall settle the conditions of such transit and shall determine the points of entry.
This mutual engagement shall be binding for a period of thirty years. Unless this stipulation is expressly denounced at least one year in advance, the period shall be extended for five years at a time.
Nevertheless the Government of the French Republic reserve to themselves in Morocco, and His Britannic Majesty's Government reserve to themselves in Egypt, the right to see that the concessions for roads, railways, ports, etc., are only granted on such conditions as will maintain intact the authority of the State over these great undertakings of public interest.
ARTICLE 5.
His Britannic Majesty's Government declare that they will use their influence in order that the French officials now in the Egyptian service may not be placed under conditions less advantageous than those applying to the British officials in the service.
The Government of the French Republic, for their part, would make no objection to the application of analogous conditions to British officials now in the Moorish service.
ARTICLE 6.
In order to ensure the free passage of the Suez Canal, His Britannic Majesty's Government declare that they adhere to the treaty of the 29th October, 1888, and that they agree to their being put in force. The free passage of the Canal being thus guaranteed, the execution of the last sentence of paragraph 1 as well as of paragraph 2 of Article of that treaty will remain in abeyance.
ARTICLE 7.
In order to secure the free passage of the Straits of Gibraltar, the two Governments agree not to permit the erection of any fortifications or strategic works on that portion of the coast of Morocco comprised between, but not including, Melilla and the heights which command the right bank of the River Sebou.
This condition does not, however, apply to the places at present in the occupation of Spain on the Moorish coast of the Mediterranean.
ARTICLE 8.
The two Governments, inspired by their feeling of sincere friendship for Spain, take into special consideration the interests which that country derives from her geographical position and from her territorial possessions on the Moorish coast of the Mediterranean. In regard to these interests the French Government will come to an understanding with the Spanish Government. The agreement which may be come to on the subject between France and Spain shall be communicated to His Britannic Majesty's Government.
ARTICLE 1.
In the event of either Government finding themselves constrained, by the force of circumstances, to modify their policy in respect to Egypt or Morocco, the engagements which they have undertaken towards each other by Articles 4 , 6 , and 7 of the Declaration of today's date would remain intact.
ARTICLE 2.
His Britannic Majesty's Government have no present intention of proposing to the Powers any changes in the system of the Capitulations, or in the judicial organisation of Egypt.
In the event of their considering it desirable to introduce in Egypt reforms tending to assimilate the Egyptian legislative system to that in force in other civilised Countries, the Government of the French Republic will not refuse to entertain any such proposals, on the understanding that His Britannic Majesty's Government will agree to entertain the suggestions that the Government of the French Republic may have to make to them with a view of introducing similar reforms in Morocco.
ARTICLE 3.
The two Governments agree that a certain extent of Moorish territory adjacent to Melilla, Ceuta, and other presides should, whenever the Sultan ceases to exercise authority over it, come within the sphere of influence of Spain, and that the administration of the coast from Melilla as far as, but not including, the heights on the right bank of the Sebou shall be entrusted to Spain.
Nevertheless, Spain would previously have to give her formal assent to the provisions of Articles 4 and 7 of the Declaration of today's date, and undertake to carry them out.
She would also have to undertake not to alienate the whole, or a part, of the territories placed under her authority or in her sphere of influence.
ARTICLE 4.
If Spain, when invited to assent to the provisions of the preceding article , should think proper to decline, the arrangement between France and Great Britain, as embodied in the Declaration of today's date, would be none the less at once applicable.
ARTICLE 5.
Should the consent of the other Powers to the draft Decree mentioned in Article I of the Declaration of today's date not be obtained, the Government of the French Republic will not oppose the repayment at par of the Guaranteed, Privileged, and Unified Debts after the 15th July, 1910.
Done at London, in duplicate, the 8th day of April, 1904.
(L.S.) LANSDOWNE
| Entente Cordiale |
In 1952 at the age of 17, who won the Ladies Singles title at Wimbledon? | Britain and France sign Entente Cordiale - Apr 08, 1904 - HISTORY.com
Britain and France sign Entente Cordiale
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On this day in 1904, with war in Europe a decade away, Britain and France sign an agreement, later known as the Entente Cordiale, resolving long-standing colonial disputes in North Africa and establishing a diplomatic understanding between the two countries.
Formally entitled a Declaration between the United Kingdom and France Respecting Egypt and Morocco, the Entente Cordiale of April 1904 amounted more than anything to a declaration of friendship between these two great European powers. By its terms, France promised not to challenge British control over Egypt; for its part, Britain recognized France’s right, as a Power whose dominions are conterminous for a great distance with those of Morocco to act in that country to preserve order and to provide assistance to bring about whatever reforms in the government, economy or military it deemed necessary.
Through the Entente Cordiale, Britain and France established the beginnings of an alliance, promising, in the concluding words of the agreement, to afford to one another their diplomatic support, in order to obtain the execution of the clauses of the present Declaration regarding Egypt and Morocco. The agreement stopped short, however, of requiring the two nations to provide military support to each other; this aspect of the alliance would come later.
A motivating factor behind the agreement was undoubtedly France’s desire to protect itself against possible aggression from its old rival, Germany, who had steadily been growing stronger in the years since its victory in the Franco-Prussian War of 1870-71 and now possessed the most powerful land army in the world. Britain was also eager to keep Germany in check, especially in light of a revamped, ambitious German naval program, which—if successful—threatened to challenge Britain’s clear dominance at sea.
The German government, anxious over this agreement, decided to test its limits, sending Kaiser Wilhelm II to Morocco in March 1905 to declare his support for the sultan—a clear challenge to France’s influence in that country, which had been sanctioned by the Entente Cordiale. This bid to shake the Anglo-French alliance failed, as Britain sided with France; an international conference that convened at Algeciras, Spain, the following year also recognized France’s claims in the region.
The clash between Germany and the new allies became known as the First Moroccan Crisis—a second occurred in the summer of 1911, when both France and Germany sent forces to Morocco—and resulted in a tightening and solidifying of the Entente Cordiale, as Britain and France, aiming to confront German aggression, moved from mere friendship to an informal military alliance and, later, to talks and an agreement with France’s ally, Russia. By 1912, then, two powerful and hostile blocs had been formed in Europe, with France, Britain and Russia on one side, and an increasingly isolated Germany—with relatively lukewarm support from Austria-Hungary and Italy—on the other. Two years later, this volatile situation would erupt into the First World War.
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In what year was athlete and politician Sebastian Coe born? | Sebastian Coe, Politician • Biography & Facts
Sebastian Coe
Politician
Sebastian Newbold Coe, Baron Coe, CH, KBE (born 29 September 1956), often referred to as Seb Coe or Lord Coe, is a British politician and former track and field athlete. As a middle-distance runner, Coe won four Olympic medals, including the 1500 metres gold medal at the Olympic Games in 1980 and 1984. He set eight outdoor and three indoor world records in middle-distance track events – including, in 1979, setting three world records in the space of 41 days – and the world record he set in the 800 metres in 1981 remained unbroken until 1997. Coe's rivalries with fellow Britons Steve Ovett and Steve Cram dominated middle-distance racing for much of the 1980s.Following Coe's retirement from athletics, he was a member of parliament for the Conservative Party from 1992 to 1997, and became a Life Peer on 16 May 2000.He headed the successful London bid to host the 2012 Summer Olympics and became chairman of the London Organising Committee for the Olympic Games. In 2007, he was also elected a vice-president of the International Association of Athletics Federations. On 25 August 2011, he was re-elected for another four-year term.In 2012, Coe was appointed Pro-Chancellor at Loughborough University where he had been an undergraduate, and is also a member of the University's governing body. In November 2012 he was also appointed chairman of the British Olympic Association. In 2012 he was of one of 24 athletes inducted as inaugural members of the International Association of Athletics Federations Hall of Fame. Coe was presented with the Lifetime Achievement award at the BBC Sports Personality of the Year in December 2012.
Personal facts
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The rationing of petrol was lifted in what year after the 2nd World War? | Seb Coe - Who Do You Think You Are - Athletics: a family tradition...
Who Do You Think You Are?
Seb Coe - Who Do You Think You Are?
Athletics: a family tradition...
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Sebastian Coe, former athlete and politician is the latest to take part in the WDYTYA? TV series for 2011.
Sebastian won four Olympic medals for middle distance running, including two Gold medals. One in 1980 and the other in the 1984 Olympia games for the 1500 metres, and set eleven world records in the middle distance events. After retiring from athletics, he served as a conservative MP in the 1990's and received a peerage in 2000. He headed the bid to bring the 2012 Summer Olympics to London, and following this success became the Chairman of the London Organising Committee for the 2012 Olympic Games.
Seb is a member of the East India Club, a private Gentlemen's Club in London, and owns a string of heath clubs, and follows a range of sports including Football and Boxing as well as Athletics.
Lord Coe was born Sebastian Newbold Coe in 1956 in Chiswick, London and is the son of Peter Coe and Tina Lal.
Seb Coe is listed in BMD indexes
Seb was coached by his father Peter (Percy N Coe) and studied at Loughborough University. His first major win was in 1977 at the Spanish indoor championships held in 1977.
As well as a strong family bond with his father, there was also a unique professional relationship between coach and athlete, as Peter Coe was a constant presence at key events and training sessions.
It is believed that Sebastian's father Peter was born Percy Newbold Coe but used the name Peter in dedication to his younger brother who died as an infant.
Peter Coe was a keen club cyclist and joined the Merchant Navy just before WW2. He was one of the few survivors onboard the A D Huff after it was shelled by the German Battle Cruiser 'Gneisenau' and sunk in the Atlantic.
He was picked up by a German warship and later transferred to a prisoner of war camp, although he escaped en-route with a Canadian prisoner and managed to reach Spain, where they spent six months in prison presumed dead, before returning to Britain.
Peter Coe sadly died in 2008 whilst Sebastian was at the Beijing Olympic Games.
Athletics seems to be a family tradition, as Seb's paternal great-grandfather, Henry Newbold, and his daughter Rose were also recorded on the census records as Professional Gymnasts.
TheGenealogist.co.uk provides access to census records for England and Wales from 1841 to 1901 with 1911 being added throughout this year. Using our unique and flexible search tool, the Keyword Master Search, you would be able to search by occupation alone across all available census records and other transcribed datasets such as BMDs, Wills, Military and Electoral records.
Kelly's 1905 London Post Office Directory
There also appears to be other talents in Seb's history as his maternal great-grandfather, Edwin Swan was an Irish Artist, born in Ballyragget. After his studies at the Academie Julian in Paris, Edwin and his brother Cuthbert Edmund Swan, also an artist, returned to England and settled in Camden Town. Cuthbert is recorded at Camden Road Studios on the London 1905 Kelly's Post Office Directory.
Directories are a useful resource for locating ancestors between census years and many provide residential listings as well as details of occupations. Directories are a available to all Gold and Diamond subscribers on TheGenealogist.co.uk.
Edwin Swan married Gwendolyn Davies Hyde-Clarke in 1904 and it's through this family line that Seb discovers his links with the slave trade and sugar plantations of Jamaica, which will be explored in detail in WDYTYA?
George Hyde-Clarke born 1768 inherited the sugar plantation following his father George's death in 1824.
George Hyde-Clarke's Will
A copy of George Hyde-Clarke's Will in 1824 is available on TheGenealogist.co.uk in the PCC Wills collection. The Will is eleven pages long and demonstrates the wealth the family held in the plantations. Wills are an invaluable source of information for family history researchers as they include details of many family members. The Wills have been transcribed by name, place, occupation and date of Will and Probate, with access to the original images.
The Clarke family can also be found on other unique record sets available on TheGenealogist.co.uk including the 1600-1700 Persons of Quality from Great Britain to America, an early passenger list of people travelling to the colonies and plantations in America. They are also found in books from the Peerage and Heritage collection such as The Book of Dignities - Rolls of the Official Personages of the British Empire 1649-1846.
The WDYTYA? episode will be following the Hyde-Clarke line to America and Jamaica to find the extent of their involvement with the plantations.
George Clarke listed in 'The Book of Dignities'
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In what year did the first international air show take place in Paris? | History of Aviation - First Flights
History of Aviation - First Flights
Registration Options Deregulation Economics Glossary Environment Airports ATC How They Fly History Safety Structure
History of Aviation - First Flights
On December 17, 1903, Orville and Wilbur Wright capped four years of research and design efforts with a 120-foot, 12-second flight at Kitty Hawk, North Carolina - the first powered flight in a heavier-than-air machine. Prior to that, people had flown only in balloons and gliders. The first person to fly as a passenger was Leon Delagrange, who rode with French pilot Henri Farman from a meadow outside of Paris in 1908. Charles Furnas became the first American airplane passenger when he flew with Orville Wright at Kitty Hawk later that year.
History of Aviation - First Flights
On December 17, 1903, Orville and Wilbur Wright capped four years of research and design efforts with a 120-foot, 12-second flight at Kitty Hawk, North Carolina - the first powered flight in a heavier-than-air machine. Prior to that, people had flown only in balloons and gliders. The first person to fly as a passenger was Leon Delagrange, who rode with French pilot Henri Farman from a meadow outside of Paris in 1908. Charles Furnas became the first American airplane passenger when he flew with Orville Wright at Kitty Hawk later that year.
History of Aviation
First Flights
On December 17, 1903, Orville and Wilbur Wright capped four years of research and design efforts with a 120-foot, 12-second flight at Kitty Hawk, North Carolina - the first powered flight in a heavier-than-air machine. Prior to that, people had flown only in balloons and gliders.
The first person to fly as a passenger was Leon Delagrange, who rode with French pilot Henri Farman from a meadow outside of Paris in 1908. Charles Furnas became the first American airplane passenger when he flew with Orville Wright at Kitty Hawk later that year.
The first scheduled air service began in Florida on January 1, 1914. Glenn Curtiss had designed a plane that could take off and land on water and thus could be built larger than any plane to date, because it did not need the heavy undercarriage required for landing on hard ground. Thomas Benoist, an auto parts maker, decided to build such a flying boat, or seaplane, for a service across Tampa Bay called the St. Petersburg - Tampa Air Boat Line. His first passenger was ex-St. Petersburg Mayor A.C. Pheil, who made the 18-mile trip in 23 minutes, a considerable improvement over the two-hour trip by boat. The single-plane service accommodated one passenger at a time, and the company charged a one-way fare of $5. After operating two flights a day for four months, the company folded with the end of the winter tourist season.
World War I
These and other early flights were headline events, but commercial aviation was very slow to catch on with the general public, most of whom were afraid to ride in the new flying machines. Improvements in aircraft design also were slow. However, with the advent of World War I, the military value of aircraft was quickly recognized and production increased significantly to meet the soaring demand for planes from governments on both sides of the Atlantic. Most significant was the development of more powerful motors, enabling aircraft to reach speeds of up to 130 miles per hour, more than twice the speed of pre-war aircraft. Increased power also made larger aircraft possible.
At the same time, the war was bad for commercial aviation in several respects. It focused all design and production efforts on building military aircraft. In the public's mind, flying became associated with bombing runs, surveillance and aerial dogfights. In addition, there was such a large surplus of planes at the end of the war that the demand for new production was almost nonexistent for several years - and many aircraft builders went bankrupt. Some European countries, such as Great Britain and France, nurtured commercial aviation by starting air service over the English Channel. However, nothing similar occurred in the United States, where there were no such natural obstacles isolating major cities and where railroads could transport people almost as fast as an airplane, and in considerably more comfort. The salvation of the U.S. commercial aviation industry following World War I was a government program, but one that had nothing to do with the transportation of people.
Airmail
By 1917, the U.S. government felt enough progress had been made in the development of planes to warrant something totally new - the transport of mail by air. That year, Congress appropriated $100,000 for an experimental airmail service to be conducted jointly by the Army and the Post Office between Washington and New York, with an intermediate stop in Philadelphia. The first flight left Belmont Park, Long Island for Philadelphia on May 14, 1918 and the next day continued on to Washington, where it was met by President Woodrow Wilson.
With a large number of war-surplus aircraft in hand, the Post Office set its sights on a far more ambitious goal - transcontinental air service. It opened the first segment, between Chicago and Cleveland, on May 15, 1919 and completed the air route on September 8, 1920, when the most difficult part of the route, the Rocky Mountains, was spanned. Airplanes still could not fly at night when the service first began, so the mail was handed off to trains at the end of each day. Nonetheless, by using airplanes the Post Office was able to shave 22 hours off coast-to-coast mail deliveries.
Beacons
In 1921, the Army deployed rotating beacons in a line between Columbus and Dayton, Ohio, a distance of about 80 miles. The beacons, visible to pilots at 10-second intervals, made it possible to fly the route at night.
The Post Office took over the operation of the guidance system the following year, and by the end of 1923, constructed similar beacons between Chicago and Cheyenne, Wyoming, a line later extended coast-to-coast at a cost of $550,000. Mail then could be delivered across the continent in as little as 29 hours eastbound and 34 hours westbound - prevailing winds from west to east accounted for the difference which was at least two days less than it took by train.
The Contract Air Mail Act of 1925
By the mid-1920s, the Post Office mail fleet was flying 2.5 million miles and delivering 14 million letters annually. However, the government had no intention of continuing airmail service on its own. Traditionally, the Post Office had used private companies for the transportation of mail. So, once the feasibility of airmail was firmly established and airline facilities were in place, the government moved to transfer airmail service to the private sector, by way of competitive bids. The legislative authority for the move was the Contract Air Mail Act of 1925, commonly referred to as the Kelly Act after its chief sponsor, Rep. Clyde Kelly of Pennsylvania. This was the first major step toward the creation of a private U.S. airline industry. Winners of the initial five contracts were National Air Transport (owned by the Curtiss Aeroplane Co.), Varney Air Lines, Western Air Express, Colonial Air Transport and Robertson Aircraft Corporation. National and Varney would later become important parts of United Air Lines (originally a joint venture of the Boeing Airplane Company and Pratt & Whitney). Western would merge with Transcontinental Air Transport (TAT), another Curtiss subsidiary, to form Transcontinental and Western Air (TWA). Robertson would become part of the Universal Aviation Corporation, which in turn would merge with Colonial, Southern Air Transport and others, to form American Airways, predecessor of American Airlines. Juan Trippe, one of the original partners in Colonial, later pioneered international air travel with Pan Am - a carrier he founded in 1927 to transport mail between Key West, Florida, and Havana, Cuba. Pitcairn Aviation, yet another Curtiss subsidiary that got its start transporting mail, would become Eastern Air Transport, predecessor of Eastern Air Lines.
The Morrow Board
The same year Congress passed the Contract Air Mail Act, President Calvin Coolidge appointed a board to recommend a national aviation policy (a much-sought-after goal of then Secretary of Commerce Herbert Hoover). Dwight Morrow, a senior partner in J.P. Morgan's bank, and later the father-in-law of Charles Lindbergh, was named chairman. The board heard testimony from 99 people, and on November 30, 1925, submitted its report to President Coolidge. The report was wide-ranging, but its key recommendation was that the government should set standards for civil aviation and that the standards should be set outside of the military.
The Air Commerce Act of 1926
Congress adopted the recommendations of the Morrow Board almost to the letter in the Air Commerce Act of 1926. The legislation authorized the Secretary of Commerce to designate air routes, to develop air navigation systems, to license pilots and aircraft, and to investigate accidents. The act brought the government into commercial aviation as regulator of the private airlines spawned by the Kelly Act of the previous year.
Congress also adopted the board's recommendation for airmail contracting, by amending the Kelly Act to change the method of compensation for airmail services. Instead of paying carriers a percentage of the postage paid, the government would pay them according to the weight of the mail. This simplified payments, and proved highly advantageous to the carriers, which collected $48 million from the government for the carriage of mail between 1926 and 1931.
Ford's Tin Goose
Henry Ford, the automobile manufacturer, was also among the early successful bidders for airmail contracts, winning the right, in 1925, to carry mail from Chicago to Detroit and Cleveland aboard planes his company already was using to transport spare parts for his automobile assembly plants. More importantly, he jumped into aircraft manufacturing, and in 1927, produced the Ford Trimotor, commonly referred to as the Tin Goose. It was one of the first all-metal planes, made of a new material, duralumin, which was almost as light as aluminum but twice as strong. It also was the first plane designed primarily to carry passengers rather than mail. The Ford Trimotor had 12 passenger seats; a cabin high enough for a passenger to walk down the aisle without stooping; and room for a "stewardess," or flight attendant, the first of whom were nurses, hired by United in 1930 to serve meals and assist airsick passengers. The Tin Goose's three engines made it possible to fly higher and faster (up to 130 miles per hour), and its sturdy appearance, combined with the Ford name, had a reassuring effect on the public's perception of flying. However, it was another event, in 1927, that brought unprecedented public attention to aviation and helped secure the industry's future as a major mode of transportation.
Charles Lindbergh
At 7:52 a.m. on May 20, 1927, a young pilot named Charles Lindbergh set out on an historic flight across the Atlantic Ocean, from New York to Paris. It was the first trans-Atlantic non-stop flight in an airplane, and its effect on both Lindbergh and aviation was enormous. Lindbergh became an instant American hero. Aviation became a more established industry, attracting millions of private investment dollars almost overnight, as well as the support of millions of Americans.
The pilot who sparked all of this attention had dropped out of engineering school at the University of Wisconsin to learn how to fly. He became a barnstormer, doing aerial shows across the country, and eventually joined the Robertson Aircraft Corporation, to transport mail between St. Louis and Chicago.
In planning his trans-Atlantic voyage, Lindbergh daringly decided to fly by himself, without a navigator, so he could carry more fuel. His plane, the Spirit of St. Louis, was slightly less than 28 feet in length, with a wingspan of 46 feet. It carried 450 gallons of gasoline, which comprised half its takeoff weight. There was too little room in the cramped cockpit for navigating by the stars, so Lindbergh flew by dead reckoning. He divided maps from his local library into thirty-three 100-mile segments, noting the heading he would follow as he flew each segment. When he first sighted the coast of Ireland, he was almost exactly on the route he had plotted, and he landed several hours later, with 80 gallons of fuel to spare.
Lindbergh's greatest enemy on his journey was fatigue. The trip took an exhausting 33 hours, 29 minutes and 30 seconds, but he managed to keep awake by sticking his head out the window to inhale cold air, by holding his eyelids open, and by constantly reminding himself that if he fell asleep he would perish. In addition, he had a slight instability built into his airplane that helped keep him focused and awake.
Lindbergh landed at Le Bourget Field, outside of Paris, at 10:24 p.m. Paris time on May 21. Word of his flight preceded him and a large crowd of Parisians rushed out to the airfield to see him and his little plane. There was no question about the magnitude of what he had accomplished. The Air Age had arrived.
The Watres Act and the Spoils Conference
In 1930, Postmaster General Walter Brown pushed for legislation that would have another major impact on the development of commercial aviation. Known as the Watres Act (after one of its chief sponsors, Rep. Laurence H. Watres of Pennsylvania), it authorized the Post Office to enter into longer-term contracts for airmail, with rates based on space or volume, rather than weight. In addition, the act authorized the Post Office to consolidate airmail routes, where it was in the national interest to do so. Brown believed the changes would promote larger, stronger airlines, as well as more coast-to-coast and nighttime service.
Immediately after Congress approved the act, Brown held a series of meetings in Washington to discuss the new contracts. The meetings were later dubbed the Spoils Conference because Brown gave them little publicity and directly invited only a handful of people from the larger airlines. He designated three transcontinental mail routes and made it clear that he wanted only one company operating each service rather than a number of small airlines handing the mail off to one another. His actions brought political trouble that resulted in major changes to the system two years later.
Scandal and the Air Mail Act of 1934
Following the Democratic landslide in the election of 1932, some of the smaller airlines began complaining to news reporters and politicians that they had been unfairly denied airmail contracts by Brown. One reporter discovered that a major contract had been awarded to an airline whose bid was three times higher than a rival bid from a smaller airline. Congressional hearings followed, chaired by Sen. Hugo Black of Alabama, and by 1934 the scandal had reached such proportions as to prompt President Franklin Roosevelt to cancel all mail contracts and turn mail deliveries over to the Army.
The decision was a mistake. The Army pilots were unfamiliar with the mail routes, and the weather at the time they took over the deliveries, February 1934, was terrible. There were a number of accidents as the pilots flew practice runs and began carrying the mail, leading to newspaper headlines that forced President Roosevelt to retreat from his plan only a month after he had turned the mail over to the Army
By means of the Air Mail Act of 1934, the government once again returned airmail transportation to the private sector, but it did so under a new set of rules that would have a significant impact on the industry. Bidding was structured to be more competitive, and former contract holders were not allowed to bid at all, so many companies were reorganized. The result was a more even distribution of the government's mail business and lower mail rates that forced airlines and aircraft manufacturers to pay more attention to the development of the passenger side of the business.
In another major change, the government forced the dismantling of the vertical holding companies common up to that time in the industry, sending aircraft manufacturers and airline operators (most notably Boeing, Pratt & Whitney, and United Air Lines) their separate ways. The entire industry was now reorganized and refocused.
Aircraft Innovations
For the airlines to attract passengers away from the railroads, they needed both larger and faster airplanes. They also needed safer airplanes. Accidents, such as the one in 1931 that killed Notre Dame Football Coach Knute Rockne along with six others, kept people from flying
Aircraft manufacturers responded to the challenge. There were so many improvements to aircraft in the 1930s that many believe it was the most innovative period in aviation history. Air-cooled engines replaced water-cooled engines, reducing weight and making larger and faster planes possible. Cockpit instruments also improved, with better altimeters, airspeed indicators, rate-of-climb indicators, compasses, and the introduction of artificial horizon, which showed pilots the attitude of the aircraft relative to the ground - important for flying in reduced visibility
Radio
Another development of enormous importance to aviation was radio. Aviation and radio developed almost in lock step. Marconi sent his first message across the Atlantic on the airwaves just two years before the Wright Brothers? first flight at Kitty Hawk. By World War I, some pilots were taking radios up in the air with them so they could communicate with people on the ground. The airlines followed suit after the war, using radio to transmit weather information from the ground to their pilots, so they could avoid storms
An even more significant development, however, was the realization that radio could be used as an aid to navigation when visibility was poor and visual navigation aids, such as beacons, were useless. Once technical problems were worked out, the Department of Commerce constructed 83 radio beacons across the country. They became fully operational in 1932, automatically transmitting directional beams, or tracks, that pilots could follow to their destination. Marker beacons came next, allowing pilots to locate airports in poor visibility. The first air traffic control tower was established in 1935 at what is now Newark International Airport in New Jersey
The First Modern Airliners
Boeing built what generally is considered the first modern passenger airliner, the Boeing 247. It was unveiled in 1933, and United Air Lines promptly bought 60 of them. Based on a low-wing, twin-engine bomber with retractable landing gear built for the military, the 247 accommodated 10 passengers and cruised at 155 miles per hour. Its cabin was insulated, to reduce engine noise levels inside the plane, and it featured such amenities as upholstered seats and a hot water heater to make flying more comfortable to passengers. Eventually, Boeing also gave the 247 variable-pitch propellers, that reduced takeoff distances, increased the rate of climb, and boosted cruising speeds
Not to be outdone by United, TWA went searching for an alternative to the 247 and eventually found what it wanted from the Douglas Aircraft Company. Its DC-1 incorporated Boeing's innovations and improved upon many of them. The DC-1 had a more powerful engine and accommodations for two more passengers than did the 247. More importantly, the airframe was designed so that the skin of the aircraft bore most of the stress on the plane during flight. There was no interior skeleton of metal spars, thus giving passengers more room than they had in the 247.The DC-1 also was easier to fly. It was equipped with the first automatic pilot and the first efficient wing flaps, for added lift during takeoff. However, for all its advancements, only one DC-1 was ever built. Douglas decided almost immediately to alter its design, adding 18 inches to its length so it could accommodate two more passengers. The new, longer version was called the DC-2 and it was a big success, but the best was still to come
The DC-3
Called the plane that changed the world, the DC-3 was the first aircraft to enable airlines to make money carrying passengers. As a result, it quickly became the dominant aircraft in the United States, following its debut in 1936 with American Airlines (which played a key role in its design).
The DC-3 had 50 percent greater passenger capacity than the DC-2 (21 seats versus 14), yet cost only ten percent more to operate. It also was considered a safer plane, built of an aluminum alloy stronger than materials previously used in aircraft construction. It had more powerful engines (1,000 horsepower versus 710 horsepower for the DC-2), and it could travel coast to coast in only 16 hours - a fast trip for that time.
Another important improvement was the use of a hydraulic pump to lower and raise the landing gear. This freed pilots from having to crank the gear up and down during takeoffs and landings. For greater passenger comfort, the DC-3 had a noise-deadening plastic insulation, and seats set in rubber to minimize vibrations. It was a fantastically popular airplane, and it helped attract many new travelers to flying.
Pressurized Cabins
Although planes such as the Boeing 247 and the DC-3 represented significant advances in aircraft design, they had a major drawback. They could fly no higher than 10,000 feet, because people became dizzy and even fainted, due to the reduced levels of oxygen at higher altitudes.
The airlines wanted to fly higher, to get above the air turbulence and storms common at lower altitudes. Motion sickness was a problem for many airline passengers, and an inhibiting factor to the industry's growth.
The breakthrough came at Boeing with the Stratoliner, a derivation of the B-17 bomber introduced in 1940 and first flown by TWA. It was the first pressurized aircraft, meaning that air was pumped into the aircraft as it gained altitude to maintain an atmosphere inside the cabin similar to the atmosphere that occurs naturally at lower altitudes. With its regulated air compressor, the 33-seat Stratoliner could fly as high as 20,000 feet and reach speeds of 200 miles per hour.
The Civil Aeronautics Act of 1938
Government decisions continued to prove as important to aviation's future as technological breakthroughs, and one of the most important aviation bills ever enacted by Congress was the Civil Aeronautics Act of 1938. Until that time, numerous government agencies and departments had a hand in aviation policy. Airlines sometimes were pushed and pulled in several directions, and there was no central agency working for the long-term development of the industry. All the airlines had been losing money, since the postal reforms in 1934 significantly reduced the amount they were paid for carrying the mail.
The airlines wanted more rationalized government regulation, through an independent agency, and the Civil Aeronautics Act gave them what they needed. It created the Civil Aeronautics Authority (CAA) and gave the new agency power to regulate airline fares, airmail rates, interline agreements, mergers and routes. Its mission was to preserve order in the industry, holding rates to reasonable levels while, at the same time nurturing the still financially-shaky airline industry, thereby encouraging the development of commercial air transportation.
Congress created a separate agency - the Air Safety Board - to investigate accidents. In 1940, however, President Roosevelt convinced Congress to transfer the accident investigation function to the CAA, which was then renamed the Civil Aeronautics Board (CAB). These moves, coupled with the tremendous progress made on the technological side, put the industry on the road to success.
World War II
Aviation had an enormous impact on the course of World War II and the war had just as significant an impact on aviation. There were fewer than 300 air transport aircraft in the United States when Hitler marched into Poland in 1939. By the end of the war, U.S. aircraft manufacturers were producing 50,000 planes a year.
Most of the planes, of course, were fighters and bombers, but the importance of air transports to the war effort quickly became apparent as well. Throughout the war, the airlines provided much needed airlift to keep troops and supplies moving, to the front and throughout the production chain back home. For the first time in their history, the airlines had far more business - for passengers as well as freight - than they could handle. Many of them also had opportunities to pioneer new routes, gaining an exposure that would give them a decidedly broader outlook at war's end.
While there were numerous advances in U.S. aircraft design during the war, that enabled planes to go faster, higher, and farther than ever before, mass production was the chief goal of the United States. The major innovations of the wartime period - radar and jet engines - occurred in Europe.
The Jet Engine
Isaac Newton was the first to theorize, in the 18th century, that a rearward-channeled explosion could propel a machine forward at a great rate of speed. However, no one found a practical application for the theory until Frank Whittle, a British pilot, designed the first jet engine in 1930. Even then, widespread skepticism about the commercial viability of a jet prevented Whittle's design from being tested for several years.
The Germans were the first to build and test a jet aircraft. Based on a design by Hans von Ohain, a student whose work was independent of Whittle's, it flew in 1939, although not as well as the Germans had hoped. It would take another five years for German scientists to perfect the design, by which time it was, fortunately, too late to affect the outcome of the war.
Whittle also improved his jet engine during the war, and in 1942 he shipped an engine prototype to General Electric in the United States. America's first jet plane - the Bell P-59 - was built the following year.
Radar
Another technological development with a much greater impact on the war's outcome (and later on commercial aviation) was radar. British scientists had been working on a device that could give them early warning of approaching enemy aircraft even before the war began, and by 1940 Britain had a line of radar transceivers along its east coast that could detect German aircraft the moment they took off from the Continent. British scientists also perfected the cathode ray oscilloscope, which produced map-type outlines of surrounding countryside and showed aircraft as a pulsing light. Americans, meanwhile, found a way to distinguish between enemy aircraft and allied aircraft by installing transponders aboard the latter that signaled their identity to radar operators.
Dawn of the Jet Age
Aviation was poised to advance rapidly following the war, in large part because of the development of jets, but there still were significant problems to overcome. In 1952, a 36-seat British-made jet, the Comet, flew from London to Johannesburg, South Africa, at speeds as high as 500 miles per hour. Two years later, the Comet's career ended abruptly following two back-to-back accidents in which the fuselage burst apart during flight - the result of metal fatigue.
The Cold War between the Soviet Union and the United States, following World War II, helped secure the funding needed to solve such problems and advance the jet's development. Most of the breakthroughs related to military aircraft that later were applied to the commercial sector. For example, Boeing employed a swept-back wing design for its B-47 and B-52 bombers to reduce drag and increase speed. Later, the design was incorporated into commercial jets, making them faster and thus more attractive to passengers. The best example of military - civilian technology transfer was the jet tanker Boeing designed for the Air Force to refuel bombers in flight. The tanker, the KC-135, was a huge success as a military plane, but even more successful when revamped and introduced, in 1958, as the first U.S. passenger jet, the Boeing 707. With a length of 125 feet and four engines with 17,000 pounds of thrust each, the 707 could carry up to 181 passengers and travel at speeds of 550 miles per hour. Its engines proved more reliable than piston-driven engines - producing less vibration, putting less stress on the plane's airframe and reducing maintenance expenses. They also burned kerosene, which cost half as much as the high-octane gasoline used in more traditional planes. With the 707, first ordered and operated by Pan Am, all questions about the commercial feasibility of jets were answered. The Jet Age had arrived, and other airlines soon were lining up to buy the new aircraft.
The Federal Aviation Act of 1958
Following World War II, air travel soared, but with the industry's growth came new problems. In 1956 two aircraft collided over the Grand Canyon, killing 128 people. The skies were getting too crowded for existing systems of aircraft separation, and Congress responded by passing the Federal Aviation Act of 1958.
The legislation created a new safety regulatory agency, the Federal Aviation Agency, later called the Federal Aviation Administration (FAA) when Congress created the Department of Transportation (DOT) in 1967. The agency was charged with establishing and running a broad air traffic control system, to maintain safe separation of all commercial aircraft through all phases of flight. In addition, it assumed jurisdiction over all other aviation safety matters, such as the certification of aircraft designs, and airline training and maintenance programs. The Civil Aeronautics Board retained jurisdiction over economic matters, such as airline routes and rates.
Wide-bodies and Supersonics
1969 marked the debut of another revolutionary aircraft, the Boeing 747, which, again, Pan Am was the first to purchase and fly in commercial service. It was the first wide-body jet, with two aisles, a distinctive upper deck over the front section of the fuselage, and four engines. With seating for as many as 450 passengers, it was twice as big as any other Boeing jet and 80 percent bigger than the largest jet up until that time, the DC-8.
Recognizing the economies of scale to be gained from larger jets, other aircraft manufacturers quickly followed suit. Douglas built its first wide-body, the DC-10, in 1970, and only a month later, Lockheed flew its contender in the wide-body market, the L-1011. Both of these jets had three engines (one under each wing and one on the tail) and were smaller than the 747, seating about 250 passengers.
During the same period of time, efforts were underway in both the United States and Europe to build a supersonic commercial aircraft. The Soviet Union was the first to succeed, testing the Tupolev 144 in December of 1968. A consortium of West European aircraft manufacturers first flew the Concorde two months later and eventually produced a number of those fast, but small, jets for commercial service. U.S. efforts to produce a supersonic passenger jet, on the other hand, stalled in 1971 due to public concern about it's expense and the sonic boom produced by such aircraft.
Navigate Aviation History
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In what year was the highly acclaimed film 'Ben Hur' released? | Famous Firsts in Aviation
Famous Firsts in Aviation
Virgin Atlantic's Globalflyer
1783
First balloon flight. Jacques and Joseph Montgolfier of Annonay, France, sent up a small smoke-filled balloon about mid-November.
First hydrogen-filled balloon flight. Jacques A. C. Charles, Paris physicist, supervised construction by A. J. and M. N. Robert of a 13-foot-diameter balloon that was filled with hydrogen. It got up to about 3,000 ft and traveled about 16 mi in a 45-minute flight (Aug. 27).
First human balloon flights. A Frenchman, Jean Pilâtre de Rozier, made the first captive-balloon ascension (Oct. 15). With the Marquis d'Arlandes, Pilâtre de Rozier made the first free flight, reaching a peak altitude of about 500 ft, and traveling about 51/2 mi in 20 min. (Nov. 21).
1784
First powered balloon. Gen. Jean Baptiste Marie Meusnier developed the first propeller-driven and elliptically shaped balloon—the crew cranking three propellers on a common shaft to give the craft a speed of about 3 mph.
First balloon flight by a woman. Mme. Thible, a French opera singer (June 4).
1793
First balloon flight in America. Jean Pierre Blanchard, a French pilot, made it from Philadelphia to near Woodbury, N.J., in just over 45 min. (Jan. 9).
1794
First military use of the balloon. Jean Marie Coutelle, using a balloon built for the French Army, made two 4-hour observation ascents. The military purpose of the ascents seems to have been to damage the enemy's morale.
1797
First parachute jump. André-Jacques Garnerin dropped from about 6,500 ft over Monceau Park in Paris in a 23-foot-diameter parachute made of white canvas with a basket attached (Oct. 22).
1843
First air transport company. In London, William S. Henson and John Stringfellow filed articles of incorporation for the Aerial Transit Company (March 24). It failed.
1852
First dirigible. Henri Giffard, a French engineer, flew in a controllable (more or less) steam-engine-powered balloon, 144 ft long and 39 ft in diameter, inflated with 88,000 cu ft of coal gas. It reached 6.7 mph on a flight from Paris to Trappe (Sept. 24).
1860
First aerial photographers. Samuel Archer King and William Black made two photos of Boston, which are still in existence.
1872
First gas-engine-powered dirigible. Paul Haenlein, a German engineer, flew in a semi-rigid-frame dirigible, powered by a 4-cylinder internal-combustion engine running on coal gas drawn from the supporting bag.
1873
First transatlantic attempt. The New York Daily Graphic sponsored the attempt with a 400,000-cubic-foot balloon carrying a lifeboat. A rip in the bag during inflation brought the collapse of the balloon and the project.
1897
First successful metal dirigible. An all-metal dirigible, designed by David Schwarz, a Hungarian, took off from Berlin's Tempelhof Field and, powered by a 16-horsepower Daimler engine, got several miles before leaking gas caused it to crash (Nov. 13).
1900
First zeppelin flight. Germany's Count Ferdinand von Zeppelin flew the first of his long series of rigid-frame airships. It attained a speed of 18 mph and got 31/2 mi before its steering gear failed (July 2).
1903
First successful heavier-than-air machine flight. Aviation was really born on the sand dunes at Kitty Hawk, N.C., when Orville Wright crawled to his prone position between the wings of the biplane he and his brother Wilbur had built, opened the throttle of their homemade 12-horsepower engine, and took to the air. He covered 120 ft in 12 sec. Later that day, in one of four flights, Wilbur stayed up 59 sec. and covered 852 ft (Dec. 17).
1904
First airplane maneuvers. Orville Wright made the first turn with an airplane (Sept. 15); five days later his brother Wilbur made the first complete circle.
1905
First airplane flight over half an hour. Orville Wright kept his craft up 33 min., 17 sec. (Oct. 4).
1906
First European airplane flight. Alberto Santos-Dumont , a Brazilian, flew a heavier-than-air machine at Bagatelle Field, Paris (Sept. 13).
1908
First airplane fatality. Lt. Thomas E. Selfridge, U.S. Army Signal Corps, was in a group evaluating the Wright plane at Fort Myer, Va. He was up 75 ft with Orville Wright when the propeller hit a bracing wire and was broken, throwing the plane out of control, killing Selfridge and seriously injuring Wright (Sept. 17).
1909
First cross-Channel flight. Louis Blériot flew in a 25-horsepower Blériot VI monoplane from Les Baraques near Calais, France, to Dover Castle, England, in a 26.61-mi (38-kilometer) 37-min. flight across the English Channel (July 25).
First International Aviation Competition Meeting. American Glenn Curtiss narrowly beat France's Louis Blériot in the main event and won the Gordon Bennett Cup. Meet held at Rheims, France (Aug. 22–28).
1910
First licensed woman pilot. Baroness Raymonde de la Roche of France, who learned to fly in 1909, received ticket No. 36 on March 8.
First flight from shipboard. Lt. Eugene Ely, USN, took a Curtiss plane off from the deck of the cruiser Birmingham at Hampton Roads, Va., and flew to Norfolk (Nov. 14). The following January he reversed the process, flying from Camp Selfridge to the deck of the armored cruiser Pennsylvania in San Francisco Bay (Jan. 18).
First aircraft to take off from water. Henri Fabre in a Gnome-powered floatplane, at Martigues, France (March 28).
1911
First U.S. woman pilot. Harriet Quimby , a magazine writer, got ticket No. 37, making her the first licensed American female pilot.
1912
First woman's cross-Channel flight. Harriet Quimby flew from Dover, England, across the English Channel and landed at Hardelot, France, in a Blériot monoplane loaned to her by Louis Blériot (April 16). She was later killed in a flying accident over Dorchester Bay during a Harvard-Boston aviation meet on July 1, 1912.
First parachute jump from a powered airplane. Albert Berry jumped in a test over Jefferson Barracks military post, St. Louis (March 1). Some sources credit Grant Morton as making first jump in 1911.
1913
First multi-engined aircraft. Built and flown by Igor Ivan Sikorsky while still in his native Russia.
1914
First aerial combat. In Aug., Allied and German pilots and observers started shooting at each other with pistols and rifles—with negligible results.
1915
First air raids on England. German zeppelins dropped bombs on four English communities (Jan. 19).
1917
World's first black combat pilot. Georgia-born Eugene Jacques Bullard , denied entry into the U.S. Army Air Corps because of his race, served throughout World War I in the French Flying Corps. He received the Legion of Honor, France's highest honor, among many other decorations.
1918
First U.S. air squadron. The U.S. Army Air Corps made its first independent raids over enemy lines, in DH-4 planes (British-designed) powered with 400-hp American-designed Liberty engines (April 8).
First regular airmail service. Operated for the Post Office Department by the Army, the first regular service was inaugurated with one round trip a day (except Sunday) between Washington, DC, and New York City (May 15).
1919
First transatlantic flight. The NC-4, one of four Curtiss flying boats commanded by Lt. Comdr. Albert C. Read, reached Lisbon, Portugal (May 27), after hops from Trepassy Bay, Newfoundland, to Horta, Azores (May 16–17), to Ponta Delgada (May 20). The Liberty-powered craft was piloted by Walter Hinton.
First nonstop transatlantic flight. Capt. John Alcock and Lt. Arthur Whitten Brown, British World War I flyers, made the 1,900-mile trip from St. John's, Newfoundland, to Clifden, Ireland, in 16 hr., 12 min. in a Vickers-Vimy bomber with two 350-horsepower Rolls-Royce engines (June 15–16).
First lighter-than-air transatlantic flight. The British dirigible R-34, commanded by Maj. George H. Scott, left Firth of Forth, Scotland (July 2), and touched down at Mineola, L.I., 108 hr. later. The eastbound trip was made in 75 hr. (completed July 13).
First scheduled London–Paris passenger service (using airplanes). Aircraft Travel and Transport inaugurated London–Paris service (Aug. 25). Later the company started the first trans-Channel mail service on the same route (Nov. 10).
First free-fall parachute jump. Leslie Irvin jumped over McCook Field, Dayton, Ohio, to prove that one wouldn't lose consciousness during a delayed free-fall using a manually operated parachute (April 28).
1921
First U.S. black female pilot. Bessie Coleman received license June 15. She was killed April 30, 1926, in a flying accident.
First naval vessel sunk by aircraft. Two battleships being scrapped by treaty were sunk by bombs dropped from Army planes in demonstration put on by Brig. Gen. William S. Mitchell (July 21).
First helium balloon. The C-7, nonrigid Navy dirigible was first to use noninflammable helium as lifting gas, making a flight from Hampton Roads, Va., to Washington, D.C. (Dec. 1).
1922
First member of Caterpillar Club. Lt. (later Maj. Gen.) Harold Harris bailed out of a crippled plane he was testing at McCook Field, Dayton, Ohio (Oct. 20), and became the first man to join the Caterpillar Club—those whose lives have been saved by parachutes.
1923
First nonstop transcontinental flight. Lts. John A. Macready and Oakley Kelly flew a single-engine Fokker T-2 nonstop from New York to San Diego, a distance of just over 2,500 mi in 26 hr., 50 min. (May 2–3).
First autogyro flight. Juan de la Cierva, a brilliant Spanish mathematician, made the first successful flight in a rotary wing aircraft in Madrid (June 9).
1924
First round-the-world flight. Four Douglas Cruiser biplanes of the U.S. Army Air Corps took off from Seattle under command of Maj. Frederick Martin (April 6). 175 days later, two of the planes (Lt. Lowell Smith's and Lt. Erik Nelson's) landed in Seattle after a circuitous route—one source saying 26,345 mi, another saying 27,553 mi.
1926
First polar flight. Then–Lt. Cmdr. Richard E. Byrd , acting as navigator, and Floyd Bennett as pilot, flew a Trimotor Fokker from Kings Bay, Spitsbergen, over the North Pole and back in 151/2 hr. (May 8–9).
1927
First solo nonstop transatlantic flight. Charles Augustus Lindbergh lifted his Wright-powered Ryan monoplane, Spirit of St. Louis, from Roosevelt Field, N.Y., to stay aloft 33 hr. 39 min. and travel 3,600 mi to Le Bourget Field outside Paris (May 20–21). Although 91 persons in 13 separate flights crossed the Atlantic before him, he flew directly between two great world cities and did it alone.
First transatlantic passenger. Charles A. Levine was piloted by Clarence D. Chamberlin from Roosevelt Field, N.Y., to Eisleben, Germany, in a Wright-powered Bellanca (June 4–5).
1928
First east–west transatlantic crossing. Baron Guenther von Huenefeld, piloted by German Capt. Hermann Koehl and Irish Capt. James Fitzmaurice, left Dublin for New York City (April 12) in a single-engine all-metal Junkersmonoplane. Some 37 hr. later, they crashed on Greely Island, Labrador and were rescued.
First transarctic flight. Sir Hubert Wilkins, an Australian explorer, and Carl Ben Eielson, who served as pilot, flew from Point Barrow, Alaska, to Spitsbergen (mid-April).
First U.S.–Australia flight. Sir Charles Kingsford-Smith and Capt. Charles T. P. Ulm, Australians, and two American navigators, Harry W. Lyon and James Warner, crossed the Pacific from Oakland to Brisbane. They went via Hawaii and the Fiji Islands in a trimotor Fokker (May 31–June 8).
1929
First of the endurance records. With Air Corps Maj. Carl Spaatz in command and Capt. Ira Eaker as chief pilot, an Army Fokker, aided by refueling in the air, remained aloft 150 hr. 40 min. at Los Angeles (Jan. 1–7).
First round-the-world airship flight. The LZ-127, known as the Graf Zeppelin, flew 21,300 mi in 20 days and 4 hr. Also set distance record (Aug.).
First blind flight. James H. Doolittle proved the feasibility of instrument-guided flying when he took off and landed entirely on instruments (Sept. 24).
First rocket-engine flight. Fritz von Opel, a German auto maker, stayed aloft in his small rocket-powered craft for 75 sec., covering nearly 2 mi (Sept. 30).
First South Pole flight. Comdr. Richard E. Byrd, with Bernt Balchen as pilot, Harold I. June, radio operator, and Capt. A. C. McKinley, photographer, flew a trimotor Fokker from the Bay of Whales, Little America, over the South Pole and back (Nov. 28–29).
1930
First Paris–New York nonstop flight. Dieudonné Costes and Maurice Bellonte, French pilots, flew a Hispano-powered Breguet biplane from Le Bourget Field to Valley Stream, L.I., in 37 hr., 18 min. (Sept. 2–3).
1931
First flight into the stratosphere. Auguste Piccard , a Swiss physicist, and Charles Knipfer ascended in a balloon from Augsburg, Germany, and reached a height of 51,793 ft in a 17-hr. flight that terminated on a glacier near Innsbruck, Austria (May 27).
First nonstop transpacific flight. Hugh Herndon and Clyde Pangborn took off from Sabishiro Beach, Japan, dropped their landing gear, and flew 4,860 mi to near Wenatchee, Wash., in 41 hr. 13 min. (Oct. 4–5).
1932
First woman's transatlantic solo. Amelia Earhart , flying a Pratt & Whitney Wasp-powered Lockheed Vega, flew alone from Harbor Grace, Newfoundland, to Ireland in approximately 15 hr. (May 20–21).
First westbound transatlantic solo. James A. Mollison, a British pilot, took a de Havilland Puss Moth from Portmarnock, Ireland, to Pennfield, New Brunswick (Aug. 18).
First woman airline pilot. Ruth Rowland Nichols, first woman to hold three international records at the same time—speed, distance, and altitude—was employed by N.Y.–New England Airways.
1933
First round-the-world solo. Wiley Post took a Lockheed Vega, Winnie Mae, 15,596 mi around the world in 7 days, 18 hr., 491/2 min. (July 15–22).
1936
First west-east transatlantic solo flight.. Beryl Markham flew a single-engine Vega Gull from London to Nova Scotia in 21 hrs, 25 min. (Sept. 4–5).
1937
First successful helicopter flight. Hanna Reitsch, a German pilot, flew Dr. Heinrich Focke's FW-61 in free, fully controlled flight at Bremen (July 4). Ms. Reitsch was also the first woman civil and military aviation test pilot.
First woman known to fly combat. Sabiha Gokcen, Turkish female army pilot, bombed and strafed Kurdish tribesmen during a rebellion.
1939
First turbojet flight. Just before their invasion of Poland, the Germans flew a Heinkel He-178 plane powered by a Heinkel S3B turbojet (Aug. 27).
1940
First wartime use of military gliders. German commandos made a successful glider assault on Belgium's Fort Eben-Emael during WWII (May 10).
1941
The Royal Canadian Air Force (RCAF) creates the Canadian Women's Auxillary Air Force. The RCAF is the first branch of the Canadian military to accept women.
1941–1945
Most combat missions flown by a pilot in any war. Captain Hans-Ulrich Rudel of Germany flew 2,530 combat missions during WWII while flying a JU-87 Stuka dive bomber. He survived the war.
1942–1945
Top-scoring fighter pilot of any war. German Luftwaffe ace Maj. Erich Hartmann scored 352 victories all while flying a Messerschmitt BF 109 during WWII. He was involved in 800 dogfights, and flew 1,425 missions. Maj. Hartmann survived the war.
1942
First enemy bombing of U.S. mainland. During WWII, a floatplane launched from a Japanese submarine off Cape Blanco, Ore., dropped incendiary bombs on the Oregon forest in two attempts to start forest fires and terrorize American civilians, but the bombs did little damage (Sept. 9 and 29).
First woman fighter pilot to shoot down an enemy aircraft. Soviet Lieutenant Lilya Litvyak, flying a Yak-1 fighter of the women's 586th Fighter Aviation Regiment, shot down two German planes over Stalingrad (Sept. 13).
First American jet plane flight. Robert Stanley, chief pilot for Bell Aircraft Corp., flew the Bell XP-59 Airacomet at Muroc Army Base, Calif. (Oct. 1).
1944
First production stage rocket-engine fighter plane. The German Messerschmitt Me 163B Komet (test flown 1941) became operational in June 1944. Some 350 of these delta-wing fighters were built before WWII in Europe ended.
1947
First piloted supersonic flight in an airplane. Capt. Charles E. Yeager , U.S. Air Force, flew the X-1 rocket-powered research plane built by Bell Aircraft Corp., faster than the speed of sound at Muroc Air Force Base, Calif. (Oct. 14).
1949
First round-the-world nonstop flight. Capt. James Gallagher and USAF crew of 13 flew a Boeing B-50A Superfortress around the world nonstop from Ft. Worth, returning to same point: 23,452 mi in 94 hr., 1 min., with four aerial refuelings en route (Feb. 27–March 2).
1950
First nonstop transatlantic jet flight. Col. David C. Schilling (USAF) flew 3,300 mi from England to Limestone, Maine, in 10 hr., 1 min. (Sept. 22).
1951
First solo across North Pole. Charles F. Blair, Jr., flew a converted P-51 (May 29).
1952
First jetliner service. The De Havilland Comet flight was inaugurated by BOAC between London and Johannesburg, South Africa. Flight, including stops, took 23 hr., 38 min. (May 2).
First transatlantic helicopter flight. Capt. Vincent H. McGovern and 1st Lt. Harold W. Moore piloted two Sikorsky H-19s from Westover, Mass., to Prestwick, Scotland (3,410 mi). Trip was made in five stops, with a flying time of 42 hr., 25 min. (July 15–31).
First transatlantic round trip in same day. A British Canberra twin-jet bomber flew from Aldergrove, Northern Ireland, to Gander, Newfoundland, and back in 7 hr., 59 min. flying time (Aug. 26).
1955
First transcontinental round trip in same day. Lt. John M. Conroy piloted an F-86 Sabrejet across U.S. (Los Angeles–New York) and back—5,085 mi—in 11 hr., 33 min., 27 sec. (May 21).
1957
First round-the-world nonstop jet plane flight. Maj. Gen. Archie J. Old, Jr., USAF, led a flight of three Boeing B-52 bombers, powered with eight 10,000-pound-thrust Pratt & Whitney Aircraft J57 engines around the world in 45 hr., 19 min; distance 24,325 mi; average speed 525 mph (completed Jan. 18).
1958
First transatlantic jet passenger service. BOAC, New York to London (Oct. 4). Pan American started daily service, New York to Paris (Oct. 26).
First domestic jet passenger service. National Airlines inaugurated service between New York and Miami (Dec. 10).
1963
First female pilot to fly faster than sound. British pilot, Diana Barnato Walker, flew at a speed of 1,262 mph, flying a two-seat R.A.F. Lightning fighter.
1968
Prototype of world's first supersonic airliner. The Soviet-designed Tupolev Tu-144 made its first flight, Dec. 31. It first achieved supersonic speed on June 5, 1969.
1973
First female pilot of a major U.S. scheduled airline. Emily H. Warner became employed by Frontier Airlines on Jan. 29 as second officer on a Boeing 737.
1976
First regularly scheduled commercial supersonic transport (SST) flights begin. Air France and British Airways inaugurated service (Jan. 21). Air France flew the Paris–Rio de Janeiro route; B.A., the London–Bahrain. Both airlines began SST service to Washington, D.C. (May 24).
1977
First successful human-powered aircraft. Paul MacCready, an aeronautical engineer from Pasadena, Calif., was awarded the Kremer Prize for creating the world's first successful human-powered aircraft. The Gossamer Condor was flown by Bryan Allen over the required 3-mile course on Aug. 23.
1978
First successful transatlantic balloon flight. Three Albuquerque, N.M., men, Ben Abruzzo, Larry Newman, and Maxie Anderson, completed the crossing (Aug. 16.; landed, Aug. 17) in their helium-filled balloon, Double Eagle II.
1979
First man-powered aircraft to fly across the English Channel. The Kremer Prize for the Channel crossing was won by Bryan Allen, who flew the Gossamer Albatross from Folkestone, England, to Cap Gris-Nez, France, in 2 hr., 55 min. (June 12).
1980
First successful balloon flight over the North Pole. Sidney Conn and his wife, Eleanor, in hot-air balloon Joy of Sound (April 11).
First nonstop transcontinental balloon flight, and also record for longest overland voyage in a balloon. Maxie Anderson and his son completed four-day flight from Fort Baker, Calif., to Matane, Quebec, in their helium-filled balloon, Kitty Hawk (May 12).
First long-distance solar-powered flight. Janice Brown, a 98-lb former teacher, flew a tiny experimental solar-powered aircraft, Solar Challenger, 6 mi in 22 min. near Marana, Ariz. (Dec. 3). The craft was powered by a 2.75-horsepower engine.
1981
First solar-powered aircraft to fly across the English Channel. Stephen R. Ptacek flew the 210-pound Solar Challenger at an average speed of 30 mph from Cormeilles-en-Vexin near Paris to the Royal Manston Air Force Base in southeast England in 5 hr., 30 min. (July 7).
1984
First solo transatlantic balloon flight. Joe W. Kittinger landed Sept. 18 near Savona, Italy, in his helium-filled balloon, Rosie O'Grady's Balloon of Peace, after a flight of 3,535 mi from Caribou, Maine.
1986
First nonstop flight around the world without refueling. From Edwards AFB, Calif., Dick Rutan and Jeana Yeager flew in Voyager around the world (24,986.727 mi), returning to Edwards in 216 hr., 3 min., 44 sec. (Dec. 14–23).
1987
First transatlantic hot-air balloon flight. Richard Branson and Per Lindstrand flew 2,789.6 mi from Sugarloaf Mt., Maine, to Ireland in the hot-air balloon Virgin Atlantic Flyer (July 2–4).
1991
First transpacific hot-air balloon flight. Richard Branson and Per Lindstrand flew about 6,700 mi from Miyakonyo, Japan, to 150 mi west of Yellowknife, Canada (Jan. 15–17).
1993
First woman to copilot a commercial supersonic plane. Barbara Harmer, British Airways, flew as first officer on the Concorde from London to New York City (March 25).
1995
First solo transpacific balloon flight. Steve Fossett made a flight of more than 5,430 mi from Seoul, South Korea, to Leader, Saskatchewan, Canada, in a helium-filled balloon. Also set record for distance (Feb. 18–21, 1995).
1998
First U.S. female combat pilot to bomb an enemy target. On Dec. 16, Lt. Kendra Williams, USN, bombed enemy targets over Iraq during Operation Desert Fox.
1999
First nonstop round-the-world balloon flight. Bertrand Piccard (Switzerland) and Brian Jones (UK) flew 28,431 mi (45,755 km) from Chateaux d'Oex, Switzerland, to Dakhla, Egypt, in 19 days, 21 hr., and 55 min. (March 1–21).
2001
First solar-powered flight to shatter altitude records. NASA's solar-powered propeller-driven plane Helios reached an altitude of 96,500 ft during a flight over Hawaii, breaking not only the 80,200-foot record for propeller-driven aircraft, but the 85,068-foot mark for all nonrocket aircraft as well (Aug. 13–14).
2002
First solo nonstop round-the-world balloon flight. Steve Fossett (U.S.) flew from Northam, West Australia, to Lake Yamma Yamma, Queensland, Australia, landing after 14 days, 19 hrs. He broke three balloon records along the way: fastest time around the world, measured by crossing 117° East longitude (13 days, 3 min.), longest distance flown solo (20,483.25 mi; 32,963.35 km), and longest time flown solo (355 hrs, 50 min.) (June 19–July 3).
2004
First non-stop 10,000-mile-plus passenger airline flight. Singapore Airlines launched a non-stop 181/2 hour, 10,335-mile flight on the long-range Airbus 340-500 between Singapore to Newark, New Jersey (June 28–29). (To date, the world's longest nonstop commercial flight took place on Nov. 10, 2005. A Boeing 777-200LR Worldliner flew from London to Hong Kong [13,422 miles] in 22 hrs, 43 min.)
2005
First nonstop solo flight around the world without refueling. From Salina, Kansas, Steve Fossett flew the Virgin Atlantic Globalflyer 22,878 mi around the world, arriving back in Kansas 67 hrs later (Feb. 28–March 3).
2007
Youngest and first black pilot to fly solo around the world. From Miami Gardens, Florida, Barrington Irving flew a Columbia 400 plane named Inspiration around the world in 96 days, 150 hours (March 23-June 27).
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In which year did the great Russian ballet dancer and choreographer Vaslav Nijinsky die? | Vaslav Nijinsky (Ballet Dancer) - Pics, Videos, Dating, & News
Vaslav Nijinsky
Male
Born Mar 12, 1890
Vaslav Nijinsky was a Russian danseur and choreographer of Polish descent, cited as the greatest male dancer of the early 20th century. He grew to be celebrated for his virtuosity and for the depth and intensity of his characterizations. He could perform en pointe, a rare skill among male dancers at the time and his ability to perform seemingly gravity-defying leaps was also legendary. The choreographer Bronislava Nijinska was his sister.… Read More
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Tiger Lilien Und Andere Leckerbissen Trierischer Volksfreund
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'Oktober können sich Ballett-Fans auf eine Hommage an die Tanz-Legende <mark>Vaslav Nijinsky</mark> freuen. Die Ballett-Compagnie Rossa, sonst am Theater Halle zu Hause, zeichnet den privaten Weg des Künstlers zwischen Genie und Wahnsinn nach und wirft einen Blick'
Ballet De Londrina Mostra 'a Sagração Da Primavera' Odiario.Com
Google News - Sep 13, 2011
'"A Sagração da Primavera" é o novo trabalho da premiada companhia londrinense e faz uma releitura da clássica coreografia de <mark>Vaslav Nijinsky</mark> para a música Stravinsky. O grupo utiliza uma proposta de dança contemporânea usando muito do chão para contar'
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Google News - Sep 12, 2011
'That same one 200-year-old institution that can casually namedrop legendary figures like Anna Pavlova, <mark>Vaslav Nijinsky</mark>, Rudolf Nureyev, and Mikhail Baryshnikov as having, you know, "worked there". But what, my inner, illiterate, practical-minded Sancho'
Teatro Municipal De São Paulo Faz 100 Anos Este Mês, Com Programação Especial Pernambuco.Com
Google News - Sep 11, 2011
'Em seu palco já se apresentaram artistas como Maria Callas, Enrico Caruso, Arturo Toscanini, Claudio Arau, Arthur Rubinstein, Ana Pawlova, <mark>Vaslav Nijinsky</mark>, Isadora Duncan, Rudolf Nureyev, Margot Fonteyn, Mikhail Baryshnikov, Duke Ellington e Ella'
Learn about the memorable moments in the evolution of Vaslav Nijinsky.
CHILDHOOD
1889 Birth Vaslav Nijinsky was born in 1889 or 1890 in Kiev, Russian Empire (now Ukraine), as WacÅaw NiżyÅski, to ethnic Polish parents, touring dancers Tomasz NiżyÅski (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856). … Read More
Nijinsky was christened in Warsaw. He identified himself as Polish although he grew up in the interior of Russia with his parents and he had difficulty speaking Polish.<br /><br /> Eleanora, along with her two brothers and two sisters, was orphaned while still a child. She started to earn a living as an extra in Warsaw's Grand Theatre Ballet (Polish: Teatr Wielki), becoming a full member of the company at age thirteen. In 1868 her talent was spotted and she moved to Kiev as a solo dancer. Tomasz NiżyÅski also attended the Wielki Theatre school, becoming a soloist there. At age 18 he accepted a soloist contract with the Odessa Theatre. The two met, married in May 1884 and settled into a career with the traveling Setov opera company. Tomasz was premier danseur, and Eleanora a soloist. Eleanora continued to tour and dance while having three children, sons Stanislav Fomitch (b. 29 December 1886 in Tiflis) and Vaslav; and daughter Bronislava Fominitchna ('Bronia', b. 8 January 1891 in Minsk). She suffered from depression, which may have been a genetic vulnerability shared in a different form by her son Vaslav. Both boys received training from their father and appeared in an amateur production of Hopak in Odessa in 1894. Read Less
TEENAGE
1900 - 1901 2 More Events
1900 11 Years Old In 1900, Nijinsky joined the Imperial Ballet School, where he initially studied dance under Sergei Legat and his brother Nicholas. … Read More
He studied mime under Pavel Gerdt; all three men were principal dancers at the Imperial Russian Ballet. At the end of the one year probationary period, his teachers agreed upon Nijinsky's exceptional dancing ability and he was confirmed as a boarder at the school. He appeared in supporting parts in classical ballets such as Faust, as a mouse in The Nutcracker, a page in Sleeping Beauty and Swan Lake, and won the Didelot scholarship. During his first year, his academic studies had covered work he had already done, so his relatively poor results had not been so much noted. He did well in subjects which interested him, but not otherwise.<br /><br /> In 1902 he was warned that only the excellence of his dancing had prevented his expulsion from the school for poor results. This laxity was compounded through his school years by Nijinsky's frequently being chosen as an extra in various productions, forcing him to be away from classrooms for rehearsals and to spend nights at performances. He was teased for being Polish, and nicknamed "Japonczek" for his faintly Japanese looks at a time Russia was at war with Japan. Some classmates were envious and resented his outstanding dancing ability. Read Less
1901 12 Years Old In 1901 one of the class deliberately caused him to fall, leading to his suffering a concussion and being in a coma for four days.
1902 13 Years Old Mikhail Oboukhov became his teacher in 1902, and awarded him the highest grade he had ever given to a student. … Read More
He was given student parts in command performances in front of the Czar of Paquita, The Nutcracker and The Little Horse. In music he studied piano, flute, balalaika and accordion, receiving good marks. He had a good ability to hear and play music on the piano, though his sight reading was relatively poor. Read Less
1903 14 Years Old Against this, his behaviour was sometimes boisterous and wild, resulting in his expulsion from the school in 1903 for an incident involving students' shooting at the hats of passers-by with catapults while being driven to the Mariinsky Theatre in carriages. … Read More
He was readmitted to the school as a non-resident after a sound beating and restored to his previous position after a month's probation. Read Less
1904 15 Years Old In 1904, at the age of 14, Nijinsky was selected by the great choreographer Marius Petipa to dance a principal role in what proved to be the choreographer's last ballet, La Romance d'un Bouton de rose et d'un Papillon. … Read More
The work was never performed due to the outbreak of the Russo-Japanese War. Read Less
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On Sunday, 9 January 1905, Nijinsky was caught in the Bloody Sunday massacre in St Petersburg, where a group of petitioners led by Father Grapon attempted to present their petition to the Czar. … Read More
Soldiers fired upon the crowd, leading to an estimated 1000 casualties. Nijinsky was caught in the crowd on Nevsky Prospect and propelled toward the Winter Palace. Cossacks charged the crowd, leaving him with a head wound. The following day, he returned to the scene with a friend whose sister was missing. She was never found. Nijinsky became calmer and more serious as he grew older, but continued to make few friends, which continued through his life. His reserve and apparent dullness made him unappealing to others except when he danced. Read Less
The 1905 annual student show included a pas de deux from The Persian Market, danced by Nijinsky and Sofia Fedorova. … Read More
Oboukhov amended the dance to show off Nijinsky's abilities, drawing gasps and then spontaneous applause in the middle of the performance with his first jump. Read Less
1906 17 Years Old In 1906, he danced in the Mariinsky production of Mozart's Don Giovanni, in a ballet sequence choreographed by Michel Fokine. … Read More
He was congratulated by the director of the Imperial Ballet and offered a place in the company although he was a year from graduation. Nijinsky chose to continue his studies. He tried his hand at choreography, with a children's opera, Cinderella, with music by another student, Boris Asafyev. At Christmas, he played the King of the Mice in The Nutcracker. Read Less
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At his graduation performance in April 1907, he partnered Elizaveta Gerdt, in a pas de deux choreographed by Fokine. … Read More
He was congratulated by prima ballerina Mathilde Kchessinska of the Imperial Ballet, who invited him to partner her. His future career with the Imperial Ballet was guaranteed to begin at the mid-rank level of coryphée, rather than in the corps de ballet. He graduated second in his class, with top marks in dancing, art and music.<br /><br /> Nijinsky spent his summer after graduation rehearsing and then performing at Krasnoe Selo in a makeshift theatre with an audience mainly of army officers. These performances frequently included members of the Imperial family and other nobility, whose support and interest were essential to a career. Each dancer who performed before the Tsar received a gold watch inscribed with the Imperial Eagle. Buoyed by Nijinsky's salary, his new earnings from giving dance classes, and his sister Bronia's employment with the ballet company, the family moved to a larger flat on Torgovaya Ulitsa. Read Less
The new season at the Mariinsky theatre began in September 1907, with Nijinsky employed as coryphée on a salary of 780 roubles per year. … Read More
He appeared with Sedova, Lydia Kyasht and Karsavina. Kchessinska partnered him in La Fille Mal Gardée, where he succeeded in an atypical role for him involving humour and flirtation. Designer Alexandre Benois proposed a ballet based upon Le Pavillon d'Armide, choreographed by Fokine to music by Nikolai Tcherepnin. Nijinsky had a minor role, but it allowed him to show off his technical abilities with leaps and pirouettes. The partnership of Fokine, Benois and Nijinsky was repeated throughout his career. Shortly after, he upstaged his own performance, appearing in the Bluebird pas de deux from the Sleeping Beauty, partnering Lydia Kyasht. The Mariinsky audience was deeply familiar with the piece, but exploded with enthusiasm for his performance and his appearing to fly, an effect he continued to have on audiences with the piece during his career. In subsequent years, Nijinsky was given several soloist roles. Read Less
TWENTIES
1909 20 Years Old …
During the winter of 1908/9, Diaghilev started planning for the 1909 Paris tour of opera and ballet. He collected a team including designers Alexandre Benois and Léon Bakst, painters Nicholas Roerich and Konstantin Korovin, composers Alexander Glazunov and Nikolai Tcherepnin, regisseurs Vsevolod Meyerhold and Alexander Sanine and other ballet enthusiasts. As a friend and as a leading dancer, Nijinsky was part of the group. His sister wrote that he felt intimidated by the illustrious and aristocratic company. Fokine was asked to start rehearsals for the existing Le Pavillon d'Armide and for Les Sylphides, an expanded version of his Chopiniana. Fokine favoured expanding the existing Une Nuit d'Egypte for a ballet. <br /><br />Diaghilev accepted the idea of an Egyptian theme, but he required a comprehensive rewrite based on new music, by which Fokine created a new ballet Cléopâtre. To round out the program, they needed another ballet. Without sufficient time to compose a new work, they decided on a suite of popular dances, to be called Le Festin. Anna Pavlova, Karsavina and Nijinsky were chosen as principal dancers. Fokine insisted that Ida Rubenstein would appear as Cleopatra, and Nijinsky insisted that his sister should have a part. Fokine noted Nijinsky's great ability at learning a dance and precisely what a choreographer wanted. Read Less
Diaghilev departed for Paris in early 1909 to make arrangements, which were immediately complicated on the day of his return, 22 February 1909, by the death of Grand Duke Vladimir Alexandrovitch, who had sponsored an application by Diaghilev for an imperial subsidy of 100,000 roubles for the tour. … Read More
Rehearsals started on 2 April at the Hermitage Theatre, which the company had been granted special permission to use, along with loans of scenery. No sooner had rehearsals started that the permission was withdrawn, disappearing as had the imperial subsidy. Diaghilev managed to raise some money in Russia, but he had to rely significantly on Gabriel Astruc, who had been arranging theatres and publicity on behalf of the company in France, to also provide finance. Plans to include Opera had to be dropped because of the lack of finances, and logistical difficulties in obtaining necessary scenery at short notice and for free.<br /><br /> Diaghilev and Nijinsky travelled to Paris ahead of the rest of the company. Initially Nijinsky stayed at the Hôtel Daunou. He moved to the Hôtel de Hollande together with Diaghilev and his secretary, Alexis Mavrine, before the arrival of the others. Members of the company had noticed Diaghilev keeping a particularly proprietorial eye on Nijinsky during rehearsals in Russia. They took the travel arrangements and accommodation as confirmation of a relationship. Prince Lvov had visited Nijinsky's mother in St Petersburg, telling her tearfully that he would no longer be taking a special interest in her son, but he advanced a significant sum to Diaghilev towards the tour's expenses. Mavrine was known to have been Diaghilev's lover, but left the tour together with Olga Pedorova shortly after it had begun. Read Less
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In 1910, Mathilde Kschessinska selected Nijinsky to dance in a revival of Petipa's Le Talisman. … Read More
Nijinsky created a sensation in the role of the Wind God Vayou.<br /><br /> A turning point for Nijinsky was his meeting the Russian Sergei Diaghilev, a celebrated and highly innovative producer of ballet and opera, as well as art exhibitions. He concentrated on promoting Russian visual and musical art abroad, particularly in Paris. The 1908 season of colorful Russian ballets and operas, works mostly new to the West, was a great success, leading him to plan a new tour for 1909 with a new name for his company, the now famous Ballets Russes. He worked closely with choreographer Michel Fokine and artist Léon Bakst, and later with other contemporary artists and composers. Nijinsky and Diaghilev became lovers for a time, and Diaghilev was deeply involved in directing and managing Nijinsky's career. Read Less
In 1910, he performed in Giselle, and Fokine's ballets Carnaval and Scheherazade (based on the orchestral suite by Rimsky-Korsakov). … Read More
His portrayal of "Petrushka," the puppet with a soul, was a remarkable display of his expressive ability to portray characters. His partnership with Tamara Karsavina, also of the Mariinsky Theatre, was legendary, and they have been called the "most exemplary artists of the time".<br /><br /> Nijinsky took the creative reins and choreographed ballets which pushed boundaries and stirred controversy. His ballets were L'après-midi d'un faune (The Afternoon of a Faun, based on Claude Debussy's Prélude à l'après-midi d'un faune) (1912); Jeux (1913); and Till Eulenspiegel (1916). These introduced his audiences to the new direction of modern dance. As the title character in L'après-midi d'un faune, in the final tableau, he mimed masturbation with the scarf of a nymph, causing a scandal; he was defended by such artists as Auguste Rodin, Odilon Redon and Marcel Proust. Nijinsky's new trends in dance caused a riotous reaction at the Théâtre de Champs-Ãlysées when they premiered in Paris. Read Less
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The tour party included Romola de Pulszky, whose father Count Charles Pulszky was a Hungarian politician, and mother Emilia Márkus was a noted actress. In March 1912 the recently engaged Romola was taken to see the Ballets Russes in Budapest by her prospective mother-in-law and was greatly impressed. … Read More
Nijinsky had not been performing, but she returned the following day and saw him: "An electric shock passed through the entire audience. Intoxicated, entranced, gasping for breath, we followed this superhuman being... the power, the featherweight lightness, the steel-like strength, the suppleness of his movements. Romola broke off her engagement and began following the Ballets Russes across Europe, attending every performance she could. Nijinsky was difficult to approach, being always accompanied by a 'minder'. However, Romola befriended Adolf Bolm, who had previously visited her mother, thereby gaining access to the company and backstage. She and Nijinsky shared no common language; she spoke French but he knew only a little, so many of their early conversations involved an interpreter. When first introduced to her, he gained the impression she was a Hungarian prima ballerina and was friendly. Discovering his mistake, he ignored her thereafter. Read Less
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Nijinsky's work in choreographing ballets had proved controversial. They were time-consuming to rehearse and badly received by critics. Diaghilev asked him to begin preparing a new ballet, La Légende de Joseph, based on the Bible. Aside from Nijinsky's difficulties, Diaghilev came under pressure from financial backers and theatre owners who wanted productions more in the style of previous successful work. Although Diaghilev had become unhappy with Fokine's work, thinking he had lost his originality, he returned to him for two new ballets, including Joseph. Relations between Diaghilev and Nijinsky had deteriorated under the stress of Nijinsky's becoming principal choreographer and his pivotal role in the company's financial success. Diaghilev could not face Nijinsky to tell him personally that he would no longer be choreographing the ballet Joseph, but instead asked his sister Bronia Nijinska to deliver the bad news. <br /><br />The company was to embark on a tour of South America in August 1913. Read Less
Nijinska, who had always worked closely with her brother and supported him, could not accompany the tour because she had married in July 1912 and become pregnant. … Read More
In October 1912 their father had died while on tour with his dance company, causing another stress for the siblings. Diaghilev did not accompany the South American tour, claiming he had been told that he would die on the ocean. Others have suggested the reason had more to do with wanting to spend time away from Nijinsky and enjoy a holiday in Venice, "where perhaps adventures with pretty dark-eyed boys awaited him". Nijinsky set sail on a 21-day sea voyage in a state of turmoil and without the people who had been his closest advisers in recent years. Read Less
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In 1913 Nijinsky married Hungarian Romola de Pulszky while on tour with the company in South America. … Read More
She had 'stalked' the company and Nijinsky since 1912. The marriage caused a break with Diaghilev, who soon dismissed Nijinsky from the company. The couple had two daughters together, Kyra and Tamara Nijinska.<br /><br /> With no alternative employer available, Nijinsky tried to form his own company, but this was not a success. He was interned in Budapest, Hungary during World War I, under house arrest until 1916. He was finally permitted to leave after intervention by Diaghilev and international leaders; he was allowed to go to New York for an American tour. Calls for his release had been made by Alfonso XIII of Spain and President Wilson at the urging of Otto Kahn.<br /><br /> Nijinsky became increasingly mentally unstable with the stresses of having to manage tours himself and deprived of opportunities to dance, which had always been his total obsession. After a tour of South America in 1917, and due to travel difficulties imposed by the war, the family settled in St. Moritz, Switzerland. His mental condition deteriorated; he was diagnosed with schizophrenia in 1919 and committed to an asylum for the first time. For the next 30 years, he was in and out of institutions, never dancing again in public. Read Less
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On board ship, Romola had a cabin in first class, which allowed her to keep a watch on Nijinsky's door, while most of the company were exiled to second class. She befriended his masseur and was rewarded with a rundown on his musculature. Determined to take every opportunity, she succeeded in spending more and more time in his company. The unexpected friendliness was noticed by Baron de Gunsbourg, an investor in the Ballets Russes, who had been tasked with keeping an eye on the company. Instead of reporting to Diaghilev on what was occurring, Gunsbourg agreed to act on Nijinsky's behalf in presenting a proposal of marriage to Romola. Romola thought a cruel joke was being played on her, and ran off to her cabin crying. However, Nijinsky asked her again, in broken French and mime, and she accepted. Although Gunsbourg had a financial interest in Ballets Russes, he was also interested in forming his own company, and a split between Diaghilev and his star dancer might have presented him with an opportunity. <br /><br />When the ship stopped at Rio de Janeiro, Brazil, the couple went straight to buy wedding rings. Adolph Bolm warned Romola against proceeding, saying "It will ruin your life". Gunsbourg hurried to arrange the marriage, getting permission by telegram from Romola's mother. Read Less
A quick wedding could take place once the ship arrived at Buenos Aires, Argentina; the couple were married on 10 September 1913 and the event was announced to the world's press. … Read More
Back in Europe, Diaghilev "gave himself to a wild orgy of dissipation Sobbing shamelessly in Russian despair, he bellowed accusations and recriminations; he cursed Nijinsky's ingratitude, Romola's treachery, and his own stupidity".<br /><br /> As the company was due to start performing immediately, the couple had no honeymoon. A few days after the marriage, Nijinsky tried to teach Romola some ballet, but she was not interested. "I asked her to learn dancing because for me dancing was the highest thing in the world", "I realized that I had made a mistake, but the mistake was irreparable. I had put myself in the hands of someone who did not love me." Romola and Nijinsky did not share accommodations until after the season was safely underway, when she was eventually invited to join him in separate bedrooms in his hotel suite. She "almost cried with thankfulness" that he showed no interest in making love on their wedding night. Read Less
THIRTIES
1919 30 Years Old Nijinsky's diary, which he wrote from January to early March 1919, expressed his great fear of hospitalization and confinement. … Read More
He filled it with drawings of eyes, as he felt himself under scrutiny, by his wife, a young doctor Frenkel, and others. Finally Romola arranged a consultation in Zurich with the psychiatrist Eugen Bleuler in 1919, asking her mother and stepfather for help in getting Nijinsky there. His fears were realized; he was diagnosed with schizophrenia and committed to Burghölzli. After a few days, he was transferred to the Bellevue Sanatorium, "a luxurious and humane establishment directed at that time by Ludwig Binswanger." Read Less
1920 31 Years Old In 1920, Nijinsky's second daughter Tamara was born. … Read More
She never saw him dance in public.<br /><br /> For the next 30 years, Nijinsky was in and out of psychiatric hospitals and asylums. Read Less
FIFTIES
1945 56 Years Old During 1945 after the end of the war, after Romola had moved with him to Vienna, he encountered a group of Russian soldiers in an encampment, playing traditional folk tunes on a balalaika and other instruments. … Read More
Inspired by the music and hearing his first language, he started dancing, astounding the men with his skills. Drinking and laughing with them helped him start to speak again. He had maintained long periods of almost absolute silence during his years of illness. His wife Romola had protected them by staying for a time at the border of Hungary and Austria, trying to keep out of major areas of fighting. Read Less
1947 58 Years Old From 1947 Nijinsky lived in Surrey, England with his wife.
LATE ADULTHOOD
1950 61 Years Old He died from kidney failure at a clinic in London on 8 April 1950 and was buried in London. … Read More
In 1953 his body was moved to Montmartre Cemetery in Paris and reinterred beside the graves of Gaétan Vestris, Théophile Gautier, and Emma Livry.<br /><br /> Nijinsky's daughter Kyra married the Ukrainian conductor Igor Markevitch, and they had a son named Vaslav. The marriage ended in divorce.<br /><br /> His second daughter Tamara Nijinsky grew up with her maternal grandmother, never getting to see her father dance. Later she has served as Executive Director of the Vaslav & Romola Nijinsky Foundation, founded by her mother, to preserve art and writing associated with her parents, and her father's dances.<br /><br /> Nijinsky's Diary was written during the six weeks in 1919 he spent in Switzerland before being committed to the asylum to Zurich. It reflected the decline of his household into chaos. He elevated feeling and action in his writing. It combined elements of autobiography with appeals for compassion toward the less fortunate. Discovering the three notebooks of the diary years later, plus another with letters to a variety of people, his wife published a bowdlerized version of the diary in 1936, translated into English by Jennifer Mattingly. She deleted about 40% of the diary, especially references to bodily functions, sex, and homosexuality, recasting Nijinsky as an "involuntary homosexual." She also removed some of his more unflattering references to her and others close to their household. She moved sections around, obscuring the "march of events" obvious in the original version and toning down some of the odder portions, including trying to distinguish between sections in which he writes as God and others as himself (in the original all such sections are written the same.) Read Less
Original Authors of this text are noted on http://en.wikipedia.org/wiki/Vaslav_Nijinsky .
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The Jodrell Bank radio telescope in Cheshire was completed in which year? | Stravinsky and Nijinsky's worst ballet. They choreographed the worst opening night ever | Daily Mail Online
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The fight of Spring: A riot, a ballet without a tune and bankruptcy. 100 years on, why Stravinsky's opening night ballet was a disaster
The Fight of Spring: The score was so unlike anything heard before that, at rehearsals, the musicians wondered if there had been a printing mistake
PARIS 1913
Looking nervously through the peephole in the curtain of the Théâtre des Champs-Élysées, the young choreographer Vaslav Nijinsky could see a murmuring ocean of bejewelled ladies, and their escorts in white tie and tails, waiting for his ballet to begin.
It was the French capital, on May 29, 1913, and the audience’s mood was one of excited expectation.
They were about to witness one of the most hotly anticipated cultural events in history; the first performance of Igor Stravinsky’s Le Sacre Du Printemps (The Rite Of Spring), designed by Nicholas Roerich, choreographed by Nijinsky and produced by Sergei Diaghilev.
The people packed into the sweltering theatre represented ‘the thousand varieties of snobbism, super-snobbism, (and) anti-snobbism’.
First there were the grandes dames of French society, diamonds blazing on their powdered bosoms.
These powerful women were life models for Marcel Proust, the reclusive novelist whose ground-breaking À La Recherche Du Temps Perdu, the first section of which was published in 1913, chronicled this tiny group of aristocrats and their hangers-on.
Although they could be generous patrons, their kindness came at a price – they expected their world view to be reflected in the work they supported.
While the grandees in their red velvet boxes had paid double the usual ticket price, Diaghilev – the charismatic impresario of the Ballets Russes, the company that had bewitched Paris four years earlier – had also given out free passes to a group of rebellious intellectuals.
The young men wore soft collars and short jackets, and the women were in turbans and bright, loose dresses.
Sergei Diaghilev, left, with Igor Stravinsky
Even if they could have afforded better clothes they would have refused to wear them, as a demonstration of their rejection of outdated traditions.
Torn between his devotion to art as an ideal and his need for a hit, and devastated by the private knowledge that Nijinsky, his acknowledged lover for the past four years, was moving away from him, Diaghilev was desperate for Sacre to succeed.
He had opened the programme with Les Sylphides, his favourite piece and one of the Ballets Russes’ most popular shows.
The lonely poet dancing with ghostly maidens in long white tutus was romantic and heart-stoppingly beautiful; for most of the audience, exactly what they expected.
Others, though, had begun to hope that ballet, like literature and the visual arts, might begin to form a new, truer idea of beauty.
Even though the first strains of Sacre are hauntingly delicate, the unusually high register used by Stravinsky for the opening bassoon solo caused a commotion.
The ballet was 24-year-old Vaslav Nijinsky's first major composition
The composer Camille Saint-Saëns hissed to his neighbour: ‘If that’s a bassoon, I’m a baboon.’
Whistles, boos and laughter broke out. The score was so unlike anything heard before that, at rehearsals, the musicians wondered if there had been a printing mistake.
Stravinsky would shout: ‘Gentlemen, you do not have to laugh, I know what I wrote!’ and would race to the piano to pound out the music as he wanted it played.
The sweating dancers waited in their heavy costumes to begin the performance, an imagined enactment of the fertility ritual of an ancient Slavonic tribe.
The ballet was 24-year-old Nijinsky’s first major composition.
Despite his universally acknowledged genius as a dancer (since his Parisian debut in 1909, aged 20, he had been acclaimed Le Dieu De La Danse) his talents as a choreographer aroused debate.
Some found his two previous ballets – L’Après-Midi D’un Faune (1912) and Jeux, which had premiered only weeks earlier – thrillingly new, but many dismissed them as ugly, even obscene.
As the music swelled into a frenzy of dissonance, the dancers began moving, but what the audience saw bore almost no relation to the grace of Les Sylphides.
The dancers’ steps were heavy, as Nijinsky imagined the movements of ancient tribespeople. For much of the performance they faced away from the audience and there was no storyline to follow.
This was, as one critic later wrote, ‘not the usual spring sung by poets . . . [but] spring seen from inside, with its violence, its spasms and its fissions’.
The audience erupted – with some shouting in rage at having been mocked and insulted, as they saw it, by this ‘non-ballet’ and others defending it, understanding that what they were seeing and hearing was as revolutionary as the writings of Nietzsche and Freud, the discoveries of Einstein, the paintings of Cézanne and Picasso.
As one said, they were witnessing ‘an utterly new vision, something never before seen . . . art and anti-art at once’.
However, the arguments quickly descended into the visceral. Members of rival factions were observed rapping one another on the head with their canes; one tugged another’s top hat down over his face.
One of the young bohemians, a critic, cried out: ‘Down with the whores of the Sixteenth (arrondissement; Paris’s Mayfair)!’
HIGH JINKS: The Finnish National Ballet performing a reconstruction of Nijinsky's The Rite Of Spring
Gabriel Astruc, the theatre’s owner and a long-term supporter of the Ballets Russes, leaned out of his box and screamed: ‘First listen! Then hiss!’
Nijinsky’s mother fainted. Some people remembered seeing policemen arriving to break up fights.
The premiere would pass into legend as one of the great moments of cultural history, but for each of the protagonists it was a personal turning point, too.
Although some critics hailed Le Sacre Du Printemps as a masterpiece it was a commercial failure. Nijinsky’s choreography was dismissed and all but forgotten until the first revival of his work more than 70 years later.
Stravinsky and Nijinsky would never work together again. Astruc was forced to close the Théâtre des Champs-Élysées because Sacre had bankrupted him.
Diaghilev was on the verge of sacking Nijinsky when the choreographer eloped with a female follower of the Ballets Russes.
After the performance, Diaghilev, Nijinsky and Stravinsky drove around the empty city.
The evening ended with Diaghilev reciting Pushkin in the Bois de Boulogne, the tears on his face lit up in the carriage lamps, while Stravinsky and Nijinsky listened intently.
They were, said Stravinsky, ‘excited, angry, disgusted and . . . happy’, convinced that it would take people years to understand what they had been shown.
Even so, they could scarcely have imagined that Nijinsky’s choreography would never be danced again after its nine performances in 1913 but would resonate throughout the century to come, while Stravinsky’s score would go on to be acclaimed the soundtrack of the 20th century.
‘Nijinsky’ by Lucy Moore is published by Profile, priced £25. To order your copy at £18 with free p&p, please call the Mail Book Shop on 0844 472 4157 or visit mailbookshop.co.uk.
THE LORD OF MODERN DANCE
Nijinsky – the journey from genius to tortured madman
Nijinsky’s parents were Polish itinerant dancers who often performed in the large theatre-circuses, such as Salamonsky’s, which were hugely popular attractions throughout the Russian empire.
His first paid role, aged seven, was as a chimney sweep.
Almost immediately after graduating from the Imperial Theatre School, Nijinsky attracted the attention of a rich patron, Prince Lvov, who seduced him by pretending that a princess who was in love with Nijinsky had asked him to act as her go-between.
Lvov introduced Nijinsky to Diaghilev and encouraged their romance, well aware of how instrumental Diaghilev could be in promoting Nijinsky’s career.
It was only dancer Anna Pavlova’s last-minute absence from the Ballets Russes’ opening two weeks in Paris in 1909 that allowed Diaghilev to present Nijinsky as his star.
In 1913, soon after the debacle in Paris, Nijinsky met a star-struck Hungarian socialite Romola de Pulszky on a month-long voyage to South America – and they married.
When he discovered Nijinsky had eloped, Diaghilev consoled himself with a debauched tour through Southern Italy before his thoughts turned to revenge.
Nijinsky’s first mental breakdown probably took place in 1914, soon after Diaghilev sacked him.
He put on a programme at a London music hall, but it was a disaster. Nijinsky was so hysterical that, on one occasion, the stage manager had to pour a jug of water over him.
As Nijinsky’s mental health declined in the mid-1910s his behaviour became increasingly erratic. Influenced by the writings of Tolstoy, he began wearing hair shirts next to his skin and refusing to eat meat.
By 1919 Nijinksy was experiencing periods of lucidity and terrifying moments of hallucination and mania.
Nijinksy, Romola and their daughter, Kyra, were living quietly in St Moritz and he took to driving their sleigh into the paths of oncoming sleighs.
He pushed Romola down the stairs and spent hundreds of francs on sweaters in a rainbow of colours.
According to the frenzied diary he began on the day of his last public performance, Nijinsky believed that he was entering into a marriage with God.
When Romola took him to a psychiatrist to be diagnosed, he was told by the doctor that he was incurably insane.
His daughter, Tamara, aged 17, seeing Nijinsky after many years’ absence in 1937, was alone with him for a moment.
She picked him a bunch of flowers, and recalled: ‘Silently, he gazed at the daisies, lifted them upward to the sky . . . like an offering, then sank back in his chair, shut his eyes, and pressed the flowers to his heart.’
Nijinsky died in a London clinic in 1950.
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In which year did cricketer Len Hutton complete his 100th century? | Len Hutton (Cricketer) - Pics, Videos, Dating, & News
Len Hutton
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Born Jun 23, 1916
Sir Leonard "Len" Hutton was an English Test cricketer, who played for Yorkshire and England before and after the Second World War as an opening batsman. He was described by Wisden Cricketers' Almanack as one of the greatest batsmen in the history of cricket. In 1938, he set a record for the highest individual innings in a Test match in only his sixth Test appearance, scoring 364 runs against Australia, a milestone that stood for nearly 20 years.… Read More
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'In reverse chronological order, they are Mike Brearley's side of 1979-80, Ray Illingworth's 1970-3 team and the 1955-9 squad led first by <mark>Len Hutton</mark> then Peter May. Brearley's side had the young Ian Botham in his athletic prime when he scythed through'
Liverpool 'gun Down' Arsenal As 'white Washed' India Go Up The 'swanny!' Euro Weekly News
Google News - Aug 26, 2011
'Alastair Cook's 294 in the third Test was the sixth highest-ever score by an Englishman, following <mark>Len Hutton</mark>'s 364 (v Australia , 1938), Wally Hammond's 336 (v New Zealand , 1933), Graham Gooch's 333 (v India , 1990), Andy Sandham's 325 (West Indies,'
Andersonââ¬â¢S Bowling Pack Can Keep England On Top Of World Yorkshire Post
Google News - Aug 25, 2011
'Then, <mark>Len Hutton</mark> and Peter May could call on bowlers of the class of Fred Trueman, Brian Statham, Frank Tyson and Alec Bedser. The supporting cast was not bad either, with the likes of Peter Loader, Trevor Bailey, Alan Moss, Len Coldwell,'
Corrections And Clarifications The Guardian
Google News - Aug 22, 2011
'In the same article we said <mark>Len Hutton</mark> scored his record 364 against Australia in 1936. That should have been 1938 (Why August is a poor choice when taking a break from politics, 20 August, page 7). ⢠Instead of Prize Crossword No 25406, set by Brummie'
Learn about the memorable moments in the evolution of Len Hutton.
CHILDHOOD
1916 Birth Hutton was born on 23 June 1916 in the Moravian community of Fulneck, Pudsey, the youngest of five children to Henry Hutton and his wife Lily (née Swithenbank). … Read More
Many of his family were local cricketers and Hutton soon became immersed in the sport, which he both played and read about with enthusiasm. Read Less
1921 5 Years Old He practised in the playground of Littlemoor Council School, which he attended from 1921 until 1930, and at Pudsey St Lawrence Cricket Club, which he joined as a junior.
TEENAGE
1929 - 1930 3 More Events
1929 13 Years Old At the age of 12, he made his first appearance for Pudsey St Lawrence's second eleven and by 1929 had reached the first team. … Read More
Locals encouraged him to meet the Yorkshire and England cricketer Herbert Sutcliffe, a neighbour, from whom Hutton received coaching in Sutcliffe's garden. Sutcliffe was impressed by the young batsman, and commended him to Yorkshire as a good prospect. Read Less
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Following this endorsement, Hutton went to the county's indoor practice shed at Headingley in February 1930. … Read More
George Hirst, a former Yorkshire cricketer responsible for assessing and coaching young players, believed that Hutton's batting technique was essentially already complete. Bill Bowes, the Yorkshire pace bowler, was equally impressed, and helped Hutton to correct a minor flaw in his technique. Hutton was sufficiently encouraged to decide to attempt a career in professional cricket, but at the prompting of his parents decided to learn a trade as well. Read Less
During 1930, he watched the Australian Don Bradman hit 334 not out at Headingley in a Test match, then a record individual score in Testsâwhich he himself would surpass eight years later. … Read More
Later that year, Hutton enrolled at Pudsey Grammar School where he spent a year studying technical drawing and quantitative work before joining his father at a local building firm, Joseph Verity. After becoming a professional cricketer, Hutton continued to work for the company during winter months until 1939. Read Less
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By 1933, Hutton was regularly opening the batting for the Pudsey St Lawrence first team in the Bradford Cricket League. … Read More
By close observation of his opening partner, the former Yorkshire county batsman Edgar Oldroyd, Hutton further developed his batting technique, especially in defence. The local press soon identified Hutton as a player of promise, particularly after he scored a match-winning 108 not out in the Priestley Cup. Senior figures within Yorkshire cricket identified him as a potential successor to Percy Holmes as an opening partner to Sutcliffe; at this stage in his career, Hutton was also considered a promising leg spin bowler. Read Less
In the 1933 season Hutton was selected for the Yorkshire Second Eleven. … Read More
Although he failed to score a run in either of his first two innings, over the season he scored 699 runs at an average of 69.90. Yorkshire appointed Cyril Turner as Hutton's mentor; Hedley Verity and Bowes also offered Hutton guidance in his early career. Read Less
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Marked out as a potential star from his teenage years, Hutton made his debut for Yorkshire in 1934 and quickly established himself at county level. … Read More
By 1937, he was playing for England and when the war interrupted his career in 1939, critics regarded him as one of the leading batsmen in the country, and even the world. During the war, he received a serious injury to his arm while taking part in a commando training course. His arm never fully recovered, forcing him to alter his batting style. When cricket restarted, Hutton resumed his role as one of England's leading batsmen; by the time of England's tour to Australia in 1950â51, the team relied heavily on his batting and did so for the remainder of his career. As a batsman, Hutton was cautious and built his style on a sound defence. Although capable of attacking strokeplay, both Yorkshire and England depended on him, and awareness of this affected his style. Hutton remains statistically among the best batsmen to have played Test cricket. Read Less
Hutton made his first-class debut for Yorkshire in 1934, at the age of 17 the youngest Yorkshire player since Hirst, 45 years earlier. … Read More
In his first match, against Cambridge University, he was run out for a duck but scored an unbeaten 50 runs in his second match; he followed this with another half-century against Warwickshire on his County Championship debut. He played regularly for the rest of the season but to prevent his overexposure to Championship cricket, Yorkshire limited his appearances and returned him periodically to the second eleven. In matches for the first team, Hutton shared large first-wicket partnerships with Wilf Barber and with Arthur Mitchell, before scoring his maiden first-class century in an innings of 196 against Worcestershire. At the time, he was the youngest Yorkshire batsman to score a first-class century. He finished the season with a total of 863 runs at an average of 33.19; Read Less
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An operation on his nose before the 1935 season delayed Hutton's appearance on the cricket field that year. … Read More
Attempting to return too quickly, he endured poor health which limited his subsequent appearances and effectiveness; by the middle of August he had scored a total of just 73 runs. A century against Middlesex led to run of bigger scores, and his contribution to Yorkshire's County Championship victory that season was 577 runs at an average in first-class matches of 28.85. Read Less
In the winter of 1935â36 Hutton went on his first overseas tour, as Yorkshire visited Jamaica. … Read More
In the 1936 season he reached 1,000 runs in a season for the first timeâ1,282 runs at an average of 29.81âand was awarded his county cap in July. He took part in several large partnerships through the season, including one of 230 with Sutcliffe, although he experienced a sequence of low scores in May and June.<br /><br /> Throughout his first seasons, Hutton faced press criticism for his caution and reluctance to play attacking shots. Although regarding him a certain England selection in the future, critics thought Hutton slightly dull and pedestrian. Yorkshire remained unconcerned; cricket writer Alan Hill believes Hutton's subsequent success was built on this initial establishment of a defensive technique. His achievements brought limited recognition, owing to the high level of expectation surrounding him. Read Less
This sense of frustration was heightened by comments from Sutcliffe in 1935, when he wrote that Hutton was "a certainty for a place as England's opening batsman. … Read More
He is a marvel â the discovery of a generation... His technique is that of a maestro." Such praise was rare from Sutcliffe, but Hutton found the comments a burden, while others found them embarrassing. Read Less
TWENTIES
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After Hutton began 1937 with a series of high scoresâincluding an innings of 271 against Derbyshire, the reigning County Champions, and 153 against Leicestershire two days later when he and Sutcliffe shared a 315-run opening partnershipâhe was chosen to play for England against New Zealand in the first Test match of the season. … Read More
On 26 June, he made his Test debut at Lord's Cricket Ground, scoring and 1. Retaining his place in the England team after scoring centuries for Yorkshire in the following games, he scored his maiden Test hundred on 24 July in the second Test at Old Trafford, Manchester. He batted for three-and-a-half hours to score exactly 100 runs and shared a century opening partnership with Charlie Barnett. Hutton's remaining two innings in the Test series yielded 14 and 12, giving him 127 runs at an average of 25.40. Read Less
Also in 1937, Hutton made his first appearance for the Players against the Gentlemen at Lord's. … Read More
In total that year he scored 2,888 runs, more than double his previous seasonal best, at an average of 56.62 and including ten centuries. He also recorded the best bowling performance of his career, six wickets for 76 against Leicestershire, altogether taking ten wickets in the matchâthe only time he achieved this. His performances that year earned him selection as one of Wisden's Cricketers of the Year. The citation praised his attitude, technique, fielding and bowling, noting however that some commentators continued to criticise his overcaution. Read Less
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In early matches of the 1938 season, with an Ashes series against Australia pending, Hutton made three centuries and scored 93 not out. … Read More
Selected for a Test trial, he shared a century opening partnership with Bill Edrich, and was selected for the first Test at Trent Bridge in Nottingham beginning on 28 June. In just over three hours, Hutton scored 100 from 221 deliveries on his Ashes debut, adding 219 with Charlie Barnett for the first wicket. England, in Wally Hammond's first match as Test captain, posted a total of 658 for eight wickets, but the match was drawn. Hutton failed in the second Test, with two single figure scores in another drawn game. He was generally unsuccessful with the bat in the following weeks, during which the third Test was entirely rained off. Following a sequence of low scores for Yorkshire, Hutton's finger was broken in a match against Middlesex played on a dangerous pitch at Lord's. Consequently, he could not play in the fourth Test, played at his home ground, Headingley, in which England were soundly beaten. After missing a month of cricket, Hutton played just two games before his selection for the final Test of the series. Read Less
From October 1938, Hutton toured South Africa with the Marylebone Cricket Club (MCC)âthe name by which England teams toured at the timeâunder the captaincy of Hammond; England won the series 1â0, with the other four games drawn. … Read More
He scored centuries in two early matches but in a match against Transvaal, a delivery from Eric Davies knocked him unconscious and forced him to miss the first Test. Unsuccessful on his return in the second Test, Hutton scored a double century in the following tour match, but had another low score in the third Test, which England won. He was more successful in the final Tests. In the fourth, on a difficult pitch for batting, he scored 92. The final Test was drawn after ten days of play in a supposedly "timeless" Test. In a match which set a record aggregate of runs, Hutton scored 38 and 55 but his contributions were overshadowed by the heavy scoring of others. Read Less
Although Hutton scored 265 runs in the Test series, at an average of 44.16, critics were disappointed, expecting more after his record innings of 1938. … Read More
In all first-class matches, he scored 1,168 runs at an average of 64.88, the highest aggregate among the tourists, and accumulated five centuries. Spectators found his batting attractive and the Wisden correspondent regarded him the most accomplished batsman on the tour. Read Less
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In its summary of the 1939 season, Wisden noted the development of Hutton into a more exciting batsman to watch, observing that he "gave further evidence of being one of the world's greatest batsmen". … Read More
He began to dominate opening partnerships with Sutcliffe, in contrast to prior seasons when he was the junior partner. In total, he scored 2,883 runs, over 400 more than any other batsman and his average of 62.27 placed him second in the national averages behind Hammond. Among his twelve centuries, Hutton scored his highest total for Yorkshire, 280 not out in six hours against Hampshire, sharing an opening partnership of 315 with Sutcliffe. His contributions helped Yorkshire to their third successive Championship. He was also successful in representative matches, scoring 86 for the Players against the Gentlemen, and compiling 480 runs (averaging 96.00) in the Test matches against West Indies. England won the series, after recording victory in the first match and drawing the others. Hutton scored 196 in the first Test, hitting his last 96 runs in 95 minutes; he and Denis Compton scored 248 runs together in 133 minutes. After low scores in the second Test, Hutton scored 73 and 165 not out in the final game at the Oval. Facing a West Indian lead of 146, he batted five hours in the second innings, sharing a partnership of 264 with Hammond. He ended his season with a century against Sussex in Yorkshire's final match before the war; two days after its conclusion, the Second World War began. Read Less
Hutton married Dorothy Mary Dennis, the sister of former Yorkshire cricketer Frank Dennis, on 16 September 1939 at Wykeham near Scarborough; they met at an end-of-season dance which Dorothy had attended with her brother. … Read More
They had two sons: Richard, who later played cricket for Yorkshire and England, in 1942, and John in 1947.<br /><br /> During and after the war, Hutton worked for a paper manufacturer, but writing and journalism provided a more permanent career. Hutton worked with Thomas Moult, a journalist and writer, to produce a book of memoirs, Cricket is My Life in 1949, and he wrote for the News of the World while still playing. Following his cricketing retirement, Hutton worked in broadcasting until 1961, and after 1955, he wrote for the London Evening News until 1963. A second book, Just my story, followed in 1956 in collaboration with journalist, R. J. Hayter. Read Less
THIRTIES
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County cricket fully resumed in 1946. Hutton was troubled by his injury; his wrists no longer rotated fully and he abandoned the hook shot. Nevertheless, he scored 1,552 runs at an average of 48.50, and was recognised by Wisden as Yorkshire's most effective batsman as the county won their fourth consecutive championship title. His four centuries included 183 not out against the touring Indian team, but he was less successful in the three Tests, scoring 123 runs at an average of 30.75. England won the series 1â0 but Hutton's only fifty was a defensive innings in the second Test, when he was troubled by a bad back. Read Less
He was omitted from the Gentlemen and Players match, but was part of the MCC team touring party for the 1946â47 tour of Australia. … Read More
The MCC were reluctant to tour so soon after the war, but the Australian authorities were insistent. The tourists, led once more by Wally Hammond, were beaten 3â0 in the Test series, finding their opponents much stronger than expected. Hutton began the tour well, scoring two early centuries, the latter of which was described by Wisden as the best English innings of the tour. A string of other good performances drew praise from press and former players; one such report named him the best batsman in the world. However, Hutton failed to reach a score of 50 runs in the first three Tests; in the first, he was out for a first ball duck, and in the second, a short ball from Keith Miller struck him on his injured arm. In the second innings of the latter game, he quickly scored 37, frequently driving the bowling of Miller and Fred Freer before the bat slipped from his hand and hit the wicket, ending the innings. Even so, the display was praised by critics. Read Less
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John Woodcock writes that he seemed to possess great intuition, for example playing mystery spinners Ramadhin and Iverson with ease. His batting stance was relaxed and still, his first movement being to slide his right foot back and across towards middle stump. He often played the ball off the back foot, getting right back onto his stumps, but never played as far forward, preferring to let the ball come to him and play it late. Occasionally, he left a slight gap between his bat and pads, meaning he was sometimes bowled through it when out of form. This arose mainly through the wartime injury to his arm and by 1950 he had adjusted his technique to compensate and had fewer problems. Immediately before the war, Hutton batted in a more attacking style and several of his contemporaries remembered his attractive strokeplay. By his own admission, Hutton was not the same player after the war. A combination of the effects of his injury and the responsibility of opening the batting in generally weak Yorkshire and England teams, whose success often depended on Hutton, meant that he batted cautiously. Hutton only played attacking shots when they presented no risk, and he rarely lifted the ball in the air; he hit just seven sixes in Test matches. However, Patrick Murphy writes: "Just now and again he would play an innings of genius, when bowlers could not contain him." Read Less
One such innings was his score of 37 in the second Test of 1946â47 in which the attacking shots he played reminded older spectators of Victor Trumper, regarded as the ultimate Australian strokeplayer. … Read More
In all his innings, he was expert at hitting the ball just out of the reach of fieldsmen to allow runs to be taken. Several of his contemporaries believed he did not get enough credit for surviving the short-pitched attacks of the Australian bowlers following the war.<br /><br /> His cricket was never meant to be a joyride, yet he was not a joyless man without humour.<br /><br /> As captain, Hutton believed that the key to success was a strong pace attack, stemming from his experiences against Lindwall and Miller, which influenced his selection of several promising fast bowlers. His natural inclination and the background to his appointment made him a cautious captain, for example slowing down the game to allow the fast bowlers to rest, which set a precedent for other captains. Tactically, Norman Yardley found him "sound rather than venturesome". Run saving was his main priority, but during matches, he quickly adjusted his approach to attack the weakness of particular batsmen. Jim Kilburn believed that Hutton pursued a serious approach to all matches, to the point where he missed some enjoyment of the game. Kilburn wrote that the "outstanding characteristic of his captaincy was shrewdness. He made no romantic gestures; he lit no fires of inspiration. He invited admiration rather than affection and would have exchanged either or both for effective obedience." Read Less
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Hutton's tonsils were removed before the start of the 1947 season but his poor health continued, forcing him to miss some games at the start of the season. … Read More
Nevertheless, his form remained good and he scored four centuries in early matches. Yorkshire dropped to equal seventh in the County Championship, affected by the retirement of key players and the frequent loss of Hutton to representative cricket. In the Test matches Hutton did not initially score heavily. His highest innings after three Tests was only 24 runs, and critics called his place into question. He returned to form during the fourth Test, his first at Headingley, with a four-and-a-half-hour century on a difficult pitch for batting. Hutton scored 83 and 36 in the drawn final Test, and England won the series 3â0 with the other two games drawn. Hutton hit 344 runs in the Test series at an average of 44.00; in all first-class matches, he scored eleven centuries and totalled 2,585 runs at an average 64.62, although his achievements that season were overshadowed by those of Denis Compton and Bill Edrich, who both broke the previous record for most runs scored in a season. Read Less
After 16 months of continuous cricket, Hutton chose to miss the 1947â48 winter MCC tour of the West Indies. … Read More
However, injuries severely affected that team, and its captain Gubby Allen requested reinforcements. Subsequently, Hutton flew out to join the tour; Immediately after he arrived, having travelled for four days, Hutton played against British Guiana, scoring 138 and 62 not out, before appearing in the third Test. After a century against Jamaica, Hutton played innings of 56 and 60 in the fourth and final Test, giving him 171 runs at an average of 42.75 in the series. He came top of the first-class averages for the tourists, with 578 runs at an average of 64.22, and was judged by Wisden as one of the few batting successes in a team which lost the four-Test series 2â0 and failed to win a single match on tour. Read Less
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During 1948, Hutton scored heavily for Yorkshire. … Read More
Despite missing more than half the County Championship matches, he scored more runs at a better average than anyone else in the side. In county matches, Hutton averaged 92.05 and scored eight centuries. Some Yorkshire critics expressed concern at the team's dependence on Hutton and the poor performance of other batsmen. Hutton's main challenge that season came from the Australian side which toured England undefeated and won the Test series 4â0. In the early part of the tour, the Australians, and particularly the pace bowlers Lindwall and Miller, tried to shake Hutton's confidence by targeting him. Although Hutton failed on a difficult pitch in Yorkshire's match against the tourists, he was the only successful batsman against them when he appeared for MCC shortly after.<br /><br /> Hutton was selected for the first Test, but England were overwhelmed by the Australian fast bowlers and lost the match. After a failure in the first innings, Hutton scored 74 in the second, and briefly established dominance over Miller, who responded with a series of bouncers, one of which struck Hutton on the shoulder and provoked an angry reaction from the crowd. Miller bowled him in very poor light at the start of the fourth day's play. At Lord's in the second Test, also lost by England, Hutton scored 20 and 13, but of more concern to critics was the manner in which he batted. In the second innings, England had to bat for a long time to save the game, Wisden noted that Hutton, in contrast to his opening partner Washbrook, looked "plainly uncomfortable". Read Less
Hutton toured South Africa in the winter of 1948â49 with the MCC under the captaincy of George Mann. … Read More
Wisden described Hutton's tour as a succession of triumphs until he tired at the end: "Hutton's driving aroused the greatest admiration, but all his strokes were stamped with the hallmark of class." Before the Test matches began, Hutton scored three centuries and then contributed 83 as England won the first Test. The next three Tests were drawn. In the second match, Hutton and Washbrook set a new Test match record opening partnership. In easy batting conditions, they shared 359 runs on the first day before Hutton was out for 158 after almost five hours batting. In more favourable bowling conditions in the third Test, Hutton scored 41 and 87, followed by 123 in the fourth game which settled England's second innings at a dangerous time. England won the final game to take the series 2â0, and Hutton finished the Test series with 577 runs at an average of 64.11, while in all first-class matches he recorded 1,477 runs at an average of 73.85. Read Less
1949 33 Years Old The most successful season of Hutton's career in terms of runs scored was 1949; he scored 3,429 runs at an average of 68.58, the fourth highest aggregate of runs in an English season. … Read More
In both June and August he scored over 1,000 runs; his 1,294 runs in June was a record for a single month and only Herbert Sutcliffe had previously passed 1,000 runs for a calendar month twice in a season. He scored a double century against Lancashire, only the second for a Yorkshire batsman in the fixture. Read Less
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Hutton scored 2,049 runs at an average of 56.91 in the 1950 season. … Read More
Batting effectively on a succession of early season rain-affected wickets, Hutton frequently top-scored for Yorkshire. Hutton's benefit match against Middlesex was affected by rain, but other events, collections and insurance for loss of play gave Hutton £9,713, a record at that point for a Yorkshire cricketer. Two-thirds of the amount was invested on Hutton's behalf by the Yorkshire committee, following their usual practice; Hutton resented this paternalism from the committee, particularly as he did not receive the full amount until 1972. Hutton played in three of the four Tests against West Indies. In the first Test, hampered by a finger injury, he scored 39 and 45 as England recorded their only victory of the series. The West Indies won the second Test, their first Test victory in England, and won the final two Tests to take the series 3â1; Hutton missed the third Test with lumbago but in the fourth Test scored 202 not out, carrying his bat through England's first innings. The West Indian spinners Sonny Ramadhin and Alf Valentine caused difficulties for all the batsmen except Hutton, who always appeared comfortable. Wisden praised his effort as unforgettable. Read Less
Hutton was chosen to go on the MCC tour of Australia in 1950â51, under the captaincy of the amateur Freddie Brown. … Read More
The latter was an unexpected choice as captain, after a struggle to find a suitable amateur for the role. As a compromise aimed at critics who favoured the appointment of a professional captain, the professional Denis Compton was made vice-captain, but Brown came to rely more on Hutton than on Compton for advice. The tour selectors, in an attempt to strengthen the batting line-up, asked Hutton to bat in the middle order rather than his usual position as opener. He batted well in the early games but the team struggled. In the first Test, England dismissed Australia for 228 before rain made the pitch difficult for batting. In reply, England collapsed to 68 for seven before Brown declared to make Australia bat again while the pitch was still treacherous. Australia in turn struggled to 32 for seven, before declaring to leave England needing 193 to win. By the end of the third day's play, victory seemed unlikely as England were 30 for six. Next morning on a slightly easier pitch, Hutton scored 62 not out, an innings which was widely acclaimed in the press. Wisden observed that he had "given yet another exhibition of his wonderful batsmanship on tricky turf... Hutton thrashed the fast bowlers majestically and played the turning or lifting ball with the ease of a master craftsman." However, the team were bowled out for 122 and Australia won by 70 runs. Read Less
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Hutton scored 2,145 runs in 1951 with nine centuries, including his 100th in first-class cricket. … Read More
The South Africans toured England, losing the Test series 3â1. After Hutton scored fifty in the first Test, which was won by South Africa, his 100th century almost came during the third Test, when he scored an unbeaten 98 in the second innings to take England to victory. But the innings provoked controversy when Hutton's team-mates seemed to decline easy runs to allow Hutton the opportunity to reach his hundred before the end of the match, thereby jeopardising England's chances of victory in unsettled weather. The 100th century came a week later, against Surrey, when Hutton became the thirteenth player to achieve the landmark. He followed this immediately with 194 not out against Nottinghamshire and 100, in the drawn fourth Test at Headlingley. In the final Test, which England won to take the series, Hutton became the first man in Tests, and only the fourth in all first-class cricket, to be given out obstructing the field: he edged a ball in the air and legitimately knocked it away from his wickets with his bat; in doing so, he prevented a catch being taken and was given out. This remains the only such instance in Tests. Hutton ended the Test series with 378 runs at an average of 54.00. Late in the season, he scored a century against Gloucestershire to become the second Yorkshire player after Sutcliffe to complete centuries against the other 16 first-class counties. Read Less
Brown's resignation from the captaincy of England at the end of 1951 left no obvious replacement candidate. … Read More
Traditionally, captains in county or Test cricket were amateurs, who usually came from privileged backgrounds, in contrast to professionals, who often came from the working classes. Consequently, class distinction pervaded cricket which was organised and administered by former and current amateurs, many of whom reasoned that professionals would not make good captains owing to their worries over safeguarding their contracts or concerns about affecting the livelihoods of other professionals. In 1952, the selectors judged that none of the serving amateur county captains possessed the required ability or experience to fill the role of England captain. Consequently, the selectors decided to radically depart from tradition and appoint a professional captain. All previous England captains in home Test matches had been amateurs, and no professional had captained England in any match in the 20th century. Read Less
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Hutton captained the England Test team between 1952 and 1955, although his leadership was at times controversial. … Read More
He pursued a cautious approach and faced criticism for negativity. Never comfortable in the role, Hutton felt that the former amateur players who administered and governed English cricket did not trust him. In 23 Tests as captain, he won eight Tests and lost four with the others drawn. Worn out by the mental and physical demands of his role, Hutton retired from regular first-class cricket during the 1955 season. Knighted for his contributions to cricket in 1956, he went on to be a Test selector, a journalist and broadcaster. He also worked as a representative for an engineering firm until retiring from the job in 1984. Read Less
But, as widely anticipated by the press, Hutton was appointed to captain England in the first Test of a four-match series against the 1952 Indian tourists. … Read More
He harboured private doubts whether the cricket establishment would accept a professional captain, but declined to turn amateur, as Wally Hammond had done in 1938. The decision met with broad approval from the press, and the editor of Wisden wrote: "In breaking with tradition and choosing a professional as captain the Selection Committee made a vital decision in the interests of England, because it should mean that in future no man will be picked as leader unless he is worth a place in the side." Hutton had not expected to be asked and had thought an amateur would have been appointed as usual. He presumed his appointment was an interim measure until a more suitable candidate could be found.<br /><br /> Before his home crowd at Headingley, Hutton's first match as captain was a success, although his tactics were cautious. The Wisden correspondent wrote: "For Hutton the match was a personal triumph. Tradition had been broken... and he must have known that the eyes of the world were upon him. He did not falter and his astute leadership earned him many admirers". England won comfortably, although Hutton failed with the bat. In the second Test, Hutton scored 150 out of a total of 537, and although cautious once more, the Wisden editor believed his captaincy helped to secure a win. Following this match, the selectors appointed Hutton captain for the rest of the series. In the final two Tests, Hutton scored 104 and 86 and his bowlers dominated the Indian batsmen. Read Less
1953 37 Years Old In the winter of 1953â54, Hutton led the MCC on a tour of West Indies. … Read More
Before the team left England, critics queried his appointment, arguing that a professional captain was unsuitable to lead a tour. Hutton's authority was also compromised by the MCC, who did not give him the tour manager he requested; instead, they appointed the inexperienced Charles Palmer, the Leicestershire captain, who had already been selected as a player on the tour. Palmer's dual role as player and manager blurred the lines of command. Hutton also found some of the professionals in the team to be difficult to lead, particularly Godfrey Evans, and Fred Trueman. Off-field events often overshadowed the cricket. Amid growing independence movements in the region, Hutton believed his team was used as a political instrument to support colonial rule. The situation was further inflamed as journalists and English residents in the Caribbean placed great emphasis on an English victory, and the perception was that the series would establish the unofficial world champions. The standards of local umpiring were a further source of controversy. The crowds often made noisy protests about on-field events, often related to umpiring. The climax came in the third Test when missiles were thrown onto the outfield when the umpire judged Cliff McWatt was out; Hutton kept his team and the umpires on the field, possibly defusing a dangerous situation. The attitude of some English players inflamed feelings, either through a perceived lack of courtesy, or their negative reactions to events on the field. Read Less
| 1951 |
In what year did the Kung Fu movie star Bruce Lee die? | Len Hutton: The master of unparalleled technique and focus - Cricket Country
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Len Hutton: The master of unparalleled technique and focus
Sir Leonard Hutton's left arm was shortened by two inches following an injury, but that did not stop him from becoming one of the greatest opening batsmen of all time and one of the most successful captains of England.
By Arunabha Sengupta
| Updated : June 22, 2016 9:38 PM IST
Len Hutton’s career spanned 79 Tests, and saw him score 6,971 runs at 56.67 with 19 hundreds. In First-Class cricket his total was 40,140 runs and 129 hundreds © Getty Images
Sir Leonard Hutton, born June 23, 1916, was one of the greatest opening batsmen of all time and one of the most successful captains of England. Arunabha Sengupta remembers this personification of perfect technique who continued on his path to greatness even after his left arm was shortened by two inches due to injury.
The accident
March, 1941. The last day of the Physical Training course in a York gymnasium, part of the commando drill preparatory to the forthcoming raid of Dieppe in 1942.
Len Hutton , the 24-year old sergeant instructor of the Army Physical Training Corps, was attempting a ‘fly spring’ when the mat slipped under him and he crashed on to the floor. His left arm was in excruciating pain and X-rays showed a fracture of the forearm and a dislocation of the ulna at the base of the wrist.
It appeared a temporary setback that would force him out of a few wartime cricket showdowns. However, even after supposed recovery, exertions of the left arm sent pain searing through like jolts of electric shock.
Within a few weeks, the army authorities transferred him to Wakefield where Leeds surgeon Reginald Wakefield operated on him. Even with the shadow of war looming in the background, Englishmen and primarily cricket fans from Yorkshire waited with bated breath. The future of the biggest batting hope of English cricket hung on the skill of medical men.
With time, he returned to the batting crease, playing for Plum Warner ’s XI against RAF, and top-scored with 19 in a low scoring match. But, by the end of the game, he was in agony once again. Operation followed operation, with bone grafts from his right leg. He spent time reading — Boswell’s Life of Johnson among his favourites — but the uncertainty of his future as a professional cricketer left him in endless trepidation.
It was the summer of 1942 when weeks of massage and therapy brought strength slowly trickling back to the injured arm. The left arm was now two full inches shorter than the right. The movements were restricted, the wrist would never again go through full rotation. Len Hutton would have to learn to play his strokes again, with a modified technique. He would almost certainly never hook again.
The man who had 1,345 runs from 13 Tests at 67.25 with the world record score of 364 under his belt saw a huge question mark hanging over his future.
Yet, there was a delight awaiting him. On September 6, 1942, son Richard was born — and he would go on to play five Tests for England in his time. And Hutton had recovered sufficiently by that time to hold the infant in his arms with confidence.
He scored a duck in the game he returned, in late April 1943 for Pudsey St Lawrence against Bankfoot. But, that was perhaps a good omen. He had scored a duck in each of his debuts in Second Grade, First-Class and Test cricket. The important factor was he was playing again, working on his game with the same keen intensity that characterised his bouts of run making.
Soon Reginald Broomhead, the surgeon behind this miracle, was made a life member of Yorkshire County Cricket Club for enabling Hutton to play again.
It was because the cricketing world knew that Hutton was special.
The pre-War heroics
Indeed, the great Herbert Sutcliffe had publicly voiced that he had piled up records so that his protégé Hutton could break them.
The last the world had seen of Hutton was during the 165 not out at The Oval, against West Indies in 1939. Wally Hammond, his captain, had batted with him to add 264 for the third wicket, a duet of classical English batsmanship. Hutton, who had often been criticised for slow scoring and an excess of caution, had batted beautifully, with some back foot drives through the off-side that matched the grandeur of Hammond in every respect. All the while, an anti-aircraft gun mounted on a tractor had been conspicuous in the corner of the field. During the breaks Hammond had appealed over the loudspeaker urging men to enlist in the army.
Some days earlier, at Lord’s, Hutton had scored 196, adding 248 with Denis Compton in the first Test of the series. Aged 23 and 21 respectively, the two lads had given an indication of the phenomenal batting riches of young England.
And of course, there had been the monumental achievement of 364 at The Oval against Don Bradman ’s Australians in 1938. Hutton had started his Ashes journey with a century that Neville Cardus had recorded as “intelligent, as old as the hills and technically correct.” He had ended with the 13 hour 17 minute epic in the final Test.
With Europe confronted with a programme of aggression, there had been doubts about the next time an England Australia match would be witnessed. The spectators, many of whom had camped outside the stadium the previous night, had thronged in and Hutton had batted on and on. It was a timeless Test and Hutton had gone in with the intention of batting as long as possible, and had stretched those possibilities to the limits of human endeavour.
All along, his Yorkshire colleague Hedley Verity, the legendary left-arm spinner who would die in action in Italy, had kept him going with astute care. Every time the young Hutton had returned to the dressing room during a break, Verity had stayed with his teammate, making sure that he sipped tea and nibbled sandwiches. On Sunday, with Hutton unbeaten on 160, Verity had wisely taken him to Bognor Regis to have lunch with a friend and engage in a round of tension-free beach cricket,
All Anglo Australian records had fallen over Monday and Tuesday. When Hutton had retired at 300 not out on Monday evening, he had been delighted by a telegram from the 89-year old mother of Reginald Foster whose English record of 287 he had eclipsed. The next day, he had cut Chuck Fleetwood-Smith to go past Don Bradman’s Ashes record of 334, and the great man had been the first to shake his hand and congratulate him. Some minutes later he had left Wally Hammond’s world record score of 336 behind. When he had been caught by Lindsay Hassett off Bill O’Reilly , 770 had been scored.
Don Bradman congratulates Len Hutton (right) on going past his Test highest score of 334 © Getty Images
For a while, he had performed the magic of pushing past Adolf Hitler and Neville Chamberlain into the front pages. The Oval had temporarily eclipsed Munich in the public thoughts.
While he was approaching the landmark, the announcer at Movietone News had remarked, “The Empire holds its breath.”
Leeds Mercury had perhaps stretched it a trifle, but it was understandable given the immensity of the feat, “Foreign commentators sometimes laugh at our devotion to a game when there are so many harassing world affairs … It is a fair reply that the spirit of Drake lives among us. We can win our game and still have time to defeat the Spanish Armada or whatever has taken its place today. England is not weakened but stimulated by [Hutton’s] superb demonstration. Young England will emulate his steadiness in the cricket field and those other fields where the spirit of cricket has stiffened British sinew and resolve.”
Even the American Time magazine had rejoiced in Hutton. Daily Express had observed, “clerks and managers in the offices, master and man in the factories, shared in the celebrations.”
Among the spectators had been the cricket-loving Edmund Blunden, poet and the biographer of Leigh Hunt and Shelley. His description of Hutton’s batting had been: “his body and bat were as truly one as love itself.”
The 22-year-old had become famous overnight. He had been requested to speak on wireless and newsreel — which he had done in his own manner of undiluted humility. “What is it like to achieve greatness?” he had been asked by Bill Oldfield. His answer had been, “It was very tiring and hard work.”
Billy Butlin had called, sending down a Rolls-Royce and inviting him down to Skegness to judge a bathing-beauty contest. Arthur Whitelaw, an Australian businessman living in England, had presented him with £1,000. In his native Pudsey, the bells had pealed 364 times in the old Moravian Church. The Mayor and Town Council had organised a dinner. And all over England, young boys had suddenly become Hutton as they had batted in their street-side games. Hammond had been left behind in the stream of time.
Best after Bradman?
And so, now as he recovered from his injury, the cricket lovers of the world followed his progress through the roaring gunfire the air raid sirens and the blackouts. Hutton responded with 84 for an England XI against the Australians in the summer of 1944, a wartime match played with the air of entertainment. Hutton strained to adjust his technique, but made his runs with free flowing abandon that suited the occasion.
The following year, within 11 days of peace, Victory ‘Tests’ were organised. In the second of these games, in the war-scarred Bramall Lane, Hutton top scored in the second England innings with 46 as England won the match. In this game he was confronted with a fighter pilot named Keith Miller, who ran in with great pace and let balls fly. It was the beginning of a long, long duel. And during the course of his 46, he was hit on his vulnerable forearm.
By the time international cricket resumed, Hutton was in prime form. His technique had been altered, but it remained as classical and correct as ever. Down the years, he would have a few problems with the short ball. He would not be able to unfurl the hook shot. Under Bradman’s captaincy, Miller and Ray Lindwall would not have too many qualms about peppering him with bouncers. Hutton would rarely flinch.
It was a disastrous Ashes tour for England in 1946-47. They were trounced in the Tests. But, for most of them, after the horrors of the War and the frugality of post-War rationing, it was a delight to indulge in the gourmet spread on offer. It was in stark contrast to the spam, snoek and reconstituted egg they had lived on for long.
As far as cricket was concerned, Hutton was head and shoulders above the rest of the England batsmen. His showing in the tour matches earned him effusive praise from the Australian cricket fraternity, including a visit to the dressing room from Charlie Macartney, and several accolades of being the best batsman in the world bar Bradman.
A counter-attacking 37 in the second Test at Sydney was a delight against the pace of Miller and Lindwall, and encapsulated all his talents to perfection. He was out in tragic manner, his bat slipping off his glove and hitting the stumps. Even the Australian fielders were disappointed to see him depart. Jim Kilburn, the Yorkshire cricket writer, documented the innings as:”Everyone of us was beneath a spell borne on wings of enchantment, high above figures into the cloud lands of great moments. Hutton scattered light, loveliness and brave beauty across the sunlit Sydney ground and took cricket to the pinnacles of artistry.”
This knock also fetched Hutton a letter from an elderly Australian who wrote, “To the connoisseur of batsmanship it brought back visions of the peerless Trumper. My friends and I can pay you no greater compliment.”
However, after he had scored two and 40 in Melbourne, his old senior Yorkshire colleague Bill Bowes, now a journalist, walked with Hutton along the Torrens River to the Adelaide Oval. The wise old pro remarked, “Tha’ knows what they’re saying, Len? That tha’ safe ar’d of them.” Hutton halted in his stride looked at Bowes and said nothing. At Adelaide he scored 94 and 76, the first a demonstration of technical perfection, the second an array of dazzling strokeplay. And in the final Test he batted all through the first day for 122.
An attack of tonsillitis prevented him from playing in New Zealand. Hutton caught the plane back home with a few journalists, becoming the first international cricketer to return from Australia by air.
By now Hutton’s fame had reached cricket-agnostic lands as well. He initially opted out of the tour of West Indies, when a middle-aged Gubby Allen took a limited English side to the Caribbean. Hutton was called in as reinforcement and reached in the novel way — flying to Lisbon, Dakar, Brazil and then Georgetown, Guyana. When he returned from Jamaica, flying through Nassau and New York, the magnificent ham in his baggage was excused from customs duty because he was projected as the ‘Babe Ruth of cricket’.
Runs flowed against South Africa , and along with Compton, Hutton was one of the few Englishmen who fought back with resilience against Bradman’s Invincibles in 1948. Among many tall scores, what perhaps stood out was the knock of 30 at The Oval, the scene of Bradman’s farewell Test. Five English batsmen got out for ducks and the innings folded for 52 against exceptional bowling on a sticky wicket. Hutton batted with customary ease and was the last out when a genuine leg glance was brilliantly taken at full stretch down the leg side by wicketkeeper Don Tallon.
After the series, the English cricket scene looked rather bleak. However, Hutton had emerged as the torch bearer as the best batsman of the world after Bradman’s retirement. As if in celebration, the normally risk eschewing methods of the technically perfect bat gave way to some explosive bursts of strokeplay in South Africa.
With Cyril Washbrook he formed a profitable pairing at the top. During the tour, he played cover drives off the lively pace of Cuan McCarthy with a sense of adventure that prompted Arlott to write, “He threw his bat at the ball with the joy of a boy and elegance of a fencing master.” In spite of losing six of his prime seasons to war, and having had his left arm shortened, Hutton was still only 33 and looked set for a long stint at the top of the batting world.
The boy from Pudsey
It had been a long journey for the little boy from Fulneck, in the cradle of Yorkshire cricketing civilisation, a mile from Pudsey. There was no cosseting of talent for him as in an English public school. His father was a builder, and Hutton was used to hovering around the Pudsey St Lawrence Club pavilion, hoping against hope that the visiting team would turn up a man short.
It was R Ingham, member of Pudsey St Lawrence and Yorkshire County Committee, who sent Hutton to the county coach, the great George Hirst. The 61-year-old former all-rounder and his 16-year-old batting prodigy worked hand in glove in the Yorkshire indoor sheds in the winter of 1932-33.News filtered in from far-away Australia of England’s success, with pace bowlers using some tactics that were raising concerns. One of the less prominent among the English attack of that season was Bowes, whom young Hutton had interacted with from time to time in Headingley. It could have sowed the seeds of the methods he would apply during the Ashes series in what would be his last tour.
Soon after his Yorkshire debut, comparisons were drawn with the great Herbert Sutcliffe, who had sometimes given him instructions in his garden. A 19-year-old Hutton was embarrassed by Sutcliffe’s own appraisal which weighed him down with mounting expectations: “He is a marvel — the discovery of a generation. He has as many shots as a Bradman or a Hammond. His technique is that of a maestro. I shall not be surprised to find him attracting as much attention as any batsman, including the great Don, for his style and is polished skill must triumph.”
At 20, he became the youngest Yorkshireman to be honoured with a county cap. Initially, and time and again through his career, Hutton was criticised for his reluctance to unfurl his full repertoire of strokes. However, there was little doubt in important minds that he was destined for greatness. As Cardus put it, “a grave interference with destiny will occur if Hutton does not develop into one of the finest batsmen in the record of the game.” Broadcaster Howard Marshall, who would be behind the microphone when Hutton would go past Bradman and Hammond during the epic 364, put it in more pragmatic words, “he does his job and that is sound enough recommendation for any man.”
On his 21st birthday, Hutton put on 315 for Yorkshire with Sutcliffe against Leicestershire and the cake was cut during tea. A cartoonist depicted his coming of age by putting a key in his hand and making him stand outside a door marked ‘England dressing room.’
Hutton was soon called for England duty, and started with a duck and one at Lord’s against New Zealand in the 1937 summer. But, success was not far away. In his very next Test at Manchester, he scored exactly 100.
Post War success
The post-War success of Hutton was not limited to the cricket field. He was at par with Denis Compton in the advertisement world, although lending his name and face to pads and bats rather than hair cream and cigarettes. He struck a profitable deal with Slazenger. Later, he even played himself in a movie named The Final Test, made at Pinewood Studios in Buckinghamshire.
His line was to say “you’re as good as ever” to actor Jack Warner, who played a veteran cricketer making his final appearance in a Test match. Hutton later confessed that although the studio had brilliantly recreated the Surrey dressing room, the nagging feeling that Warner had never held a bat after school made it difficult for him to say the words with conviction.
Hutton’s mastery was complete by now. In 1949, a hundred and a double century came against New Zealand. The following year, as the dual and diabolical spin attack of Sonny Ramadhin and Alf Valentine wrecked the English batting, Hutton held his own and carried his bat for 202 not out at The Oval.
During another disastrous Ashes campaign in 1950-51, Hutton himself was in sublime touch, standing among the ruins, averaging 88.83 while no one else crossed 30. He was the only one to master the mystery spin of Jack Iverson, and, at Adelaide, carried his bat for the second time in six months scoring an unbeaten 156. England’s only success came in the final Test, with Hutton leading the way with 79 and 60 not out and Alec Bedser taking 10 wickets.
In the summer of 1951, Hutton wrote his name in the record books in both supreme and dubious letters. Both took place at The Oval. Against Surrey, in front of a Monday crowd of 15,000, he scored his 100th First-Class century, getting there in his 17th full season — a record among the select club.
And in the Test against South Africa on the same ground, a spiteful ball from off-spinner Athol Rowan hit him on the glove, ran up his arm and hovered in the air over the stumps. Hutton struck again at the ball to prevent it from falling on to the wicket. Jack Cheetham’s men appealed, and umpire Dai Davies, in consultation with Frank Chester, decided that he had stopped the wicketkeeper from making a catch and ruled him out obstructing the field. Hutton was the first man to be dismissed in this manner in Test cricket.
First Professional England captain of this century
In 1952, the English selectors finally gave in to the changing times, and appointed Hutton captain. As a cricketer, no one had better credentials. But, unlike Hammond, Hutton had not agreed to become an amateur. Given his humble background, he could not afford to.
It was a landmark decision and was fraught with several undercurrents. While most of England and the entire cricketing world welcomed the triumph of common sense, there remained sceptics. He was appointed one match at a time for several Tests. Hutton himself was slightly uncomfortable. As a professional, he was not a member of MCC . For all these years the nearest he had got to the pavilion was the professionals’ room with the hard seats and obscure view of the playing field. Later, during the tour of Australia in 1954-55, he asked Geoffrey Howard, the manager, not to wear his ‘bacon and egg’ tie, because he himself could not do the same.
However, his first assignment was against an Indian side terrified of the pace of debutant Fred Trueman. Hutton led astutely, playing on the psyche of batsmen with the pace at his disposal and a field of three slips, three gullies and two short-legs. He matured with every outing, gradually excelling at press conferences, evading difficult questions with grace and humour. He spent hours reading and re-reading Game’s The Thing by Monty Noble, applying the principles of captaincy on the field.
During the 1953 Ashes, he was dogged by pressmen who found faults with every tactic. If he kept Bedser on, he was ‘over-bowling him’. If he took him off, he was ‘releasing the pressure’. His negative tactics, when he asked Trevor Bailey to bowl wide outside the leg-stump with Australia running against the clock for a win, was questioned in many quarters.
However, he kept scoring runs as a batsman. And the final move of bringing on Tony Lock and Jim Laker for a spell at The Oval proved decisive as England won the Test and thereby Ashes. Arlott took an ironical pot-shot at the legions of critics — “He did not make the mistake which mattered, that of losing the match.”
However, Hutton did realise captaincy was a strain. As in his batting, he was fully absorbed in the job. And it did take soak a generous portion of life-force out of him.
Caribbean Crisis
Hutton’s next job as captain was an away series against the West Indians in 1953-54. It was a supremely difficult tour with numerous non-cricketing factors. The political tensions were aplenty, with the forces of freedom, nationalism, West Indian federation and economic advancement making a combustible cocktail of the situation.
Hutton led the side well, was gracious in his interactions with the press and dignitaries. He was magnanimous to the veteran George Hedley during his ill-advised comeback Test, allowing him a single to get off the mark out of respect and perhaps some native Yorkshire caution that had the volatile crowd at the back of his mind.
Hutton batted splendidly and used his bowlers with canny judgement. His 169 at Georgetown steadied England after being down by two Tests. He followed it up with the gutsy stance, refusing to take his men off the field after crowd trouble had prompted umpires to suggest an early end of the day’s play. Hutton stood there steadfastly and remarked, “I want two wickets before close of play.” Denis Compton later recalled it as the ‘saying of the century’.
In the final Test, at Kingston, it was his epic 205 that earned West Indies the series squaring victory, the last of the great batting days of Hutton. Aged 37, he had batted for more than a day. At tea on the third day, he had trudged back, head down, feet almost refusing to make the distance to the dressing-room, eager for refreshments and yearning to change his sweat soaked shirt.
As he approached the gate, he was congratulated by a voice. He nodded in response, murmuring ‘thank you’ without really looking at the man. Moments later, having put his tired feet up and gratefully sipping a cup of tea, he was stunned when someone ran into the dressing room and accused him of having insulted the Chief Minister. Hutton had no idea what he was talking about. It was clarified to him that the man who had congratulated him at the gate was the Jamaican Chief Minister Alex Bustamante himself.
Hutton apologised profusely, saying that he had no idea it was the Chief Minister. In the apprehensions of the possible diplomatic fallouts, he was out soon after tea. The next day his apology made it to the papers. The dignitary did accept it with grace, forgetting for a while that Hutton had not paused to allow photographers to capture him and the great batsman in the same frame. Yet, the press made a big issue out of it.
While Hutton attributes the incident to his own tiredness that made him unaware of the presence of Bustamante, Frank Tyson analyses it to be another example of Hutton’s total absorption in the task at hand, namely batting as long as possible. Whatever be the reason, England won the match and tied the series 2-2.
Hutton had done exceptionally well to guide his team to a drawn series after being two down. Yet, not everyone was happy. Fred Trueman in particular had been involved in a lot of issues during the tour and the opinion of the press was he had been handled too leniently by the skipper. Hutton had not really been keen on his team fraternising with the opponents, and that had not rubbed off well with some of his players as also many of the West Indians.
Additionally, Trueman had the impression that Hutton was not readily available. On the other hand, his bowling partner on the tour, Brian Statham, was of the opinion that Hutton was the best captain he had ever seen.
In his defence, Hutton’s Caribbean tour was the first by a professional captain of England in the twentieth century. He could not afford to lose and had come within a hair’s breadth of doing so. The strain had been almost unbearable. Hutton would never recover from the experience.
The final triumph
Hutton’s final tour was the epochal 1954-55 voyage Down Under. Plagued with health problems, by this time the batsman in him was spent. However, the voyage was his crowning glory as a captain. Apart from putting Australia into bat at Brisbane in the first Test and not handling the omission of Alec Bedser with optimal tact, he did everything with sharpest insight and time honed diplomatic skills.
He was brilliant in his press conferences, was a father figure to young Colin Cowdrey. He steadfastly stuck to his weapons of pace, Statham and Tyson. He used the fast bowlers in short spells to counter the extreme heat. And when victory was achieved, he lavished praise on his team and was talked about the defeated Australians with grace.
Never a conventional disciplinarian, his way of checking up on players was to pop in their room with a cheery “’Ow are you then, alright?” It kept the young brigade disciplined without planting seeds of antagonism.
Finally, the Ashes victory was as much due to Frank Tyson and Brian Statham’s fiery fast bowling as Hutton’s prodigious planning. As a boy he had heard of Douglas Jardine’s tactics and had shared the dressing room with Bill Bowes. As an established England batsman, he had endured the barrage of bouncers from Lindwall and Miller, rueing the lack of artillery to return fire with fire.
Now, as captain he had executed his long germinating plans with excellent effect. He had implemented his policy of pace to perfection, and had not flinched from leaving out the great Alec Bedser from the team. England under Hutton had beaten Australians in their homeland for the first time since the Bodyline series. He had become the only English captain to win back to back series against the arch rivals.
His final Test was at Auckland, during the New Zealand leg of the tour. Hutton batted at No. 5 and was instrumental in securing a 46-run first innings lead with an innings of 53. That proved to be enough as New Zealand were bowled out for 26 in their second essay.
In his fantastic stint as captain, Hutton won 5 series and drew 1.
Retirement
On his return to England, Hutton was made an honorary member of MCC. Rules had to be modified drastically to make this happen, to allow a current professional player to join the exclusive club.
By now used to the idea of a professional at the helm, the selectors appointed him captain for the series against South Africa in the summer of 1955. However, Hutton’s health failed to shoulder the honour. The various afflictions that tormented him included fibrosis and slipped disc. He captained MCC against the tourists, but withdrew from the final day of the match with lumbago and resigned as captain. That June, Len Hutton was knighted for services to cricket.
After seeking medical opinion, Hutton announced his retirement from First-Class cricket in January 1956.
Hutton’s career spanned 79 Tests, and saw him score 6,971 runs at 56.67 with 19 hundreds. In First-Class cricket his total was 40,140 runs and 129 hundreds. Often combining as a bowler-fielder combination with Alec Bedser to dismiss batsmen, he took 57 catches. In his early youth he was a leg-spinner of loopy flight and occasional utility. But with time, he bowled less and less.
After cricket he played the role of a selector for England for a brief while in 1975-76.But, he could afford little time due to his business commitments for the engineering firm JH Fenner. Besides, he disliked committees. He remained in touch with the game by writing about it, and becoming the president of Yorkshire cricket a few months before his death in 1990.
The inscrutable man within
In his very early days, The Times, not really a staunch supporter of the Yorkshire prodigy, observed that he approached batting with the “passionate concentration of a scientist dissecting a beetle”. This absorption in the act of occupying the crease and making runs remained intact till the end of his days. Hutton once remarked that a “batsman must think as he walks out to bat.” He was a cerebral cricketer. Statham maintained that he was a master captain who filed every scrap of cricketing knowledge in his brain.
He was also widely regarded as an introvert, whose mental processes were obscure and almost labyrinthine in their subtleties. He carried his total focus into other activities as well. Later as a journalist reporting Test matches, he often became engrossed in the match and could not recognise known faces around him.
However, there was a very human side to him as well. Cowdrey never forgot Hutton’s kindness and thoughtful care when on his first tour as a homesick youngster. When Cowdrey’s father passed away three weeks into the tour, Hutton quietly took the young man under his wing, made him his golf partner on Sunday, and guided him through his initiation into Test cricket.
It was not only being a professional captain that made him averse to losing Tests. When England lost the first Test match at Sydney after Hutton had put Australia in, a sympathetic soul said to the morose captain, “Come on Len, snap out of it.” Hutton replied, “It’s all very well for you to tell me to snap out of it. I know it’s only a game, but there are millions of cricket lovers back in England in the middle of floods and gales and blizzards and this is a nice thing to happen to them, isn’t it?”
Along with this devotion to the game, Hutton did have an impressionable mind. After all his numerous tours, he still remembered his 1935 voyage to the West Indies with the Yorkshire side. He recalled “the splendid palm trees, humming birds, heat-blistered buildings and wickets baked by the tropical sun.”
During the 1947-48 tour of South Africa, he was fielding on the boundary when he heard a familiar accent in the crowd and turned around exclaiming, “You Yorkshire lass.”
He found quiet pleasure in the success of others, and often enjoyed the success of Denis Compton as it took the focus off him. In spite of difference in temperament and individual star status, the two remained friends.
Along with Jack Hobbs, Hutton is considered the most classical and correct batsman ever produced by England. Hobbs and Hutton, along with Herbert Sutcliffe form the three most successful opening batsmen of England and the world. Although Denis Compton was the more flashy and debonair of the two, Hutton’s successes surpassed the feats of the Middlesex maestro, and he was seldom challenged as the leading batsman of England after Hammond. Most agreed on his reputation as the best post-Bradman batsman of the world till the end of his playing days.
The technical perfection was tinged with aesthetic brilliance as well, although the risk free approach often robbed it of the romance that it could have generated. According to Alan Gibson, Hutton’s off-drive was the glory of the game. In the tradition of Hobbs and Sutcliffe he was also one of the best batsmen on bad wickets.
The rare videos of his batting show a master of every coaching manual, who was able to play as late as possible, with an initial back and across movement. Perhaps if his arm had not undergone the injury, he could have been a more attacking player and more keen to get on the front foot. However, the technique worked wonders for him, and from time to time an enthralling innings showed the fireworks he was capable of.
Towards the end of the English season in 1990, Hutton was watching cricket at The Oval, the scene of his many triumphs, including the 364. Shortly after the game the great England batsman and captain suffered a ruptured aorta and passed away on September 6.
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Lucille Le Sueure, actress, died in 1977. By what name was she known? | Lucille Fay Steele (LeSueur) (1905 - 1977) - Genealogy
brother
About Joan Crawford
Joan Crawford (born Lucille Fay LeSueur) was an American actress in film, television and theatre. Starting as a dancer in traveling theatrical companies before debuting on Broadway, Crawford was signed to a motion picture contract by Metro-Goldwyn-Mayer in 1925. Initially frustrated by the size and quality of her parts, Crawford began a campaign of self-publicity and became nationally known as a flapper by the end of the 1920s. In the 1930s, Crawford's fame rivaled MGM colleagues Norma Shearer and Greta Garbo. Crawford often played hardworking young women who find romance and financial success. These "rags-to-riches" stories were well-received by Depression-era audiences and were popular with women. Crawford became one of Hollywood's most prominent movie stars and one of the highest paid women in the United States, but her films began losing money and by the end of the 1930s she was labeled "box office poison".
After an absence of nearly two years from the screen, Crawford staged a comeback by starring in Mildred Pierce (1945), for which she won the Academy Award for Best Actress. In 1955, she became involved with the Pepsi-Cola Company, through her marriage to company president Alfred Steele. After his death in 1959, Crawford was elected to fill his vacancy on the board of directors but was forcibly retired in 1973. She continued acting in film and television regularly through the 1960s, when her performances became fewer; after the release of the British horror film Trog in 1970, Crawford retired from the screen. Following a public appearance in 1974, after which unflattering photographs were published, Crawford withdrew from public life and became more and more reclusive until her death in 1977.
Crawford married four times. Her first three marriages ended in divorce; the last ended with the death of husband Al Steele. She adopted five children, one of whom was reclaimed by his birth mother. Crawford's relationships with her two older children, Christina and Christopher, were acrimonious. Crawford disinherited the two and, after Crawford's death, Christina wrote a "tell-all" memoir, Mommie Dearest, in which she alleged a lifelong pattern of physical and emotional abuse perpetrated by Crawford.
Crawford's hand and footprints are immortalized in the forecourt of Grauman's Chinese Theater on Hollywood Boulevard in Hollywood. She also has a star on the Hollywood Walk of Fame at 1750 Vine Street. In 1999, Playboy listed Crawford as one of the "100 Sexiest Women of the 20th century," ranking her #84.
Main Mausoleum, Unit 8, Alcove E, Crypt 42
| Joan Crawford |
I what year did the 'Cod' war between Britain and Iceland begin? | Joan Crawford | Biography & History | AllMusic
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Artist Biography by Jason Ankeny
Joan Crawford was not an actress; she was a movie star. The distinction is a crucial one -- she infrequently appeared in superior films, and her work was rarely distinguished regardless of the material, yet she enjoyed one of the most successful and longest-lived careers in cinema history. Glamorous and over the top, stardom was seemingly Crawford' s birthright -- everything about her, from her rags-to-riches story to her constant struggles to remain in the spotlight, made her ideal fodder for the Hollywood myth factory; even in death she remained a high-profile figure, thanks to the publication of her daughter's infamous tell-all book, an outrageous film biography, and numerous revelations of a sordid private life. Ultimately, Crawford was melodrama incarnate, a wide-eyed, delirious prima donna whose story endures as a definitive portrait of motion picture fame, determination, and relentless ambition.
Born Lucille Fay Le Sueur on March 23, 1908 in San Antonio, TX, she first earned notice by winning a Charleston contest; she then worked as a professional dancer in Chicago, later graduating to a position in the chorus line of a Detroit-area club and finally to the Broadway revue Innocent Eyes. While in the chorus of The Passing Show of 1924, she was discovered by MGM executive Harry Rapf, and made her movie debut in 1925's Lady of the Night; a series of small roles followed before the studio sponsored a magazine contest to find a name better than Le Sueur, and after a winner was chosen, she was rechristened Joan Crawford . Her first major role, in 1925's Sally, Irene and Mary, swiftly followed, and over the next few years she co-starred opposite some of the silent era's most popular stars, including Harry Langdon (1926's Tramp Tramp Tramp), Lon Chaney (1927's The Unknown). John Gilbert (1927's Twelve Miles Out) and Ramon Navarro (1928's Across to Singapore).
Crawford shot to stardom on the strength of 1928's Our Dancing Daughters, starring in a jazz-baby role originally slated for Clara Bow; the film was hugely successful, and MGM soon doubled her salary and began featuring her name on marquees. Unlike so many stars of the period, she successfully made the transformation from the silents to the sound era; in fact, the 1929 silent Our Modern Maidens, in which she teamed with real-life fiance Douglas Fairbanks Jr., was so popular -- even with audiences pining for more talkies -- that the studio did not push her into speaking parts. Finally, with Hollywood Revue of 1929, Crawford began regularly singing and dancing onscreen, and scored at the box office as another flapper in 1930's Our Blushing Brides. However, she yearned to play the kinds of substantial roles associated with Greta Garbo and Norma Shearer , and actively pursued the lead in the Tod Browning crime drama Paid; the picture was another hit, and soon similar projects were lined up.
1931's Dance Fools Dance paired Crawford with Clark Gable; they were to reunite many more times over the years to come, including for the hit Possessed. She was now among Hollywood's top-grossing performers, and while not all of her pictures from the early '30s found success, those that did -- like 1933's Dancing Lady -- were blockbusters. With new husband Franchot Tone, Crawford starred in several features beginning with 1934's Sadie McKee; she continued appearing opposite some of the industry's biggest male stars, but by 1937 her popularity was beginning to wane. After the failure of films including The Bride Wore Red and 1938's Mannequin, her name appeared on an infamous full-page Hollywood Reporter advertisement, placed by exhibitors, which listed actors deemed "glamour stars detested by the public." After the failure of The Shining Hour, even MGM -- which had just signed Crawford to a long-term contract -- was clearly worried.
However, a turn as the bitchy Crystal in George Cukor's 1939 smash The Women restored some of Crawford's luster, as did another pairing with Gable in 1940's Strange Cargo. Again directed by Cukor, 1941's A Woman's Face was another major step in Crawford's comeback, but then MGM began saddling her with such poor material that she ultimately refused to continue working, resulting in a lengthy suspension; she finally left the studio, signing on with Warners at about a third of her former salary. There Crawford only appeared briefly in 1944's Hollywood Canteen before the rumor mill was abuzz with claims that they too planned to drop her; as a result, she fought for the lead role in director Michael Curtiz's 1945 adaptation of the James M. Cain novel Mildred Pierce, delivering a bravura performance which won a Best Actress Oscar. Warners, of course, quickly had a change of heart, and after the 1946 hit Humoresque, signed her to a new seven-year contract.
At Warner Bros., Crawford began appearing in the kinds of pictures once offered to the studio's brightest star, Bette Davis ; she next appeared in 1947's Possessed, followed by Daisy Kenyon, which cast her opposite Henry Fonda. For 1949's Flamingo Road, meanwhile, she was reunited with director Curtiz. However, by the early '50s, Crawford was again appearing in primarily B-grade pictures, and finally she bought herself out of her contract; in 1952, she produced and starred in Sudden Fear, an excellent thriller which she offered to RKO. The studio accepted, and the film emerged as a sleeper hit; once again, Crawford was a hot property, and she triumphantly returned to MGM to star in 1953's Torch Song, her first color feature. For Republic, she next starred in Nicholas Ray's 1954 cult classic Johnny Guitar, perceived by many as a thank-you to her large lesbian fan base; however, despite her career resurgence, reports from the film's set suggested everything was far from well -- Crawford was reportedly drinking heavily, and relations with co-stars Sterling Hayden and Mercedes Cambridge were disastrous.
The roller-coaster ride continued apace: between 1955 and 1957, Crawford appeared in four films -- Female on the Beach, Queen Bee, Autumn Leaves, and The Story of Esther Costello -- each less successful than the one which preceded it, and eventually the offers stopped coming in. Over the next five years, she appeared in only one picture, 1959's The Best of Everything. Then, in 1962, against all odds, Crawford made yet another comeback when director Robert Aldrich teamed her with Bette Davis in Whatever Happened to Baby Jane?, in which the actresses appeared as aging movie queens living together in exile. The film was a major hit, and thanks to its horror overtones, Crawford was offered a number of similar roles, later appearing in the William Castle productions Strait-Jacket (as an axe murderer, no less) and I Saw What You Did. Aldrich also planned a follow-up, Hush Hush Sweet Charlotte, but Crawford became ill and was finally replaced by Olivia de Havilland.
The final years of Crawford's screen career were among her most undistinguished; she co-starred in 1967's The Karate Killers, a spin-off of the hit television espionage series The Man from U.N.C.L.E., and subsequently headlined the slasher film Berserk! The 1970 sci-fi programmer Trog was her last feature film appearance, and she settled into retirement, penning a 1971 memoir My Way of Life; a few years later, she made one final public appearance on a daytime soap opera, taking over the role played by her daughter Christina when the girl fell ill. After spending her final years in seclusion, Crawford died in New York City on May 10, 1977, but she made headlines a year later when Christina published Mommie Dearest, among the first and most famous in what became a cottage industry of tell-all books published by the children of celebrities; in it, Christina depicted her mother as vicious and unfeeling, motivated only by her desire for wealth and fame. In 1981, Faye Dunaway starred as Crawford in a feature adaptation of the book which has gone on to become a camp classic.
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In what year did Tasmin Archer sing about a 'Sleeping Satellite? | Tasmin Archer - Sleeping Satellite at Discogs
Tasmin Archer
7243 8 80001 2 3, CDEM 233
Europe
12EM 233, 7243 8 80001 6 1
UK
EM 233, 7243 8 80001 7 8
UK
7243 8 80001 2 3, CDEM 233
Europe
CDEM 233, 7243 8 80001 2 3
UK
7243 8 80001 4 7, TCEM 233
UK
referencing Sleeping Satellite, CD, k2-19786
There is one myth told behind the song "Sleeping Satellite". The song was made in early 80's and it was supposed to be given to Simon LeBon to be sung (Duran Duran) but he dismissed the song. Tasmin kept the song until a contract deal worthy came inked and this was realized by EMI later in 1992. Duran Duran could be put in the map a song with same intensity just one year later in 1993 (Sleeping Satellite still a hit that year too) they find themselves successful with realising "Come Undone". Certainly, Tasmin have a great voice to sing this song with such a feeling without any exaggerated comparison.
| 1992 |
How did Her Majesty the Queen describe 1992 in her Christmas speech? | Tasmin Archer - Sleeping Satellite at Discogs
Tasmin Archer
7243 8 80001 2 3, CDEM 233
Europe
12EM 233, 7243 8 80001 6 1
UK
EM 233, 7243 8 80001 7 8
UK
7243 8 80001 2 3, CDEM 233
Europe
CDEM 233, 7243 8 80001 2 3
UK
7243 8 80001 4 7, TCEM 233
UK
referencing Sleeping Satellite, CD, k2-19786
There is one myth told behind the song "Sleeping Satellite". The song was made in early 80's and it was supposed to be given to Simon LeBon to be sung (Duran Duran) but he dismissed the song. Tasmin kept the song until a contract deal worthy came inked and this was realized by EMI later in 1992. Duran Duran could be put in the map a song with same intensity just one year later in 1993 (Sleeping Satellite still a hit that year too) they find themselves successful with realising "Come Undone". Certainly, Tasmin have a great voice to sing this song with such a feeling without any exaggerated comparison.
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Who was the famous artist that painted 'The Haywain'? | The Hay Wain | artble.com
The Hay Wain
The Hay Wain Story / Theme
The Hay Wain
The Hay Wain
John Constable
In The Hay Wain John Constable chose to paint a rural landscape which runs into the distance in sun-drenched meadows, offset by the cool waters of the pool in the foreground. The theme of this painting is very much rural life and the beauty of the landscape which the artist loved so much.
The Hay Wain is based on a site near Flatford on the river Stour, in Suffolk, England. The hay wain itself is a type of horse-drawn cart which would have been a common piece of agricultural equipment used during the artist's youth.
The cottage in the left of the image was rented by a farmer and stands behind Flatford Mill , owned by Constable's father. Across the meadow in the distance on the right, a group of haymakers can be seen working.
The farm workers are hard at work but seem contended and are surrounded by beautiful scenery. All of these aspects illustrate Constable's idyllic view of his home county of Suffolk.
Industrial Revolution:
However idyllic Constable's view of rural England was throughout his career it's unlikely that there was as much calm and happiness in the countryside during this period. Due to the onset of the Industrial Revolution in the 19th century, many rural people found themselves out of jobs as farming work became more industrialized and machines reduced the man power needed to harvest and maintain crops and animals. Large areas of Britain also saw uprisings and riots amongst the rural communities that were affected by the job losses.
It may be that Constable did not paint images of these problems because he did not want to draw attention away from the natural landscape itself. In The Hay Wain the workers happily fit in with nature and live in harmony with the area.
On the other hand the admission of the true relationship farm workers had with the land could have been because the industrial revolution simply didn't affect Constable; he came from a wealthy family and the revolution only served to make the rich richer.
Through family friends and business associates Constable was exposed to what was considered the best art of his day and this led to him developing his own painting style which is illustrated in The Hay Wain.
The Hay Wain Analysis
John Constable
Composition:
Unlike the symmetrical and classical landscapes of Claude Lorrain , widely considered to be the pinnacle of landscape painting even up to Constable's day, The Hay Wain is portrayed as a real scene and therefore symmetry is not as important as realism in the piece.
Instead Constable sketched what he saw and ultimately what he knew well, having lived near this farm as a boy.
Technique:
Complete and perfect beauty- something that could only be created in a mythical or biblical world - was popular during Constable's time. The artist painted nature as it was, and his work was a breath of fresh air in an art world full of over-dramatic and stylized landscapes.
Color palette:
In keeping with the artist's love of nature, natural tones are predominant in The Hay wain and there is contrast between the pool of water, the tall delicate trees and the strong brick house to the left.
The different tones all complement each other and are repeated to add harmony to this piece: the blue of the pool is reflected in the sky and the red of the house is highlighted subtly in the trees and in the harness of the horse.
The trees and grass encircle the whole composition with relief from the yellow meadows disappearing to the right which help to stop the painting from seeming closed in or too claustrophobic.
Use of light:
The Hay Wain represents a near-perfect English summer day and Constable accomplishes this by using natural light and painting realistically from his sketches of the scene. As a young boy Constable often went out "skying", sketching the clouds and sky to perfect his technique.
One of Constable's most innovative techniques was to create light on water by using white paint as a highlight. This technique can be seen in The Hay Wain as the water from the stream in the foreground is disturbed by the wheels of the hay wain itself.
Method:
Although Constable is famous for being one of the first landscape painters to create canvases purely based on nature, he did not paint The Hay Wain on site. Instead he created several sketches in the summer of 1821 and produced the finished oil version in his London studio in the winter of the same year.
This technique was commonly used by Constable and of course it helped that he knew the landscapes he was painting very well, having spent his childhood in the same area, and he often added details from memory.
The Hay Wain Critical Reception
Jean-Baptiste-Camille Corot
Paris
Charles X
Constable's work was not very well received by his contemporaries in Britain, who believed that the ideal landscape should mirror those of Claude Lorrain. Also, they didn't appreciate Constable's innovative used of the "impasto" technique.
The artist's success on continental Europe however established his reputation and allowed him to finally make money from his art.
Contemporary reception:
England:
Constable first exhibited The Hay Wain in 1823 at the Royal Academy in London. The painting was not well received and did not find a buyer during the exhibition but this is typical of Constable's work during the 19th century in a country which did not appreciate his new style of painting or the subjects he chose.
France:
After the Royal Academy exhibition Constable sent this painting to France, where he was asked to exhibit a number of pieces at the Paris Salon in 1824. The Hay Wain proved to be a great success and inspired local artists such as Delacroix and Corot.
In fact it was such a success that Charles X saw fit to award it the Gold Medal of the exhibition. Constable's work would go on to influence Impressionist artists almost 50 years later in the same city.
Modern reception:
Today The Hay Wain is considered to be one of Constable's best known and most skilled works. It is currently owned by The National Gallery in London and has featured in a number of exhibitions across the country.
The Hay Wain Related Paintings
The White Horse
John Constable
The Hay Wain is one of John Constable's most famous paintings and in it all of the innovative and creative devices which made this artist's work so different from his contemporaries are evident.
One of the artist's "six footers", this work was produced on a very large scale which meant that he could add a lot of detail to the piece.
The Hay Wain is situated near Flatford in Suffolk, England, a site which is still very much as Constable's portrayed it. This artwork is another example of Constable illustrating an idealistic English countryside, in which hardworking but happy farm workers go about their everyday business.
Constable produced many works depicting the English countryside and this theme inspired a great number of other artists. Furthermore, Constable's innovative technique and his influence on the French Impressionist movement after his death cannot be denied.
Constable spent most of his youth in Suffolk, sketching the landscape which would feature in all his canvases as an adult. Although Constable started to display at the Royal Academy by 1806 he did not sell a painting until he was 39 and remained unpopular in his native England until after his death.
Luckily for Constable, French patrons found his work much more appealing and he began to sell a lot of work in Paris. Although he was popular outside of his own country Constable never left England and only ever painted landscapes of his beloved Suffolk.
The Hay Wain Art Period
Theodore Gericault
John Constable was born in the second half of the 18th century, at the beginning of the Industrial Revolution when poverty was rife within the poorer communities of England.
In the art world, many professionals were rebelling against the pure and realistic lines of the Neoclassical period and started producing paintings and sculpture which took the viewer into a new world, far removed from the realities of everyday life.
In this respect Constable was different; he loved painting nature and used it as the focus of his pictures, creating realistic landscapes. His style was to take a natural landscape and paint it just as he saw it without enhancing or changing it.
This realism made Constable's work stand out from his contemporaries as well as the techniques he used to create a more life-like feel to his paintings.
Constable was a landscape revolutionary and it is thanks to him that the work of Monet and the French Impressionists developed in the way it did.
The Hay Wain Bibliography
To read more about Constable and his art please choose from the following recommended sources.
• Bailey, Anthony. John Constable: A Kingdom of his Own. Vintage; Reprint edition, 2007
• Clarkson, Jonathan. Constable. Phaidon Press Ltd. , 2010
• Cormack, Malcolm. Constable. Oxford: Phaidon, 1986
• Cove, Sarah, et al. Constable: The Great Landscapes. Tate Publishing, 2006
• Gayford, Martin. Constable In Love: Love, Landscape, Money and the Making of a Great Painter. Penguin, 2010
• Gayford, Martin. Constable Portraits: The Painter and His Circle. National Portrait Gallery Publications, 2009
• Leslie, C. R. Memoirs of the life of John Constable, Esq. , R. A. 2nd ed. Phaidon, 1951
• Parkinson, Ronald. John Constable: the man and his art. V&A Publications, 1998
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According to the nursery rhyme, where would you be going if you rode 'a cock horse'? | John Constable | artist | 1776 - 1837 | National Gallery, London
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Constable is famous for his landscapes, which are mostly of the Suffolk countryside, where he was born and lived. He made many open-air sketches, using these as a basis for his large exhibition paintings, which were worked up in the studio. His pictures are extremely popular today, but they were not particularly well received in England during his lifetime. He did, however, have considerable success in Paris.
Daniel Gardner, ‘Portrait of John Constable’, 1796, The Victoria and Albert Museum, London
© Victoria and Albert Museum, London / Stapleton Collection / Bridgeman Art Library
Constable was born in East Bergholt, Suffolk. He was largely self-taught, and developed slowly. In 1799 he was a probationer, and in 1800 a student at the Royal Academy schools. He exhibited from 1802 at the Royal Academy in London, and later at the Paris Salon. He influenced the Barbizon School and the French Romantic movement.
Like Thomas Gainsborough , Constable was influenced by Dutch artists such as Jacob van Ruisdael . The works of Peter Paul Rubens and Claude also proved to be useful colouristic and compositional models. However, the realism and vitality of Constable's work make it highly original.
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Reef, sheepshank and granny are all types of what? | Sheepshank | How to tie a Sheepshank | Scouting Knots
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Sheepshank Knot Tying
Fold the rope to approximately the desired new length. Form a Half Hitch in one standing end, drop it over the adjacent bight, and tighten it. Form a Half Hitch in the other standing end, drop it over its adjacent bight, and then tighten it too. Apply the load carefully.
Sheepshank Knot Details
Avoid Using It: With the possible exceptions below, the Sheepshank should never be used. It is only included here because Boy Scouts used to be required to learn it. Ashley described Sheepshanks ( ABOK # 1152 - 1154, p 210) but cautioned that they "......should be seized or otherwise secured to make them safe unless the need is very temporary...."
Sheepshank Failing
Sheepshank Failing
Failure Under Load: Some modern synthetic materials tend to be flexible and slippery. The illustration here shows a correctly tied sheepshank failing under modest load. This is a piece of three strand nylon rope and this failure was reproduced easily and repeatedly.
Eliminate It: If you are asked to learn to tie the Sheepshank, please request your Troop Leader to eliminate this knot and replace it with something safe and useful, e.g., the Alpine Butterfly Loop is an excellent way of creating a loop in the middle of a length of rope and can also be safely used to shorten a rope.
Bellringer's Knot
Bellringer's Knot
Bellringer's Knot: Bellringer's use just one end of a Sheepshank to keep the tail of the rope off the ground when not being used.
Practical Limitations: In practice, the Sheepshank would be almost impossible to tie under load; shortening one end and re-securing the line would be preferable. As a knot, it cannot pass through blocks or sheaves.
In the critical environments presented by climbing, search and rescue, and boating, there are no applications where the Sheepshank would offer an acceptable solution.
Sheepshank Shortens Neckband
Sheepshank Shortens Neckband
Possible Exceptions: A modern neckband can be a closed loop with no access to the ends. If your neckband is too long, the Sheepshank may be used to shorten it. We were recently part of a travel group issued with receivers to hear our guide. We all found the neckbands inconveniently long and preferred using them shortened as shown here.
Another suggested use for the Sheepshank is the protection of a damaged or weakened piece of rope. A more secure alternative is the Alpine Butterfly Loop .
Disclaimer: Any activity that involves ropes is potentially hazardous. Lives may be at risk - possibly your own. Considerable attention and effort have been made to ensure that these descriptions are accurate. However, many critical factors cannot be controlled, including: the choice of materials; the age, size, and condition of ropes; and the accuracy with which these descriptions have been followed. No responsibility is accepted for incidents arising from the use of this material.
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Name the first two letters of the Greek alphabet? | Square Knot (Reef Knot) | How to tie the Square Knot (Reef Knot) | Basics Knots
Square Knot (Reef Knot)
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Square Knot (Reef Knot) Tying
Take two ropes and cross them (red over blue) to form a half knot. Cross them a second time (red over blue again) and pull the ends tight to form the Square Knot.
Square Knot (Reef Knot) Details
First Knot: The Square (Reef) Knot ( ABOK # 1402, p 258) is usually learned when we tie the laces on our first pair of shoes. Admittedly it is usually a bow that we tie - but the underlying knot is a Square (Reef) Knot. We also learn just how unsatisfactory the knot is. It slips, it comes undone, it jams, and it is all too easy to tie a Granny instead which behaves even less well.
Purpose: It is intended to be a binding knot and, tied in the right material against a curved surface, the first Half Knot may bind – but it cannot be trusted. That is why surgeons use an extra turn in the first Half Knot – to achieve the binding required while they prepare the second Half Knot.
Square Knot Capsizing
Square Knot Capsizing
Caution: This picture demonstrates how even a "Stack" of Square Knots can capsize and pull undone. These photographs were created by pulling on the ends of the red rope. "There have probably been more lives lost as a result of using a Square Knot as a bend (to tie two ropes together) than from the failure of any other half dozen knots combined." ( ABOK page 258). Never use it for critical loads.
Uses: Nevertheless, the Square (Reef) knot has many uses but not where safety is critical, e.g., you can tie a sail cover over a sail; you can tie the string on a gift; and you can tie the laces on your shoes (if they still come with laces). It is also one of the many knots used in macrame. More importantly, the experience of tying a Square Knot teaches the fundamental process of tying a Half Knot or Half Hitch.
Variations: The final Frames of the Animation show several variations: the Granny is shown because it is so commonly tied in error; the Double Throw Knot or Surgical Knot is very commonly used by Surgeons as the first part of a Ligature; and the Thief Knot is included for interest as the final frame, even though it is a useless knot. When the Square (Reef) Knot is used it is common to add additional Half Knots as security - a tribute to how unsatisfactory a knot it is. A better alternative may be to use two Surgeon's Half Knots, which make better binding knots for each stage and a secure final knot. When the second Half Surgeon's Knots is tied as a bow, it makes a Secure Shoelace Bow .
The Square (Reef) knot can also be tied using bights (loops). For example, to use up long shoelaces, the knot can be tied with loops from the start. This means the final "bow" cannot be untied by pulling the ends - but it makes a secure knot.
Disclaimer: Any activity that involves ropes is potentially hazardous. Lives may be at risk - possibly your own. Considerable attention and effort have been made to ensure that these descriptions are accurate. However, many critical factors cannot be controlled, including: the choice of materials; the age, size, and condition of ropes; and the accuracy with which these descriptions have been followed. No responsibility is accepted for incidents arising from the use of this material.
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What kind of plants grow where they are not wanted? | Bibliography
Introduction
Much of the scenic beauty of nature has been replaced by densely populated areas that sprawl for miles from urban centers. This visual pollution affects us all and leaves us with a longing for a closer connection with nature. We spend about 90 percent of our time indoors. Interior plants are an ideal way to create attractive and restful settings while enhancing our sense of well being. In addition, houseplants can be a satisfying hobby and can help purify the air in our homes. Indoor plants not only convert carbon dioxide to oxygen, but they also trap and absorb many pollutants. Many of these chemical compounds, which are released into our air through a process called “off-gassing,” come from everyday items present in our homes and offices.
To be a successful indoor gardener, you need to understand how the interior environment affects plant growth and how cultivation differs from growing plants outdoors.
Factors Affecting Plant Growth
Plant growth is affected by light, temperature, humidity, water, nutrition, and soil.
Light
Of all of the factors affecting plant growth in interiors, adequate light is by far the most important. Light is needed for plants to produce food and survive — generally, the more light available, the more food produced for growth. Light is measured in units called foot candles. One footcandle (ft-c) is the amount of light cast by a candle on a white surface 1 foot away in a completely dark room. Outdoors, the light levels on a bright day range from 10,000 ft-c in an open sunny area to 250 ft-c or less in the shade of a large tree.
It is very helpful to have a general idea of how much light is present in a given location in your house. You can get a fairly good estimate with a handheld light meter, or you can use a 35 mm camera and do the following:
Set the film speed indicator to ASA 25 and the shutter speed to 1/60th second.
Place a piece of white paper where you want to measure the light levels, aim the camera toward the paper close enough to fill the view, and adjust the f/stop so that the meter indicates a correct exposure.
Read the approximate light level from Table 1.
Table 1. Indoor light levels and appropriate f/stop settings
f/stop Setting
f/16
2,400 ft-c
With the help of this table, you can obtain the light intensity reading from anywhere in your home. For example, if the f/stop setting is f/16, the approximate light level is 2,400 ft-c.
Using the light readings, your home can be divided into four areas, which have the following light levels for 8 hours per day:
Low-light areas: 25 ft-c – 75 ft-c
Medium-light areas: 75 ft-c – 200 ft-c
High-light areas: over 200 ft-c but not direct sunlight
Sunny light areas: at least 4 hours of direct sunlight
Figure 1. Many foliage plants are native to tropical rain forests, where light levels are low. These plants can be easily injured if exposed to strong light. Symptoms of over-exposure are upright leaves and bleached, scorched leaves. Do not place high-light sensitive plants in direct sunlight (on a porch or in front of a window). In this example, Chinese Evergreen (Aglaonema) and Dumb Cane (Dieffenbachia) show symptoms of high-light damage.
In your home, the amount of light in a given location is variable — it is affected by the presence of trees outdoors (may shade at certain times), roof overhangs (may shade at certain times), wall color (reflectance), window curtains, day length, time of day, and time of year.
When shopping for indoor plants, select plants for a given location based on the approximate light levels in the spot. The plant’s label will usually contain information on the light requirements of the plant. If the plant label lists “high light” but the selected area in the home does not provide adequate light, artificial light sources such as fluorescent and/or special incandescent lights may be used to supplement the natural light.
Increasing the number of hours of light exposure can also help—for example, 16 hours of light and 8 hours of dark. This extends the number of hours during which plants receive light.
While adequate light is crucial for plant growth, too much light can be damaging (Figure 1).
Indoor plants are classified according to the amount of light needed for growth. (A list of plants and their light requirements is provided in Table 3.) Look for this information in general terms on the plant’s label:
Low: minimum 25 ft-c – 75 ft-c, 75ft-c – 200 ft-c for good growth
Medium: minimum 75 ft-c – 150 ft-c, 200 ft-c – 500 ft-c preferred
High: minimum 150 ft-c – 1,000 ft-c, 500 ft-c – 1,000 ft-c preferred
Very high: minimum 1,000 ft-c, 1,000+ ft-c preferred
Windows with eastern exposure within the home generally provide the best light and temperature conditions for most indoor plant growth because plants receive direct morning light from sunrise until nearly midday. Footcandle readings at these windows can reach 5,000-8,000. As the morning progresses, the direct sun recedes from the room.
An eastern room is cooler than southern or western rooms because the house absorbs less radiant heat. Light from the east is cooler than that from the south or the west, and thus it causes less water loss from the plants.
Windows with southern exposure give the largest variation of light and temperature conditions. The low winter sun shines across the room for most of the daylight hours.
In the summer, when the sun is farther north than it is in the winter, the sun rises at a sharp angle in the morning and is high in the sky by noon. Direct light comes into a south window only at midday. If there is a wide overhang covering the windows outside, the sun may not enter the room at all. The sun at noon on a summer day may measure 10,000 ft-c. Indoors, however, a southern window with wide eaves on the outside will receive about the same amount of light as a window with northern exposure. Southern and western exposures are interchangeable for most plants. In the winter, most plants, except those with definite preference for northern exposure, can be placed in a room with southern exposure.
Windows with northern exposure provide the least light and the lowest temperature. Because the United States is in the northern hemisphere, it receives most of its sunlight from the south. Out of the four exposures, the northern exposure receives the least light and heat year round.
Figure 2. Within your home, changes in natural light penetration occur with the seasons.
Because of the low-light levels, maintaining healthy plants can be a challenge. A northern windowsill can measure light levels as low as 200 ft-c on a clear winter day, which is optimal for some plants, such as the African violet. This exposure is best for plants with green foliage because the coloration on variegated foliage tends to disappear under low-light conditions. Although most plants grown indoors will not grow in a northern room, they may tolerate it for short periods of time.
Seasons change the amount of natural light entering through windows. For example, the summer sun reaches a higher zenith compared to the winter sun (Figure 2). Therefore, sunlight penetrates farther into a room during winter.
How can you tell if your plant is not receiving adequate light?
The plant does not grow.
The internodes (spaces between the leaves) on the new growth are much longer than the internodes on the older part of the plant.
The new leaves are smaller than the older leaves.
The leaf color is a lighter green on the newer foliage than on the older foliage.
The older leaves are dead.
Temperature
Temperature is the second most important factor influencing plant growth in interior environments. People feel comfortable in the range of 72 degrees F-82 degrees F, and interior plants can tolerate and grow well in the 58 degrees F-86 degrees F range because most indoor plants originate from tropical and subtropical areas of the world.
Temperature and light are linked through the processes of photosynthesis and respiration. These processes can be thought of as the “yin and yang” of plant life — two parts of a circle. Photosynthesis builds sugars and starch, which are then broken down by respiration to provide energy for the development of new tissues (growth) and the maintenance of existing ones. High temperature speeds up respiration. If the plant is not producing sufficient sugars (as under low light), then high temperatures may break down what little sugars are made, leaving little to none for growth. Maintenance takes precedence over growth; therefore, under insufficient light, plants do not grow. If light is so low that sugars produced are insufficient for maintenance, the plant eventually dies.
When sugar levels are low, the plant takes nutrients and sugars from older leaves to maintain new leaves. To help plants in an indoor environment, two options are available: (1) raise light levels to increase photosynthesis and sugar production or (2) reduce night temperature to lower respiration rates and allow more sugars for growth.
What temperatures are likely to occur in homes? During the summer, air conditioning that may have been turned off at night or weekend thermostat settings that may have been raised result in higher than desirable night temperatures. During the winter, heating that may have been turned off at night or weekend thermostat settings that may have been lowered may result in lower night temperatures. Be especially careful not to allow temperatures to drop below 50 degrees F, or chill damage will result on some sensitive foliage plants (e.g., Chinese Evergreen, Aglaonema). Chill damage is manifested with the yellowing of lower leaves and/or defoliation.
Plants vary in their minimum and maximum temperature requirements. Examples of cool-loving plants suitable for locations where temperatures drop to the low 50s at night and 60s during the day are Cyclamen, Wonder Plant, Fatshedera, Japanese Aralia, and Fatsia. A list of plants and their temperature requirements is provided in Table 3 .
Not all interior plants have the same temperature requirements for optimal growth. For example, Cast Iron Plant, Aspidistra, and ferns actually grow better with cooler temperatures (72°F), while other tropical plants grow best if the temperatures are 90 degrees F – 95 degrees F. Such temperatures are rarely allowed indoors.
The best temperature range for indoor plants is 70 degrees F – 80 degrees F day and 65 degrees F – 70 degrees F night.
Relative Humidity
Relative humidity is the amount of moisture contained in the air. For interior plants, relative humidity below 20 percent is considered low, 40 percent – 50 percent is medium, and above 50 percent is high. Relative humidity is a very important factor, but it is easily overlooked. In a greenhouse, relative humidity is 50 percent or higher. Rapid transpiration and water loss may result when newly purchased plants are placed in the 10 percent – 20 percent relative humidity typical of most homes (Figure 3). Most indoor plants come from the tropics where high relative humidity is common. Therefore, take the following steps to help your plants adjust to the low relative humidity in your home.
Figure 3a. The lower the humidity, the more water is lost from a leaf. At the same temperature of 70ºF, a leaf placed in 10% relative humidity loses more water compared with the leaf placed in 50% relative humidity.
Figure 3b. The higher the temperature, the more water vapor the air can hold, and the more water will be lost from the plant. At the same humidity of 50%, a leaf placed in 90ºF air loses more water compared with the leaf placed in 70ºF air.
Place plants close together to create a microenvironment with a higher relative humidity.
Use a shallow container filled with water and lava rocks or gravel, which will provide evaporation from a large surface area and increase relative humidity.
Use a humidifier.
Use mist bottles to spray water around the plant; however, in reality, you would need to mist every few minutes for an indefinite amount of time to make a difference in relative humidity around the plant.
The foliage and flowers of plants with hairy leaves should not be sprayed with water. Water on such leaves may stay longer, providing opportunities for disease spores to germinate.
Water
Water Quantity
Learning to water is one of the most important skills in plant care. Applying too much water can suffocate plant roots and too little water causes growth to become erratic and stunted. Watering frequency will depend on the conditions under which the plants are growing. When dealing with how much water to apply, consider the following:
Plant type: A list of plants and their moisture requirements is provided in Table 3 . Not all plants are similar in their water requirements. This information, along with the light preference, is usually included on the plant label. For example, a croton, which prefers high light, will likely need more frequent watering compared with a succulent plant such as Opuntia cactus. Both have similar light needs but dissimilar water requirements.
Plant size: Larger plants need more water compared to smaller plants.
Container volume: If the growing container is too small, watering may be required more frequently.
Soil moisture: The amount of water already present in the growing medium will also affect your watering frequency.
Light intensity: Plants under high light transpire more water compared with plants under low light.
Improper watering causes many problems. Containers with saucers may cause an excessive build-up of soluble salts (from the applied fertilizer). High levels of soluble salts can cause damage to plant roots and a decline in growth. Discard any water that had drained in the saucer after irrigation, and apply large quantities of water to the soil to leach the accumulated soluble salts. In deciding when you should water, feel the soil by pushing a finger an inch or so below the surface. If the soil is still moist, no further water is needed. Water devices or water meters are also available to simplify watering.
Water Quality
The quality of the irrigation water is an issue with plants that are susceptible to fluorine and chlorine, such as Corn Plant (Dracaena), Ti Plant (Cordyline), Peacock Plant (Maranta), and Rattlesnake Plant (Calathea) (Figure 4). Alleviate this problem by letting the water stand for several days — so that some chlorine and fluorine will be released from it — before applying the water to the plants. Move susceptible plants away from the edge of the pool to prevent water splashes from reaching the foliage. Do not use susceptible plants around enclosed pools. In general, plants with long linear leaves (such as the Spider Plant) are more susceptible to fluorine.
Figure 4a. Symptoms of fluorine damage on the Corn Plant include tip and leaf scorching.
Figure 4b. Symptoms of fluorine damage on the Ti Plant include tip and leaf scorching.
Nutrition
Many indoor gardeners have the same problem with fertilizer that they have with water — they want to give their plants too much. Danger from over-fertilization occurs because any fertilizer used, whether in liquid, powder, or tablet form, will dissolve in soil water and will form salts in the water. When you over-fertilize, the water in the soil becomes so salty that it “burns” the plant’s roots by removing water from them (Figure 5). Excess soluble salts accumulate as a whitish crust on the surface of the growing medium and/or near the rim of the container.
Figure 5a. Soluble salt burn is manifested as leaf martinal and tip burn. Dead roots also invite root diseases.
Figure 5b. Soluble salts can burn roots; notice that the healthy roots are white, while the dead roots are brown. Dead roots also invite root diseases.
Before feeding plants, consider the following:
Plant type: Some plants are heavy feeders (e.g., Ficus species), while others need little or no additional fertilizer for months (e.g., succulents).
Volume of soil: The growing medium that is present — smaller pots require less fertilizer compared with larger pots because they contain less soil.
Light intensity: The higher the light levels, the more nutrients needed for plant growth.
A newly purchased, healthy plant rarely needs an immediate application of fertilizer. In most cases, the amount of fertilizer applied by the commercial producer will supply enough nutrients for two to three months in the home. This rule is flexible — if deficiency symptoms are evident, fertilizer application is desirable.
The secret to fertilizing plants indoors is to apply small amounts of fertilizer as the plant grows. Without new growth, the plant has a limited need for more fertilizer. During the winter when light levels are low, a plant’s need for fertilizer reduces. During the summer when light levels increase and the plant is actively growing, its need for fertilizer increases. As a starting point, use about one-fourth the label rate for monthly applications. If the overall plant color becomes lighter green, fertilize every two weeks. If the new growth is dark green but the leaves are small and internodes seem longer than on the older growth, decrease the fertilizer rate.
Varying fertilizer formulations are available to the indoor gardener. Many fertilizers come in specially designed formulas for indoor plants. Generally, they contain a lower percentage of the required mineral elements to prevent over-fertilization problems.
Soil/Growing Medium
The growing medium provides anchorage, water, and minerals. When repotting plants, make sure that the new mix is well drained and aerated, holds water and nutrients well, and is within the right pH range (5.0-6.5). A good potting mix provides ample amounts of oxygen to the root system. Most professional mixes are good to use. Some plants require special mixes, e.g., bromeliads, orchids, and African violets. Either purchase these mixes or prepare your own. Below are some formulas that can be used to prepare a homemade potting mix.
Growing Mix for Flowering House Plants
The following potting mix will grow acceptable flowering plants in most homes for most gardeners:
1 part garden loam or potting soil
1 part sand or perlite or vermiculite
1 part peat moss
Add 2 to 3 ounces of 20 percent superphosphate and ¾ ounce of either bonemeal or dolomitic limestone (by weight) to 4 gallons of potting mix. After sterilizing the soil (see “How to Sterilize Soil”), add 3 tablespoons of a 6-6-6 or similarly balanced fertilizer to every 4 gallons (½ bushel) of mix. Add a minor element formulation according to the manufacturer’s recommendations.
Growing Mixes for Foliage Plants
Although most foliage plants will grow satisfactorily in the growing mix recommended for flowering house plants, they will grow better if the mix contains a higher percentage of organic matter.
1 part garden loam or potting soil
1 part sand or 2 parts peat moss
OR
1 part pine bark
1 part peat moss
Add 2 to 3 ounces (dry weight) of dolomitic limestone to 4 gallons (½ bushel) of mix. For fluoride-sensitive plants, adjust the pH so it is no lower than pH 6.5. Superphosphate contains enough fluoride to cause foliar burn on sensitive plants. After sterilizing the soil, add 3 tablespoons of a 6-6-6 or another fertilizer such as 5-10-5 to each ½ bushel. Plastic-coated fertilizers also can be used; most of them require about 2 ounces per ½ bushel. Add a minor element formulation to the potting mix per the manufacturer’s recommendation.
Growing Mixes for Bromeliads
Bromeliads are plants from Central and South America, which are either epiphytic (they grow on tree branches or in the crotches of trees) or terrestrial (they grow in the ground). Although most of the bromeliads can be grown successfully in foliage plant mixes, most grow better in specially designed soil mixes. Any mix for bromeliads must be well aerated and drained.
2 parts peat moss
1 part pine bark
1 part cypress shavings
Add 2 ounces of dolomitic limestone to 4 gallons (½ bushel) of soil mix and a minor element mix. Dissolve 1 ounce of 10-10-10 water-soluble fertilizer in 3 gallons of water. Use this solution after repotting and again monthly when watering. Also, add enough water to fill the vase formed by the overlapping leaf bases.
Growing Mixes for Orchids
Orchids have a great deal in common with bromeliads because they also grow on trees as epiphytes and on the ground as terrestrials. A mix for orchids should have excellent drainage and aeration, too. Some soil mixes that can be used are:
3 parts osmunda tree fern fiber (moisten before use by soaking in water for 12 hours)
1 part redwood bark
5 parts fir bark
1 part perlite
Tree fern slabs may also be used to grow epiphytic orchids.Add 1 ounce (dry weight) of dolomitic limestone per 4 gallons (½ bushel) of soil mix. Do not add fertilizer to the mix. After the plants are potted, add ¼ ounce of liquid 10-10-10 with minor elements per gallon of water and fertilize once every 6 weeks (if the plants are growing in osmunda fern fibers). If plants are growing in fir bark, use a liquid 30-10-10 with minor elements every 6 weeks instead of a 10-10-10 fertilizer.
Growing Mix for Succulents and Cacti
Cacti and other succulents grow best in a well-drained and aerated soil.
2 parts garden loam or potting soil
2 parts sand
2 parts peat
1 part perlite (crushed charcoal can be substituted)
Add 2 ounces (dry weight) of dolomitic limestone to 4 gallons (½ bushel) of soil mix, 2 ounces (by weight) of bonemeal, and ½ ounce of superphosphate. After sterilizing the soil, add a minor element supplement according to the manufacturer’s recommendation.
Growing Mix for Ferns
Ferns grow well in most recommended mixes that have a high proportion of organic matter with good soil aeration and drainage characteristics. Use any of the suggested foliage plant mixes. However, most ferns kept indoors grow better in the following mix:
1 part garden loam or potting soil
1 part peat moss
1 part pine bark
1 part coarse sand
Add 2 ounces (dry weight) of dolomitic limestone to each ½ bushel (4 gallons) of soil mix and ½ ounce of either bonemeal or 20 percent superphosphate. After pasteurizing the soil mix, add minor elements to the mix. Add 1 tablespoon of a 6-6-6 or similarly balanced fertilizer to each ½ bushel of soil mix.
Growing Mix for African Violets
Any number of soil mixes for African violets exist, and most of them will grow high quality plants. A good mix should be well drained and aerated.
2 parts peat moss
1 part vermiculite
1 part perlite
Add 2½ tablespoons of dolomite and 1½ tablespoons of 20 percent superphosphate to each ½ bushel of soil mix. Add 3 tablespoons of a high phosphorous fertilizer such as 5-10-5 or a similar ratio of fertilizer.
How to Sterilize Soil
Sterilization reduces the number of diseased organisms and weeds present in the soil. First, mix the soil with an equal portion of vermiculite or peat moss (otherwise, the soil will become very hard). Next, moisten the mixture and place it in the oven. Allow it to “bake” at 180 degrees F–200 degrees F for 1 hour. Once the soil cools, it is ready to use. To treat soil in the microwave, first mix the portion with an equal amount of vermiculite or peat moss and moisten. Place the mixture in a plastic bag. Next, consult the manufacturer’s manual to determine the amount of time and power level needed to heat the quantity of soil to about 180 degrees F (most portions of soil will generally require about 10 to 15 minutes). Insert a probe into the soil and make sure it has heated to 180 degrees F – 200 degrees F. Allow the soil to cool before using it or storing it for future use.
Make sure that the soil or potting mix you want to sterilize does not contain perlite. At high temperatures, toxic levels of fluoride may be released and subsequently damage your plants.
Acclimatization
Figure 6. The two sides of acclimatization — the above-ground (light acclimatization) involves adaptation to low light, which means less growth and less need for nutrients. The below-ground (soil acclimatization) involves reduction of nutrients and water.
Acclimatization is the adaptation of a plant to a new environment, and it is very important for the health and growth of indoor plants. In greenhouses, plants are accustomed to high light, nutrition, water supply, temperatures, and relative humidity — conditions ideal for fast growth (Figure 6). Residential homes, with low-light interiors and low relative humidity, will most likely produce a stressful experience for plants — the greater the difference between the previous environment and the environment of the house, the greater the stress the plant endures.
Acclimatization is generally done in the greenhouse or the nursery. Plants are grown for a period of time under low-light levels and with fewer nutrients. Because this slows down plant growth, acclimatized plants are not ready for the market as early as nonacclimatized plants. Acclimatized plants cost more compared to nonacclimatized plants, but this is money well spent. Figure 7 and Table 2 describe the symptoms and appearance of acclimatized plants.
Figure 7. Acclimatized Weeping Fig; notice the large, dark green leaves and the elongated internodes.
To acclimatize plants at home, place newly purchased plants in bright areas for at least 3 to 4 weeks and then move them to their final location. Porches and patios are ideal bright places for your plants in the warm months, as long as the plants are not in direct sunlight. The most common symptom occurring in plants placed indoors is defoliation. As long as it is not extensive and it slows down after a few weeks, the plants will adjust to the particular location. Keep in mind, however, that each time the plant is moved around, it will experience an acclimatization period, and such changes may become evident.
Learn as much as possible about the extent of acclimatization of the chosen plants. The retailer should be able to provide this information. When shopping for plants at a garden center, ask if the plants have been acclimatized.
Remember that the most important factors of indoor plant growth are adequate light, fertilizer, and water at reduced rates.
Table 2. Symptoms of acclimatized plants vs. nonacclimatized plants
Acclimatized Plants
What to Look for When Shopping for Indoor Plants
Figure 8. Healthy roots are typically white without any discolorations.
Purchase only healthy looking plants with medium to dark green foliage (unless foliage is supposed to be a different color).
Avoid plants with unnaturally spotted, yellow, or brown leaves. If the plant is unhealthy at the nursery, chances are that it will die soon after consumer purchase. Look for pests on the undersides of leaves. Remove the plant from the pot and examine the root system. Healthy roots generally are and should be visible along the outside of the soil ball and should have an earthy smell (Figure 8).
Any discolorations, generally brown or blackened roots, are signs of problems. Some plants, such as Dracaenas, have roots with colors other than white. Unhealthy roots also may smell foul. If shopping for ferns, do not be alarmed if you see brown-colored spots or long rows of structures on the lower leaf surface; these “spots” are reproductive structures called spores.
Selecting Containers
Planters can enhance the decorative value of the plants. Consider the following when selecting a planter:
Suitability for the plant’s needs
Suitability for the needs of the individual and the environment
Cost and availability
Drainage
Weight
The style, shape, and size of the container should complement the plants grown. Small containers are best for small slow-growing plants, while fast-growing plants are better suited for large containers.
Containers can be made from a wide range of materials — terra cotta, clay, plastic, or ceramic. Terra cotta pots, made of fired clay, are some of the most popular choices, with designs ranging from plain to ornate. Plants perform very well in terra cotta pots, as the porous surface allows good air exchange between the plant roots and the environment. Other clay containers (not considered terra cotta) range from gray to brown in color, depending on the clay used. Clay pots can be glazed or unglazed. The glazed pots restrict air exchange but offer more design choices. Unglazed pots evaporate water faster and plants in them may need more frequent watering. Disadvantages of clay containers include their weight (especially large pots) and the chance they will chip or break.
Constructed of materials such as polyethylene, polyurethane, recycled plastic, and fiberglass, plastic pots have evolved from very simple to quite elaborate. They have the advantage of being lightweight as well as chip- and break-resistant. Air exchange and water evaporation rates are generally lower in plastic containers compared with clay containers. Plants in plastic pots will not dry out as quickly as plants in clay pots, increasing the danger of over-watering.
In general, there are two types of containers — ones with drainage holes and ones without. Do not allow plants in containers with drainage holes to sit in saucers filled with water, unless the plant is suspended above the water level by a layer of rocks. To avoid salt buildup, leach the soil once a month by applying a gallon of water to every cubic foot of potting medium; after a few hours, follow with ½ gallon of water. If the potting medium contains garden soil, apply 5 gallons of water per every cubic foot of growing medium.
Containers without drainage holes work well for plants such as the Peace Lily (Spathiphyllum), which needs plenty of water, but they should not be used for cacti and succulents.
Pruning, Grooming, Cleaning, and Repotting
When is the best time to prune? “When the knife is sharp” goes the old saying, and it means using the natural life cycles as a guide. For example, when the plant is growing rapidly and you want to maintain a certain size, prune lightly and frequently, removing shoots or shoot tips when they are small. When removing the very immature tips, the practice is known as pinching. Pinching and light pruning also increase branching of the stem and result in a stockier, fuller plant.
When the plant has outgrown its container, root pruning is advisable. Pull roots away from the root mass then cut them back to within 1 inch of the soil mass. An alternative method is to make three or four vertical cuts 1 inch deep in the soil ball on the opposite sides of the root ball.
If you are re-using containers, make sure that they are clean by washing out any old compost, chemical, or paint residues. Sterilize the container by placing it in a 10 percent bleach solution and rinse well.
A clean plant is a healthy plant. Water flow causes salt accumulation along the leaf margins and/or tips, creating necrotic areas. Dust dulls normal leaf coloration, lessening plant value, but it also shades plant surfaces, reflecting light that can be used in photosynthesis. Dust on lower leaf surfaces may clog stomata (specialized cells involved in water transpiration), inhibiting gas exchange within the leaf. Leaves with thick, shiny cuticles (Croton, Ficus, Peace Lily, Bromeliads) should be cleaned with a damp sponge.
Figure 9. Properly repotted plant.
If the plant is small, dip the foliage in tepid water and swirl it around. Water should not be used when cleaning cacti, African violet leaves, and other plants with hairy leaves. Instead, use a clean, small paintbrush brush to remove dust. Remove dead flowers and leaves regularly. Leaves with tip and/or marginal necrosis, such as fluoride damage, should be trimmed to the healthy part.
If the plant has been growing well, it will likely need repotting. The decision to repot should be based on plant appearance—if it is top-heavy, if it fills the container with new shoots, or if it has extensive root growth out of the pot’s drainage holes. Ideally, plants should be repotted in 1 inch increments. Planting into too large a container will give the roots more soil than they initially need. The excess soil will hold extra moisture, creating overly wet conditions. Increase pot size through smaller increments rather than doubling the pot size in one step (Figure 9).
Pest Management
Figure 10. Various scales.
Very few plants stay pest-free forever. Pest insects are more likely to be encountered on indoor plants than diseases because the interior environment rarely offers favorable conditions for foliar diseases to develop. However, when plants are grown under stressful conditions (such as low light and excess water), soil-borne pathogens often develop.
Figure 11. Various scales.
Scales are ⅛ inch to ⅓ inch long with various colors, depending upon the species. The three main families of scales are armored (the body covering can be separated from the body), soft (the body covering cannot be separated from the body), and mealybugs. Scales suck plant juices from leaves and stems, causing stunting, leaf discoloration, and death of the tissue. As a result of their feeding, sticky “honeydew” (digested plant sap) is excreted (the exception is armored scales). Honeydew offers a growing medium for a fungus called sooty mold, which, when present, can detract from the plant appearance and block light from reaching the leaf surface. Scales are usually inconspicuous; by the time infestation is noticed, the population is usually very large (Figure 10 and Figure 11).
Mealybugs are soft bodied, 1/5 inch to 1/3 inch long, and covered by white, waxy filaments, giving them a white, cottony appearance. Insects are frequently found on the new growth at the stem apex, where they suck plant juices, causing leaf wilting and abscission (Figure 12). Some species of mealybugs appear first on the undersides of leaves. Mealybugs excrete sticky honeydew, which attracts sooty mold.
Figure 12. Mealybugs are the major pest problem for houseplants.
Figure 13. Aphids.
Aphids are soft bodied, pear shaped, 1/25 inch to 1/8 inch long, and are usually green in color (but may be pink, blue, brown, yellow, or black). Aphids reside on new growth or on the underside of young leaves, where they suck plant juices, causing deformed, curled growth of new leaves, buds, and flowers. Aphids also excrete honeydew. Aphids are usually wingless but develop winged forms when colonies become too large (Figure 13).
Spider mites are the second most common pest problem on houseplants (Figure 14). The adult females are about 1/50 inch long, hardly visible with the unaided eye. Mites feed on the undersides of young leaves. Infected areas are grayish or yellow speckled.
Webs form as a means of dispersal. Spider mites thrive in hot and dry conditions.
Figure 14. Spider mites with webbing.
Figure 15. Thrips.
Thrips, while uncommon on houseplants, predominantly feed on plants in patios and other outdoor areas (Figure 15). Thrips are small, slender, 1/25 inch to 1/12 inch long, and tan, black, or brown in color, with lighter markings. Adults and larvae feed on shoot tips, flowers, and leaves by sucking sap and cell contents. Injured tissue has a whitish or silver-flecked appearance due to the light reflecting from the empty cell walls of the dead cells.
What to Do for Plant Problems
Pests
The best method is prevention — purchase pest-free plants.
Remove a light infestation of mealybugs or aphids with a cotton swab dipped in rubbing alcohol.
If outdoor conditions permit, take the affected houseplant outside in a protected area, where natural predators will eventually come and rid the plant of the pest.
Treat with insecticidal soap. The best results occur on plants that have been hardened off in the interior environment. New plants, if they have not been acclimatized (accustomed to lower light, fertilizer, and water levels), are going to be tender and should be treated after the first couple of weeks. Add 2 teaspoons of insecticidal soap per gallon of water and wipe foliage and stems with the soapy water and soft cloth.
Heavy infestations may be too extensive to treat. Discard these plants and do not place them in your compost pile.
Do not introduce beneficial insects indoors! They may work great in the greenhouse with a large number of plants and pests, but there is just not enough food in your home to sustain their population. Most pests can be controlled culturally on indoor plants without the use of chemicals.
Another potential problem in the indoor garden is the occurrence of various diseases. For a disease to happen, three factors must be present: (1) a susceptible plant, (2) a viable pathogen, and (3) a favorable environment. Because the home has very low relative humidity and water is often applied directly to the growing medium (thus keeping the foliage dry), chances of a foliar disease occurring are minimal.
Leaf spots are the most common problem, but they are usually not caused by a disease. For example, leaf scalds occur when water droplets on the leaves act as lenses and focus excessive light in one spot, bleaching the chlorophyll and killing the underlying tissue. Spots with patterns are signs of a disease, including a tan center, dark borders, and/or light-colored borders called “halos.” Dark structures may be present on the underside; these contain a means of dispersal called spores.
Figure 16. Bacterial diseases cause spots, soft spots, and wilts. The signs of a fungal disease are sooty molds, rusts, mildews, rots, cankers, spots, and wilts. Viral diseases cause mottling, distortion, and dwarfing.
Most importantly, avoid causing stress to plants. A healthy plant is much more likely to fight off a disease than a stressed one. Use a simplified key for identifying the causal agent for a disease (Figure 16).
Soil-borne pathogens are commonly found on stressed plants. Soil-borne pathogens affect plants at or below the soil line; disease development is usually well underway before symptoms are noted on plant parts aboveground. Soil-borne diseases commonly occur when the growing medium is kept excessively moist and fertility levels are high. Low light and over-watering create favorable environments for soil-borne diseases indoors.
The most common causes of stress in interiors are low light and over-watering.
Summary of Cultural Care
Table 3 provides a listing of more than 200 plants and their cultural requirements. To summarize cultural care guidelines, the following abbreviations and coding numbers are used. These guidelines apply to actively growing indoor plants.
L = Light
Sunny light areas: At least 4 hours of direct sun
High-light areas: Over 200 ft-c, but not direct sun
Medium-light areas: 75 ft-c to 200 ft-c
Low-light areas: 25 ft-c to 75 ft-c
T = Temperature
Cool: 50°F night, 65°F day temperatures
Average: 65°F night, 75°F day temperatures
Warm: 70°F night, 85°F day temperatures
H = Relative Humidity
| Weed (disambiguation) |
It's capital is Bangkok and it used to be called Siam. What is it now? | How to Select the Best Grow Light for Indoor Growing - Urban Organic Gardener
How to Select the Best Grow Light for Indoor Growing
Posted on Feb 10 2012 - 1:04am by Mike Lieberman
Not all light is the same.
Plants respond differently to different colors of light.
Light on either end of the spectrum, blue light or red light, have the greatest impact on photosynthesis.
Kinds of Light
Blue light, referred to as cool light, encourages compact bushy growth.
Red light, on the opposite end of the spectrum, triggers a hormone response which creates blooms.
Grow lights producing the orange and reddish light typically produce substantial heat, however, some lights are able to produce full spectrum light without the heat.
Grow lights come in all shapes, sizes and price ranges.
As a general rule, inexpensive lights to purchase tend to be the most expensive to operate and the least effective. While price is not necessarily an indicator of performance, many of the efficient grow lights require ballasts as well as specialized fixtures.
Image of vegetable being grown indoors under artificial light is via fortikur.com.
Check out SeedsNow.com if you’re looking to grow organic vegetable and herbs from seed.
Click here to read more about what GMOs are. It’s really easy for you to grow all kinds of vegetables, herbs, and sprouts inside. All year long! Invest in a grow light and you’ll be happy.
Basic Types of Grow Lights
These lights run the gamut of performance and price range.
Incandescent Lights.
The least expensive lights to purchase cost around $30. These incandescent lights work well for specific plants where the light is placed a minimum of 24” from the plant. These lights get extremely hot so they must be used with care. Spot grow bulbs, color corrected incandescent lights, install easily and are good for use with a specific plant or a small grouping of plants. Most spot incandescent bulbs last less than 1,000 hours. Some light fixtures come with a clip handle so you can put them exactly where they’re needed.
Fluorescent Grow Lights.
They are a common choice for homeowners. Fluorescent lights are reasonably energy efficient and relatively easy to install. A typical fluorescent bulb will last approximately 20,000 hours. Fluorescent light is typically on the blue end of the spectrum. Blue light encourages bushy compact growth which makes them perfect for seed starting. Blue light is also cool to the touch making it possible to place lights within just a few inches of the seedlings.
New Full-Spectrum Fluorescent Lights.
Provide the red spectrum as well to encourage blooming.
Combining the lights in a fixture makes for even, all around growth.
The next generation in fluorescent lighting includes the new T-5 lights.
These new lights have extremely high output but are energy efficient and long lasting.
The T-5 lights triple the light output of normal fluorescent lights without increasing the wattage. Plants absorb a high percentage of T-5 lighting because the fixtures function well very close to plants. High output bulbs require a high output fixture to operate, so the bulbs and normal fluorescent fixtures will not work together.
LED Lights
The newest type of grow lights use LED technology.
One major advantage to the LED lights is the small size.
LED lights are only a few inches in diameter and are easy to mount.
In some greenhouses, LED lights may be the only practical light option.
Hanging most grow lights requires a strong greenhouse structure and a place to hang the lights.
LED lights weigh a fraction of other lights and are easy to configure where needed. According to LED manufacturers, LED grow lights maximize blue and red light to provide and excellent balance for plants.
They do not have much green-yellow light. Since humans see green-yellow light best LED grow lights appear dim to our eyes. This is an exciting new technology that will be interesting to watch as it develops.
The Best Grow Light Option
Now that I’ve given you a good rundown on greenhouse lighting options, it’s also important to mention darkness.
Almost all plants benefit from a period of six hours or more of darkness.
It’s a good idea to know how much light your plants need, but unlike commercial growers, hobbyists often have a wide variety of plants so they need to take a broad approach to lighting.
Fluorescent lights offer excellent overall lighting options.
Other Considerations
If you chose to use any type of fluorescent lighting, you will need to account for plant growth.
Fluorescent lights perform best when positioned very close to plants.
As plants grow into the light, it is important to raise the fixture.
Generally only the plants touching the lights will burn, but be prepared because they grow quickly.
Adjustable hangers are a good solution. These hangers move easily allowing you to make quick adjustments.
If you’re looking for non-gmo seeds that grow well using hydroponic systems, click here .
Your Turn
Are you currently using grow lights to grow indoors? What kind? What are you growing?
Do you plan on growing indoors using grow lights?
Let me know in the comments below.
http://twitter.com/greenearthbazar Michelle A.
Great lighting tips. We want to bring our garden indoors and this will help. We have a tiny greenhouse attached to our home which gets lots of good natural light during the year, but when the weather turns we’ll need better lighting. Thanks! 😉
http://www.UrbanOrganicGardener.com Mike Lieberman
Glad you found it useful!
Susan
Thank you for the very helpful post!
Tris
Cool post, Mike! The hubby and I are really interested in the LED lights right now. We’ve already switched to LED Christmas lights for the tree and have several LED flashlights that you hand crank…no batteries! Looks like this is the next step for our seedlings and houseplants. Right now, I have cool blue flourescents in shop style fixtures for the houseplants and keep them on a timer. It works ok but we have to hang on to the burnt out ones until there is a recycling event near us because you can’t just toss those in the trash. Big no no!
http://www.UrbanOrganicGardener.com Mike Lieberman
Glad you found it useful.
http://www.UrbanOrganicGardener.com Mike Lieberman
Sounds like you are on your way and doing a great job!
http://www.facebook.com/sandra.dwan Sandra Whitlock Dwan
I have what I think are fluorescent bulbs installed under my cabinets in my kitchen to provide extra light to the counter workspace ~ the long tube like bulbs. Would it be OK to use those? And could I install full-spectrum fluorescent bulbs in them?
I also am slowly changing my CFL’s to LED’s in the house and have some in my kitchen so would the plants benefit from them or are the LED’s used for plants a specific kind of LED? What makes it a “grow light” vs. just a normal light bulb you might use in your home? Thanks!
http://gardeningfrugal.blogspot.com/ Angela at Frugal Gardening
Great ideas. However, I find creating my own grow lights units very rewarding.
ScottfromtheBK
I set up a grow light system last year and will definitely be using it again this year. I have a fluorescent system (with T-5s) that I found online; the fixture and bulbs were a little pricey, but I searched around and found a better deal from a lighting distributor than from any of the gardening sites. I figured that a little more investment up front would save me in the long run.
The system is set up in the top of a bookshelf because I don’t have much space in my NYC apartment for a dedicated seed-starting area. I screwed some hooks into the underside of the top of the bookshelf, took out a shelf, and hung the grow light from the hooks. I bought a cheap light timer and set the time increment to 18 hours; with the timer I don’t have to worry about remembering to turn the lights off and on (because I would definitely forget). I also have a capillary mat that I set my seedlings on so I don’t have to worry about watering either.
Overall, I think my lazy-man’s system works pretty well. I’ll try to post a picture when I get some seeds up and going…
http://www.UrbanOrganicGardener.com Mike Lieberman
That’s great.
http://www.UrbanOrganicGardener.com Mike Lieberman
Sounds dope. Gonna be putting some stuff together myself. Def share the pics when you get started.
http://www.UrbanOrganicGardener.com Mike Lieberman
Thanks for the question Sandra. I am not a grow light specialist and have asked someone at The Greenhouse Catalog to chime in with a response.
Kathy
Sandra, you should be able to replace your standard fluorescent bulbs with full-spectrum grow lights as long as you make sure they are the same size as the bulbs you currently have in your fixture (most commonly T12). If you grow under your kitchen cabinet, I recommend that you make a platform for your plants/seedlings to sit on, so the top leaves are just a few inches below the fixture. You will need to adjust the platform as the plants grow. Your home’s LED lights are designed for visual appeal (a limited spectrum of light) and not for growing. LED’s designed as grow lights have full-spectrum light with a lot of reds and blues for plant growth, but they are not visually appealing as a house light.
ScottfromtheBK
Here are pics of my setup. Pretty self explanatory, but let me know if there are any questions.
I planted the seeds in coir in the biodegradeable tray which sits on a capillary mat with a water reservoir below. The coir is working out awesome – I definitely recommend it as seed-starting medium. In this tray I have (from left to right): genevese basil, citrus basil, mini bell peppers, cilantro (the empty row was cilantro too… I wonder if I just forgot that row… d’oh!), and cherry tomatoes.
Hit me up if you have any questions.
http://www.UrbanOrganicGardener.com Mike Lieberman
Nice bro. Good isht!
Andre Ferchau
I’ve worked with LEDs since they were invented (about 1975). What people don’t realize is they
are not at all like any other light source except, and only barely like, fluorescent.
They and fluorescents and HIDs output less than a full spectrum. So no matter what you
read about full spectrum only exists in the incandescent bulbs and ideally the halogen bulb.
Why?
The Sun is what we define as full spectrum. It has ‘all the colors’ of the rainbow. No light
but halogens (and to a limited extent any incandescent) bulb has this same full spectrum.
OK but so what?
Have you ever used induction lighting
Amie
Hello! We plan to grow indoors come frosty weather… part of our food source comes form the food t that I grow. I do can and preserve what i know how to do …..canned is good, dehydrated is good……but fresh is best. We want to start aquaponics in our garage……and use the space around the tanks as a growing in house, (all in the garage). Any suggestions on how many lights? our garage is 14X10…….
and we open it everyday for fresh air and what not ~that the plants need. i have to self pollinate which is timely…or “time consuming’…. but IF the lights are good and don’t cost a fortune……thats the wat for our winters.
`please advise.
amoja
Help me. I have a LOT of rather gigantic houseplants, lit mainly by costly CFL’s. I have been looking to replace them with blue, red & cool white LED light bulbs. Or perhaps some LED string lights. I understand (I think) that a white LED needs to be 450 lumens, but I need to know how many lumens a blue LED bulb needs to be effective. Or a red one. I need about 30 white bulbs, 4 or 5 red ones, & maybe 8 to 10 blue ones. I think. Not a lot of $ going on here, so I’m looking for an inexpensive source. Plain, screw-into-lamp socket bulbs. Any suggestions will be much appreciated.
Namaste’.
chickenscratch
Only thing I can say is stay away from The Greenhouse Catalog I ordered some lights from them and they did not work- DOA. No refund or replacement offered or anything. They tried to claim I was using them wrong. Come on, really?
chickenscratch
Seriously though, this article is riddled with cheap plugs.
http://sensiseeds.com/en/cannabis-seeds devideaster
Proper lighting is the most important factor that should be considered at the time of growing any types of plant. I am really impressed by the way you have explained about best grow light options.
Michelle
Hi my name is Michelle and i was trying to get my own garden started indoor. I needed a few tips on lighting
Michelle
Even wanting to grow fruits and vegetables will i have to use a certain type of lighting?
David
Have you tried the lights from Illumitex? They’ve got some incredible plant growth science behind their LED grow lights.
Aarielle Aaers
Wow, great comment, really appreciated it. Thanks! I love Halogens. Although the bulb is more expensive, the light is most beautiful. And, we use 12V so they’re very inexpensive. : )
http://growace.com/ Hydroponic Lights
Can we decorate our home easily with using grow light ???
iris
In fact, for growing your plants, the lamp must be with red and blue led, and you need to know your indoor garden area, then you can chose the right lamp for your room.
iris
this lamp was use to promot plants grow quick,dear friend
Danny
im using t5 lights in an industrial sized hydroponics system, but do different seeds need different hights to germanate plus do they need different lux levels, please help just starting out and dont want to get it wrong
http://senua-hydroponics.co.uk/ Stephen Wadding
Quality information has been shared by you. If you are bit confuse to choose which is a better grow light then read this stuff and be sure about it. I think LED lights are best grow lights.
Loulou
My experience with halogen is they release a lot of heat< I have just converted to LED, need a few weeks to see how it work.
Tom
Thanks for a clear explantion of grow lights it is the best and clearest i have seen and I will not have to spend a ton of money to start our seeds.
Rob
Thank you for the info. I just planted some organic seeds into little cells, and currently have an incandescent light on them, but Im going to put a fluorescent light on them now that I’ve read your article. The packages say to start indoors, Im growing some chilli peppers, cayenne peppers, and two types of tomatoes, and the label says to keep them warm and under a light. Is fluorescent a good choice? Do they need sunlight? And a few hours of darkness is good for them right?
Puchong Vongthongdee
May i used White LED for Grow Light ? because my pot is small and i want it light Color friendly for human eyes.
As i know plant love blue and red. but white led are contain RGB color but they are some RGB LED also all 3 color build in 1 LED which one this the best for human eye and plant
danilekk
what is most important when to buy a grow light? there are two type: led panel light or led UFO, which it better?
Erich
Hi how many light bulbs do I need ?
how do I know I have enough Light ?
bill
there is a new light on market called the sun engine built in ohio it is said to be the only grow light which duplicates the sun . do you know any thing about it .where can you buy them
K B
I’m trying to do a better job of getting my potted plants from outdoors to make it through the winter, indoors. The lack of light is part of the problem. I can usually get most of them through, but they look so scraggly by Spring. I can group them together pretty well in one place, but they are all different sizes. After reading the advice above, I don’t think a fluorescent will work. I’m asking now so I can have everything ready when I bring them inside again this fall.
cunt
durrrrrrrrrrrr
DirtyDarlene
I want to try growing veggies indoors this winter. I have an all glass south facing sunroom. It currently has an awning-like covering over the top which I can roll back for optimal sunlight. It has windows about 3-4ft from floor that crank out. It has two ceiling fans. It has a heat or air unit inside it. I have been trying to study the best options for me to get setup. I get so many different opinions that I am still unsure. I have a plan for the stands. Could you offer your opinion for my winter garden? I enjoy a very nice organic garden through the summer months.
bill blizzard
can i grow ginseng and golden seal root inside with grow light system,if so please give me some instructions and what i need to get started
Lana Critchfield Barton
I picked up an incandescent plant light bulb today for a plant that is struggling in a northeast window. It’s all my little local store had. Is this bulb enough or do you recommend a florescent bulb when I’m able to get to a bigger town. I live very rural so I can’t always get the best right away.
peteski72
I’m trying to reduce my cost while growing indoors. The major expense is electricity. I went all out in he begging and bought a 600 w MH and HPS light. All was well, even sucking up the cost, eventually it became to much to bare. Now I am all over the map trying to come up with one light or to use a combination of lights I have and possible adding a LED. I have a 4 tube HO fluorescent ballast. I have four tubes for Vegetation and four for the flowering stages. Also, I have numerous CFL’s 55w equivalent 200w replacement I see LED’s are getting better and the price is dropping along the way. What I don’t know is; is a $250 168 w x3 sufficient? I have a very small area in which I can utilize it’s basically a 4 sq.ft area. It is a small operation and intended to be for the time being. It is crazy to be spending $100 to $150 a month. I am open to any/all suggestions. I need clarity before I proceed. Tank you so much for your time and attention to my matter. Peter
Cindy
what lights are ok for wheatgrass?
Cindy
How long do i leave the light on for wheatgrass?
Ted K
What kind of lights I need to grow tomato plants in side
michael92064
Investigating LED grow lights. Some have LEDs of different colors arranged together and some have LEDs all the same (whiteish) I just want a cost effective solution to starting my vegetables early before planting outside.
Bill Flynn
HELLO, I AM NEW TO GREENHOUSE GARDENING, I LIVE IN NYC . THE GREENHOUSE (SHED TYPE) IS 80 SQ/FT FOOTPRINT. I PLAN TO GROW PRIMARILY TOMATOES, VARIOUS HERBS AND GARDEN FLOWERS. I AM PREPARING TO GET SEEDS STARTED AND WILL DO SO IN THE BASEMENT. AFTER READING YOUR INFO HERE, I WOULD GUESS I COULD START WITH A 4′ T5 SETUP. I WAS PLANNING A 2 TRAY ATTEMPT AT GROWING SEEDLINGS ( TO TRANSPLANT TO G/H IN MARCH/APRIL? WOULD YOU ALSO SAY A HEATING MAT IS A GOOD IDEA? I AM INTERESTED IN ANY TIPS SHARED….THANK YOU.
Steve
where to I find the GMO seeds?
Sherri Lucas-Gibson
Google gardening in small spaces.. Aquaponics is a great addition to a greenhouse
Sherri Lucas-Gibson
It depends on the money you want to spend, room size and plants you want to harvest.. I do indoor and outdoor both veggies and medicinal marijuana.. It is all about light spectrum.. Plants see a different light than we do.. And they don’t see green at all.. That is the colour bounced off of them.. That is why we see them as green.. Because of that light refraction we have no real idea of a plants true colour
Sherri Lucas-Gibson
You can’t miss with full spectrum.. If there is no blossoming needed.. A blue spectrum sounds better.. Red is for blossoming
Bill Flynn
Thanks for taking the time to reply……mine is a small greenhouse 80 sq/ft in NYC outer boro……will check out Google. Happy planting! Bill
Alex Storey
You can, But you do realize that ginseng can take up to 6 years to grow right?
Jeff
Hello, considering switching to LED lighting. would a 90 watt LED light used for lighting up a public parking garage put out the same blue and red spectrum the plant LED lights put out?
Laura in Ohio
Strangely enough I want to grow dandelions and other weeds (all year) for my tortoises to eat. I live near Cincinnati, Ohio so summers are hot and winters are very cold (and snowy) … I inherited a small garden set up of 4 shelves with a plastic cover that goes over it …. So, it could be inside or outside (weather permitting) .. but with “shelves” how could a ” on the top” light shine down on all shelves? Are there side lights or some way to give all the shelves grow lights?
Laura
You could hang a light on the underside of each shelf (except the bottom) with adjustable hangers (a lot of people use chains) and put the plants on the shelf below. I don’t think that using just one light will get the job done. I have also seen the plastic covering the greenhouse lined with tinfoil or mylar (something reflective) to reflect extra light back on the plants
Niko
Hey! I’m moving into a small room Boston soon with NO windows to the outside. I’m considering having a few hanging plants that live in low light, like English Ivy and Boston Ferns.
What would be ideal lighting for me, if anyone can help?
Im trying to figure out what bulb to use and I only have a 1.5′ square (width and length) by 6′ (height) space open for plants.
fernis
I will like to move the bananas plants to the basement, for the winter time.What kind of light would be for this plants?
Nicolle Toth-Braunberger
My place is floor to ceiling windows and a new condo building is going up next door. The amount of sun will be almost nil in about a month – are there bulbs that I can use in my existing fixtures that can help my plants stay healthy? Thank you! I’m starting to panic.
Jennifer
I have a large Ficus Tree, a spider plant, and two different kinds of peace lilies. Oh and a huge Mother-in-law tounge. My natural lite in my living room is awful. I have put up a 18″ under counter florescent lite above my plants. They always start looking bad by the time I can move them back to the porch. Should this help them or do I need to buy a special bulb. I always worry about my Ficus. I’ve had it for about 18 years. It was two feet tall when I got it and it is now almost six feet tall. It went crazy this summer and got bushier. I don’t want it to start doing poorly.
John Butler
Can you mix lights… I have florescent now, I have LEDs ordered…. can I use both in same room..
Bob
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What game can be played on a snooker table but only uses three balls? | Pool Games - Don't Scratch - Agame.com
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| Cue sports |
What is the name of 'Postman Pat's cat'? | Billiards vs Pool - Difference and Comparison | Diffen
Billiards vs. Pool
Diffen › Sports
Both carom billiards and pocket billiards (pool) are cue sports . Billiards as a general class of games is played with a stick called a cue which is used to strike billiard balls , moving them around a cloth-covered billiard table bounded by rubber cushions attached to the confining rails of the table.
Carom or carambole billiards (often simply called "billiards" in many varieties of non-British English) is a type of billiards in which the table is bounded completely by cusions, and in which (in most variants) three balls are used.
Pocket billiards,most commonly called "pool", is a form of billiards usually equipped with sixteen balls (a cue ball and fifteen object balls), played on a pool table with six pockets built into the rails, splitting the cushions. The pockets (one at each corner, and one in the center of each long rail) provide targets (or in some cases, hazards) for the balls.
The two types of billiards have developed into a wide array of specific games with widely divergent rules, and require equipment that differs in some key parameters. Skill at one type of billiards-family game is widely applicable to the other, but expertise usually requires at least a degree of specialization. A few games such as English billiards are hybrids, using carom balls on pocket tables, and snooker, a non-pool-based pocket game, also uses such tables.
Comparison chart
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History
Billiards as a class of games dates back to the 15th century, and (like golf) evolved from lawn games similar to croquet.
Pool in its modern form dates to the 1800s, but variants of pocket billiards tables are known from the earliest days of billiards.
Goal
The object of the game is to score either a fixed number of points, or score the most points within a set time frame, determined at the start of the game.
The goal of most pool games is to use the cue ball to pocket object balls, sometimes from specific groups of balls, in a specific order, or in specific pockets. An exception is Russian billiards, in which points are scored for pocketing the cue ball.
Balls
Billiard balls usually come as a set of 2 cue balls (one colored or marked) and 1 red object ball. Some games call for 2 object balls and 2 cue balls.
Pool balls generally come in sets of 2 suits (usually stripes and solids, but reds and yellows sometimes) of 7 object balls each, an 8-ball and a cue ball. (Not all games make use of the suit markings/colorings, nor all ball in the set).
Ball size
Billiard balls are 61.5 mm (2-7/16 in.) in diameter and weigh the same, between 205 and 220 g (7.23 – 7.75 oz.)
Internationally standardized pool balls are 2.25 in. (57 mm) in diameter and of the same weight. British-style balls are 2 in. (51 mm), and may feature a smaller, lighter cue ball.
Table
A standard carom billiard table has a playing surface of 2.84 by 1.42 m (9.3 by 4.7 ft.), though some American models are 10 by 5 ft. (3 by 1.5 m). Some games, such as English billiards are played on tables as large as 12 by 6 ft. (3.7 by 1.8 m).
A standard pool table has a playing surface of 9 by 4.5 ft. (2.7 by 1.4 m), although smaller 8 by 4 and 7 by 3.5 ft. and even smaller models are common in homes and bars/pubs. Larger 10 by 5 ft. versions were common until the 1920s.
Cloth
The table is covered with a finely-woven cloth called baize, normally made of 100% worsted wool. The cloth is traditionally green, representing the lawn that the ancestral games were played on. Today, many colors are available.
The table is usually covered with baize. The home and bar/pub market often calls for blends and even 100% synthetics, and has driven the demand for a wide array of color choices and even prints (e.g. team or company logos).
Rack
No rack is used in most carom billiards games.
A triangular rack is used to arrange the object balls at the beginning of the games of eight-ball, straight pool, and many others, while a diamond-shaped rack is used in nine-ball.
Cue
The game is played with a stick called a cue, which developed from a golf-club-like implement called the mace by the mid-1800s. Modern billiard cues have leather tips, are usually wooden, are often hand-made, and may have inlaid or other decorations.
As with carom billiards, but pool cues on average are a little longer than carom cues, and have slightly smaller tips. Amateur league play has spawned a market for mass-produced and reasonably inexpensive but attractive cues.
Most common game
Three-cushion billiards: The player must use a specific cue ball to contact one of the other two balls on the table, at least three rail cushions, then the remaining ball in order to score. Likely to become an Olympic sport.
Eight-ball: Each player vies to claim a suit, pocket all of the balls in that suit, then legally pocket the 8-ball, while denying one's opponent opportunities to do the same with their suit, and without pocketing the cue ball. The top amateur game.
Second most common game
Straight rail billiards: Essentially the same as three-cushion, except that only one cushion must be contacted between hitting the first and second target balls.
Nine-ball: Played with object balls 1 through 9. There are no suits. Players attempt to either pocket the balls in numerical order, or use the lowest-numbered ball remaining on the table to pocket the 9-ball in a combination shot. The top pro game.
Other notable variants
Four-ball: Uses an additional object ball; popular in Japan and Korea, and formerly the US. Five-pins: Uses 5 skittles in the center of the table as additional point-scoring targets; popular in Italy, Spain and parts of South America.
Snooker: Played with smaller (and additional) balls on a much larger table, and specific balls have specific point values; popular in the British Commonwealth especially. Straight pool: Played with 15 balls, no suits, 1 point per ball; a US classic.
Definition
Carom billiards is a type of cue sport played with a cue stick which is used to strike billiard balls on a pocketless billiard table. The term is also sometimes applied the all cue sports as a class, or to specific games such as English billiards.
Pool or pocket billiards is a popular variant of billiards played with a cue stick with usually 16 balls (or a subset thereof) on a pool table with 6 pockets.
Contents: Billiards vs Pool
5 References
History
Cue sports evolved from ancient outdoor stick-and-ball games, generally referred to (retroactively) as "ground billiards", a game similar in various respects, and closely related to, modern croquet, golf and hockey. Billiards has been a popular game since the 15th century which is evident through its many mentions in the work of Shakespeare, including the famous line "let us to billiards" in Antony and Cleopatra (1606–07), the wrapping of the body of Mary, Queen of Scots, in her billiard table cover in 1586, the dome on Thomas Jefferson's home Monticello , which conceals a billiard room he hid, as billiards was illegal in Virginia at that time; and through the many famous enthusiasts of the sport including, Mozart, Louis XIV of France, Marie Antoinette, Napoleon, Abraham Lincoln, Mark Twain and many others.
Carom billiards was long the most popular type of billiards, and remains an important international sport. Carom games, especially three-cushion, are intensely popular in many parts of Europe, Asia and the Pacific, and Latin America. In former times, extremely complicated and difficult carom games such as 18.2 balkline were played in world championship bouts by players whose skill was so immense that the serious playing field often consisted of only 4 major players for decades at a time, some of whom could literally score over 1000 points, one shot at a time, in series. The carom world opened up in the latter half of the 20th century and grew to its current level of much broader international competition with the rise of three-cushion billiards and its greater difficulty (a run of only 25 points in a row is considered exceptional). Along with snooker and perhaps nine-ball (see below), three-cushion is expected to become an Olympic sport within perhaps a decade.
The most common pool game, eight-ball is derived from an earlier game invented around 1900 and first popularised in 1925 under the name B.B.C. Co. Pool by the Brunswick-Balke-Collender Company. The forerunner game was played with seven yellow and seven red balls, a black ball, and the cue ball. Today, numbered stripes and solids are preferred in most of the world, though the British-style variant (known as eight-ball pool or blackball) uses the traditional colors. Eight-ball, in one variant or another, is played world-wide, is played by millions of amateur league players, and draws intense competition at professional and amateur tournaments using the WPA World Standardized Rules. However, the most intense competition in pool is in the game nine-ball, which has been the professional game of choice since the 1970s, with the decline of straight pool (also known as 14.1 continuous). Nine-ball grew in popularity because of its speed, the increased role played by luck, and its suitability for television. Today there is some indication that the more difficult variant ten-ball may supplant nine-ball in pro play, but nine-ball is likely to remain the most popular gambling game for many years, and eight-ball the most popular recreational and amateur team one.
Differences in Equipment
Balls
Billiard balls vary from game to game, and area to area, in size, design and number. Though the dominant material in the making of quality balls was ivory until the late 1800s (with clay and wood being used for cheaper sets) , there was a need to find a substitute for it, not only due to environmental issues but also because of the steepness in the cost of the balls. This search led to the development of celluoid, the first industrial plastic, and balls have been made of various plastic compounds ever since, from now-obsolete materials such as bakelite, to modern-day phenolic resin, polyester and acrylic.
Carom billiards balls are larger in size than pool balls, and come most often as a set of two cue balls (one plain white and one colored or marked) and a red object ball (or two object balls in the case of the game four-ball, known in Japanese as yotsudama ).
Internationally-standardized (sometimes called "American-style" or "Kelly") pool balls, used in any pool game and found throughout the world, come in sets of 16, including two suits of numbered object balls, seven solids (1-7) and seven stripes (9-15), a black 8-ball and a white cue ball. "British-style" balls (actually used in many areas outside of the UK, including Ireland, Australia and sometimes New Zealand, as well as various European countries) are slightly smaller, and come in unnumbered suits of reds and yellows. The balls are arranged differently depending on the game; usually in a triangular rack, although a diamond shaped rack may be used in the game of nine-ball. The pocket billiards offshoot snooker requires smaller balls, and several additional balls with special point values. Some unusual pool games such as baseball (named after the field sport) require additional balls, while other rare variants like poker pocket billiards, use an alternative ball set.
Tables
There are many sizes and styles of carom and pool tables. With the exception of some variants of bumper pool, and some novelty tables, all billiard tables are rectangles that are twice as long as they are wide. Quality tables have a multi-slab slate bed over which the cloth (baize) is stretched. Less rigid materials are prone to game-affecting changes due to humidity, and even permanent warping, as well as other problems.
The international standard for carom billiard tables is a playing surface (measured from rail cushion to rail cushion) of 2.84 by 1.42 meters (112 by 56 in., or 9.32 by 4.66 ft), +/- 5 mm, though many (especially American) tables for amateur use are 10 x 5 ft. The slate bed of profession-grade billiard tables are usually heated to stave off moisture and provide a consistent playing surface (a practice that has actually dated for centuries).
Most pool tables are known as 7-, 8- or 9-footers, referring to the length of the playing surface's long side. The internationally standardized size for professional play is 9 by 4.5 ft. (274 by 137 cm). In former times, 10 by 5 and even 12 by 6 ft. tables were common, but today these are used only for the highly diverged pocket billiards variant snooker (a major international sport in its own right, and not considered a form of pool), the carom-pocket hybrid known as English billiards ("billiards" in British English almost always refers to this game), and some other regional variants, such as Russian billiards and Finnish kaisa (both of which are played with balls even larger than carom balls, and very tight pockets). Ten-foot pool tables mostly date from the early 20th century back, but can occasionally still be found in older pool halls. Pool tables as small as 6 by 3 ft. are available for homes and cramped public spaces, but are not commonly preferred (nor are even smaller sets with miniaturized equipment).
Snooker (and English billiards) tables use smaller pockets, baize with a directional nap, and rounded pocket entrances.
Cloth
The beds and rail cusions of all kinds of billiard-type tables (carom, pool, and snooker) are covered with a tightly-woven, napless cloth called baize , generally of worsted wool, although wool-nylon blends are common and some 100% synthetics are in use. Baize is principally a Commonwealth term, with "cloth" being preferred in North American English. It is often erroneously referred to as "felt". Blends and synthetics are more common in the bar/pub market (they are more durable, but slow the balls down, and many serious players eschew them). Faster-playing 100% woolen cloth is most commonly used on home tables and in high-end billiard parlours and pool halls. The cloth plays faster because it is smoother, thinner, more tightly-woven, and less fuzzy, providing less friction and thus allowing the balls to roll farther across the table bed. Billiard cloth has traditionally been green for centuries, representing the grass of the ancentral lawn game. Some have theorized that the color may serve a useful function, as (non-color-blind) humans allegedly have a higher sensitivity to green than to any other color. However, no known studies have demonstrated any noticeable effect of cloth color on professional or amateur play. Today, billiard cloth is available in a wide array of colors, with red, blue, grey and burgundy being very common choices. In recent years cloth with dyed designs has become available, such as sports, university, beer, motorcycle and tournament sponsor logos.
There is no core difference between carom and pool cloth. Serious players of both types of cue sports generally prefer fast cloth, as it requires less force when shooting, allowing a more accurate and "finessed" stroke, and better ability to control cue ball speed and thus position. Rebound angles off of cushions are also more accurate with faster cloth, and a tighter, thinner cloth retains less moisture. The principal difference is that the vast majority of pool tables encountered by the general public (i.e. in taverns and average pool halls) are considerably thicker, coarser and slower, with the result that average recreational players have little understanding of the finer points of the effects of fast cloth on the game, and tend to shoot too hard when on fast cloth.
Snooker cloth, on the hand, has a notable directional nap (except on most US-based tables, which use napless cloth), and compensating for the effect of this nap on ball speed and trajectory is an important element in mastery of the game.
Racks
Carom billiards games do not make use of ball racks. Depending upon the specific game in question, the balls may be released randomly, or set in very specific positions at the beginning of the game.
In most pool games, the object balls are tightly racked (placed within a usually wooden or plastic ball rack and moved into position) at a specific location on the table (which can vary from game to game). In internationally-standardized games such as nine-ball and eight-ball, the apex ball of the rack (the ball pointing toward the end of the table from which the opening shot will be taken) is placed on the foot spot, a spot (marked or otherwise) that is at the intersection of the lateral middle of the racking end of the table and its longitudinal center, and the game-winning ball is in the center of the rack. (In many games there may also be other racking requirements, such as the 1-ball at the apex). In some regional versions, such as the British eight-ball variant known as "eight-ball pool" (itself becoming internationally standardized under the new name "blackball"), the game-winning ball, again in the center of the rack (or pack, in British English), must go on the foot spot. Some pool games, such as "Chicago", are not racked at all, but as in many carom games have specific spotting locations for the balls. Snooker makes use of both tactics, with the pack of 15 "reds" being racked much as in pool, and the special "colour balls" each having certain spots assigned to each.
There are two main types of racks; the more common triangular type which used in eight-ball, fifteen-ball, straight pool and many other games, and a diamond-shaped one, is used in a nine-ball game (for convenience; nine-ball can easily be racked up in a triangular rack, and most venues do not provides diamonds for racking). Special hexagonal racks are available for seven-ball, but the diamond rack can actually be used, sideways, for racking this game.
Cues
All cue sports (with the exception of cueless offshoots known as finger billiards and hand pool) are of course played with a stick known as a cue (often redundantly referred to as a "cue stick"). A cue is usually either a one-piece tapered stick, commonly called a "house cue", or a two-piece personal cue intended to be carried in a case. The butt end of the cue is of larger circumference and is intended to be gripped by the player's shooting, while the narrower cue shaft, usually tapering to an 10 to 15 mm (0.4 to 0.6 in.) rigid terminus called a ferrule , where a leather tip is affixed to make final contact with balls. Cues can be made of different varieties of wood depending upon the cost factor; usually a cheap kind called ramin is used in lower-quality cues, while hard rock maple is one of the more common woods used in quality cues. Traditionally hand-crafted cues are often spliced with various decorative hardwoods, and further decked out with inlays of attractive and/or valuable materials such as silver, ivory (today usually harvested from mammoth tusks, as elephants are protected) and semi-precious stones. The basic nature and constuction of cues of all sorts is essentially the same, but due to the enormous increase in numbers of amateur league players since the mid-1980s, a large market has emerged, and continues to develop and specialize, for relatively inexpensive, mass-produced pool cues. In recent years, the array of available options has mushroomed, and cues are now available that look like hand-crafted cues to anyone but a collector, or with football team logos on them, or dragons and skulls, floral patterns, and many other options. Some have a high-tech appearance and are designed with modern materials and techniques in ways similar to high-end golf clubs.
There are various cue aids. Chalk, which comes in hard, often dyed, paper-wrapped cubes, must be periodically applied to the tip of the cue during every game to prevent miscuing, especially when attempting to impart spin to the ball. The mechanical bridge, or bridge stick, is a cue-like stick with a head on it upon which the cue can be rested in a groove or crook; this is used to give support to the cue in shots not reachable by or too awkward for the bridge hand. A tip tool or scuffer is an abbraisive or micro-puncturing hand-held tool that is used to prevent the tip from becoming too hard and smooth from repeated cue ball impacts to properly hold chalk. Hand talc (also sometimes mislabeled "chalk") or a pool glove may be used on the bridge hand to keep the stroke smooth; this is especially helpful in moist environments.
Carom billiard cues are typically a couple of inches shorter, and thicker at the tip, than pool cues (and even more so than snooker cues), but the exact dimensions are a matter of player preference. Personal (non-house) carom and pool cues are both typically jointed at the half-way point in the piece, while snooker cues most commonly are 2/3 shaft and 1/3 butt, requiring a longer carrying case. Carom cue ferrules and tips are most often approximately 13.5 to 14.5 mm in diameter, while pool tips average around 12.5 to 13.5 mm in diameter, with snooker tips at typically 10.5 to 11.5 mm. Many skilled pool players prefer to shoot with a snooker-sized tip, but few professionals do so, including the former snooker pros who have long dominated women's nine-ball. Carom cues most often have a ferrule of brass, although fiberglass is becoming more common, and fancy hand-made cues may have an ivory ferrule. Pool cues usually have a ferrule of fiberglass (or plastic, in cheap models), although metal was formerly very common along with ivory. Most snooker cues have a brass ferrule. Two piece carom and snooker cues usually have a wood-to-wood joint, often even featuring a wooden pin and threads, on the principle that this produces a better feel, while pool cues most often have a metal joint and pin, since pool games tend to involve considerably more force, necessitating reinforcement. Carom (and snooker) cues are more often hand-made, and are more costly on average than pool cues, since the market for mass-produced cues is only particularly strong in the pool segment. High-end hand-made but non-custom carom and snooker cues are largely products of Europe and Asia, while their pool counterparts are mostly North American products. The bulk of machine-made cues are sold by American brands, but are outsourced from non-US labor pools. It should be noted that in the extreme carom discipline known as artistic billiards (and its pool equivalent artistic pool and trickshooting, as well as in trick shot snooker), a master practitioner may have 20 or more cues, of a wide range of specifications, each customized for performing a particular shot or trick.
Aims of the Games
The aim of virtually all carom billiards games to amass a predetermined score (25, 50, 1000, etc.) before the opponent does so, or amass a greater score than the opponent within a predetermined about of time. In most such games, one successful shot earns one point, with no penality for a miss, but some games, such as Italian five-pins, provide various different scoring and fouling opportunities.
Some pool games work on the principle of a point per ball up to a pre-set score (14.1 continuous or straight pool, for example), while others have point-scoring systems based on the number shown on the ball, lowest-score wins systems, or last-man-standing rules. The most popular pool games today, however, are "money-ball" games, in which a specific ball must be pocketed under particular conditions in order to win. The most popular pool game in the world (but unfortunately the one with the least consistent rules from area to area) is eight-ball, in which each player attempts to pocket a particular suit of balls, and then finally the 8-ball. In nine-ball and its variant seven-ball, there are no suits, and each player must always shoot the lowest-numbered ball on the table first, and either attempt to eliminate all of them in turn to pocket the namesake money ball on the last shot, or use the lowest-numbered ball in some way to pocket the money ball early. A game increasingly popular among professionals is ten-ball, which is played with the same core rules, except that (in the internationally-standardized version) the 10-ball cannot be pocketed early for an easy win.
Some games combine aspects of both carom and pocket billiards. English billiards is played with carom balls on a snooker-sized table with larger pockets, and there various ways to earn different amounts of points. Russian billiards is played with even larger balls, pockets barely large enough to admit them, and the goal of pocketing the cue ball by caroming it off of numbered object balls into a pocket to earn the point value of the numbered balls struck.
Differences in Rules
The World Pool-Billiard Association in concert with the Union Mondiale de Billard (UMB) and various other governing bodies have established worldwide rules for a number of carom billiards games, including three-cushion, straight rail and five-pins. While there are, of course, locally popular games of various sorts that differ from region to region, the main games in the carom field are totally standardized.
In the realm of pool, there are many associations which have issued rules for the various games over the years. Eight-ball in particular is a thorny issue. WPA and its regional and national affiliates like the Billiard Congress of America (BCA), professional tournament series like the International Pool Tour (IPT), and amateur leagues like the Valley National Eight-ball Assocation (VNEA, which despite its name is multi-national) and the American Poolplayers Association/Canadian Poolplayers Association (APA/CPA) all have different rulesets. By far, most professional pool players use the WPA/BCA rules, and while some progress has been made moving league rules toward the WPA standard, some such as the APA/CPA have wildly diverging rulesets for eight-ball. Meanwhile, millions of individuals play informally using colloquial rules which vary not only from area to area but even from venue to venue. Nine-ball, on the other hand, has been the paramount gambling and tournament pool game for several decades, and has globally almost completely standardized on the same rules in both professional and amateur play. Snooker has long since also been completely standardized, as has been English billiards.
References
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How many pennies were there in a pre-decimal pound? | Did You Know? - Pre-Decimal Coins
Did You Know?
- Pre-Decimal Coins
Pre-Decimal Crown
Twelve pennies in a shilling and twenty shillings in a pound.... It's now over 40 years since the £ s d currency which had been used in the UK and Scotland was swept away and 240 pence to the pound were replaced by 100 new pence to the pound. Decimal Day (15 February 1971) was when the changeover took place.
You'll note that in the collection of pre-decimal coins below, there is not a pound coin, far less one for two pounds as we have today. That was because in 1971 there were paper pound notes in circulation and the pound coin was not introduced until 1983 to replace the Bank of England one pound note; the Scottish banks (who are permitted to issue banknots but not coins) continued to issue one pound notes - the Royal Bank of Scotland in particular kept them going, sometimes as special commemorative issues. See Scottish Banknotes .
Farthing
The word farthing is derived from the Anglo-Saxon feorthing, or fourth part An English penny. The farthing was first minted in silver in the 13th century and then after the Union of the Scottish and English Parliaments in 1707, a British farthing, made of base metal, was minted in 1714. It continued to be used until 31 December 1960, when they ceased to be legal tender and so were no longer in use by Decimal Day in 1971.
Half Penny
This coin began its 700 year history made from silver but as the value of silver increased, the coin was made from base metals. "Halfpenny", was pronounced HAY-pe-nee. It was long considered that the first halfpenny coins were produced in the reign of King Edward I (1272�1307), with earlier requirements for small change being provided by "cut coinage" - pennies cut into halves or quarters. However, in recent years metal detectorists have discovered a few halfpennies of Kings Henry I (1100�1135) and Henry III (1216�1272). The halfpenny ceased to be minted in 1969 prior to decimalisation.
Penny
The "penny" originated as far back as the 8th century when a silver coin was minted (in England) which was one 240th part of a pound weight of silver. There were thus "240 pennies to a pound (of silver)". Pennies made of silver were minted until about 1750, then occasionally until about 1820; thereafter, they were only minted for Maundy money (when the British Monarch ceremonially distributes small silver coins known as "Maundy money" as symbolic alms to elderly recipients. From 1797, pennies for general circulation were minted in copper. Twelve pence made one shilling and so 240 pennies made a pound. To express an amount, penny was usually abbreviated to "d", e.g. 1d, from the Roman denarius.
The penny introduced at decimalisation (with 100 pennies to the pound) was a much smaller coin and was initially called a "new penny" to distinguish it from its predecessor. The original reverse of the new coin initially had "NEW PENNY" in the design but this changed to just "ONE PENNY" in 1982.
"Silver" Threepence
The silver three pence coin (expressed in writing as "3d") first appeared in England during the reign of King Edward VI (1547�1553). But it was unpopular as many preferred the four pence piece (known as a "groat") and there were times when it was not minted. During the reign of king George V (1910�1936) the silver content was reduced from sterling silver to a mixture of silver (50%),copper, and nickel and the design was completely changed in 1927 to three oak sprigs with three acorns and a "G" in the centre. By the end of George V's reign the threepence had become somewhat unpopular in England because of its small size, but it remained popular in Scotland. It may be that the custom of putting threepence coins (wrapped in greaseproof paper) into Christmas cakes may have contributed to its continued popularity! A nickel-brass threepence took over the bulk of the production of the denomination, being produced in all years between 1937 and 1952 except 1947. Only small numbers were produced.
Brass Threepence
A new, larger, nickel-brass (79% copper, 20% zinc, 1% nickel) twelve-sided threepence coin was introduced at the time of the short reign of King Edward VIII and took over the bulk of the production of the denomination, being produced in all years between 1937 and 1952 except 1947. Initially the design incorporated a representation of the thrift plant but in the reign of Queen Elizabeth II the design became a Tudor portcullis with chains and a coronet. Following decimalisation, the brass threepence ceased to be legal tender after 31 August 1971.
Sixpence
The sixpence, worth six pre-decimal pennies, was known colloquially as a "tanner". In England, the first sixpences were struck in the reign of Edward VI in 1551 and continued until they were rendered obsolete by decimalisation in 1971.The last general issue sixpence was issued in 1967 but sixpences continued to be legal tender at a value of 2� new pence until 30 June 1980. The coins were made of sterling silver until 1920, when they were reduced to 50 percent silver until 1946, after which they were changed to cupro-nickel from 1947 onwards. As the supply of silver threepence coins slowly disappeared, sixpences replaced them as the coins put into Christmas puddings. The traditional song "I've Got Sixpence" runs:
"I've got sixpence. Jolly, jolly sixpence.
I've got sixpence to last me all my life.
I've got twopence to spend and twopence to lend
And twopence to send home to my wife."
Shilling
The word shilling comes from scilling, an accounting term that dates back to Anglo-Saxon times where it was deemed to be the value of a cow in Kent or a sheep elsewhere. The abbreviation for shilling is the letter "s", from the Latin solidus, the name of a Roman coin. In England, a shilling coin was used from the reign of Henry II (or Edward VI ca 1550) until the Acts of Union ended the Kingdom of England (when, in the terms of Article 16 of the Articles of Union created by the Acts of Union of 1707, a common currency for the new United Kingdom was created). Because the shilling had the king's head on it, when a man agreed "to take the King's shilling" (or the Queen's shilling as the case may be) it meant that he agreed to serve as a soldier or sailor. Following decimalisation the British shilling was superseded by the five-pence piece with a comparable value, size and weight. The pre-decimal shilling was withdrawn from circulation in 1990, when a five pence piece of reduced size was introduced.
Two Shillings (Florin)
The British two shilling coin, also known as the florin or "two bob bit" was issued from 1849 until 1967. It was worth one tenth of a pound, or twenty-four old pence. In 1847 a motion had been introduced in Parliament calling for the introduction of a decimal currency and the issue of coins of one-tenth and one-hundredth of a pound. The motion was subsequently withdrawn on the understanding that a one-tenth pound coin would be produced to test public opinion. There was considerable discussion about what the coin should be called, with centum, decade, and dime being among the suggestions. Eventually, florin was eventually settled upon, partly because of its connection with old English coinage, and partly because other European countries also had coins of approximately the same size and weight called florins.
In the reign of Queen Victoria a new design for the florin is said to have shock, including (allegedly) to Queen Victoria herself, was the omission of D G � Dei Gratia ("by the grace of God") � from the coin's inscription, which resulted in it being popularly known as the godless florin.
The two shilling pieces produced in the reign of Queen Elizabeth II had the reverse showing a Tudor rose in the centre surrounded by thistles, shamrocks, and leeks, symbols for Scotland, Ireland and Wales.
Half Crown
This oddity, as the name suggests, was worth half of a crown, or equivalent to two and a half shillings (30 pennies). It has a long history, having been issued (in silver) as early as 1549, in the reign of Edward VI. The half crown was demonetised (ahead of other pre-decimal coins) on 1 January 1970, the year before the United Kingdom adopted decimal currency on Decimal Day. In the reign of George VI (1937�1952), half crowns were 50% silver until 1946 when the metal was changed to cupro-nickel.
Crown
Although issued in England prior to the unification of Scotland and England, the British crown came into being with the Union of the Parliaments of England and Scotland in 1707. As with the English coin, its value was five shillings, which was a quarter of one pound.
During the 19th and 20th centuries the Crown declined from being a real means of exchange to being a coin rarely spent but minted for commemorative purposes only. In that format it has continued to be minted into the 21st century, even following decimalization of the British currency in 1971. However, as the result of inflation the value of such crowns has been revised upwards to five pounds. The picture here is of the crown issued in 1953 and 1960 in Queen Elizabeth II's reign.
Decimalisation
When computers came in the scene in the late 1950s and 1960s, they had to be programmed to deal with pounds, shillings and pence. Most systems converted values to pennies for internal working and converted them back to £,s,d when printed out or displayed on a computer screen. This was before pocket calculators had come on the scene - they would have struggled with £ s d.. But gradually, a decimal currency was seen to be more efficient. Of course, there was an emotional resistance from some to the loss of the traditional monetary system.
Computer systems, banks and retailers had to prepare for the conversion well in advance of the cutover in 1971, not just for new and updated programs but also to train their staff in the new coins. As with the run-up to the Millennium, nearly 30 years later, all the hard work and preparations paid off and the changeover took place smoothly. Banks were closed from 3:30pm on Wednesday, 10 February 1971 until 10:00am on Monday 15 February, to enable all outstanding cheques and credits in the clearing system to be processed and customers' account balances to be converted to decimal.
New pennies and half penny coins were introduced but the old coins were temporarily assigned new values - the florin became 10 new pence, the shilling became 5 new pence and the old sixpenny coin filled a role as 2.5 new pence for a short while. To avoid confusion with the old currency, the term "New Pence" was brought into use with the letter "p" instead of the previous "d". Fairly rapidly, the general public dropped the word "new" and prices became what sounded like, for example "99 pee". Decimal Day itself went smoothly and after February 15, shops continued to accept payment in old coins, but always issued change in new coins.
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How many is an octet? | Exchange Pre-Decimal Coins for CASH Today - Cash4Coins
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If you’d like to send us pre-decimal coins go to our page ‘ How to send us coins ‘.
Pre-decimal coin information
Prior to decimalisation in 1971, British coinage reflected a monetary system dating back to the middle ages. Because of the large number of these coins in circulation prior to 1971, they are still often found. Some even continued in circulation after decimalisation.
The basic unit of British currency during this period was the shilling. Each shilling was made up of 12 pence. 20 shillings made up a pound; the pound was therefore worth 240 pence. Although pound coins, known as sovereigns, had existed historically, by the end of the pre-decimal period they were very rare; the pound was primarily a banknote. The system of coinage consisted of a large number of coins of lower value.
The smallest pre-decimal coin was the halfpenny, worth, as the name implies, half a penny. An even smaller coin, the farthing, representing 1/4 of a penny, was withdrawn in 1960. Unlike modern pennies, pre-decimal pennies were large, heavy coins, over an inch in diameter at 31mm.
The next low-denomination coin was the threepence. Unlike the other pre-decimal coins, the threepence was not circular. Instead, it was a dodecagon, with twelve sides. The threepence was also distinctive in its material; while the penny and halfpenny were bronze and the higher-denomination coins were cupronickel, the threepenny coin was a nickel-brass alloy.
Next in value came the sixpence, a smaller cupronickel coin 19mm in diameter. At 2.88g, it weighed less than a third the weight of the penny.
The shilling was slightly larger at 24mm in diameter. Unusually for pre-decimal coins, the shilling continued in circulation after decimalisation; it was finally phased out when the new 5p coins were introduced in 1990. After decimalisation it had a value of 5p — 1/20 of a new pound, just as 12p had been 1/20 of a pre-decimal pound.
The next coin in value was a two-shilling coin, also called a florin. Like the shilling, it continued in circulation after decimalisation, finally being phased out in 1993. Until that point, it had a value of 10p, 1/10 of a new pound.
The largest of the pre-decimal coins in common use was the half-crown. Slightly larger than the penny at a diameter of 32mm, this coin was worth two shillings and sixpence, or 1/8 of a pound.
As the name implies, the half-crown was worth half the value of the crown, a coin worth five shillings. However, by the end of the pre-decimal period, the crown was not actually issued. Commemorative crowns were struck on special occasions, but they were not in general circulation. Similarly, although coins worth ten shillings and one pound had existed historically, by this period they were no longer in regular use, with their role being taken by notes.
If you would like to exchange pre-decimal coins for cash then we can help – you can see more information on our page ‘ How to send us coins ‘. We exchange all foreign, british and Irish and pre-decimal coins. Contact our customer services team for more information on how to exchange pre-decimal coins.
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Shaahid 17th July 2014
This is the second time I have set up a charity to use you and again you have not disappointed. Great service and communication so thank you. Kidney...
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Lindsay Knox 15th July 2014
“Cash4Coins have been very fast and efficient before and after sending coins through for sorting. Response to email questions were replied to within...
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Martin 3rd July 2014
I am busy mum with two young children, so am always on the look out for ways to make extra cash! I heard about cash4coins so I rooted through all my d...
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Nina Cooper 2nd July 2014
An extremely efficient and helpful service. Excellent and so nice to experience in these days of generally poor service elsewhere.
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Michael Upton 26th June 2014
C4C were very helpful, approachable and easily contactable in providing an efficient service. Highly reliable and friendly team.
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Leila Ball 19th June 2014
Cash 4 Coins have been beyond helpful with exchanging my old, foreign currency. They made the process so easy and I felt safe sending my money off to ...
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Rebecca Plumb 16th June 2014
Fabulous customer service and very quick response to initial request. Good rate for redundant notes and very pleased.
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Martin C 27th May 2014
I would recommend cash4coins as they manage your expectations and do as they say. I received my bank transfer just a few hours from accepting their of...
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Mark CBS 21st May 2014
Having traveled for work & pleasure mainly in Europe I had a few coins from the travels . I found them on the web and found the service simple and pro...
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Paul Smith 20th May 2014
A fantastically easy and efficient way to turn unused foreign bank notes into money for our charity, and the staff on the phone were really friendly a...
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Sarah- Saga Charitable Trust 14th May 2014
Very helpful and prompt service. Wouldn't hesitate to recommend or use again. Many thanks for all your help!
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Joanne Smith 12th May 2014
Thank you we received the money and are already collecting more coins so will be sending off some more to you in the future!
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Jo Weston 12th May 2014
Everyone I spoke to told me there was no way to convert euro coins to sterling in the UK. So what a surprise when a quick search found you on the inte...
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Tyne Archer 2nd May 2014
This is the first time I have used Cash4Coins after finding them through Google. I have to say the service was brilliant, the pop up chat on the site ...
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Georgina Newstead 2nd May 2014
I'm very happy with the service I received at Cash4Coins. The staff member on the phone was polite and efficient. After sending off my currency I rece...
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Kellie Jarrett London 30th April 2014
I used Cash 4 coins for the first time and have been really impressed by the Company. Quick, easy and highly efficient, they make turning unwanted coi...
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Nathan Tedstill 28th April 2014
I sent in euro coins and old coins before the euro existed. Cash4Coins operated like clockwork, emailing me that they had received the coins and again...
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NHG from Birmingham 22nd April 2014
I am delighted with how easy it was to send coins to Cash 4 Coins, plus I'm impressed with the simplicity of the transaction to receive the credit. I ...
Chris Evans 8th April 2014
A quick and efficient service, thank you.
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H.Alexander 3rd April 2014
Cash 4 Coins have been a great fundraiser for our School. I had never used it before but the team were exceptionally helpful when I contacted them, an...
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Katie Evans Treasurer - PTA St. Mary's School 3rd April 2014
I have been utterly impressed with the Cash 4 Coins service. From the initial contact with them right through to receiving the funds I could not fault...
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Victoria Livingston 26th Mar 2014
This is the first time I have used C4C and the service was really great. Efficient, polite and trustworthy, will definitely use C4C again!
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Natalie Ledger 26th Mar 2014
Delighted with the service provided by Cash4Coins, which I have now used twice. The courier pick up was from a local shop, which was easy and straigh...
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Tim Stannard 25th Mar 2014
If I was to imagine the best service I could want from changing odd coins to cash, you are it. You exceeded my expectations, which makes a refreshing ...
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Noelle Murray 25th Mar 2014
Cash4coins offer a very professional service. I would not hesitate to use their services again in the future.
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Fionnuala Patterson 25th Mar 2014
The service I received from cash4coins , was excellent, kind ,polite , answered questions with patience I would recommend them to any of my friends w...
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Ann Robinson 25th Mar 2014
Thanks so much for such a quick payment & actually amazingly well done customer service! I've been somewhat disorganized but the folk at cash4coins ha...
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Lisa Watts 20th March 2014
May I just take the time to thank you so very much for the cheque which arrived today and for the way you have dealt with the transaction. We are very...
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Karen Fixter 14th Mar 2014
As a new customer I have been impressed with the service given. From start to finish you give easy to understand instructions coupled with an honest ...
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David Hollin 13th March 2014
Thank you for taking my currency , it was a bag of money I've had lying round for a good few years, not knowing what to do with it ! It was good to fi...
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Jennifer Powell 13th March 2014
Thanks very much for the fast processing of the coins I submitted. Very easy process and very well organised. I was initially hesitant to send off my ...
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James Dunstan 4th Feb 2014
I had a load of old Cyprus Currency, Which C4C gave me a rough idea of what they would convert them for. They also told me the price I would get if I ...
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Clive Homewood 4th Feb 2014
Extremely happy with service provided via cash 4 coins, professional, friendly and everything was sorted within a timely manner… once i have another...
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Ty 28th Feb 2014
Many thanks for your kind and courteous help in dealing with my coins recently.I will be glad to recommend your company.
Barry Harrington 26th Feb 2014
Cash for coins are the best. Helpful, quick, efficient and easy to use and understand.
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Caroline Webb 25th Feb 2014
No sooner had I accepted your offer today than payment arrived in my Paypal account! Aside from the speed, I much appreciated being informed of progr...
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Nick Schroder 18th Feb 2014
We were absolutely delighted with the amount of money we got back from Cash 4 Coins. We have had a money globe lying around for months and to be hone...
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Debbie Craig, Cash 4 Kids, Metro Radio 11th Feb 2014
Cash4coins were extremely efficient when I needed to exchange lots of different coin denominations. I really wasn't sure where to go to for help & was...
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Debbie Horne 11th Feb 2014
Cash 4 Coins provide a friendly and approachable service and a good way of fundraising for charities such as ours!
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101st City of Edinburgh Brownies 10th Feb 2014
Cash for coins is a great service, easy to use and understand. Payment is made quickly and the communication is first class. We have used your service...
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Elizabeth Clark/ BALTIC Centre for Contemporary Art 10th Feb 2014
I thought i must write to comment on the marvellous service i received. Many dot.com companies promise good service and few deliver, but cash4coins ce...
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S Lysaczenko 9th Feb 2014
Cash4Coins is probably the best service company I have ever dealt with - always a swift response (human, not automated) with a very professional, frie...
Philippa Harris, Brafferton St Peters School 6th Feb 2014
I would highly recommend cash4coins, it's easy to use, efficient and hassle free.
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S. Asmal 5th Feb 2014
One is always cautious about using a web site that is unknown to you, however C4C provided an excellent fast service and the money we received well ex...
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Anne Clark 03/02/14
Thank you. I have been very impressed with your service. You were recommended on Money Saving Expert and I thought I would give you a whirl. What a g...
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A Evan-Jones 1st Feb 2014
Thank you for this very efficient response in payment for the coins, current international and what I call "shrapnel" I have used your facilities seve...
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David Mortlock 30th Jan 2014
Initially I was very apprehensive about using a service like this because it was very new to me, Cash4Coins made the process very quick and easy. I wa...
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Mason Hamilton 28th Jan 2014
Cash4coins is the simplest and easiest way to take your jar of random coins and actually do something useful with it. Donate it to charity, take the c...
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Rachael Tate 28th Jan 2014
Just a quick email to say thanks so much for the cheque you sent recently. Everything was fast, friendly and efficient - I have already recommended yo...
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C Standring 26th Jan 2014
Cash 4 Coins continues to be a very efficient way of raising funds from leftover foreign coins and spare pennies. We have used them several times now,...
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David Newbitt Stewardship Advisor - St. John's Rownhams & St. Boniface Nursling 21st Jan 2014
Cash4Coins was very pleasant and efficient to work with. We were able to raise money for our school with very little effort on our part. Parents were ...
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Alderton Schools PA 21st Jan 2014
What a great service – have just received payment via PayPal! I travel a lot with work and had accumulated piles of foreign coins which had been sa...
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Mark Haines 21st Jan 2014
Just the service I was looking for to dispose of old coins put aside by my late father who thought they might be valuable one day. Collection was arr...
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Nigel Siederer 21st Jan 2014
This is the first time I have used cash4coins and it is a superb idea providing an excellent service. The exchange rate is very competitive given the ...
Mr R Simpson 20th Jan 2014
Many thanks again. Great communication throughout. Payment was made exactly when advised. Very happy.
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S Smith 17th Jan 2014
This was my first time using Cash 4 Coins - it was simply because while having a tidy up over Christmas I found some old foreign notes and coins which...
Carol Reay 16th Jan 2014
Just to say how well and business like our transaction was done!Would definitely use c4c again.Many thanks.
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Mr N Woodfield 16th Jan 2014
Although it took a bit longer than expected (which might be caused by Christmas and New Year), I have been fully satisfied with C4C.
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E Ronning 11th Jan 2014
Your service was very good, as usual. I was disappointed to have a delivery charge levied as this had not been done before. I do not recollect havin...
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Whitechapel Mission 9th Jan 2014
This is the first time I have used C4C - brilliant service. The old coins belonged to my Mother-in-Law who is nearly 90 and in a care home. Though onl...
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Stephen Wright 5th Jan 2014
Thank you very much for my payment which was paid into my bank today. I must say that i think your service is superb, you have done exactly what you s...
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Richard Ferguson 3rd Jan 2014
First rate service. I wish I had known about you in my travelling days! I have just sent an email to the accounts guy at the company I used to work fo...
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Nick C 30th Dec 2013
"C4C provides a fast and efficient service that is highly recommended. The communication is excellent and the whole process stress free. What more can...
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Lisa Taylor 21st Dec 2013
Fantastic Service - Cash4Coins have done our girls proud. Girlguiding Coventry South say thank you very much! Our members collected in their friends ...
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Wendy Pithouse - Castle Mound Guide Campsite Treasurer 12th Dec 2013
Cash4Coins' service was impeccable. The easy-to-follow instructions for packaging, the no-nonsense method of collection, and the polite and efficient...
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Scott 3rd December 2013
This organization does what it claims to do and it does it in a timely and communicative manner.
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Mr G Friedman, USA 2nd Dec 2013
C4C has been an easy hassle free experience, good communication and efficiency through out. happily use this service again for my unwanted currency in...
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Saima Arshad 26th Nov 2013
I had so many mixed coins from various countries I never plan to visit again. It always seemed a massive waste to have these gather dust. Cash4Coins m...
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M Thomas 25th Nov 2013
What a superb service one phone call raised a pleasant well informed lass who advised me how to go about my transaction, I bagged up the coins and del...
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T Pearce 22nd Nov 2013
Highly delighted with your service. Courier collected coins on the agreed date and payment was made promptly into our Scout account.
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Joan Wolfenden, Treasurer of a Scout Group 22nd Nov 2013
C4C have again provided excellent service! From arranging pick up to collection, counting and payment they have been fast, courteous and efficient. De...
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Andrew Robinson 19th Nov 2013
C4C provides a much need fair coin exchange service. From start to finish they let me understand at what stage my currency conversion was at and stuck...
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K Hamilton 15th Nov 2013
I found cash4coins service professional, transparent in dealing with them from start to finish and very punctual and they do what they say they will a...
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Jill Marrs 15th Nov 2013
I liked the promptness of the service, from collection to payment. You were careful to notify me of what you saw as a slight delay, (although that did...
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Paul Williams, Friends of the Royal Marsden, Surrey 15th Nov 2013
Thank you for your excellent service which has been efficient , keeping me informed what was happening. I would certainly use your company again, it ...
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Linda 13th Nov 2013
Cash4Coins are just wonderful. They make everything so simple, trouble-free and efficient. Their ethos is superb service, communication and follow-up....
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Jason 8th Nov 2013
The service that Cash4Coins offers is a reliable, speedy one. Advice given on the phone prior to posting coins was first class. System for collectio...
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Richard 8th Nov 2013
C4C have been excellent. Efficient, informative and timely. In future, we know exactly where to go when we need to offload some foreign coins. 5 Stars...
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Abhi Sood, Jack Morton Worldwide 7th Nov 2013
Cash 4 Coins has enhanced our fund raising activities by adding another recycling opportunity to our portfolio. In the current financial climate it i...
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Lesley Fishleigh, PRT Lanarkshire Carers Centre 6th Nov 2013
Cash 4 coins are an excellent company to use fast reliable with excellent customer service and communication would recommend them to anyone, and would...
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Caroline Webb 5th Nov 2013
I was impressed with the service from Cash4Coins. They explained everything clearly and the process was easy to follow! I'd definitely recommend them!...
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Louise 31st Oct 2013
Excellent service - payment made before promised date. Well pleased and will use the service again in the future.
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Richard H. Hardy 30th Oct 2013
We are raising money for a local Charity and as a Travel company we had a LOT of foreign coins from all over the world just sitting in a bag in a desk...
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Sally Birch 23rd Oct 2013
A friend of mine found the C4C website for me when I needed a way of exchanging foreign coins for Macmillan Cancer Support. I was really impressed wit...
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Joanne Harmes 23rd Oct 2013
It has been a relief to find a reliable and friendly service where we are able to send our old and foreign coin collection. The ease of sending them ...
The Rotary Club of West Wirrall 14th Oct 2013
Funds received as promised. What a fantastic service!
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A Freeland 11th Oct 2013
I thought it was a great service – simple to use and didn’t take long too convert my foreign coins into cash. This is the first time I’ve used ...
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K McEneaney 8th Oct 2013
Any Charity's main priority putting aside the service they deliver is to Fund raise, when I discovered Cash 4 Coins I honestly thought it was to good ...
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The Door Youth Project 7th Oct 2013
I received a very good price for my coins and notes! My queries were all answered politely. Payment was made straight into my bank account. Thank you ...
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Cath Davis 2nd Oct 2013
I was really pleased with the recent sale of coins with you . I found cash4coins really excellent to send coins to, as your contact by email was fast ...
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D Burn 1st October 2013
True to their word cash was in my account within the 2-3 hours that was stated in email promt and efficient service - will use again.
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Ann Scott 30th Sept 2013
I was fully satisfied with the service I received and the prompt payment. I would not hesitate to use C4C again.
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Guy Owen 29th Sept 2013
Being part of Lions Club International I would like to thank you for all the help you have given me and I hope in the near future we will be in con...
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Derek 24th Sept 2013
I am very happy with the service you provide. It is very easy and great that over a certain weight you collect for free. The payment is quick to arr...
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Gill Wright, Herib Ltd 24th Sept 2013
I must admit, I've been very pleased with your service (especially the speed of responses to communications) and can confirm that: As a a seasoned tr...
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G Macrae 23rd Sept 2013
Thank you very much! the service you provide is excellent! I was extremely pleased at how friendly the service was and the speed that my currency was ...
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John Strugnell 20th Sept 2013
A great service from a friendly and efficient company. Would highly recommend to anyone with a stash of coins they don't know what to do with. Paymen...
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Sara 20th Sept 2013
Thank you your service is to be recommended and I have been very pleased with the help and advise and your very prompt replies to my queries. Would c...
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Linda Dennis 13th Sept 2013
I travel the world for 10 months of the year with my job and can find myself working in up to 5 or 6 different countries over that time, so naturally ...
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Callum 11th Sept 2013
Thank you very much for your prompt service. I found the staff very polite, friendly and efficient. I would certainly recommend Cash 4 Coins to fr...
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Mrs C Wallace 12th Sept 2013
Thank you C4C, You provided a very quick and efficient service. Your customer service was excellent. You have made my 12 year old twins extremely happ...
Nicky Taylor 10th Sept 2013
'Extremely satisfied with the brilliant service; good communication and speed. Couldn't ask for more. Would definitely recommend!'
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Zoe, Essex 10th Sept 2013
After doing a little research on the internet, I found your company and made first contact with a tentative enquiry. I received a reply almost immedi...
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Leanne Hughes 1st Sept 2013
Thank you very much for payment received for my currency. I was both surprised and pleased to find your website and be able to sell my old unwanted c...
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Susan Wilson 31st Aug 2013
Thank you so much for exchanging the coin and notes that I sent to you. The service I received was fantastic and I know that the charity I am sending ...
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Helen 31st Aug 2013
I highly recommend this company - I had a few old foreign coins and notes which I sent in, and I received a quick and courteous reply, listing the val...
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C Sadler 30th Aug 2013
Thank you so much. As a Charity I did wonder how we were going turn a huge volume of foreign coins into cash, but I have to say Cash 4 Coins made it v...
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Lynda Ellis, Genesis Breast Cancer Prevention 15th Aug 2013
Thank you very much.Your speed and quality of response is excellent.You obviously know what you are doing it is a pleasure to be responded to so quick...
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Bill MacKay 15th Aug 2013
Thank you for your fantastic service. As my colleagues and I run a busy fundraising office we never got round to counting the donated foreign coins. F...
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Kirsten Graham, Erksine 14th Aug 2013
Thank you for a great service - I wanted to find a way to give a whole pile of old coins to charity and C4C provided the perfect, easy answer!
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SL 14th Aug 2013
Thanks for all your help. Cash4Coins have been professional throughout. The information supplied about sending my currency was very concise and easy ...
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Judith Wilson 12th Aug 2013
I have just received a payment of over £140.00 into my account, and would like to take this opportunity to thank you for your extremely efficient, sp...
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Aneurin W.Jones 9th Aug 2013
Thank you for such a wonderful service. Everything was so easy and painless to do. Our group will continue to collect coins for the future.
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Linda Harper, aroha2aloha 5th Aug 2013
I have been ever so pleased with the service I have received from Cash4Coins. The team from customer services were able to provide me with the answers...
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Alice 2nd Aug 2013
Initial contact, exceptionally helpful most efficient, quick response to emails and telephone calls. Excellent information provided on boosting incom...
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John Eastwood Hospice Trust 24th July 2013
Cash 4 Coins has restored my faith as to how companies should be run. From the moment the phone was answered on my initial enquiry nothing has been to...
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Trudy Harper 17th July 2013
Excellent customer service when I had to call as I’d not heard anything – turned out it was human error in typing the email address. Sorted out s...
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Sophia 17th July 2013
The cash 4 coins service allowed me get rid of a large amount of foreign currency that I used to collect. The service was fantastic from start to fini...
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Helen S. 16th July 2013
I have now used C4C a few times and find their service consistently of a very high standard. Their instructions are very easy to follow and the whole ...
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Mike Clapper 11th July 2013
It has to be said that C4C do exactly what they say. The service is quick and efficient. I will definitely use the service again. For anyone concer...
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Graham Bewsher 11th July 2013
Thank you for providing such a simple, efficient service. It has been a pleasure to deal with a company whose communications are clear, the timescales...
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Alison H 28th June 2013
"First class service , fast, efficient and above all communication is conducted in a very professional manner, do not hesitate to send your unwanted c...
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A Labib 5th June 2013
I have been using cash 4 coins for the last few years and I would recommend them to any one. They are quick courteous and have excellent customer ser...
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Caroline Webb 3rd June 2013
This is the second time we have used Cash 4 Coins and are very very happy with the service we receive the admin team are extremely courteous and the s...
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Tracey Knox, National Museums Scotland 3rd June 2013
Dear Cash for Coins, Thank-you for the very efficient and careful way in which you have dealt with our latest consignment of coins and notes. We real...
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John Harrison (Nehemiah Construction Ministries UK Charity) 26th May 2013
Thanks - what a wonderfully efficient, honest and simple system. Helpful and friendly service. I will certainly be spreading the word and encouraging ...
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L Jones 25th May 2013
C4C has been a brilliant way to raise funds for our school. The school children and local business all helped our collection. I’m sure we will be ...
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Helen Marriott, Parents and Friends of Ramsey Spinning Infants. 24th May 2013
I have been extremely pleased with the whole concept of cash for coins from the free collection and sorting to the offer and payment in a quick time. ...
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Stephen 21st May 2013
Having just used coins4cash I found them to be, very polite, very fast and very good. Also liked the local pick up collection points. Would certainly ...
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Tom Brookshaw 14th May 2013
I have to offer a massive thank you to Cash4Coins for all of their help, they offered a first class service from my first phone call. Sending me lots...
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S Gill 8th May 2013
Thank you for your prompt payment. My remittance of coins and notes was dealt with promptly to my complete satisfaction. I will be using you again.
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R Phimister 8th May 2013
Just to like to say thank you for your expert and professional service and prompt payment. Will defiantly be a repeat customer.
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J Allman 7th May 2013
I have never envisaged having to deal with coin exchange, but this occurred through a recent sad loss. Please put on record my gratitude at the great,...
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John Goater 26th April 2013
Just wanted to email you to thank you for helping Trafalgar Schools with their fundraising efforts using your efficient service. We managed to raise �...
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Sarah Watts 25th April 2013
I have been very pleased indeed with the service I have received from Cash4Coins. This is the first time I have used Cash4Coins and I am very happy t...
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Adrian Malton 24th April 2013
I can whole-heartedly recommend cash4coins as an extremely easy way to make money! I had a bag of old currency taking up space in a drawer so decided ...
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Rachael 22nd April 2013
I was really pleased with cash 4 coins.Irish notes I had for years and thought were worthless were worth over fifty pounds,It's well worth looking thr...
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A Phillips 19th Apr 2013
This is a great service. Having travelled to many countries I had lots of small denomination currency. They were all changed quickly and easily. Thank...
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R Kuhner 19th Apr 2013
I discovered Cash 4 Coins doing a web search. I made an enquiry and received a very friendly and prompt response by telephone. This gave me the confid...
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Mrs F Tebb 17th Apr2013
I was extremely happy with the service provided by cash 4 coins Within the space of a few days I have received an offer which I was pleased with and...
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C Carr 12th April 2013
Great to have a facility to trade in coins and small bank notes and get money for what is usually left in a tin never to be used again. Really thought...
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M Robinshaw 12th April 2013
'I am absolutely delighted by the service Cash For Coins provide. There were a number of free collection points within easy walking distance of my hou...
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Louise Trimby 11th April 2013
I'm extremely satisfied with cash 4 coins as I was able to make money out of unwanted coins that were sitting in my drawer. Cash for Coins was fast, q...
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Regina 11th April 2013
Dear Sirs, I sent three batches of coins and Banknotes and was delighted with the efficient fast service and excellent exchange rates given. I wo...
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Mr R Phimister 5th April 2013
Many thanks, much appreciated, your service has been fast and efficient, and I particularly liked the choice of being able to make a donation rather t...
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N Brown 2nd April 2013
You are very efficient and quick considering what is involved with the valuing of the assortment of coins I sent you. What you say on your website you...
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M Pickett 26th March 2013
Last year I found your website, I was very sceptical about the claims made by cash4coins and the glowing comments which were purported to have come fr...
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Trish Dore 21st March 2013
Thank you cash 4 coins , your service has been quick and easy, I had 5 kg of coins that I sent to you free of charge, I liked the fact there was no o...
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James M. 19th March 2013
I have used cash4coins before and have absolute confidence in your handling of this most useful service. Quite frankly, I wouldn't entertain using any...
David Mortlock 19th March 2013
“A quick, easy and efficient service, many thanks”
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J. Mike Shaw 13th March 2013
I found this firm on Google search as I had no idea were to send all the coins I had, so I tried Cash 4 Coins, and they were very helpful, I told them...
Alex Pownall 13th March 2013
It's easy reliable and makes good sense!
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D. McClone 11th March 2013
Your service was polite and professional. I was able to pass on a surprising sum to a dear friend who had no idea what to do with the pile of "scrap" ...
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R Mackay 11th March 2013
Cash4Coins is the most efficient and courteous company I know. The company have provided a great way to increase funding to any charity. Highly rec...
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Stevie Horton of WADE Charity 11th March 2013
Thank you very much, payment received within a matter of hours! I have used C4C a couple of times in the last few months and have to say that the serv...
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Richard Cross 8th March 2013
I will admit at first I was rather sceptical of this site at first but I was wrong. Excellent and quick communication and I would recommend to anyone ...
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Adam Tracey 1st March 2013
I would like to thank you very much for your fast and very efficient service. I have no complaints or negatives what so ever and look forward to doin...
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Tracey Knox 27th Feb 2013
I would be happy to recommend you to a friend or partner business as the service you provided was excellent and so easy. We did a collection to raise ...
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J Coy 26th Feb 2013
Very impressed with your service - answers and replies always immediate, very good prices paid, and most useful not to have to pay collection charges ...
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Deri Rundle 25th Feb 2013
I have now received payment for the coins/notes I sent. Thank you for your efficient service. I can certainly recommend Cash4Coins company to anyone w...
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Alistair 25th Feb 2013
Please accept this comment for your website: As a charity it was important to us that the foreign coins we had been donated did not go to waste, and ...
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Kate Lumley of Porchlight 19th Feb 2013
The service from Cash 4 Coins was brilliant, from my initial enquiry all the way through to receiving our payment. It was a very easy and hassle free ...
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Minety School PTA 18th Feb 2013
The service at Cash 4 Coins was very professional and easy to use. I wondered what to do with my bag of foreign coins which had been lying around the...
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R Lee 12th Feb 2013
Cash4Coins offered a very simple solution to all those unwanted coins hanging around in drawers and jars. With very little effort on our part, we rais...
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Newberries School 11th Feb 2013
Not often do I have anything good to say about a service, but cash4coins is simple to use and a very efficient service. Staff are very helpful and fr...
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Deborah Simpson 7th Feb 2013
"Very helpful help line and online chat system. Excellent collection system and good communications throughout the whole process. Then a detailed re...
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Slav Paleolog 7th Feb 2013
Just want to let you know the service you provided was excellent. From the moment I contacted you to the final act of receiving payment. Everyone cont...
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Ken Bevis/ IPC Media 6th Feb 2013
Many thanks for your efficient professional service in changing all my euro coins. They sat in a drawer for months doing nothing! After looking you u...
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Anne King 31st Jan 2013
It was my first time for changing a large amount of foreign coinage and I found Cash4 Coins made the process easy, they answered any queries I had an...
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I Logan 29th Jan 2013
Cash4Coins is a very useful way of recovering the value of old or foreign currency. Their website is easy to use and gives clear instructions what to...
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Martin Hick 23rd Jan 2013
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Warsaw is the capital of which country? | Warsaw is the capital of which country? A. Germany B. Poland C. Hungary D. Moldova
Warsaw is the capital of which country? A. Germany B. Poland C. Hungary D. Moldova
Warsaw is the capital of POLAND.
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Warsaw is the capital of which country? A. Germany B. Poland C. Hungary D. Moldova
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Confirmed by jay901 [2/11/2014 6:50:12 AM]
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environmental geography?
Weegy: Environmental geography is the branch of geography that describes the spatial aspects of interactions between humans and the natural world. [ It represents a critically important set of analytical tools for assessing the impact of human presence on the environment by measuring the result of human activity on natural landforms and cycles. ] (More)
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What did 'Little Red Riding Hood find in grandma's bed? | Learn about the rich history of Warsaw - The Capital of Poland
The Little Mermaid (Mała Syrenka)
..." I had always wanted to visit Poland but didn’t know where to begin. When I eventually managed to get there, I was completely amazed by the country’s energy and beauty. The capital, Warsaw, has a truly European feel about it. In a city where the rich history is intertwined with its dynamic modernity, I had so much fun! Every day I met new people, checked out new clubs and visited new places. Being from Dublin, I was pleased to find that city life and entertainment in Warsaw was much cheaper! "
The capital of Poland is a meeting place for politicians, economists and artists of all nationalities.
Warsaw’s 1.7 million inhabitants are known for their sense of humour and hard-working tradition. It took them 15 years, with the help of the entire nation, to rebuild their beloved city — 84% of which was razed to the ground during World War II.
The scenic Old Town and its Market Square, with its mansard-roofed houses, attract artists and tourists. Here, the wine cellars and elegant restaurants are buzzing, and there is always a table waiting for new guests. Warsaw’s St John’s Cathedral is the national Pantheon and not far from it is the King’s Castle, which was the residence of the last Polish king. The most elegant houses in Warsaw line the Royal Route, which links the three royal residences: the King’s Castle, Łazienki Palace and Park and Wilanów Palace. Among the numerous neo-classical buildings in Royal Łazienki
Park, the most impressive is the Palace on the Water, which is on a picturesque island. A particularly beautiful landmark is the Frederic Chopin Monument. The music of Frederic Chopin is played here by celebrated pianists every Sunday in summer.
Wilanów Palace is an outstanding example of the Baroque style in Pola
nd. It belonged to King Jan III Sobieski, who is remembered for his victory over the Turks at the Battle of Vienna in 1683. Like other major cities in Europe, Warsaw offers a great variety of entertainment, including theatre, cabaret shows, film festivals and concerts by famous opera soloists, pop stars and classical music performers. Warsaw hosts one of the world’s most prestigious cultural events: the Chopin International Piano Competition, which is organised every five years. The city also hosts the International Festival of Contemporary Music, Warsaw Autumn, and the Mozart Festival.
Today Warsaw is a city with many faces where tradition mingles with modernity.
From the terrace on Zamkowy Square, where the Royal Castle and St. Anne’s Church are located, there is an excellent view of the brand new Świętokrzyski Bridge. The familiar, dominant silhouette of the Palace of Culture and Science in the city centre now shares the city’s skyline with numerous modern office towers. You can feel the breath of history in the Old Town, on Nowy Świat Street and everywhere where the city’s roots have been preserved.
Your trip step by step.
Old Town (Stare Miasto) + Royal Route (Trakt Królewski)
Most of the significant sites worth visiting in Warsaw are in the city centre. The first proposed route begins at St. Anne’s Church, on Krakowskie Przedmieście Street.
St. Anne’s Academic Church — a unique monument that has preserved the majority of its original character. The first two churches built in this spot burned down in the 15th and 17th centuries. When the next one was built, the walls and foundations of the previous structures were used, maintaining a large part of the furnishings. Following its destruction during World War II, the church was rebuilt in a project that continued until 1962, bringing it back to its original splendour. In addition to visiting the interior of the church, it is also worth the climb to enjoy the view from its tower.
Old Town — the city was founded at a spot on the river that was conducive to trade — on the main route between the Baltic Sea and the Black Sea. Wealthy tradesmen and craftsmen took up residence here, which supported the rapid growth of the settlement. The face of the city changed over the centuries: wooden structures destroyed in fires were replaced by masonry tenement houses and earthen ramparts were replaced by stone walls. A town hall was built in 1429 (which no longer exists), along with a parish church (currently the Cathedral of St. John), defensive towers and a barbican. But 1944 brought near total destruction as 90 percent of the Old Town area was razed to the ground. The reconstruction took many years, and ended with a place on UNESCO’s World Heritage List.
The Zygmunt Column is the oldest public memorial in Warsaw, but it is not in its original location. It was moved when the axis of Krakowskie Przedmieście Street was changed in the 19th century and again after World War II during the development of the WZ route. On September 2, 1944, the column was brought down by German troops. The reconstruction of the statue and the column itself was completed in 1949. Earlier columns are exhibited next to the walls of the King’s Castle (as seen from the direction of the WZ route). The column is one of the city’s key symbols, yielding only to the Mermaid, which is the most recognizable symbol of Poland’s capital city.
The King’s Castle gained royal-residence status in the 16th century, when the Masovia region joined the Crown. Destroyed multiple times (during the Deluge, and the annexation of Poland), it was repeatedly rebuilt and stood until the beginning of World War II, when it was bombed in the first days of the conflict and almost completely destroyed by fire. Some of its priceless works of art were, luckily, carried out of the building in time, and subsequently hidden. However, the remaining works were plundered and, in 1944, the castle was blown up in retaliation for the Warsaw Uprising. The decision to reconstruct the castle was made much later, in 1971. Work was financed in most part thanks to the generosity of the community. The site was opened to visitors in 1984. It was later placed on the UNESCO World Heritage List, as an example of a successful, faithful reconstruction of an historic structure.
St. John’s Cathedral is one of Warsaw’s oldest churches. Every Sunday at 4 PM, from July to September, concerts take place here as part of the International Organ Music Festival. Multiple historic events took place in this church, including the Constitution of May 3 oath — the first of its kind in Europe. The crypt holds the tombs of many historical figures. Of these, the Chapel-Mausoleum of the Primate of the Millennium is of special interest.
The Old Town Marketplace is surrounded by tenement buildings housing exquisite restaurants, cafes and clubs, as well as galleries and museums. The central square has recently been adorned with a statue of the city’s symbol — the Warsaw Mermaid. The marketplace was subdivided into four sections, in recognition of Warsaw’s enlightenment activists: Kołłątaj, Dekert, Barss, and Zakrzewski. One of the key tourist attractions of the Old Town is, unfortunately, not yet available to the general public. The renovation of museum rooms and historical cellars is not yet complete, but they are due to be opened during the summer months of 2011.
The Barbican, previously a strategic part of the city’s defensive walls, today attracts painters exhibiting their work and musicians helping visitors enjoy their walks around the Old Town. It was built in 1548, as part of approximately 4,000 feet of defensive ramparts. From May to October there is an interesting exhibition inside the Barbican’s walls with historical photos of Warsaw and models of the defensive lines and towers (no longer in existence). By comparing the photos and old plans with the Old Town’s current shape, you can easily imagine what the Barbican looked like in the past, and what the heart of Warsaw would be like had it not been for the destruction of the war.
The Church of St. Mary’s Haunting is the New Town’s parish church. Its shape was changed multiple times. Today’s style, featuring a soaring, unique bell tower, represents the Gothic style. The picturesque location of the church begs for a moment’s relaxation on the benches provided, from which there is an excellent view of the Vistula and the Kościuszko Bank, where outdoor events and concerts take place every summer.
The Monument of the Warsaw Uprising depicts groups of insurgents during battle. The Warsaw Uprising, which ended in defeat and the death of 200,000 Poles, was one of the bloodiest and most painful moments in the modern history of Poland and Warsaw.
Krasiński Palace (Palace of the Republic) was initially a residence of Jan Krasiński, the Prefect of Warsaw. It currently hosts special collections for the National Library. The palace is regarded as Warsaw’s most enchanting Baroque structure. Its many reliefs are inspired by antique works. The park behind the palace is an excellent place for a walk and a bit of relaxation. This was initially one of the first such sites available to all of the city’s residents, regardless of their social status. The green building next to the palace and across the street is the recently-built seat of the Supreme Court.
Miodowa Street is a narrow street, full of life and lined with ancient, luxurious residences. Number 24 (on the left of the street) used to host the Collegium Nobilium — the first school for the young of the ruling elite. It currently houses the Academy of Theatre. Number 17 (on the left) is the residence of the Primate of Poland — the Palace of Warsaw’s Archbishops, erected in the 18th century. Number 16 (on the right) is Warsaw’s only Eastern Catholic Church. Pac Palace, housing the Ministry of Health, is next to the Primate’s residence. Another building worth taking a peek at is the Church of the Capuchins. The right side of its altar features the heart of Jan III Sobieski (its founder). Further on, you can enjoy a view of the Monument of Warsaw’s Heroes, commonly called the Monument of Nike.
The Theatre Square is bordered on its right by the Late Baroque Blank Palace. Behind this is Jabłonowski Palace, which used to function as the city hall before World War II. The building was razed to the ground during the war, and rebuilt in the 1990s. However, only the façade and the clock tower remain from its original design. Don’t forget to walk through the gate under the tower to see the foundations lain in the 19th century. The Grand Theatre is a huge, Classicist building facing Jabłonowski Palace. It is the seat of the National Opera and the National Theatre. Its opera stage is one of the largest in Europe. Enchanting interiors, featuring cut glass chandeliers, a spacious foyer with columns and impressive floor tiling can all be seen if you attend a performance. Theatre Square ends with the Petrykus Tenement House, erected in 1821, which houses multiple restaurants and clubs, highly valued by Warsaw citizens.
Tracing the history of the People’s Republic of Poland (Palace of Culture and Science, House of the Party, Różycki Market
The Palace of Culture and Science is the tallest building in Warsaw and all of Poland, at 769 feet. It was erected as a "gift from the USSR" and is a typical example of Social Realist architecture. Some regard it as a masterpiece, but others see it as symbol of kitsch. For visitors, the Palace is an excellent landmark for orientation, being visible from almost every part of the city. It has approximately 3,200 rooms, including the renowned theatres: Dramatyczny, Lalka, and Studio. It also features a huge Congress Hall and multiple recreational attractions including a modern cinema, a disco, a swimming pool and a casino. The Palace hosts world-class events, including the Jazz Jamboree Festival, the Warsaw International Book Fair and the International TT Warszawa Tourist Fair.
The House of the Party, currently a financial centre, it was originally built in the 1960s as the seat of the United People’s Party Central Committee. This is where Party First Secretaries viewed Labour Day celebrations. The exit from the building’s underground passage to the central tribune has been preserved to the present day. Underground corridors form a mysterious maze that stretches as far as the Palace of Culture and Science.
Różycki Market is a fair and market area in the Praga district that was founded in the 17th century. In the 19th century it was used for the transhipment of goods from Eastern and Western Europe. The market itself was founded in 1874 and kept on developing. After a difficult time during World War I and World War II, it came to host 200 shops, 500 stands and lots of pavement traders. The era of the market’s most vivid development, however, was the 1990s. This was the time when, due to the activities of local criminal gangs, it was seen as part of the so-called "Bermuda Triangle" of crime that also included the Stadium of the Decade trade area and the Eastern train station.
Following in the Footsteps of War (Pawiak, Ghetto, Museum of the Uprising, Museum of the Warsaw Uprising, Monument of the Little Insurgent)
Museum of the Warsaw Uprising — this museum was officially opened on August 1, 2004, on the 60th anniversary of the Uprising itself. It is unique in Poland, merging multimedia elements with traditional expositions, everyday mementos from the time of the Uprising and audio and video presentations.
The Monument of the Warsaw Uprising — the monument was officially unveiled on August 1, 1989. A group of veterans struggled for many years with officials and politicians, who hindered the decision to erect it. Right next to the monument, on the corner of Długa St. and Miodowa St., there is a memorial plaque and a map of the city sewers that sheltered Warsaw’s citizens during the fighting. These sewers were used on August 30th by the "North" unit as they attempted to seize Bank Square from the Germans. It was also the way that more than 5,000 insurgents escaped from the Old Town to the Żoliborz district just a couple of days later.
The Monument of the Little Insurgent (Podwale Street, approximately 320 feet from the Barbican) commemorates the youngest participants of the August uprising. It was unveiled on October 1, 1983, and dedicated to Warsaw’s Scouts.
Pawiak — a prison, originally built in the 19th century, that became the largest Gestapo political prison in Poland during the Nazi occupation. Between 1939 and 1944, out of the approximately 100,000 individuals held in Pawiak, approximately 37,000 died in their cells, in the prison hospital or were executed or killed during interrogation (in the prison on Szucha street). Approximately 60,000 prisoners were transferred to concentration camps. The site currently houses the Museum of Pawiak Prison.
Warsaw Ghetto — an area that was sealed off from the rest of the city by the Nazis in 1940 in order to isolate the Jewish community. Approximately 400,000 Jews were forced to live in an area of just 2.6 square kilometres in appalling conditions. A quarter of the ghetto’s inhabitants died during the first two years. Liquidation activities began in 1942 — mass executions took place and transports from Umschlagplatz (a transfer square) moved approximately 300,000 ghetto residents to extermination camps. In April 1943, when Nazi forces entered the area of the ghetto to finish the liquidation, an uprising started, which lasted less than a month. After the uprising had been put down the ghetto area was completely destroyed.
Museum of the History of Polish Jews - The Museum of the History of Polish Jews will open in 2013 on the site of the former Warsaw Ghetto. This multimedia narrative museum and cultural center will present the history of Polish Jews and the rich civilization they created over the course of almost 1000 years
Don’t miss
Old Town
The Old Town is the oldest part of Warsaw — the King’s Castle and its surrounding walls were built in the 13th century. Most of the area was destroyed by the Nazis during World War II but was meticulously rebuilt — a project that was finally completed in the 1980s and earned a place on the UNESCO World Heritage List. Today it is a lively place full of galleries, cafés and restaurants.
King’s Castle (Zamek Królewski)
Built in the 15th century, it initially served as a residence for Masovian princes. However, when the capital of Poland was moved from Krakow to Warsaw, the castle became the seat of the king and the government. The building was completely destroyed during World War II and rebuilt between 1971 and 1988. Today it houses a museum with multiple works of art.
The Vistula Bank, next to the Old Town, features the recently renovated Kubicki Arcades.
King Zygmunt III Waza Column (Kolumna króla Zygmunta III Wazy)
The column was raised in honour of King Zygmunt III Waza, who moved the capital from Krakow to Warsaw. The sword held in his right hand symbolises bravery, while the cross in his left hand shows his readiness to fight evil. A legend says that disaster is imminent if the King’s sword falls.
Church of St. Martin (Kościół św. Marcina)
This 14th century, partially Baroque church is located on Piwna St. (the longest street in the Old Town). This is where opponents of the Communist regime gathered in the 1970s and 80s.
Cathedral Basilica of the Martyrdom of St. John the Baptist (Bazylika Archikatedralna pw. Męczeństwa św. Jana Chrzciciela)
Built as a parish church in the 14th century, royal weddings, coronations and funerals have been held here. The crypts house the tombs of numerous notable figures: the dukes of Masovia, the archbishops of Warsaw, Primate S. Wyszyński, the last Polish king, S. A. Poniatowski, President of Poland G. Narutowicz and Nobel-Prize-winning-writer H. Sienkiewicz.
Shrine of Our Lady of Grace the Patron of Warsaw (Sanktuarium Matki Bożej Łaskawej Patronki Warszawy)
The early-Baroque altar built in the 17th century features a miraculous portrait of Our Lady of Grace, the Patroness of Warsaw.
There is a romantic legend connected with the stone in front of the church: a shy prince waits on this rock for the one woman whose love can restore him to life.
Old Town Market Square (Rynek Starego Miasta)
This is one of the most beautiful places in the city. Founded in the late 13th century, it used to be Warsaw’s main square: celebrations and markets were held here.
All of the Square’s buildings were reconstructed following complete destruction in World War II. Their current state is a perfect match for the Square’s original form in the 17th and 18th centuries.
There is a legend about a basilisk that is said to have lived somewhere in the area’s cellars, where it guarded hidden treasures. The gaze of the basilisk, which turned men to stone, killed everyone who attempted to reach the treasure. The basilisk was finally defeated when a wandering tailor showed it a mirror. There is a picture of the basilisk on the sign of a restaurant named after the monster.
Monument of the Warsaw Mermaid (Pomnik Warszawskiej Syrenki)
According to legend, a mermaid was resting on the riverbank near the Old Town when local fishermen heard her song and fell in love with the fabulous creature. When a rich merchant trapped and imprisoned the mermaid a young fisherman heard her cries for help and released her. By way of thanks, she promised to provide all fishermen with help if needed. Since then, the mermaid, armed with a sword and a shield, has been ready to protect the city and its residents.
Historical Museum of Warsaw (Muzeum Historyczne m. st. Warszawy)
The Museum is housed in a dozen buildings reconstructed after World War II. Its exposition presents the story of the capital since the dawn of its history to modern times. From Tuesday to Saturday at noon the Museum cinema screens a documentary about Warsaw between 1939 and 1945.
Stone Stairs (Kamienne Schodki)
This picturesque staircase has been here since the 15th century, leading out from the defensive walls. Initially they were made of wood, but were later were carved in stone, giving the street its current name.
Barbican and defensive walls (Barbakan i mury obronne)
The remains of Warsaw’s defensive walls, built in 1548. Inside there is an exhibition presenting the history of the fortifications (with models) and explaining why Warsaw’s Old Town is a UNESCO-recognised cultural heritage site.
Little Insurgent Monument (Pomnik Małego Powstańca)
A famous sculpture of a boy wearing a soldier’s helmet much too large for his head. It is here to commemorate the brave children who fought against the Nazis during the Warsaw Uprising.
Royal Łazienki Park
One of the most beautiful palace and garden complexes in Europe. It includes numerous historical monuments and a park in a formerly wild forest. Łazienki is a museum, a place for cultural, scientific and entertainment events and a great place for a walk. For 50 years, free piano concerts have been held here on summer weekends next to the famous monument of F. Chopin. Crowds of tourists and local classical music lovers gather here.
Wilanów Palace
Wilanów Palace, built for King Jan III Sobieski, is one of Poland’s greatest Baroque monuments. Many different stylistic eras are represented in the Palace’s many parts. The two-level, mixed-style garden is the frame for Wilanów Palace. It is full of sculptures and fountains. Cascades of water, situated on the southern end of the park, fall into a lake that surrounds the eastern part of the grounds.
Royal Route
The former Royal Route stretches from Zamkowy Square to Trzech Krzyży Square. Must-see sights on the Route include: St. Anne’s Church (and the view from the church tower), the Polonia House (once the Museum of Industry and Trade, where Maria Skłodowska-Curie worked), the Radziwiłł Palace (the current residence of the President of Poland), the Warsaw University campus with Kazimierzowski Palace, Czapski Palace (Academy of Fine Arts) and elegant stores and restaurants on Nowy Świat Street — an extension of Krakowskie Przedmieście Street.
Palace of Culture and Sience
The Palace was built between 1952 and 1955 as a "gift from the Soviet people to the nation of Poland." At 230.5 m (42 floors), it is the tallest building in the country. Its key attraction is a large observation deck on the 30th floor, which provides great views of Warsaw. Its 3,000 rooms include business offices, the headquarters of various institutions and the Polish Academy of Sciences. The Palace also has a post office, a cinema, a swimming pool, museums, libraries, theatres, a café and two clubs.
Warsaw Uprising Museum
This is one of the most visited places in Warsaw. It was opened on the 60th anniversary of the Warsaw Uprising. A multimedia exhibition, packed with images and sounds, presents the everyday struggles of Warsaw’s citizens before and during the Uprising, the horror of occupation and the post-war Communist terror.
One of the museum’s main attractions is a replica of a B-24J Liberator bomber.
The museum cinema plays a 3D movie entitled "The City of Ruins" — a simulation of a Liberator flying over the ruins of Warsaw in 1945.
Near the museum is the Freedom Park and its Memorial Wall, which features the names of more than 10,000 insurgents who lost their lives in the battle.
Tomb of the Unknown Soldier
This symbolic tomb commemorates the millions of soldiers who sacrificed their lives fighting for Poland’s freedom. Buried here are the ashes of a defender of Lvov and an urn with soil from the battlefields of World War I. Today, the tomb contains urns from every battlefield where Polish troops fell in the last century. An eternal flame is maintained next to the tomb. It is watched over by a military honour guard, which changes daily at noon.
Warsaw Uprising Monument
The spot where Polish partisans and citizens entered the sewer system to escape from German troops surrounding the Old Town during the 1944 Warsaw Uprising - one of the most important chapters in Warsaw's history.
The monument is dedicated to the thousands of heroes who gave their lives for their homeland during the Uprising.
Copernicus Science Centre
The Centre was opened in November 2010 and is one of the most modern attractions of its kind in Europe. It aims to arouse curiosity, assist in independent cognition of the world and inspire dialogue on scientific issues.
Visitors are enchanted by hundreds of attractions, which include an earthquake simulator and a magic carpet.
A garden on the Centre’s roof provides observation decks with beautiful panoramas. Next to the Centre there is also an art gallery, a climbing wall and a park with art exhibits.
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Who played Hans Solo in the Star Wars movies? | Star Wars Han Solo Origin Movie for 2016 Release? · Guardian Liberty Voice
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Disney executives are currently finalizing plans for a possible Star Wars Han Solo origin movie for release in 2016. According to Jay Rasulo, Disney’s Chief Financial Officer the origin movies will be devoted to the film’s franchise main characters like Solo, the bounty hunter Boba Fett and even the Jedi master Yoda. Star Wars, the epic space adventure franchise created by George Lucas has enjoyed successful run in the theaters as well as in the franchise business for more than 30 years already.
Han Solo (originally played by Harrison Ford), the rogue and shady pilot who was introduced in Star Wars Episode IV: A New Hope (1977) will first be the focus of such origin movies. Succeeding movies thereafter will revolve around Yoda and Boba Fett for release in 2018 and 2020 respectively and if plans will push through.
Although initially a rumor, such plans for origin movies or spin-offs are slowly gaining ground to be realized anytime soon. In an investors’ conference of Disney stakeholders, Rasulo made a promise that new Star Wars movies would be released filling in the gaps between the releases of the main saga franchise. This means that after the release of Episode VII due for 2015, origin movies will take the center stage beginning with the story of a young Han Solo and how the character later joined forces with the other Star Wars protagonists. The Episode VII will be directed by J.J. Abrams who also helmed the latest Star Trek movies.
Rasulo also added during the investors’ meeting held at the Bank of America Merrill Lynch Media, Communications & Entertainment Conference, Beverly Hills that, “the market is extremely hot for everything ‘Star Wars’.” This means that aside from the movie, money can also be made from theme parks and licensing deals, not just in the U.S. but internationally as well.
Disney purchased Lucasfilm, the owner of the 35-year old Star Wars franchise for $4 billion last year with the hope that the company can still make money from the sci-fi movie franchise. Rasulo told investors that the Star Wars brand is like a palette where they can create unlimited possibility and that “the sky’s the limit.” He added that the main strategy is releasing the main film first but supporting it with various franchising activities.
With the disappointing results of “The Lone Ranger” last summer, Disney is now careful on the budgets and placing a budget cap on franchise movies, Rasulo told the investors. The budget for the coming movies like the Star Wars Han Solo origin story for release in 2016 would be tighter, he hinted. But he also shared that the company is still capable and willing to invest in another round of purchases if these will accelerate market share citing previous acquisitions like Playdom and India’s UTV.
Disney CEO Bob Iger mentioned that the origin movies for both Han Solo and Boba Fett are being written by Lawrence Kasdan, the co-writer of Episode V & VI and Simon Kinberg, the writer of X-Men: The Last Stand & X-Men: Days of Future Past. For the Han Solo movie, the story will take place between Episode III: Revenge of the Sith and Episode IV. While the Boba Fett story will take place between Episode IV and Episode V: The Empire Strikes Back.
The challenge for the Han Solo movie is finding the right actor to play the young Solo or more specifically a young Harrison Ford. The Boba Fett character would not be so challenging if finding the right actor is concerned since the character always wear a full helmet totally covering his face. It is believed that the casting for the young Han Solo part has been going on for several months already, but due to the secrecy of the whole project little details are coming out.
The Han Solo origin was actually told way back in the 1990’s in the trilogy of science fiction novels written by Ann C. Crispin. The first two books Star Wars: The Paradise Snare and The Hutt Gambit were both released in 1997, while the third book Rebel Dawn was released in 1998. It is not clear if the movie version of Han Solo’s adventures will follow those found in the novels or will be totally something new. What is clear though at this point in time is the amount of excitement these announcements has created especially for the Star Wars fans. And what better way to whet the fans’ appetite than with the possible release of a Star Wars Han Solo origin movie for the year 2016. The fans hope that the current hype will live up to its high expectations.
By Roberto I. Belda
| Harrison Ford |
Who wrote the score for the 'Pink Panther' movies? | Harrison Ford - IMDb
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17 January 2017 4:34 PM, UTC
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Actor | Writer | Producer
Harrison Ford was born on July 13, 1942 in Chicago, Illinois, to Dorothy (Nidelman), a radio actress, and Christopher Ford (born John William Ford), an actor turned advertising executive. His father was of Irish and German ancestry, while his maternal grandparents were Jewish immigrants from Minsk, Belarus. Harrison was a lackluster student at ... See full bio »
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Nominated for 1 Oscar. Another 38 wins & 36 nominations. See more awards »
Known For
2014 Nature Is Speaking (TV Series short)
The Ocean
1977 The Possessed (TV Movie)
Paul Winjam
1974 Kung Fu (TV Series)
Mr. Harrison
1971 Dan August (TV Series)
Hewett
1970 The Intruders (TV Movie)
Carl
1969 Love, American Style (TV Series)
Roger Crane (segment "Love and the Former Marriage")
1969 The F.B.I. (TV Series)
Everett Giles / Glen Reverson
1968 Mod Squad (TV Series)
Beach Patrol Cop
1967 The Virginian (TV Series)
Young Rancher / Cullen Tindall
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What was 'Timon' in the 1994 Disney movie 'The Lion King'? | The Lion King (1994) - IMDb
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Lion cub and future king Simba searches for his identity. His eagerness to please others and penchant for testing his boundaries sometimes gets him into trouble.
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Title: The Lion King (1994)
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Storyline
A young lion Prince is cast out of his pride by his cruel uncle, who claims he killed his father. While the uncle rules with an iron paw, the prince grows up beyond the Savannah, living by a philosophy: No worries for the rest of your days. But when his past comes to haunt him, the young Prince must decide his fate: will he remain an outcast, or face his demons and become what he needs to be? Written by femaledragon1234
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24 June 1994 (USA) See more »
Also Known As:
King of the Jungle See more »
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£16,650,343 (UK) (11 November 1994)
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Trivia
The original script included several characters which were cut. There was another lion cub named Mee-Too, a bat-eared fox, and a rhino with a tickbird on his back. In fact the tickbird was kept and evolved into Zazu. Multiple characters have ended up scrapped for the final version of the first film - a little brother for Nala, a second meerkat, Nala's father (who would have been leader of another pride), Joka, a rock python who would have acted as a fourth lackey for Scar and a bat-eared fox named Bhati for example. Nala's brother, Mheetu, in particular was to have an important role, serving as a character for Nala to protect from the hyenas and Scar. Mheetu would also have been lured into the gorge, causing Simba to try and save him. However, he fails, causing Mufasa to rescue them, leading to his death. See more »
Goofs
During the 'Be Prepared' sequence, Scar knocks a bone out of Ed's jaws, making him sit bolt upright, his tongue hanging out. In the very next shot, it's gone. See more »
Quotes
[first lines]
Scar : [Scar catches a mouse] Life's not fair, is it? You see, I... well, I shall never be king. And you... shall never see the light of another day. Hmm-hmm-hmm, adieu.
Zazu : Didn't your mother ever tell you not to play with your food?
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Crazy Credits
Prior to the beginning of the movie is a brief words, "In remembrance of Frank Wells" message (Mr. Wells is a president of Disney Studios, who died prior to the film's release). See more »
Connections
| Meerkat |
Who starred twice in the musical 'Anything Goes' in 1936 and again in 1956? | Timon | Disney Wiki | Fandom powered by Wikia
“I found a place that was beyond my wildest dreams. But... it still wasn't home.”
―Timon, to his mother.
Timon in The Lion King 1½.
In the beginning, Timon is shown to be the meerkat of his colony who wants to do things differently than from what a "normal" meerkat has to do in order to survive. After causing a network of tunnels to collapse, we see Timon's unfortunately failed attempt at building a skylight in view of his colony, which then crumbles in front of his feet. Timon's mother attempts to salvage the issue of another colony-despised work from her son and leads him away. Timon tells Ma that all they do is hide from predators and dig to survive, and that he wants to live in a place where they do not have to live this way. To his temporary dismay, however, he is then told by Ma that: "Everything the light touches, belongs to someone else," and that it is nature's design.
While hearing Uncle Max ask the colony who is on sentry duty in the background, Ma comes up with an idea to help Timon take up this duty for them. After witnessing Iron Joe and Timon's family agreeing to him doing so (and Timon telling us the audience that he is now "convinced" about his new job), he is taught by Uncle Max to "Scurry, sniff, flinch," and to scream when he sees a hyena invade their colony.
While on sentry duty, Timon practices the technique a few times on a large rock, before he begins to daydream and eventually breaks into his song " That's All I Need ". This causes him to not realize that Shenzi, Banzai and Ed, the hyenas have invaded his colony until the hyena trio is standing right in front of him. When Timon is confronted by them, Shenzi hits him aside, and the hyenas begin to raid the meerkat colony. Timon is pulled safely underground by Ma, along with the rest of the colony finding shelter in their underground tunnel network. Uncle Max, however, is nearly eaten by Shenzi, Banzai, and Ed, before appearing where the rest of the meerkats are hiding from the hyenas.
While underground, Timon tries to apologize to his entire colony for his disastrous mistake but is completely despised by them and Uncle Max for failing at being a sentry. His entire colony leaves him where he is standing, except for Ma, who attempts to help her son, but Timon sighs and walks off.
Later on outside, Timon is sitting down, grieving his mistake on the same rock where he was on sentry duty. For a moment, his mother watches him from behind but then goes to comfort him. Timon explains to her that he is never going to please his colony and that he must find his own home away from there. At first, Ma strays from this and attempts to muse her son's hair, while claiming that he can still fit in, which irritates Timon, who continues to insist to his Ma that he cannot stay any longer with the colony, until his mother eventually (but reluctantly) gives into her son's desire to leave.
Timon, leaving his original home where his meerkat colony initially resides.
When Timon hears Ma's wish, which is that he will find what he is looking for away from his original home, he walks back to hug her and tells his mother that he loves her while doing so. After a long embrace between them, Timon briefly holds Ma's hands and assures her of his safety while he is gone. He then smiles warmly at her, just before turning away to begin his journey in finding his own home.
After walking for some time and now night, Timon stops and suddenly but comically breaks into tears, crying out for his "mommy" due to realizing what he has done by leaving his original home. Unsure of where to go now and kneeling next to his tree, Rafiki then appears next to him and asks what he seeks. After briefly freaking out at Rafiki's sudden appearance, Timon tells him that he wants to live in a place where he does not have to hide or worry. In response, Rafiki tells him about Hakuna Matata and to "Look beyond what you see" (while not realizing that Timon takes such things literally).
At first, Timon questions the mandrill about looking beyond what he sees but after making a sarcastic remark about Rafiki's existential behavior; he looks out over the horizon to find what Timon refers to Pride Rock in this scene as "the big pointy rock." Trying to confirm with Rafiki that this is his new home, he is now nowhere to be found and Timon briefly wonders about his identity, but takes it off his mind and then continues walking onward to what he now sees as his dream home, to Pride Rock.
After a short while of walking in a tall grass field, Timon is initially frightened by an unknown animal who reveals itself to be Pumbaa. At first and after introducing each other and telling Pumbaa about his journey, Timon considers him to be a bodyguard but later comes to see as a friend. Timon and Pumbaa are shown passing through the numerous musical sequences and major events of The Lion King throughout their journey, even getting caught up in the stampede which killed Mufasa. Not to mention causing a few of the mysterious things from the first movie.
Raising a playful Simba.
The two eventually find the oasis and dub it their new home, living in complete bliss until meeting up with Simba (as seen in the original film) and comes to face the responsibilities of parenthood, while also doing activities such as a snail-slurping contest with Simba during his teenage years. It is revealed that Timon and Pumbaa also actively tried to stop Simba and Nala from falling in love rather than merely singing about it.
At first, after Simba returns to Pride Rock, Timon does not want to follow (due to claiming that he and Pumbaa already had Hakuna Matata before Simba) and splits from Pumbaa. Which causes their friendship to be temporarily broken. But after a certain amount of time of being lonely and feeling guilty due to what he'd done, Rafiki comes back to him in the jungle paradise and Timon comes to understand that if you're alone and unhappy, you cannot have "Hakuna Matata". He then runs to Pride Rock and catches up with Pumbaa along the way, repairing his friendship with him by declaring that: "Friends stick together to the end."
After Pumbaa embraces him, they both continue on to Pride Rock to help Simba reclaim the throne. Here, Timon reunites with Ma and Uncle Max, who come looking for him after Rafiki tells Timon's mother about the metaphor he had told her son. He then joins the final battle, diverting the hyenas from attacking Simba. Timon thinks up of a plan involving tunnels to trap the hyenas, stalling them while Ma and Uncle Max are digging underground, by spinning plates, doing the can-can, break dancing, and finally, in desperation to Shenzi's disgust and Pumbaa's jaw-dropping speechlessness, "proposing" to Shenzi.
Timon facing off with the hyenas.
After noticing that the tunnel trap fails to swallow the hyenas that are closing in on Timon and his friend and family members, he dives between Shenzi's legs (who nearly eats him in the process), and determinedly runs underground to break the last standing support, completing the trap. This successfully diverts the hyenas away from Ma, Pumbaa and Uncle Max.
Soon after the hyenas and Scar are defeated, Timon is temporarily nowhere to be found. This causes his mother to become frantic about her son, fearing that he may no longer be alive. But Timon arises from a ground opening behind her, and calls to Ma that he is okay while walking toward her. Ma ,however, remains frantic and, nearly going crazy in the process, grabs her son by the chest and shakes him while not realizing that it is Timon. When Ma notices him right in front of her, she embraces him in a huge hug and Timon gives in.
Although his mother initially refrains from fixing Timon's hair due to him being irritated from it near the beginning, Timon allows her to fix it and dust him off, just before Uncle Max then grabs and hugs Timon tightly around his neck.
Afterward and while rain is falling over Pride Rock, Timon is shown along with Pumbaa standing on one side from Simba just before his ascension on the promontory where he hugs both of them and says that he could not have become the rightful king without them. With his hands clasped together, Timon watches Simba make his way up to the promontory and tells Pumbaa that he promised himself that he was not going to cry at the ongoing event. While Simba and the lionesses roar in the background, Timon deeply smiles up at his lion friend and then shares a look with Pumbaa, Ma and Uncle Max.
Timon with Ma, Pumbaa, and Simba during the finale.
With Ma standing next to him and his hands behind his back and still watching Simba, she then asks her son in wanting to know if he had found what he was looking for since leaving the colony. Timon replies to his mother, saying that although he found a place that was beyond anything he could ever dream of, it still was not truly home without her, along with his friends and family. He then takes Ma's hand and the background around them revolves to the jungle paradise where he is now showing it to her. After Ma tells him that their new home has everything, Timon reaffirms her that with everyone now there (including his meerkat colony), it surely does.
During the reprise of " Digga Tunnah ", Timon is hailed as a hero and praised by his colony for bringing them to the Promised Land. He is shown standing shoulder-to-shoulder with his mother with their hands together at the end, on top of and along with Pumbaa and Simba below their feet, while balanced over water.
Timon & Pumbaa
Timon in The Lion King's Timon & Pumbaa.
In the spin-off series, Timon and Pumbaa have many adventures in the jungles of Africa. He and Pumbaa have been to many famous places such as Las Vegas, Paris, and Hollywood. Many of Timon's actions in the show involves "get rich quick" schemes.
In the episode " Once Upon a Timon ", a pre-existing version of his back story was revealed. He lived in a modernized Meerkat colony complete with streets, shops and even a princess who Timon had a massive crush on. One day when Timon had guard duty, he left his post to speak with the princess. While he was gone, a snake invaded the colony and kidnapped the princess. Timon was banned and met Pumbaa. Soon enough, he came across the captive princess and rescued her. He was offered to marry her and get the good life but that would mean leaving Pumbaa. He decided to stay with his pal and the two walked into the sunset.
In the series, Timon's last name was revealed to be Berkowitz. According to Pumbaa, Timon's middle name is Leslie.
House of Mouse
Timon in House of Mouse.
Timon is a recurring character on the House of Mouse television shows and films. Timon made appearances usually along with Pumbaa, but also with Simba, Rafiki, Nala, Mufasa, Scar, Zazu, Shenzi, Banzai and Ed. He often has a comment on a certain performance (most of the time, it's rude).
In the episode " Timon and Pumbaa ", Timon and his buddy get into an argument and do not reunite until Pumbaa is embarrassed on stage and Timon backs him up.
A recurring gag in the series involves Timon trying to eat Jiminy Cricket and nearly succeeds until Pumbaa saves him.
In " Donald's Pumbaa Prank ", Pumbaa is kidnapped by Pete , and Timon spends the evening trying to find his friend through the help of the club's staff. Eventually, through the help of Donald Duck , Pumbaa is returned safely.
In Mickey's Magical Christmas , Timon and Pumbaa are asked their Christmas wishes. While Pumbaa wants grubs, Timon desires air fresheners for Pumbaa's odor problem. At the end of the film, it is revealed that Timon actually did get an air freshener for Pumbaa. However, Pumbaa was pleased by the gift.
Timon and Pumbaa's Wild About Safety
Timon in Timon and Pumbaa's Wild About Safety.
Timon and Pumbaa star in a series of educational shorts centering steps on living a healthy and/or safe life. Timon however, acts as the example most of the time, not knowing any safety/healthy guidelines. This leads Pumbaa to teach his friend about a certain topic.
Quite a few episodes begin with Timon and Pumbaa enjoying an activity when Timon demonstrates an act of irresponsibility to his own well-being, which prompts Pumbaa to begin the lesson. Timon can behave rather dim-witted in the shorts, following the lines of the television series where it was revealed that Pumbaa was the real brains of the outfit, and Timon would usually just steal his ideas.
The Lion Guard
Timon in The Lion Guard.
Set in the middle of The Lion King II: Simba's Pride, Timon and Pumbaa return, and have become the adoptive uncles of a young honey badger named Bunga . Together, they reside in an area of the Pride Lands called Hakuna Matata Falls. Despite being his uncles, Timon and Pumbaa act more along the lines of parental figures to Bunga, Timon being the sterner and aggressive of the two, in regards to raising Bunga, specifically due to his dislike for Bunga's life philosophy, "Zuka Zama".
They first appear in the pilot film , helping Zuri free her claws from a log. Timon fancies himself an expert on removing claws from logs, as Simba repeatedly got his claws stuck in logs during his childhood days with him and Pumbaa. Before they can do so, the duo is greeted by an excited Bunga, who announces that he and Simba's son, Kion , are to be members of the new Lion Guard; protectors of the Pride Lands. Timon is immediately against the idea, believing hard work and danger to be against Hakuna Matata, though Kion is able to alter this train of thought by claiming he needs Bunga to join due to the honey badger being the bravest animal he knows. This is enough to impress Timon, who shows great pride in his nephew's title, and the meerkat subsequently congratulates Bunga on his position.
Since Return of the Roar, Timon has become considerably more accepting towards Bunga's various quirks and has shown to be as supporting as Pumbaa at times, such as in instances during " The Rise of Makuu " and " Bunga the Wise ".
In " The Search for Utamu ", it was revealed how Timon and Pumbaa came to adopt Bunga. One day, while searching for rare utamu bugs that only come out once a year, a baby, orphaned honey badger latches onto Pumbaa's leg. Timon orders the toddler to leave, but he remains and makes it apparent that he wishes to stay by the duo's side. Timon notes his disinterest in raising another child (after all the work Simba was), telling Pumbaa that they've already done so with Simba, but with Bunga's persistence strong, Timon concocts a scheme and orders the honey badger to fetch grubs from a tall tree branch, dangling over a chasm. Bunga does so effortlessly, both surprising and impressing Timon, who had assumed the honey badger would be too fearful to go through with the task. Feeling that they have a perfect grub-catcher, Timon decides to keep Bunga.
In " Bunga and the King ", Timon shows his emotional side when he thinks about how his two "babies" (Simba and Bunga) are lost in a network of tunnels. He is seen crying and being visually relieved once Bunga and Simba rejoin them.
Cameos and other appearances
Timon made a non-speaking cameo appearance in the Mickey Mouse Works episode " Around the World in Eighty Days " during Mickey and Goofy's travels.
In one of the Lilo & Stitch parody trailers spoofing The Lion King, during the iconic " Circle of Life " scene, Rafiki holds up what's meant to be baby Simba, but it's instead Stitch , which Timon announces in confusion (although in one of the full-length trailers, which also shows the scene, he and Pumbaa are replaced by a different warthog making the note of Stitch).
Timon in the Aladdin platinum edition special feature.
Timon appears in the Virtual Magic Carpet Ride game included on disc 2 of the 2004 Aladdin Platinum Edition DVD. The Genie accidentally teleports him into Agrabah , when he was trying to poof in one of his relatives and asks him to replace him while he is gone on vacation. Genie grants him magic, and he helps Aladdin find his way to Jasmine throughout the game.
In Leroy & Stitch , Timon and Pumbaa make cameo appearances during the climactic battle in the mix of Jumba Jookiba 's experiments .
In the animated blooper reel featured in the The Lion King: Diamond Edition special features, Timon makes several appearances. In one outtake, during the introduction of he and Pumbaa, Timon accidentally pulls a muscle shooing off one of the vultures. In another outtake, Timon is seen having a hard time actually swallowing a grub. In another, he can be seen having several takes for his hula scene. In his final outtake, Timon and Pumbaa are about to take a nap, until Pumbaa's gas drives him away.
Timon and Pumbaa make a brief, non-speaking cameo in the animated mini-series It's a Small World: The Animated Series , in the episode "One Golden Sun."
Timon appears in the episode "Grub Grapple" of Disney Crossy Road: The Animated Series, where he and Pumbaa face a treacherously busy road of traveling animals to catch a bug.
Video games
Kingdom Hearts II
Timon makes an appearance in Kingdom Hearts II as a resident of the Pride Lands . His role in the game is similar to the film and he is often seen alongside Pumbaa .
He becomes emotional as Simba grows up and teaches Sora , Donald and Goofy the phrase "Hakuna Matata", which means "no worries". He and Pumbaa try to help overthrow Scar, though their attempts ended up with them being cornered by Shenzi, Banzai, and Ed. Luckily, Sora was there to rescue them. Later after Simba reclaims his kingship, Timon advises him to "live for today."
Timon is one of the captive Disney characters in the game and appears within the phony kingdom of Prince Eric .
Other games
Timon plays a role in The Lion King 1½ as one of the central playable characters alongside Pumbaa.
In Disney TH!NK Fast , Timon appears as the guest questioneer in the Pride Lands. He asks a few questions about The Lion King, and then leaves.
A costume of Timon is also a playable feature in Disney Universe .
A townsperson of him makes an appearance in Disney INFINITY 2.0 .
Musical
The Timon puppet in the musical, stage show.
In the Broadway musical adaptation to the film , Timon appears through the use of puppetry, and was originally portrayed by Max Casella .
His role in the story remains practically the same, along with Pumbaa, the only true difference being a few lines and a few gags being revamped such as the hula scene (which is, instead, the duo performing the Charleston).
However, in one particular scene, adult Simba begins wandering off into the jungle, prompting Timon and Pumbaa to follow him until he reaches a river stream, jumping across it with ease and recklessly dares Timon to do the same. Reluctant at first, Timon eventually agrees to, only to fall into the water and end up being horrifically taken down to a waterfall, hanging onto a branch in struggle and calling out to Simba for help, as Pumbaa worriedly watches on. Unfortunately, Simba is paralyzed by flashbacks of Mufasa's death, triggered by the sight of Timon in peril. Eventually, the branch snaps, but Simba still manages to rescue his friend, just in time; feeling extreme guilt for nearly causing yet another death because of his foolishness.
In Disney's Animal Kingdom Timon appears in Mickey's Jingle Jungle Parade during Christmas time. He can also be found in The Oasis for meet-and-greets.
In Festival of The Lion King , Timon is the host and tells tales of The Lion King. In the show, Timon along with Simba and Pumbaa, host a series of songs and stunts, accompanied by a pack of monkeys who perform different stunts and tricks and are a pain in the neck according to Timon.
In Fantasmic! , Timon appears during the bubble montage in Disney Hollywood Studios'.
In the Epcot show, Circle of Life: An Environmental Fable , Timon and Pumbaa are planning on building "Hakuna Matata Lakeside Village Resort" in the jungle by damming the river and draining a nearby watering hole. This prompts Simba to show them another species whose actions have affected the environment for the worse - humans.
Disney Cruise Line
Timon and Pumbaa are featured on the Disney Fantasy cruise ship's Wishes , about three high school graduates who meet various Disney characters on their biggest adventure ever. Timon and Pumbaa are the first of the characters to be introduced and sing "Hakuna Matata" to teach the kids to loosen up and be carefree when they can.
Gallery
The Disney Wiki has a collection of images and media related to Timon .
Trivia
In The Lion King 1½, Timon is shown to interact with the audience a few times, especially in the beginning and ending non-movie theater setting scenes of the film.
Timon's appearance in The Lion King 1½ compared to other works is appealing in most cases, since also being the central protagonist of this film.
In the first Lion King film, Timon is the only character who stands and walks on his back feet (while meerkats normally walk on all four). Interestingly he is seen running in all fours at least once in both the first film (exiting the cave entrance on Pride Rock with Pumbaa and Zazu, after the off-screen fight against the Hyenas) and the sequel (in a futile attempt to charge at an outsider with Pumbaa). Moreover, it occurred in the climactic battle sequence of both movies.
It is revealed in The Lion King II: Simba's Pride that Timon is unaware of Scar's death.
Timon, along with Pumbaa and Simba, is the most popular character from The Lion King franchise.
Despite the fact that Scar is one of Timon's enemies, they never interact with each other.
In an early script for The Lion King 1½, Timon's digging skills would be just fine and there were four bullies that make him leave.
Timon has a polar opposite named Monti . He makes his first and only appearance in the Timon & Pumbaa episode " Kenya Be My Friend? ".
He has some knowledge on human technology, such as guns. In Simba's Pride, when he and Pumbaa are cornered by the Outsiders during the battle, Timon jumps on the backside of frightened Pumbaa and brandishes the latter's tail like a gun and points it at the Outsiders, warning that "this thing loaded". The Outsiders foolishly fall for it and run away in fear. This implies that in unseen occasions, the beasts of Pride Land have encounter humans with guns (possibly wildlife rangers, hunters, and poachers), otherwise, they didn't know the concept of guns.
On the first Virtual Safari, he has some knowledge of the GPS tracking system.
The television series and the Wild About Safety episodes showcase Timon owning several human items, as well as Pumbaa, including an iPad.
According the filmmakers, Timon and Pumbaa were meant to be childhood friends of Simba who stuck with him after his exile from Scar. It was later decided that Timon and Pumbaa were outcasts as well to have a better relationship with Simba.
According to the Timon and Pumbaa's Wild About Safety episode "Fire Safety," Timon's address is 500 Buena Vista St., which is the street address of the headquarters of The Walt Disney Company in Burbank, California.
Timon's line, "What do you want me to do? Dress in drag and do the hula?", was improvised by his voice actor, Nathan Lane.
Timon prefers crunchy bugs above all other foods.
Timon's original voice actor in the films was Nathan Lane, who was occasionally replaced in other media as Timon's voice by Quinton Flynn , who voices Lea and Axel in the Kingdom Hearts series.
In the Spanish version of the play, he speaks with an Andalusian accent.
A monkey resembling Timon makes a cameo in The Jungle Book 2 , along with a warthog resembling Pumbaa, during the song " W-I-L-D ".
Timon and Pumbaa were originally supposed to sing the entirety of " Can You Feel the Love Tonight " in a comical fashion, but Elton John decided not to use that version of the song because he felt that it sounded horrible.
In the movie MouseHunt, which co-starred Nathan Lane, he briefly says "Hakuna Matata" in one of the scenes before the auction.
Timon is seemingly from Jewish ancestry, but it is unknown if he practices this religion; he speaks with a Yiddish accent, his mom used the word "meshugenah", and in The Lion King 1½, he sang the song "Sunrise, Sunset", from the Jewish-themed musical, "Fiddler on the Roof."
External links
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What is Julie Andrews real name? | Julie Andrews - Biography - IMDb
Julie Andrews
Biography
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Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (2) | Trivia (72) | Personal Quotes (21) | Salary (7)
Overview (4)
5' 7" (1.7 m)
Mini Bio (1)
Julia Elizabeth Wells was born on October 1, 1935, in England. Her mother, Barbara Ward (Morris), and stepfather, both vaudeville performers, discovered her freakish but undeniably lovely four-octave singing voice and immediately got her a singing career. She performed in music halls throughout her childhood and teens, and at age 20, she launched her stage career in a London Palladium production of "Cinderella".
Andrew came to Broadway in 1954 with "The Boy Friend", and became a bona fide star two years later in 1956, in the role of Eliza Doolittle in the unprecedented hit "My Fair Lady". Her star status continued in 1957, when she starred in the TV-production of Cinderella (1957) and through 1960, when she played "Guenevere" in "Camelot".
In 1963, Walt Disney asked Andrews if she would like to star in his upcoming production, a lavish musical fantasy that combined live-action and animation. She agreed on the condition if she didn't get the role of Doolittle in the pending film production of My Fair Lady (1964). After Audrey Hepburn was cast in My Fair Lady, Andrews made an auspicious film debut in Walt Disney's Mary Poppins (1964), which earned her an Academy Award for Best Actress.
Andrews continued to work on Broadway, until the release of The Sound of Music (1965), the highest-grossing movie of its day and one of the highest-grossing of all time. She soon found that audiences identified her only with singing, sugary-sweet nannies and governesses, and were reluctant to accept her in dramatic roles in The Americanization of Emily (1964) and Alfred Hitchcock 's thriller Torn Curtain (1966). In addition, the box-office showings of the musicals Julie subsequently made increasingly reflected the negative effects of the musical-film boom that she helped to create. Thoroughly Modern Millie (1967) was for a time the most successful film Universal had released, but it still couldn't compete with Mary Poppins or The Sound of Music for worldwide acclaim and recognition. Star! (1968) and Darling Lili (1970) also bombed at the box office.
Fortunately, Andrews did not let this keep her down. She worked in nightclubs and hosted a TV variety series in the 1970s. In 1979, Andrews returned to the big screen, appearing in films directed by her husband Blake Edwards , with roles that were entirely different from anything she had been seen in before. Andrews starred in 10 (1979), S.O.B. (1981) and Victor Victoria (1982), which earned her an Oscar nomination for Best Actress in a Leading Role.
She continued acting throughout the 1980s and 1990s in movies and TV, hosting several specials and starring in a short-lived sitcom. In 2001, she starred in The Princess Diaries (2001), alongside then-newcomer Anne Hathaway . The family film was one of the most successful G-Rated films of that year, and Andrews reprised her role as Queen Clarisse Renaldi in The Princess Diaries 2: Royal Engagement (2004). In recent years, Andrews appeared in Tooth Fairy (2010), as well as a number of voice roles in Shrek 2 (2004), Shrek the Third (2007), Enchanted (2007), Shrek Forever After (2010), and Despicable Me (2010).
- IMDb Mini Biography By: Tommy Peter and Volker Boehm
Spouse (2)
Her very regal mannerisms/behavior
Trivia (72)
Was named a Dame by Britain's Queen Elizabeth II on the Millenium New Year's Honours List on December 31, 1999.
Her husband reported that she would probably never sing again because the throat surgery had ruined her voice. [November 1998]
Underwent throat surgery. [June 1997]
Uses the pen-name 'Julie Edwards'.
Born at 6:00am-BST.
Spent some time in a psychiatric clinic, to help her cope with the trauma resulting from her throat surgery.
Mother, with Tony Walton , of daughter Emma Walton .
7 September 2000 - Her malpractice suit against the 2 New York Mt. Sinai Hospital doctors who allegedly botched her throat surgery was settled for an undisclosed sum.
The London press reported that Miss Andrews's settlement for her botched throat surgery was nearly 21 million British pounds, or about 30 million U.S. dollars. [2001]
While she played the original Eliza Dolittle in the Broadway musical "My Fair Lady", Audrey Hepburn played the part in the movie My Fair Lady (1964). The studio executives did not want Andrews because she hadn't had any experience in film and thought Hepburn would be the better choice. However, while the film My Fair Lady took home several Oscars in 1964, it failed to win the Best Actress category. That award went to none other than Julie Andrews for her performance in Mary Poppins (1964).
When Tony Walton proposed to her, he gave her a broach instead of a ring.
She has a rose named after her.
Has perfect pitch.
She was a recipient of the Kennedy Center Honors in 2001.
In 2002, she was voted the 59th greatest Briton ever in a BBC poll.
Played the same role of "Victoria Grant" in the Broadway musical adaption of Victor Victoria (1982). She turned down a Tony nomination for Best Actress in a Musical.
Has owned a chalet in Gstaad, Switzerland, for many years. Every year she pays for Gstaad's Christmas lights. In July she presents the prize for the winner of the annual Gstaad Tennis Open. She once said if she was nervous before a performance on stage, she'd just have to look at a photo from 'lovely' Gstaad, and she was reassured.
In the 1960s she sported a bumper sticker on her car reading "Mary Poppins is a junkie".
In 1969, when MGM cancelled their proposed Irving Berlin musical biography "Say it With Music" in which she was set to star, she sued the studio and collected her $1,250,000 salary.
Mary Poppins (1964) for Disney, The Sound of Music (1965) for 20th Century Fox and Thoroughly Modern Millie (1967) for Universal were the biggest money-makers yet for their studios. However, her next two films, Star! (1968) and Darling Lili (1970), to put it mildly, failed to get their money back.
Received a standing ovation at The 75th Annual Academy Awards (2003) when she appeared to present a short film celebration sequence.
Changed her last name from Wells to Andrews when her mother married her stepfather Ted Andrews .
Her stepfather was an alcoholic.
She adopted two children from Vietnam with Blake Edwards , Amy Edwards (b. 1974) and Joanna Edwards (b. 1975).
Was passed over for the role on Eliza Dolittle in favor of Audrey Hepburn for the film My Fair Lady (1964). Unlike Andrews, however, Hepburn was not a natural singer. She took voice lessons and recorded the tracks for the movie, but the producers, without telling Audrey, dubbed her voice with that of Marni Nixon . Nixon appeared with Andrews in The Sound of Music (1965).
Her star on the Hollywood Walk of Fame is directly in front of the new addition to the Chinese Theatre. The star was dedicated on 5 Oct, 1979.
Filmed a cameo sequence as a chambermaid in Blake Edwards ' 1975 Inspector Clouseau comedy The Return of the Pink Panther (1975), but the sequence ended up on the cutting-room floor.
Was selected by the Walt Disney Company to become the Offical Ambassador for "The Happiest Homecoming On Earth: Disneyland's 50th Anniversary Celebration".
Sings scales rather than songs in the shower.
She was the youngest person ever to appear in a Royal Command Performance. She performed for King George VI , Queen Elizabeth, Princess Elizabeth/ Queen Elizabeth II and Princess Margaret .
Her performance as Mary Poppins in Mary Poppins (1964) is ranked #45 on Premiere Magazine's 100 Greatest Movie Characters of All Time.
Is the only actress to be nominated for (and later win) the Oscar in the Lead Actress category in a Walt Disney film ( Mary Poppins (1964)).
Possessed a five-octave coloratura soprano range until a vocal nodule surgery mishap ruined her singing voice.
The song, "Your Crowning Glory" from The Princess Diaries 2: Royal Engagement (2004), was the first time she had sung in public or on screen since she had throat surgery in 1997. She reportedly nailed the song on the first take, and brought tears to the eyes of the crew present.
The Americanization of Emily (1964) is the only black and white movie she ever made.
Best friends with Carol Burnett . Carol is godmother of Julie's daughter, Emma Walton .
Grandmother of daughter Emma Walton 's children Samuel and Hope.
Was considered for the role of Susy Hendrix in the film Wait Until Dark (1967) . The role eventually went to Audrey Hepburn as it did in My Fair Lady (1964).
Received the Screen Actors Guild lifetime achievement award on January 28, 2007.
Mother-in-law of Steve Hamilton .
Could sing notes only dogs could hear at the age of seven.
Her daughter, Amy Edwards , married rock musician Lauren Scheff on October 24, 2004. They are now divorced.
Her brother, Christopher Stuart, was born in May, 1946.
Her two biological grandchildren are Sam (b. 1996) and Hope (b. 2003) from daughter Emma Walton . Her other grandchildren are: Max Scheff, from adopted daughter Amy Edwards ; Kayti and Hannah Schneider , from stepdaughter Jennifer Edwards ; Isabelle and Hank, from stepson Geoffrey Edwards .
Was one of the first women to be named a Disney Legend (and inducted into the Disney Hall of Fame). She was in the 1991 class with animator Mary Blair .
Turned down her Tony nomination for "Victor/Victoria" for Best Actress in a Musical in 1996 because the rest of the cast and crew were overlooked for consideration.
According to her autobiography, she first saw second husband Blake Edwards at a party while she and first husband Tony Walton were on their honeymoon. She and Blake did not become friends until several years later.
Was offered the role of Carol in Once Upon a Time in America (1984), but turned the role down. The part went to Tuesday Weld .
Was at one point going to star in The Public Eye (1972).
Learned to play the guitar specifically for the role of "Maria" in The Sound of Music (1965).
Recepient of a 2011 Lifetime Achievement Grammy [December 23, 2010].
Thanked only Walt Disney by name in her Oscar acceptance speech.
Release of the book, "Julie Andrews: A Life on Stage and Screen" by Robert Windeler. [1997]
Release of her book, "Thanks to You: Wisdom from Mother and Child" by Julie and her daughter, Emma Walton Hamilton. [2007]
Release of the book, "Julie Andrews: An Intimate Biography" by Richard Stirling . [2007]
Release of her book, "Home: A Memoir of My Early Years". [March 2008]
Doing the voice of "Queen Lillian" in Shrek Forever After (2010). [March 2009]
Over a period of six years, from 1964 to 1970, she performed in four different films as characters with rhyming names, Mary, Emily, Millie, Lili, and each of those names were part of the respective title: 1964 Mary Poppins - Mary; 1964 The Americanization of Emily - Emily; 1967 Thoroughly Modern Millie - Millie; 1970 Darling Lili - Lili. Additionally, during the same period, she portrayed the similar sounding, if not rhyming, Maria in The Sound of Music (1965), where her character's name was not part of the title. All except Darling Lili were big money makers.
After the success of 'Mary Poppins' and 'The Sound of Music', she declined huge offers for more nanny roles with the explanation: "I've done that."
Both Julie and her husband, Blake Edwards, underwent psychoanalysis in the 1970's as a way to deal with their respective career slumps.
During the Vietnam War, Julie and her husband, Blake Edwards both became involved with the Committee of Responsibility, which brought severely injured children from the war zone to the US for treatment. Their involvement led them to adopt two Vietnamese abandoned children.
Was the 61st actress to receive an Academy Award; she won the Best Actress Oscar for Mary Poppins (1964) at The 37th Annual Academy Awards (1965) on April 5, 1965.
Has had one of her ankle bone joints replaced with a titanium implant to avoid being confined to a wheelchair.
Is one of 14 actresses to have won both the Best Actress Academy Award and the Best Actress in a Comedy/Musical Golden Globe for the same performance; hers being for Mary Poppins (1964). The others, in chronological order, are: Judy Holliday for Born Yesterday (1950), Barbra Streisand for Funny Girl (1968), Liza Minnelli for Cabaret (1972), Glenda Jackson for A Touch of Class (1973), Diane Keaton for Annie Hall (1977), Sissy Spacek for Coal Miner's Daughter (1980), Cher for Moonstruck (1987), 'Jessica Tandy for Driving Miss Daisy (1989), Helen Hunt for As Good as It Gets (1997), Gwyneth Paltrow for Shakespeare in Love (1998), Reese Witherspoon for Walk the Line (2005), Marion Cotillard for La Vie en Rose (2007), and Jennifer Lawrence for Silver Linings Playbook (2012).
Julie Andrews won the Academy Award for Best Actress for feature film debut in Mary Poppins (1964). Andrews has received 28 awards over her career, but that was her only Academy Award despite being nominated for The Sound of Music. Mary Poppins also earned her and her co-stars the 1965 Grammy Award for Best Album for Children. She was nominated for a Tony Award for her performance in the musical My Fair Lady.
Her first stage show was at the Hippodrome, London in 1947 (aged 11) where she sang one song 'Polonaise from Mignon' for two performances each night. This led to being asked to perform in the Royal Command Performance 1947 (Then aged 12).
As of 2016 she is the 8th earliest surviving recipient of a Best Actress Oscar nomination, behind only Olivia de Havilland , Leslie Caron , Carroll Baker , Joanne Woodward , Shirley MacLaine , Doris Day , and a tied Piper Laurie and Sophia Loren . She was nominated (and won) in 1964 for Mary Poppins (1964).
According to Andrews, Walt Disney originally approached her to read for the part of Mary Poppins after a performance of the Broadway show, Camelot. Andrew's told Disney she could not take the part because she was pregnant. Disney responded, "That's alright. I'll wait.".
Personal Quotes (21)
I don't want to be thought of as wholesome.
[1982] Does Mary Poppins have an orgasm? Does she go to the bathroom? I assure you, she does.
Singing has never been particularly easy for me.
Films are much more my level. On stage I never feel quite enough.
[upon answering whether Mary Poppins and Bert ever got it together]: I hope so. She wouldn't admit it, but I do hope so.
As my mother said, I never sprang out of bed with a glad shout! My voice needed oiling and then it took off.
I had a teacher who stressed for me the importance of diction in terms of - I want to be very careful about how I say this - in terms of supporting one's voice when one is singing. In other words, if you hold on to your words, your voice will pull through for you when you're singing. So be true to your vowels. Supposing you have to sing [from "The Messiah"] "Behold thy king cometh unto thee". If you do a strong "thee", it will help you with the "-hold", which is a much higher note. And it's the note before the note that matters, then you unpeel a song backwards.
A lot of my life happened in great, wonderful bursts of good fortune, and then I would race to be worthy of it.
[on being a gay icon] I don't know. I'm sort of aware that I am. But I'm that odd mixture of, on the one hand, being a gay icon and, on the other hand, having grandmas and parents being grateful I'm around to be a babysitter for their kids. And I've never been able to figure out what makes a gay icon, because there are many different kinds. I don't think I have the image that, say, Judy Garland has, or Bette Davis .
[upon receiving the BAFTA award on October 7, 1989] I am first and always English, and I carry my country in my heart wherever I go. I've tried to honour her, and I have the funny feeling that perhaps tonight, in some way, I've managed to do just that.
[asked where she kept her Oscar] He stayed in the attic a long time. I just didn't feel worthy . . . When I got to know more about film, I felt safe trotting him out.
I've learned things about myself through singing. I used to have a certain dislike of the audience, not as individual people, but as a giant body who was judging me. Of course, it wasn't really them judging me. It was me judging me. Once I got past that fear, it freed me up, not just when I was performing but in other parts of my life.
Bette Davis was always marvelous.
As soon as you have one, all those dormant maternal instincts start popping out all over you, like German measles.
All love shifts and changes. I don't know if you can be wholeheartedly in love all the time.
Blake [husband Blake Edwards ] and I have this wonderful arrangement that while one is working hard, the other tries to be at home as much as possible and vice versa.
All kinds of things have been printed, including much gossip and rumour and finally I feel ready to have my say. I want to be as honest as I can.
Sometimes I'm so sweet even I can't stand it.
[on Max von Sydow ] He was the unqualified front runner -- the most generous man I've ever met. And he had such a lovely light sense of humor. I consider it a privilege to have worked with him.
With 'Star' and 'Darling Lili', it seemed that the big musicals weren't popular any more. I underwent a career dip. You know the Hollywood saying 'You're only as good as your last hit'. Sometimes an enormous hit can carry you along, but not forever.
[on the 2015 celebrations honouring 'The Sound of Music'] This is a lovely moment to mark. I've been saying all long it's like a very bad joke because surely it' was only thirty years ago - not fifty. I feel I lost twenty somewhere along the way. A little thing called life got in the way.
Salary (7)
| Julie Andrews |
What is the name of the 1978 movie starring Clint Eastwood and an orang-utan called Clyde? | Julie Andrews finds 'Home,' new voice in revealing memoir - USATODAY.com
Family portrait: Julie Andrews with her mother, Barbara, and her stepfather, Ted Andrews.
Julie Andrews finds 'Home,' new voice in revealing memoir
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By Claudia Puig, USA TODAY
BEL AIR, Calif. Spend a sunny afternoon sipping tea in a garden restaurant with Julie Andrews chatting about her forthright and fascinating new autobiography Home: A Memoir of My Early Years, and it's hard not to conjure up images of the solicitous, proper Mary Poppins.
Perhaps it's because she has brought her own tea bags and is ceremoniously preparing her cup — and yours.
PHOTOS: Click through pictures of Julie Andrews over the years
"I'm going to do this for you," she says graciously, adding a gentle direction: "Stir that."
Who could possibly resist Mary Poppins fixing you a cup of tea, with or without a spoonful of sugar?
(Andrews takes hers unsweetened, thank you.)
But, unlike the occasionally chiding nanny, the vibrant, youthful, 72-year-old actress is the epitome of charm and civility. Her grace belies a childhood that was difficult, even disturbing.
Home (Hyperion, $26.95), in stores today, details her early years growing up outside London in the village of Walton-on-Thames in Surrey. It offers new and at times harrowing revelations, including the fact that Andrews didn't learn who her real father was until she was a teenager.
Born on Oct. 1, 1935, Andrews grew up poor and was raised by an alcoholic mother and abusive stepfather. Barbara Ward Morris and Edward Wells (the man Andrews thought was her father) were divorced when she was 7. Julie's mother remarried Ted Andrews, a Canadian-born tenor.
Ted Andrews insisted on giving Julie singing lessons and legally adopted her. Julia Wells became Julie Andrews. At 9 she joined her mother and Ted in their popular vaudeville act.
Her voice was so impressive the press dubbed her "the pig-tailed prodigy." She had moments few children can claim: At 10 she performed for Queen Elizabeth (who later became the Queen Mother) and at 11 did her first radio broadcast for the BBC. She was performing nightly at the London Palladium at the tender age of 12.
Meeting the queen made a powerful impression. "After I curtsied to her, she said to me, 'You sang beautifully tonight.' At school the next day, the students were agog," Andrews recalls in Home. "It was my first taste of celebrity. The school klutz was suddenly the center of attention. Everyone became aware that my parents were in 'showbiz' and I relished being accepted at last."
A shocking secret
The disturbing moments in her childhood were also indelible. Her stepfather drank. Once, reeking of alcohol, he lunged after Julie, then 15, saying, "I really must teach you how to kiss properly," then kissed her full on the lips. "It was a deep, moist kiss — a horrible experience," she writes.
He tried again, and she fended him off. Later she installed a bolt on her bedroom door and did her best never to be alone with him.
There are other unsettling secrets in a life that sounds quasi-Dickensian with the young Julie helping to support her family by performing nightly.
Andrews' maternal grandfather, a coal miner, died at 43 of syphilis after infecting her grandmother. When Julie was 14, her mother took her to a party and casually introduced her to a man she later told Julie was her biological father.
"It rocked my world," says Andrews, who adored Wells, her mother's first husband, with whom she lived the first six years of her life and whom she called Dad. (Andrews doesn't reveal the name of her biological father.)
"I think I met him (her biological father) twice, and I corresponded maybe twice in my whole life with him," she says. "I didn't know if my dad knew that he was my father, so I never could talk about it with him. What if he didn't know? Why would I hurt him? What if it wasn't true?"
Andrews' memoir was 10 years in the making, and the emotionally fraught revelations were not easy to put into print. She vetted a lot of things first with family members.
"A couple of moments were very hard," she says between sips of tea. "But it seemed that if I was going to write it, I'd better do it as truthfully as I could."
The memoir ends in 1963 with Andrews signing on, at 28, to make Mary Poppins, her first screen role, which resulted in an Oscar for best actress. (She was nominated for best actress two more times, for The Sound of Music in 1966 and for Victor, Victoria in 1983.)
She self-deprecatingly describes her voice, which could trill over four octaves, as "freakishly high."
She writes of her stage experience during her 20s: rehearsing with Rex Harrison for their London and Broadway runs of My Fair Lady; the physical allure and mercurial moods of Richard Burton; and visiting Disneyland with Walt Disney, who then cast her as Mary Poppins.
As she contemplated what to put in and what to leave out, some unexpected forces interceded.
"The day that I officially said, 'Right, everything's out on the table, and I'm going to start correlating, writing and so on,' this book arrived on my doorstep, a book about my (coal miner) grandfather called The Pitman's Poet. It just felt like an omen."
Her daughter, Emma Walton, 44, also pushed her to write the memoir. (Emma's father is set designer Tony Walton, Andrews' first husband, whom she wed in 1959 and divorced in 1968.)
"Emma set me a task," says Andrews, who has co-written 16 children's books with her daughter. "She really conveyed to me her interest, and she nudged and cajoled. She said you're just going to talk, and she took out her tape recorder, then she sort of assembled the talk and handed it to me. And from that I began to write. She really pushed, prodded, questioned and made me go a little further."
Andrews also wanted to shine a light on a sliver of England's history.
"I thought, 'Ah, I could explain what it was like to be in the dying days of vaudeville in England,' " she says. "That's a piece of history that not many know much about. It was the end of the war, and vaudeville was fading fast. The theaters were old and tacky, and the quality of everything was awful, and yet it is a slice of history, and it did happen at a very interesting time."
Close connections
Even now, as the book hits stores, she wonders whether she accurately portrayed some of the people to whom she was closest.
"I adored my mother. I always loved her to pieces. I felt that in some way I didn't do her enough justice in the book, that I was more angry than I realized."
Her mother, who died in 1984, fought bitterly with her stepfather and descended into alcoholism. Her mother "was shortchanged in life, too. She had a very tough life. Her father was an alcoholic and abusive to her, so no wonder she chose an abusive guy" like Ted Andrews.
"What I wanted to show," she says, "was the quantum leap I made from my parents."
As dark as her childhood was, Andrews found solace and support from her strong lifelong relationship with the man she called Dad (Wells) and her beloved Aunt Joan, her mother's sister.
Family ties are something Andrews always has treasured. She has a number of half-siblings with whom she is close. She has five children, including four from her 38-year marriage to director Blake Edwards. Two are Edwards' children, and two are children the couple adopted. And she has seven grandchildren.
"We are such an assorted bunch," she says with a serene smile.
She picks up a copy of her book and begins to point out who's who in photos. She's an open and chatty guide. There's her grandmother and her mother, who "looks so much like Emma's little girl."
There are pictures of youthful Julie, a little blond girl, performing as part of a family act. "That's me there with the bandy legs; I looked eager to please," she muses.
She points to a favorite picture: the one of 10-year-old Julie with Queen Elizabeth, the current queen's mother. She rifles through the pages of photographs and reminisces. "Thanks for indulging me," she says.
'A whole new world'
Will there be a sequel since the book ends before she became a movie star?
Andrews says she decided to concentrate on her youth because she believes fans are familiar with her life after her role in Poppins, but they know little about her early years.
And because writing Home was a long and arduous process, she has not committed to a second memoir.
But she loves to write. Her publishing career began in 1971 with her first children's book, Mandy, which she wrote under the name Julie Edwards.
"It's been a whole new world," she says of writing her memoir, which is getting good early reviews. Entertainment Weekly praised her "lovely new autobiography" for its "intelligence, gentle humor and … clear, sweet, surprisingly powerful voice."
Andrews, whose recent movie credits include voicing the queen in Shrek 2 and 3, somewhat surprisingly calls herself "a late bloomer."
She credits Edward Wells with her gift for reinvention and staying vigorous.
"I write in my book that at 74 he took himself off to college and learned German," she says. "He said to me, 'I think it's everybody's responsibility to keep their brains as active as they possibly can for as long as they possibly can.' Obviously it resonated. I am curious, and I love meeting people, and I love finding new things out."
Andrews increasingly has relied on writing as a form of creative expression since 1998, when her vocal cords were damaged during botched throat surgery. She can no longer sing. (She sued for malpractice and won an undisclosed sum.)
"The reason you're seeing the emergence of these books is that I've properly and oh so gratefully found a sort of second part of my life," she says.
"I just found another way of using my voice — not a better way, but another way.
"Sure, I miss singing. I have huge regret. But it's nothing I can do anything about. So in the great tradition of vaudeville, we forge on."
Posted
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Did 'Eli Wallach' play the 'Good'; the 'Bad; or 'the 'Ugly' in the 1966 film? | View All Photos (10)
Movie Info
In the last and the best installment of his so-called "Dollars" trilogy of Sergio Leone-directed "spaghetti westerns," Clint Eastwood reprised the role of a taciturn, enigmatic loner. Here he searches for a cache of stolen gold against rivals the Bad (Lee Van Cleef), a ruthless bounty hunter, and the Ugly (Eli Wallach), a Mexican bandit. Though dubbed "the Good," Eastwood's character is not much better than his opponents -- he is just smarter and shoots faster. The film's title reveals its ironic attitude toward the canonized heroes of the classical western. "The real West was the world of violence, fear, and brutal instincts," claimed Leone. "In pursuit of profit there is no such thing as good and evil, generosity or deviousness; everything depends on chance, and not the best wins but the luckiest." Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive "spaghetti western," rivaled only by Leone's own Once Upon a Time in the West (1968). The main musical theme by Ennio Morricone hit #1 on the British pop charts. Originally released in Italy at 177 minutes, the movie was later cut for its international release. ~ Yuri German, Rovi
Rating:
| The Ugly |
Who wrote 'The ABC Murders' on which the 1965 movie 'The Alphabet Murders' was based? | Amazon.com: The Good, The Bad, and the Ugly: Eli Wallach, Clint Eastwood, Lee Van Cleef, Aldo Giuffr?: Amazon Digital Services LLC
By Sony XL on July 4, 2015
Format: Amazon Video Verified Purchase
The Good, the Bad and the Ugly or the Good, the Better and the Best, as I prefer calling it, is a bizarrely sublime and a uniquely aesthetic masterpiece. The actors in title roles have given such extraordinarily superb performances, that it would be impertinent and disparaging to merely regard their swell work as acting. In fact their brilliant portrayals have immortalized Blondie, Sentenza/ Angel Eyes and the enigmatic Tuco. Lee Van Cleef is fiendishly unforgiving as the merciless Angel Eyes. Clint Eastwood is rugged yet suave, cocky yet adorable as laconic cigar-smoker Blondie, a role that laid the foundations of his illustrious career. But it is Eli Wallach, who steals the show with his captivating portrayal of Tuco, a portrayal that is as entrancing as it is enlightening. Wallach is amusing, capricious, nonchalant, uncanny and yet tenacious as Tuco, perturbed by his insecurities and dampened by his solitude. It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled.
Sergio Leone's magnificent and ingenious direction in synergy with Ennio Morricone's surreal music, Tonino Delli Colli's breathtaking cinematography and Joe D'Augustine's punctilious editing makes the movie, a treat to watch and ineffably unforgettable. Initially aimed to be a tongue-in-cheek satire on run-of-the-mill westerns, The Good, the Bad and the Ugly, continues to stand the test of time in its endeavor to attain apotheosis (if it hasn't attained it yet). It will always be remembered as European cinema's greatest lagniappe, not only to the Western genre, but to the world of cinema.
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Which 1995 'Space' move starred Tom Hanks; Bill Paxton and Kevin Bacon? | Apollo 13 (1995) - IMDb
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NASA must devise a strategy to return Apollo 13 to Earth safely after the spacecraft undergoes massive internal damage putting the lives of the three astronauts on board in jeopardy.
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Storyline
Based on the true story of the ill-fated 13th Apollo mission bound for the moon. Astronauts Lovell, Haise and Swigert were scheduled to fly Apollo 14, but are moved up to 13. It's 1970, and The US has already achieved their lunar landing goal, so there's little interest in this "routine" flight.. until that is, things go very wrong, and prospects of a safe return fade. Written by Rob Hartill
Houston, we have a problem.
Genres:
Rated PG for language and emotional intensity | See all certifications »
Parents Guide:
30 June 1995 (USA) See more »
Also Known As:
Apollo 13: The IMAX Experience See more »
Filming Locations:
$200,645 (USA) (20 September 2002)
Gross:
Did You Know?
Trivia
The Saturn V rockets (used for launching the Apollo spacecraft) were 363 ft (110.8 Meters) tall, taller than the overall height of the Statue of Liberty. See more »
Goofs
Lovell is incorrectly shown taking off his space suit while Swigert is performing the Transpositon and Docking Maneuver. Due to the risk of a collision, all three astronauts would be fully suited for this maneuver. Note the transmission from Houstion just prior to this event: "We recommend you secure cabin pressurization at this time." This action is never done unless the crew is fully suited. See more »
Quotes
[Taken off the crew for a viral infection]
Ken Mattingly : Well, I... damn. Medical guys. I had a feeling when they started doing all the blood tests that I... I mean I know it's their asses if I get sick up there but I mean JESUS!
Written and Performed by Norman Greenbaum
Courtesy of Trans/Tone Productions
Made Me Want To Study The Real Apollo 13 Astronauts
17 February 2008 | by ccthemovieman-1
(United States) – See all my reviews
This was a very well-done true story of a space mission that came extremely close to being a disaster, but the astronauts miraculously made it home safely. Except for some language problems, it's good storytelling and so interesting that it made me want to study the real Apollo 13 astronauts.
The movie is fairly long at 140 minutes and there is not much "action" but there is a lot of suspense and first-rating acting, both of which should keep anyone's interest. Knowing this was a true story makes one all the more involved with it. You can usually count of Director Ron Howard putting out an interesting and well-photographed film.
What also was interesting to me, too, was to see these actors, most of whom usually play volatile characters- or did prior to this film - act in such low-key roles. I refer to Ed Harris, Gary Sinise, Bill Paxton and Kevin Bacon.
By the way, one of the young Lovell children was played by Miko Hughes, who became a co- star in a film - "Mercury Rising" - several years later.
For such a tense story, with these astronauts lives on the line, none of the astronauts or people at NASA or anyone's family members are ever seeing praying throughout this ordeal! You can bet, in real life, a lot of prayers were answered on this mission.
Overall, this is good movie-making and recommended.
39 of 46 people found this review helpful. Was this review helpful to you?
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| Apollo 13 |
Who played 'James Bond' in The Living Daylights and Licence to Kill? | 13 Technical Mistakes in Apollo 13 - NYTimes.com
13 Technical Mistakes in Apollo 13
By LINDA LEE
Published: July 24, 1995
Some people just cannot help themselves; they have to find fault. You know the type. They watch the movie "Quiz Show" and notice that the numbers on Herb Stempel's house in Queens don't match the address shown on a piece of paper. In thrillers, they count the shots fired and sneer that in real life the hero would be out of ammo. They can tell you if an actor was wearing a blue shirt when he entered the bar and a white shirt when he left.
And when the movie is a techno-wonder like Universal Pictures "Apollo 13," some engineers just can't help themselves. They look for errors and anomalies - and they find them. The movie in question tells the true story of the Apollo 13 astronauts - Jim Lovell (Tom Hanks), Fred Haise (Bill Paxton) and Jack Swigert (Kevin Bacon) - and their ill-starred trip to the moon in April of 1970.
"Apollo 13" has been judged a rousing success, and broke the $100 million market over the weekend. It has been universally applauded fro Digital Doman's rendering of the launching of a Saturn V rocket, without the use of any documentary NASA footage. But aerospace workers, particularly the self-described "genuine NASA dweebs" at the Johnson Space Ceter in Houston, cannot fail to notice a few details that were simply no the right stuff.
Christopher K. Land, a space-stations engineer at the Johnson Space Center, has circulated on the Internet a list of the technical errors that he, his co-workers and others have spotted, including the fact that James Lovell actually drove a blue Corvette, not a red one.
The producer of "Apollo 13," Brian Grazer, said people who nit-pick movies are a familiar type. "These are the kinds of people who sit in front of the class and have their hands up all the time," he said. As for the dweebs' list, "I'm not sure they're right about most of this stuff," Mr. Grazer said, though he stopped short of saying the Johnson Space people were wrong.
Thirteen of the "errors" that have been floating on the Internet are offered here for those who want to see how their own nit-picking skills stack up against those of the dweebs. LINDA LEE
Chart: (Reading this list is guaranteed not to give the story away, but reading the next sentence will: They make it back safely.) 1. WATCH THE PAINT The paint pattern for the Saturn V in the film is not accurate. On the lower half of the first stage, the original test model (which never flew) has black-and-white verticle stripes topped with a ring of black paint. All the launched Saturn V's had the verticle stripes topped with a wider ring of white paint. The movie version omits the ring of paint, and continues to use the stripes. 2. EARLY WORM The distinctive NASA "worm" letter logo is seen on a glass window when the astronauts are climbing into their spacesuits. The logo was not developed until 1976. The men of Apollo 13 would have dressed to the old emblem. 3. FALSE STARTS The engines of the Saturn V were started at "T minus nine" seconds, not at "T minus zero" as the movie had it. (As any dweeb knows, it's the hold-down bolts that are released at "T minus zero.") This change was made in the film, apparently, to add drama. 4. SYNCHRONIZED SWING The gantry arms for the Saturn V -- the support arms that fall away just before liftoff -- are released in unison, not one at a time as shown in the film. 5. NO AIR BAGS? The sudden jolt at the separation of the first-stage rocket was completely unexpected, not a routine occurence as portrayed in the movie. During the actual mission, small retro-rockets on the top of the first stage fired one second too early (whoops!). This is what threw the astronauts forward as shown in the movie. Truth be told, the real Jim Lovell had several marks on his helmet from banging into the switch guards. 6. PHASE OUT The film shows the moon changing phases several times during Apollo 13's four-day journey. There was only one phase, and it as a waning half moon. How come? Apollo 13 was scheduled to land on the left side of the moon and landing was always planned for sunrise, so that long shadows could aid navigation. (Sunrise on the moon, of course, occurs only every 28 days.) 7. NIGHT SHIFT Upon passing behind the moon, the movie astronauts lose communication with the earth and enter darkness simultaneously. But the far side of the moon and the dark side of the moon are the same only every 28 days. This wasn't that day. (See No. 6 above.) 8. TRY AN ABACUS If you study what's written on Tom Hank's work sheet, he is doing addition and subtraction to calculate the spacecraft's orientation angles. The engineers are asked to check his arithmetic, and one uses a slide rule. Anyone handy with a slide rule will tell you it is not used for addition and subtraction. 9. THEORY OF RELATIVITY As the film astronauts near the moon, there is a shot (done with models) that shows the sun, the moon and the Apollo spacecraft. Proportionally, the spacecraft appears to be the size of Australia, and traveling at roughly 25 million miles an hour - about a thousand times faster than an actual Apollo craft. 10. STARS GAZING The astronauts point out the Sea of Tranquillity as they pass over it. The image in the movie is actually Hadley's Rille (it looks like a river), the landing site of Apollo 15. 11. FULLY IMPOSSIBLE A full moon appears out one window of the lunar module on the way back to earth. Out of a window on the other side, there is a view of the full earth. Full moon, full earth -- that would be possible only if the sun where between the moon and the earth (it's not), or if the module where somewhere near Venus (it wasn't). 12. PROTRACTORS READY? At one point, the ship is said to be rotating at 2.5 degrees per second. The view out the window shows the earth moving past at about five times that rate. For comparison, the second had on a clock rotates 6 degrees per second. 13. A SILENT VACUUM Outside the capsule, the propulsion jets are roaring. In the vacuum of space, however, propulsion jets do not make any noise whatsoever -- unless you are very, very close to them, in which case you would be a cinder.
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What 1976 movie was a sequel to 'All Creatures Great and Small'? | All Creatures Great And Small
All Creatures Great And Small
1 9 7 7 - 1 9 8 0 (UK)
1 9 8 8 - 1 9 9 0 (UK)
88 x 50 minute episodes
3 x 90 minute episodes
James Herriot's tales of his time as a country vet first appeared on screen in a 1974 movie starring Simon Ward, followed by a sequel, It Shouldn't Happen To A Vet, with John Alderton in 1976.
For the TV series All Creatures Great And Small, Christopher Timothy was cast as Herriot - a novice vet who joins the practice of Siegfried Farnon (Robert Hardy) and his easygoing brother Tristan (Peter Davison, later to become the fifth incarnation of Doctor Who ) in the fictional Yorkshire Dales town of Darrowby in the 1930s.
The countryside around Askrigg in Yorkshire was used to provide the location, but it proved difficult to find farm animals who looked right for the 1930s setting (cows had horns back then).
Right from the start the actors found out what vets right arms are for: shoving up animals backsides. Christopher Timothy soon learned about getting to know a cow in depth, and several unfortunate cows learned early how easy it is for a novice to take a wrong turning! But luckily, viewers weren't shown the whole process until the 1988 series - in which the actors seemed to do very little else . . .
By 1978 the series had become one of the BBC's biggest successes. It survived the small scandal of Christopher Timothy's real romance with his leading lady, Carol Drinkwater, and it helped to knock Bruce Forsyth's Big Night out of the ratings.
American tour companies began running 'Herriot Country' trips around Askrigg, and the Pekinese who played Tricki Woo (Mrs Pumphrey's pampered pooch) had to have a batch of photographs printed to send out to his growing legion of fans.
The programme came to an end in 1980 after three series'', with Herriot and Tristan Farnon heading off to World War II. Two Christmas specials followed in 1983 and 1985, and public pressure succeeded in bringing about a return for the series in 1988.
The war was now over and Siegfried was married. A new vet, Glaswegian Calum Buchanan, had joined the practice and Carol Drinkwater''s Helen Herriot was replaced by Lynda Bellingham.
The sick animals seen in the stories were usually local beasts with injuries courtesy of the makeup department. Sometimes expensive shire horses and foals were tranquillised to look lifeless, with anxious owners looking on.
But operations were genuine ones, actually performed (for obvious reasons) by real vets, with the actors filmed doing easy bits. Eddie Straiton, a vet who was friends with the real James Herriot, was the consultant on the series for a long time.
He was reported as recalling only one occasion when an animal was operated on unnecessarily. A mongrel dog had been brought into his surgery to be put down. In the series, James was to operate on a dog which had swallowed a ball. Straiton anaesthetised the dog, cut a part of its throat and inserted a squashed ball for Christopher to remove. The animal recovered completely and was found a new owner, but the scene upset some of the technicians, who claimed it was vivisection. Eddie agreed with them and resolved "never again".
All Creatures Great And Small finished with another high rating Christmas special in 1990.
AUDIO
| It Shouldn't Happen to a Vet |
Who played the US President in the 1997 film 'Air Force One'? | Wikipedia TLDR (too long, didn't read)
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It Shouldn't Happen to a Vet (in the US also known as All Things Bright and Beautiful), is a 1976 sequel to the 1975 film All Creatures Great and Small. Although having the same title as James Herriot's second novel, the film is actually based on his third and fourth novels, Let Sleeping Vets Lie and Vet in Harness, which in the US were released as a compilation volume titled All Things Bright and Beautiful. In this film, John Alderton has taken over the role of James and Colin Blakely that of Siegfried (portrayed by Simon Ward and Anthony Hopkins in the first film), while Lisa Harrow returns as Helen. It also features Richard Griffiths in his debut film appearance as 'Sam'. The film was directed by Eric Till, and the screenplay is by Alan Plater. The film, which has a British-American joint venture, was entered into the 10th Moscow International Film Festival.
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It Shouldn’t Happen to a Vet
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Who directed the 1982 'ET' movie? | E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD - YouTube
E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD
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E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD
A troubled child summons the courage to help a friendly alien escape Earth and return to his home-world.
Directed by Steven Spielberg and starring Dee Wallace Henry Thomas Peter Coyote Robert MacNaughton and Drew Barrymore A science fiction fairytale about an extra-terrestrial who is left behind on Earth and is found by a young boy who befriends him. This heart-warming fantasy from Director Steven Spielberg became one of the most commercially successful films of all time.
Universal - 1982
| Steven Spielberg |
In what year was the multi Academy Award winning film 'Kramer v Kramer' released? | 'Poltergeist' And 'E.T. The Extra-Terrestrial': Are They The Same Movie? | Moviefone
'Poltergeist' And 'E.T. The Extra-Terrestrial': Are They The Same Movie?
by Gary Susman
Imagine it's June 1982, and you're faced with a decision at the multiplex between two new movies, "Poltergeist" (released on June 4) and "E.T. the Extra-Terrestrial" (released a week later, on June 11). Which film about a suburban family whose lives are overturned by a supernatural alien presence do you want to see?
At the time of their release, the horror/satirical approach of "Poltergeist" and the mythical/sentimental approach of "E.T." seemed to be at opposite ends of the spectrum. Yet, three decades later, the two movies have more in common than near-simultaneous release dates, suburban settings, and otherworldly fantasy/horror/sci-fi elements: they also sprang from the mind of Steven Spielberg and explored many of his signature themes.
Spielberg himself noted the similarity in a June 1982 interview: "I think people lead lives where their deepest wish is that something would interrupt the mundane everyday routine," he told Michael Verona . "And someone (or something) comes into their lives that disturbs everything, disrupts everything, makes them suddenly have to work at life and to live it [to the fullest] to survive."
Although Spielberg went on to say -- in an interview quoted in the Douglas Brode book, "The Films of Steven Spielberg" -- that "Poltergeist" is "about suburban evil, and ["E.T."] is about suburban good," both films started with similar ideas. The director had originally conceived a project called "Night Skies," about a rural family terrorized by an alien invasion. Eventually, that evolved into the more benign arrival of "E.T.," while the invasive, ghostly force gave us "Poltergeist."
Both stories also had roots in Spielberg's own childhood. His home in Haddon Township, New Jersey, contained a crack, of which Speilberg said, "I remember lying there, trying to go to sleep, and I used to always imagine little Hieronymus Bosch-like creatures inside, peeking out and whispering to me to come into the playground of the crack and be drawn into the unknown there." He was talking about the monsters in the closet in "Poltergeist," though he could just as easily have been talking about the "goblin" hiding in the closet among the stuffed animals in "E.T."
Spielberg also made both films at nearly the same time, in Los Angeles suburbs (Agoura Hills for "Poltergeist," Northridge for "E.T."). In both cases, the screenplays started out as his creations, though he farmed them out to other writers to flesh out (Michael Grais and Mark Victor for "Poltergeist," Melissa Mathison for "E.T."). And though Tobe Hooper is credited as the director on "Poltergeist," Spielberg effectively directed both movies, which has lead to a lot of controversy over the years as to how much credit Hooper deserved. (A good summary of the competing claims is at this "Poltergeist" fan site .) According to the accounts of several of the actors and crew members, it was executive producer Spielberg who was really calling the shots, from designing at least half of the storyboards (producer Frank Marshall said Spielberg did all of them) to approving camera setups to overseeing all the post-production work (editing, music, effects) without any input from Hooper.
It's possible that the indie-bred Hooper may have been out of his depth on the effects-heavy, $9.5 million budget -- a lot of money for a horror film in 1982 -- studio movie (an arena where Spielberg was at home), or he may simply have been overwhelmed by his powerful producer's highly specific vision. Either way, the resulting film doesn't look much like a Hooper horror film (he had previously directed horror classics "The Texas Chainsaw Massacre" and "Salem's Lot"): There's no blood, minimal gore, and no one dies (except the canary). On the other hand, there are a lot of Spielberg's visual trademarks (low-angle shots; a preference for zooming or changing focus, rather than panning, to introduce surprises into the frame; characters looking upward in awe).
Those visual and stylistic similarities seem even more pronounced if you watch "Poltergeist" and "E.T." back to back. Both look like they were shot in the same suburb, maybe even the same house. (In fact, they were shot 20 miles apart.) Both also feature similar families, with three kids -- a teenager, a boy of about 10, and a blond girl of about five. Both seem to have a similar view of childhood as more open-minded and imaginative than adulthood (and therefore, more receptive to the weird, magical visitors). Adults catch on eventually, however, and it takes a team of grown-up professionals, who initially seem creepy but turn out to be benign, to help send the visitors back to the world where they belong and to restore the family to wholeness.
In the early part of his career, Spielberg was often dismissed as a director who idealized both suburbia and childhood, painting each with a corny, overly sentimental gloss. But "Poltergeist" and "E.T" present suburbia and childhood as darker, more ambivalent places than the conventional wisdom Spielberg suggests. Suburbia, in both films, is set on the edge of a wilderness that contains hidden terrors -- undeveloped land populated by vengeful corpses, or a forest where space aliens and scary government scientists both pursue their quarries. The seemingly rational order imposed by the suburban grid, the shiny new-ness of the consumer-friendly houses, proves to be a thin, false facade, a vain attempt to impose civilization upon primal forces that's left in a chaotic shambles by the end of the movie.
Meanwhile, childhood, in both movies, is a realm of fears -- fears not just of monsters in the closet, but of real-life terrors like parental abandonment, being singled out as different, or puberty. Parents, if present, can help only so much; they can assuage those fears a bit but can't banish them altogether.
In the end, the similarities between these two movies and the the fact they were released one week apart, just proves what a nuanced and versatile filmmaker Spielberg really is. After all, 1982 wasn't the only time Spielberg would dazzle audiences with two movies back to back: He did so again in 1993 (when he released "Jurassic Park" and "Schindler's List" within months of each other), 1997 ("The Lost World: Jurassic Park," "Amistad"), 2002 ("Minority Report," "Catch Me If You Can"), 2005 ("War of the Worlds," "Munich"), and 2011 ("The Adventures of Tintin," "War Horse").
Usually, when Spielberg does a double-header, one movie is for sheer entertainment, while the other is a swing for the artistic fences. In 1982, however, both his films were immensely entertaining and both worked on multiple levels beyond their genre-story origins. "E.T." got most of the Oscar glory ("Poltergeist" got three nominations and lost to "E.T." in each category), but the former stands up today as a serious exploration of common Spielberg themes, as well as one of the scariest horror movies ever. Watch them both, and you'll realize that awe and terror are opposite sides of the same coin.
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What was the title of the third 'Dirty Harry' movie released in 1976? | The Enforcer (1976) - IMDb
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Dirty Harry must foil a terrorist organization made up of disgruntled Vietnam veterans. But this time, he's teamed with a rookie female partner that he's not too excited to be working with.
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Dirty Harry is on the trail of vigilante cops who are not above going beyond the law to kill the city's undesirables.
Director: Ted Post
A rape victim is exacting revenge on her aggressors in a small town outside San Francisco. "Dirty" Harry Callahan, on suspension for angering his superiors (again), is assigned to the case.
Director: Clint Eastwood
Dirty Harry Callahan must stop a sick secret contest to murder local celebrities, which includes himself as a target.
Director: Buddy Van Horn
When a mad man calling himself 'the Scorpio Killer' menaces the city, tough as nails San Francisco Police Inspector Harry Callahan is assigned to track down and ferret out the crazed psychopath.
Director: Don Siegel
1 2 3 4 5 6 7 8 9 10 6.4/10 X
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Director: Clint Eastwood
The San Fernando Valley adventures of trucker turned prize-fighter Philo Beddoe and his pet orangutan Clyde.
Director: James Fargo
A mysterious preacher protects a humble prospector village from a greedy mining company trying to encroach on their land.
Director: Clint Eastwood
Philo takes part in a bare knuckle fight - as he does - to make some more money than he can earn from his car repair business. He decides to retire from fighting, but when the Mafia come ... See full summary »
Director: Buddy Van Horn
Wes Block is a detective who's put on the case of a serial killer whose victims are young and pretty women, that he rapes and murders. The killings are getting personal when the killer ... See full summary »
Director: Richard Tuggle
When an innocent man barely survives a lynching, he returns as a lawman determined to bring the vigilantes to justice.
Director: Ted Post
A pilot is sent into the Soviet Union on a mission to steal a prototype jet fighter that can be partially controlled by a neuralink
Director: Clint Eastwood
A Missouri farmer joins a Confederate guerrilla unit and winds up on the run from the Union soldiers who murdered his family.
Director: Clint Eastwood
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Storyline
Picking up three years after the events in Magnum Force, a threatening terrorist group called, The People's Revolutionary Strike Force declare war to the city of San Francisco and demand a ransom to be paid, otherwise they plan to blow the city apart. While Inspector 'Dirty' Harry Callahan is at a limbo following his unorthodox method during a robbery, he's at it to dispatch the terrorist group, by playing their game by being more dirty than ever. But this time, he's got a new partner, which might prove the task to be somewhat more difficult than ever, unless the two can work together. Written by Anonymous
The "dirtiest" Harry of them all! See more »
Genres:
22 December 1976 (USA) See more »
Also Known As:
Did You Know?
Trivia
In 1980, a writer sued Clint Eastwood for plagiarism, accusing him of taking the title of the film from one of his works. Eastwood maintained that he was inspired by the Humphrey Bogart film The Enforcer (1951) (which was also owned by Warner Bros.). The case was dismissed. See more »
Goofs
When Callahan fires the bazooka at the watch tower that Bobby Maxwell has just climbed up to, the cabin on top of the tower vanishes shortly before the missile hits it. We just see the bare platform for a few frames, then there's an explosion and then we see the platform in flames. See more »
Quotes
Police officer: [At the scene of an explosion in a men's room] Well, we were lucky this time.
Harry Callahan : Getting so a fellow can't even go to the can in peace.
(United States) – See all my reviews
This film was to be Dirty Harry's last outing in the seventies (do not worry though, he had two comebacks in the eighties). It is easy to compare this film, with the two previous Dirty Harry movies, because there some things have (still) not changed. First of all, Harry (obviously) kept his cheeky mouth, which again provides the viewer with the necessary laughs and his boss with the necessary headaches. This is not the only thing that has stayed the same though. Again some of the scenes could have been shorter, thus (theoretically) making The Enforcer a much tighter package. A perfect example of that is the scene in which Harry chases a bad guy to the rooftop of a building. Not only could this scene have been shorter, but it could also have been much more exciting had there been adequate use of music and cinematography. There is however one upside to this installment in the Dirty Harry series, which is, that it is far more stable than it's predecessors. It is not a decent or good film film, but it gets very close, mainly because of the good acting and the fact that the film remained interesting for the despite it's downsides. Best Dirty Harry film until then. If you want to know if it is the best in the series, check my comment for Sudden Impact
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| Enforcer |
The 1982 movie 'The Best Little Whorehouse in Texas' starred which country singer? | Dirty Harry: The Enforcer YIFY subtitles
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Enjoyable on its own. Not quite a Harry movie, but a Clint movie5/10
I think many fans have mixed feelings about THE ENFORCER. It represents both a departure from and an adherence to the familiar Harry tradition. However, despite its many shortcomings, it excludes a great 70s feel.
Fans of the first two installments will still delight in Harry's struggles with bureaucracy in the department, and to this end Bradford Dillman is a valuable addition to the series as the new Chief. Once again, Clint has some killer dialogue but while for the most part he is as stern as in his previous performances, some of his lines are offered just a little too sparingly and nonchalantly.
The villains this time a group of mere misfits who kidnap the Mayor of San Francisco for a ransom of five million dollars just aren't as menacing as the crooks in DIRTY HARRY and MAGNUM FORCE. There's no mystique surrounding their identity and their performances are particularly flat and nondescript (even to the point where their plot points may wash over you and you momentarily lose your place.)
The script begins very promisingly with Harry being assigned a female partner. The relationship that develops between the two - as Harry is forced to deal with his subconscious sexist prejudice leads to some surprising comical moments, and this addition to the dynamic of the usual animosity between Harry and his partners comes across very well.
The soundtrack is overwhelmingly orchestral giving THE ENFORCER a Hollywood music make-over instead of the usual gritty and upbeat Lalo Schrifin score which was used to full effect earlier. The chase scene in which Harry ends up in the Church builds up some tension and only serves thereby to remind the viewer of a hitherto absence of the moody jazz that was so prevalent in the original.
The original Dirty Harry's success was not due to any specific formula but rather was the result of a film full of subtleties. These subtleties included a perfect music score, a balanced tension between Harry and his partners, Harry's contempt for the red tape of police bureaucracy, and the sinister nature of the villain(s). Together, these dynamics made the original two movies stronger than the sum of their parts: THE ENFORCER is simply not as magical. This is a great pity. For the next Harry outing would see an older, greyer, and wrinklier Clint - and the series could only ever descend into some sort of parody.
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Tough cop Harry Callahan is called on once again and he goes after nasty terrorists6/10
This is the third entry in Harry Callahan's popular series , the first is the classic ¨Dirty Harry ¨(1971) by Don Siegel , the second is ¨Magnum Force¨ by Ted Post . This time has a female partner ( Tyne Daly ) who is assigned when his ordinary pal ( John Mitchum ) is wounded . And they try to track down some dangerous terrorists ( Michael Cavanagh , Veren , among others ). Then the terrorists hijack the Mayor ( John Crawford ) of City San Francisco . As always , two-fisted Callahan , the tall and taciturn inspector utilizing his Magnum 44 pistol kills the baddies. Rock-hard cop Harry abuses the murderer's civil rights , however facing his superiors , a captain(Bradford Dillman) and a Lieutenant ( Harry Guardino ) . Rule-breaking Callahan strides grimly throughout San Francisco in pursuit the murderous , including an exciting final on Island-prison of Alcatraz.
Formula thriller plenty of action , crisply edition , tension, suspenseful and lots of violence . Appropriate and atmospheric musical score by Jerry Fielding . Less effective than ¨Dirty Harry¨ but still gripping and stirring . Colorful and adequate cinematography , reflecting splendidly the streets of San Francisco , habitual scenario of the series . The motion picture is professionally directed by James Fargo who also made other vehicles for Eastwod ( Every which way but loose ) and for Chuck Norris ( Forced vengeance ) . Followed by ¨Sudden impact¨ with Sandra Locke and ¨Dead pool¨ with Liam Neeson . Rating : Good, 6,5 . Well worth seeing for Clint Eastwood fans and Harry Callahan's followers . It's a cool companion to Dirty Harry classic, an amusing film with several scenes that'll have you on the edge of your seat.
source
OK, not quite "marvelous"6/10
Kindler, gentler Dirty Harry film which puts our bureaucracy-hating, crime-busting hero with a female partner played by Tyne Daly, who would later achieve fame on "Cagney & Lacey" and is currently seen on "Judging Amy." Thin plot, some classic Eastwood quotes, but the villains can't match Andy Robinson from "Dirty Harry" or David Soul from "Magnum Force." This might be the weakest Harry of the bunch.
source
A competent action but a noticeable lack of depth and subtlety
7/10
Harry Callahan quickly establishes his action-not-words by driving his car through a liquor store window to free the owners, who are being held as hostages
Demoted to the personnel department, he scorns bureaucracy in general and in particular the Mayor's policy of attracting women into the force, but he is saddled with one, Kate Moore (Tyne Daly) as his by now obligatory 'minority' partner
Insp. Callahan finds black militants are not his enemies but his allies: when 'Big' Ed Mustapha (Albert Popwell), the black leader, is arrested to boost the Mayor's prestige, Harry actually resigns this time and continues his pursuit of the revolutionaries as a loner
His female aide risks her own job to he1p him and eventually they chase a prime suspect through the seamy 'massage parlor' underworld of the city and kill a leading gang member, who has disguised, herself as a nun
And discovering that the Mayor is being held captive on Alcatraz Island, they make for an abandoned fortress for the final shootout
The film is a step backwards in style and content from the previous two
Harry seems to have reverted to his first incarnation: 'What kind of a department are we running when we're more concerned with the rights of the criminals than of the people we're supposed to be protecting?' and displays unusual brutality in roughing up a man who feigns heart attacks instead of paying his restaurant bills
Advertised as the 'dirtiest Harry of them all,' it is also the weakest
Without the experience of Siegel or Milius to help him, Eastwood took a gamble on James Fargo, his assistant director on some of his previous films and the result was competent action but a noticeable lack of depth and subtlety
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What nationality is actress Claudia Cardinale? | Claudia Cardinale - Biography - IMDb
Claudia Cardinale
Biography
Showing all 32 items
Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (4) | Trivia (18) | Personal Quotes (5)
Overview (3)
5' 6¼" (1.68 m)
Mini Bio (1)
Like many other female Italian film stars, Claudia Cardinale's entry into the business was by way of a beauty pageant. She was 17 years old and studying at the Centro Sperimentale in Rome when she entered a beauty contest, which resulted in her getting a succession of small film roles. Her earthy interpretations of Sicilian women got her noticed by Italian producers, and the combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. After Careless (1962) she rose to the front ranks of Italian cinema, and became an international star in Federico Fellini 's classic 8½ (1963) with Marcello Mastroianni . American audiences may best remember her from her starring role in Sergio Leone 's Once Upon a Time in the West (1968).
- IMDb Mini Biography By: [email protected]
Spouse (1)
Seductive deep voice
Trivia (18)
She has two children: Patrizio, who was born out of wedlock (the father was a mysterious Frenchman) when she was 17 and later adopted by her former husband Franco Cristaldi ; and Claudia, whose biological father is her longtime companion Pasquale Squitieri .
At the Italian Embassy in Tunis, she was voted the most beautiful Italian girl in Tunisia. Her prize was a trip to Venice during the Venice Film Festival. After the festival she was offered movie roles, but refused them and returned to Tunis. However, six months later, a producer sold her on a career in movies, and she went to Rome with her parents, two brothers and a sister, taking a home in Castel Giubileo, a small town outside the city (1957).
She signed a contract forbidding her to cut her hair, marry or gain weight. Because of this, she told everyone that her newborn son (out of wedlock) was her baby brother. She did not reveal to the child that he was her son until he was 19 years old.
Was a member of the jury at the Cannes Film Festival in 1993.
Has lived with Pasquale Squitieri since 1975.
While her longtime companion lives in Rome, she calls Paris her home due to her popularity in France.
Has been UNESCO Goodwill Ambassador for the Defense of Women's Rights since 1999.
As she had a deep voice and spoke Italian with a heavy French accent, her voice was dubbed in her early movies. The Pink Panther (1963) was meant to be her first English-speaking role; however, her voice wound up being dubbed.
Told a reporter she liked a dry martini before dinner, caviar for hors d'oeuvres, lobsters or oysters for seafood, or a steak alla Fiorentina. When it came to wine, her preference was for a rich, red wine (1965).
Preferred to be called by her initials: CC.
Originally intended to become a teacher in Tunis, North Africa.
Her father was an Italian railroad worker. Despite having an Italian father, she grew up speaking French after her French mother.
Her mentor was her late husband Franco Cristaldi .
Speaks French, Italian, English, Spanish and Arabic (from having been raised in Tunisia).
Long considered one of the world's great beauties, she has appeared on more than 900 magazine covers in over 25 countries.
Although one of the great sex sirens of her time, she never appeared in a nude or fully topless scene.
Famed cinematographer Conrad L. Hall called her "a cameraman's dream - a perfect piece of nature - there is not much you can do wrong in photographing her".
Good friends with fellow sex siren Brigitte Bardot .
Personal Quotes (5)
I never felt scandal and confession were necessary to be an actress. I've never revealed myself or even my body in films. Mystery is very important.
If you're not English, you're a foreigner - so you must be sexy. It's an old British cliché.
[on acting] But to do this kind of work, you have to be very strong, otherwise you lose your personality, your identity. You don't know who you are. It's fantastic because I've been living thousands of lives, not only my life.
I wasn't speaking a word of Italian until I was 18. They had to dub my voice in my first Italian picture!
Luchino Visconti wanted me dark-haired, for Federico Fellini I had to be a blonde, I had long hair at the time and kept dyeing it from one to the other. The two directors were completely different, almost hated each other, I think.
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| Italian |
Who was the hero of the old TV cop series Dragnet? | Claudia Cardinale Pics - Claudia Cardinale Net Worth
Claudia Cardinale Pics
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Claudia Cardinale
Claudia Cardinale Net Worth is $10 Million. Claudia Cardinale is Actor. Claudia Cardinale Date of Birth is Apr 15, 1938. Claudia Cardinale Nickname is Claude Josephine Rose Cardinale, Claudia Cardinal, CC. Claudia Cardinale Height is 1.73 m. Claudia Cardinale Ethnicity is French ...
Claudia Cardinale Net Worth is $10 Million.
Claudia Cardinale Net Worth is $10 Million. Claudia Cardinale is Actor. Claudia Cardinale Date of Birth is Apr 15, 1938. Claudia Cardinale Nickname is Claude Josephine Rose Cardinale, Claudia Cardinal, CC. Claudia Cardinale Height is 1.73 m. Claudia Cardinale Ethnicity is French people, Italian Tunisians, Sicilian-American. Claudia Cardinale Country is Italy, Tunisia. Claudia Cardinale is an Italian actress, and appeared in some of the most prominent European films of the 1960s and 1970s. The majority of Cardinale's films have been either Italian or French.
Claudia Cardinale was born Claude JosAphine Rose Cardinale in La Goulette, a neighborhood of Tunis, French Tunisia. Her mother, Yolande Greco, was born in Tunisia to Sicilian emigrants from Trapani. Her father was a Sicilian railway worker, born in Gela. Her native languages were French, Tunisian Arabic, and the Sicilian language of her parents. She did not learn to speak Italian until she had already begun to be cast for Italian films.
In 1957, Cardinale won the Italian embassy's 'Most Beautiful Italian Girl in Tunisia' contest. The contest included a trip to the Venice Film Festival, bringing Cardinale to the attention of the Italian movie industry. Her feature film debut was Goha , a French-Tunisian co-production. After attending the Centro Sperimentale di C...
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Which African country was founded by Americans? |
Henry Clay was among supporters of sending freed slaves to Liberia
In Tuesday's Washington Post, an editorial urging President Bush to send peacekeepers to civil war-wracked Liberia noted that the country was "founded by freed U.S. slaves." Is that true?
Not quite. Although some freed American slaves did settle there, Liberia was actually founded by the American Colonization Society, a group of white Americans—including some slaveholders—that had what certainly can be described as mixed motives. In 1817, in Washington, D.C., the ACS established the new colony (on a tract of land in West Africa purchased from local tribes) in hopes that slaves, once emancipated, would move there. The society preferred this option to the alternative: a growing number of free black Americans demanding rights, jobs, and resources at home.
Notable supporters of transporting freed blacks to Liberia included Henry Clay, Francis Scott Key, Bushrod Washington, and the architect of the U.S. Capitol, William Thornton—all slave owners. These "moderates" thought slavery was unsustainable and should eventually end but did not consider integrating slaves into society a viable option. So, the ACS encouraged slaveholders to offer freedom on the condition that those accepting it would move to Liberia at the society's expense. A number of slave owners did just that.
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When the first settlers were relocated to Liberia in 1822, the plan drew immediate criticism on several fronts. Many leaders in the black community publicly attacked it, asking why free blacks should have to emigrate from the country where they, their parents, and even their grandparents were born. Meanwhile, slave owners in the South vigorously denounced the plan as an assault on their slave economy.
Abolitionist resistance to colonization grew steadily. In 1832, as the ACS began to send agents to England to raise funds for what they touted as a benevolent plan, William Lloyd Garrison revved up the opposition with a 236-page book on the evils of colonization and sent abolitionists to England to track down and counter ACS supporters.
But the scheme had some fans. Slave states like Maryland and Virginia were already home to a significant number of free blacks, and whites there—still reeling from Nat Turner's 1831 rebellion, which emancipated slaves had a hand in—formed local colonization societies. Thus encouraged, Maryland legislators passed a law in 1832 that required any slave freed after that date to leave the state and specifically offered passage to a part of Liberia administered by the Maryland State Colonization Society. However, enforcement provisions lacked teeth, and many Marylanders forgot their antipathy to free blacks when they needed extra hands at harvest time. There is no evidence that any freed African-American was forcibly sent to Liberia from Maryland or anywhere else.
By the 1840s, the American Colonization Society was largely bankrupt, and the transported Liberians were demoralized by hostile local tribes, bad management, and deadly diseases. The U.S. government would not claim sovereignty over the colony, so in 1846 the ACS demanded that Liberians declare their independence. In the end, around 13,000 emigrants had sailed to Liberia. Today, vestiges of the emigration can be seen in Liberia's Maryland County, in the American-sounding names we read in the papers, and, as reported on National Public Radio, in one Liberian restaurant's offer of Maryland-style fried chicken.
| Liberia |
What part of a frog do you rub to hypnotise it? | CNN.com - Nation settled by ex-slaves struggles for unity - Jul 23, 2004
Nation settled by ex-slaves struggles for unity
July 26, 1847: Liberia officially founded
By Amy Cox
CNN
An American family prepares for a journey to Liberia at the turn of the 20th century.
VIDEO
From the 1996 Olympic Park bombing to Lance Armstrong's fifth Tour de France victory, CNN looks back on the week of July 25th to 31st.
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(CNN) -- Searching for a land of freedom and opportunity, thousands of former slaves left the United States in the 19th century and sailed across the Atlantic to a continent their ancestors had unwillingly left.
Over the decades, freed blacks settled on the west coast of Africa in what is today Liberia. They established a nation on July 26, 1847, and also a relationship with Africans that continues to influence regional politics.
A colony for blacks outside the United States had been proposed several times, beginning in the 1700s, but it was the American Colonization Society's formation in 1817 that provided the impetus to make it a reality.
"[Colonization] was supposed to be sort of a remedy for slavery and racial inequality in the country," said Claude Clegg, author of "The Price of Liberty: African Americans and the Making of Liberia." "Colonization was believed to be a middle ground -- you rid the nation of slavery but also rid the country of African Americans and the whole issue of race altogether."
The Colonization Society attracted a mixed bag of supporters, Clegg said. Anti-slavery Quakers believed blacks would only find true freedom away from the United States; many slaveholders did not want free blacks in the country; and some freed blacks who wished to live in their ancestral homeland supported the group.
Still, many other freed slaves and abolitionists opposed the idea of colonization, believing that those wishing to go to Africa should stay and fight for freedom in the United States.
"Many blacks said: 'We were born here and we have every right to be here as much as any group' and criticized those who wanted to leave," explained Wynfred Russell, who was born in Liberia and teaches classes on African-American and African studies at the University of Minnesota.
Five years after its formation, the American Colonization Society launched its first ship to Liberia, founding a settlement named Monrovia, after U.S. President James Monroe. Over the decades, the number of blacks sailing to Liberia steadily increased. Settlers built schools, churches and roads and formed a government modeled on the United States.
By the 1840s, many European countries had established colonies surrounding Liberia and were pressuring the colony, the American Colonization Society and even the United States to clarify Liberia's role and identity: Could it broker treaties and trade agreements? Could it levy taxes? And could England or France annex the area if it was not claimed by any other country?
In response, Joseph Jenkins Roberts, who had immigrated to Liberia in 1829, publicly declared the colony an independent republic on July 26, 1847, and was elected president the next year. The declaration created the first black-ruled republic in Africa.
But tensions between the settlers and the indigenous people grew within the new nation.
Seeds of civil war
When the first settlers came ashore, they were not completely welcomed, according to Clegg. The new immigrants' takeover of land and the injection of U.S. customs and religion into the culture was resented.
"It was the same issue as this country and any other settler society in which you have a native people and then others who have come to settle," said Clegg, a history professor at Indiana University. "Liberia is a mirror image of the United States and its settlement.
Joseph Jenkins Roberts became Liberia's first elected president in 1848.
"You have immigrants ... who are settling along the coast and seizing the lands and the labor -- and sometimes the lives -- of African people. They weren't particularly pleased to see the settlers arrive."
This rift, vulnerability to African diseases, and the hardship of creating a Westernized nation disilllusioned many immigrants.
"There was a certain amount of romantic sentiment that comes through some of the letters" (from immigrants), Clegg said. "There are those who believed they had a sort of long-standing connection with Africa.
"Maybe that facilitated the willingness of some people to project upon Africa their hopes and desires. Once they get there, many of them are shocked into a realization that they were very wrong about what Africa was about."
But some did find what they were looking for. William Burke and his family sailed to Liberia in 1853 after they were freed by owner Robert E. Lee, later a celebrated Confederate general, and were enthusiastic about their new home.
"I bless the Lord that ever my lot was cast in this part of the earth," Burke wrote after five years in Liberia, where he became a minister and educator. "The Lord has blessed me abundantly since my residence in Africa, for which I feel that I can never be sufficiently thankful."
"I love Africa and would not exchange it for America," agreed Burke's wife, Rosabella, in a letter to the wife of her former owner Lee.
By 1867, the American Colonization Society had sent more than 13,000 people, according to the Library of Congress. In these immigrants' quest to escape oppression in the United States, they created the same exclusionary practices they left behind and sowed the seeds for future civil conflict.
"They took a completely new political system that natives didn't know about and dominated the political system for 150 years," Russell said.
Liberia today
Decades after Liberia's founding, the same tensions between the ruling class -- the descendants of the freed black slaves, which make up about 5 percent of the population -- and the indigenous Africans spurred a 1980 coup. It marked an end to the settlers' dominance, as well as the beginning of decades of political instability.
In 1989, Charles Taylor attacked the Liberian government, setting off a bloody civil war.
After years in the United States, and elsewhere in exile, Charles Taylor returned in 1989 and with rebel forces attacked the Liberian government, setting off a bloody civil war. His regime ended in 2003 when Taylor -- under intense global pressure -- resigned and left the country as international peacekeepers entered. A United Nations' tribunal later indicted him for war crimes.
Today, Liberia and the United States have very different views of one another.
"I think many Liberians see the United States as sort of a godfather figure," Clegg said. "They see the United States as the place of their ancestors ... [but] I think that's wishful thinking."
The reality, said Clegg, is that most Americans do not see any special connection at all.
Still, America's influence remains strong: the Liberian flag closely resembles the U.S. "stars and stripes," some architecture resembles 19th-century plantation houses, English is the official language and the U.S. dollar is accepted as currency.
Now, the African nation is striving for political stability, said Russell, the native Liberian. Elections, overseen by an international peacekeeping force, are planned for fall 2005.
"All indications are that Liberians are now serious for peace and a government that will be ushered in peacefully," he said. "The future is bright."
Clegg agreed Liberia is poised for change, but cautioned against being overly optimistic.
"Elections themselves are not the magic bullet," Clegg said. "I think it depends on what happens between now and then. Much less depends upon the election itself than the sort of institutions that take root in Liberia, how people are allowed to participate in the election process, how reconstruction efforts go, and how people think of the legitimacy of the election.
"It has to be the case Liberians buy into the idea that an election will matter, they will participate and be encouraged to participate, and that the election truly brings into power a government that has the best interest of Liberian people -- all the Liberian people, not just a certain group of Liberians."
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10000 general knowledge questions and answers www.cartiaz.ro No Questions Quiz 6 Answers 1 Which Mediterranean countries orchestra is bigger than its army Monaco 2 What links stags tails, pickled worms, gallstones, tomatoes Once thought to be Aphrodisiacs 3 Baked beans were originally served in what sauce Treacle - molasses 4 Where can you buy a copy of Penguin News Falkland Islands 5 Who was the hero of the old TV cop series Dragnet Sergeant Joe Friday 6 Which African country was founded by Americans Liberia 7 What was Britain called - before it was Britain Albion 8 What part of a frog do you rub to hypnotise it Its belly 9 How did multi millionaire Russell Sage save money Not wear underwear 10 How was USA president James Buchanan different from all rest Batchelor maybe gay 11 What's involved in 20% of car accidents in Sweden A moose 12 What's unusual about evangelist Amy Semple McPhersons coffin Contains Telephone 13 Who would use a swozzle Punch and Judy man 14 What does a tailor do with his plonker
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10000 general knowledge questions and answers www.cartiaz.ro No Questions Quiz 6 Answers 1 Which Mediterranean countries orchestra is bigger than its army Monaco 2 What links stags tails, pickled worms, gallstones, tomatoes Once thought to be Aphrodisiacs 3 Baked beans were originally served in what sauce Treacle - molasses 4 Where can you buy a copy of Penguin News Falkland Islands 5 Who was the hero of the old TV cop series Dragnet Sergeant Joe Friday 6 Which African country was founded by Americans Liberia 7 What was Britain called - before it was Britain Albion 8 What part of a frog do you rub to hypnotise it Its belly 9 How did multi millionaire Russell Sage save money Not wear underwear 10 How was USA president James Buchanan different from all rest Batchelor maybe gay 11 What's involved in 20% of car accidents in Sweden A moose 12 What's unusual about evangelist Amy Semple McPhersons coffin Contains Telephone 13 Who would use a swozzle Punch and Judy man 14 What does a tailor do with his plonker Press suits 15 Churches in Malta have two what Clocks right and wrong confuse devil 16 Marnie Nixon what Deborah Kerr Natilie Wood Audrey Hepburn Dubbed in their singing voices 17 Which Italian tractor maker tried making cars in 1960s Ferruchio Lamborghini 18 What first appeared on Page 1 of the Times 3 May 1966 News stories 19 Caruso put what in Nellie Melbas hand singing tiny hand frozen Hot Sausage 20 What would you do with an Edzell blue Eat it - it’s a potato 21 In what month did the Russian October revolution take place November 22 Nobody's perfect is the last line in which classic comedy film Some Like it Hot 23 How did Buffalo Bill stick to one glass whisky a day Quart glass 24 In 1760 what means of personal transport was invented Roller Skates 25 What three counties were Eliza Dolittle taught to pronounce Hertford Hereford Hampshire 26 In Hitchcock's film The Trouble with Harry - what was the trouble He was dead 27 What was the first gramophone record made from Tinfoil 28 What did George Washington soak his wooden teeth in for taste Port 29
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Enter any date below to search for the availability of The Times on your special day from the UK's largest archive. After entering a date, the titles available will be displayed; there will then be an option to select a gift presentation pack if required. Finally, add the recipient's name to the certificate of authenticity alongside your chosen date, and message, for the perfect gift that they will treasure forever.
Choose your Date
View Available Newspapers from the Archive
Choose your Gift Pack option
Personalise your Certificate of Authenticity
The Perfect Gift for Any Occasion
The Times Archives
Historic Newspapers have the largest archive of old Times newspapers in the world. This was largely due to its popularity as a trusted source by both government and education institutions that held past copies for their own records. One of the most popular special occasions to purchase an original Times newspaper for is someone's birthday, it makes the perfect commemorative gift and offers a great trip down memory lane.
Recipient's of vintage Times newspapers not only love reading the headlines and front pages from major events the day they were born but also gaining an unrivalled insight into the way things were when they were too young to remember first hand. This is achieved not only through the topical coverage but also the writing style that is synonymous with an original Times newspaper which can still be seen today.
The Times 1932
Born in 1932? This was also the birth year of actress Elizabeth Taylor and evolutionist Bryan Clarke who is also celebrating his 80th birthdays this year. Some other interesting historical events from 1932 include:
Date
Event
19th March 1932
The Sydney Harbour Bridge was opened, Sydney's tallest structure until 1967 and still the world's tallest steel arch bridge.
September-October 1932
The largest national hunger march in Britain took place in London, followed by later marches in 1934 and 1936.
3rd October 1932
The world famous Times New Roman typeface was first used by The Times following its commission a year earlier.
The Times 1942
If you were born in 1942 then you also share your date of birth with actor Bob Hoskins and physicist Stephen Hawking. Interesting events likely to be covered in an old Times 70th birthday newspaper from this year include:
Date
Following the death of George VI princess Elizabeth claims the throne as Queen Elizabeth II.
2nd May 1952
The first commercial jet airliner service was launched called Comet, despite some initial issues many of the jets are still in use today.
5th October 1952
For the first time in 12 years due to the war tea rationing in Britain was abolished.
The Times 1962
If 1962 is your birth year then it's also shared with Olympic swimmer Sharron Davies and presenter Philip Schofield. Celebrities you can expect to see in a back issue Times 50th Birthday newspaper from 1962 range from rock to film stars:
Date
Event
12th July 1962
The Rolling Stones made their debut in one of British music's most celebrated venues - The Marquee Club
5th August 1962
Marilyn Monroe found at home dead in bed at the age of 36 under slightly suspicious circumstances
29th November 1962
Britain and France agree to collaborate on the Concord, an arrangement primarily struck due to the high costs involved
The Times 1972
Those born in 1972 also share their date of birth with actor Jude Law and comedian/actress Miranda Hart, events appearing in The Times from this birthdate may include:
Date
The Munich Olympics terror attacks take place and leave the world in shock.
29th November 1972
The video game generation is born with the Atari release of Pong, the first game to achieve commercial success.
A Brief History of The Times
The Times is part of Times Newspapers Limited and is a subsidiary of News International, which is owned by the News Corporation group under Mr Rupert Murdoch (the world media baron). It is printed Monday-Saturday in compact (tabloid) format and has an average daily circulation of 600,962 as of December 2008. The newspaper is traditionally a moderately centre-right newspaper, but supported the Labour Party under Tony Blair at the general elections in 2001 and 2005. Nevertheless, the Times changed allegiance on 1st May 2010 by officially endorsing the Conservative Party for the first time in 18 years.
The Times was originally founded as The Daily Universal Register on 1st January 1785 by John Walter. In his opening editorial, John Walter declared that a newspaper "ought to be the register of the times and faithful recorder of every species of intelligence; it ought not to be engrossed by any particular object; but like a well covered table, it should contain something suited to every palate: observations on the dispositions of our own and of foreign courts should be provided for the political reader; debates should be reported for the amusement or information of those who may be particularly fond of them; and a due attention should be paid to the interests of trade, which are so greatly promoted by advertisements".
On 1st January 1788, John Walter changed the name of the newspaper to The Times, which is a newspaper title recognised worldwide today as a newspaper of record.
The Times remained in the Walter family for four generations up to 1908, when it was bought by Alfred Harmsworth (later Lord Northcliffe) of the Daily Mail. On the death of Lord Northcliffe in 1922, the newspaper was purchased by John Jacob Astor, who was a son of William Waldorf Astor, 1st Viscount Astor of The Observer newspaper (and should not be confused with John Jacob Astor IV who died on The Titanic in 1912). The Astor family sold The Times to the Canadian media entrepreneur Roy Thomson (1st Baron Thomson of Fleet) in 1966. Rupert Murdoch's News International purchased The Times (as part of Times Newspaper Limited) from Roy Thomson in 1981.
The Times Library Edition was introduced on 2nd July 1917. This was a special edition printed on quality paper for libraries and royal palaces. It was renamed the Times Royal Edition in 1922 and continued to be printed until 31st December 1969.
On 3rd May 1966 The Times printed news stories on the front page for the first time- the front page had previously been dedicated to advertisements and paid announcements (births, marriages & deaths) which helped significantly towards the costs of producing the newspaper.
The Times newspaper was closed down due to an industrial dispute from 1st December 1978 until 12th November 1979 and thus no Times newspapers were printed during this period (first issue after the strike was 13th November 1979).
The Times magazine (which should not be confused with Time magazine) was first printed as the Saturday colour magazine supplement of the newspaper on 13th March 1993.
The Times newspaper was a broadsheet newspaper until November 2003, when it started to produce a compact (tabloid) edition of the newspaper in addition to the broadsheet edition. Since 1st November 2004, the newspaper has been printed in compact format only- although its sister paper The Sunday Times remains a broadsheet newspaper and the new "Saturday Review" supplement of the Saturday edition of the Times is also printed in broadsheet format.
Currently, the main regular supplement in The Times (Monday-Friday) is the "times2" features section which includes TV/Radio listings and reviews. There is also "The Game" sports section which appears on Mondays only and the "Bricks & Mortar" property supplement on Fridays.
The Saturday edition of the newspaper was re-launched on 24th January 2009 with the "Money" section incorporated into the main newspaper whilst the sports coverage was given its own separate section. Thus the Saturday edition currently includes "The Times Magazine", the "Playlist" magazine (TV/Radio listings and film/theatre & music reviews) plus the "Saturday Review" (arts & books), "Weekend" (body & soul, food & drink and travel) and "Sport" newspaper supplements.
Click for More Info
| news stories |
Caruso put what in Nellie Melbas hand when singing and her tiny hand frozen? | The Times Newspaper Archive - Historic Newspapers
Historic Newspapers
Free Delivery when buying 3 or more items
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The Times
Newspaper Archive
Search Past Dates for Back Issues of The Times
Enter any date below to search for the availability of The Times on your special day from the UK's largest archive. After entering a date, the titles available will be displayed; there will then be an option to select a gift presentation pack if required. Finally, add the recipient's name to the certificate of authenticity alongside your chosen date, and message, for the perfect gift that they will treasure forever.
Choose your Date
View Available Newspapers from the Archive
Choose your Gift Pack option
Personalise your Certificate of Authenticity
The Perfect Gift for Any Occasion
The Times Archives
Historic Newspapers have the largest archive of old Times newspapers in the world. This was largely due to its popularity as a trusted source by both government and education institutions that held past copies for their own records. One of the most popular special occasions to purchase an original Times newspaper for is someone's birthday, it makes the perfect commemorative gift and offers a great trip down memory lane.
Recipient's of vintage Times newspapers not only love reading the headlines and front pages from major events the day they were born but also gaining an unrivalled insight into the way things were when they were too young to remember first hand. This is achieved not only through the topical coverage but also the writing style that is synonymous with an original Times newspaper which can still be seen today.
The Times 1932
Born in 1932? This was also the birth year of actress Elizabeth Taylor and evolutionist Bryan Clarke who is also celebrating his 80th birthdays this year. Some other interesting historical events from 1932 include:
Date
Event
19th March 1932
The Sydney Harbour Bridge was opened, Sydney's tallest structure until 1967 and still the world's tallest steel arch bridge.
September-October 1932
The largest national hunger march in Britain took place in London, followed by later marches in 1934 and 1936.
3rd October 1932
The world famous Times New Roman typeface was first used by The Times following its commission a year earlier.
The Times 1942
If you were born in 1942 then you also share your date of birth with actor Bob Hoskins and physicist Stephen Hawking. Interesting events likely to be covered in an old Times 70th birthday newspaper from this year include:
Date
Following the death of George VI princess Elizabeth claims the throne as Queen Elizabeth II.
2nd May 1952
The first commercial jet airliner service was launched called Comet, despite some initial issues many of the jets are still in use today.
5th October 1952
For the first time in 12 years due to the war tea rationing in Britain was abolished.
The Times 1962
If 1962 is your birth year then it's also shared with Olympic swimmer Sharron Davies and presenter Philip Schofield. Celebrities you can expect to see in a back issue Times 50th Birthday newspaper from 1962 range from rock to film stars:
Date
Event
12th July 1962
The Rolling Stones made their debut in one of British music's most celebrated venues - The Marquee Club
5th August 1962
Marilyn Monroe found at home dead in bed at the age of 36 under slightly suspicious circumstances
29th November 1962
Britain and France agree to collaborate on the Concord, an arrangement primarily struck due to the high costs involved
The Times 1972
Those born in 1972 also share their date of birth with actor Jude Law and comedian/actress Miranda Hart, events appearing in The Times from this birthdate may include:
Date
The Munich Olympics terror attacks take place and leave the world in shock.
29th November 1972
The video game generation is born with the Atari release of Pong, the first game to achieve commercial success.
A Brief History of The Times
The Times is part of Times Newspapers Limited and is a subsidiary of News International, which is owned by the News Corporation group under Mr Rupert Murdoch (the world media baron). It is printed Monday-Saturday in compact (tabloid) format and has an average daily circulation of 600,962 as of December 2008. The newspaper is traditionally a moderately centre-right newspaper, but supported the Labour Party under Tony Blair at the general elections in 2001 and 2005. Nevertheless, the Times changed allegiance on 1st May 2010 by officially endorsing the Conservative Party for the first time in 18 years.
The Times was originally founded as The Daily Universal Register on 1st January 1785 by John Walter. In his opening editorial, John Walter declared that a newspaper "ought to be the register of the times and faithful recorder of every species of intelligence; it ought not to be engrossed by any particular object; but like a well covered table, it should contain something suited to every palate: observations on the dispositions of our own and of foreign courts should be provided for the political reader; debates should be reported for the amusement or information of those who may be particularly fond of them; and a due attention should be paid to the interests of trade, which are so greatly promoted by advertisements".
On 1st January 1788, John Walter changed the name of the newspaper to The Times, which is a newspaper title recognised worldwide today as a newspaper of record.
The Times remained in the Walter family for four generations up to 1908, when it was bought by Alfred Harmsworth (later Lord Northcliffe) of the Daily Mail. On the death of Lord Northcliffe in 1922, the newspaper was purchased by John Jacob Astor, who was a son of William Waldorf Astor, 1st Viscount Astor of The Observer newspaper (and should not be confused with John Jacob Astor IV who died on The Titanic in 1912). The Astor family sold The Times to the Canadian media entrepreneur Roy Thomson (1st Baron Thomson of Fleet) in 1966. Rupert Murdoch's News International purchased The Times (as part of Times Newspaper Limited) from Roy Thomson in 1981.
The Times Library Edition was introduced on 2nd July 1917. This was a special edition printed on quality paper for libraries and royal palaces. It was renamed the Times Royal Edition in 1922 and continued to be printed until 31st December 1969.
On 3rd May 1966 The Times printed news stories on the front page for the first time- the front page had previously been dedicated to advertisements and paid announcements (births, marriages & deaths) which helped significantly towards the costs of producing the newspaper.
The Times newspaper was closed down due to an industrial dispute from 1st December 1978 until 12th November 1979 and thus no Times newspapers were printed during this period (first issue after the strike was 13th November 1979).
The Times magazine (which should not be confused with Time magazine) was first printed as the Saturday colour magazine supplement of the newspaper on 13th March 1993.
The Times newspaper was a broadsheet newspaper until November 2003, when it started to produce a compact (tabloid) edition of the newspaper in addition to the broadsheet edition. Since 1st November 2004, the newspaper has been printed in compact format only- although its sister paper The Sunday Times remains a broadsheet newspaper and the new "Saturday Review" supplement of the Saturday edition of the Times is also printed in broadsheet format.
Currently, the main regular supplement in The Times (Monday-Friday) is the "times2" features section which includes TV/Radio listings and reviews. There is also "The Game" sports section which appears on Mondays only and the "Bricks & Mortar" property supplement on Fridays.
The Saturday edition of the newspaper was re-launched on 24th January 2009 with the "Money" section incorporated into the main newspaper whilst the sports coverage was given its own separate section. Thus the Saturday edition currently includes "The Times Magazine", the "Playlist" magazine (TV/Radio listings and film/theatre & music reviews) plus the "Saturday Review" (arts & books), "Weekend" (body & soul, food & drink and travel) and "Sport" newspaper supplements.
Click for More Info
| i don't know |
What was Victoria Beckham's maiden surname? | Victoria Beckham - Biography - IMDb
Victoria Beckham
Biography
Showing all 73 items
Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trade Mark (4) | Trivia (55) | Personal Quotes (8)
Overview (4)
5' 4¼" (1.63 m)
Mini Bio (1)
Victoria Beckham was born Victoria Caroline Adams on 17 April 1974 in Harlow, Essex, England, to Jacqueline Doreen (Cannon), an insurance clerk and hairdresser, and Anthony William Adams, an electronics engineer. She does not like being called Vicky. Instead, call her Posh, which stands for the best of everything (an old luxury liner term, P.O.S.H. stood for "Port Out, Starboard Home"-- the best rooms). Growing up, she didn't like being driven to school in her father's Rolls Royce (they were very wealthy; later, as Posh, she would have an image of someone who revels in wealth). Victoria began as a dancer before eventually landing a spot as a member of Spice Girls . While in college, Victoria was briefly in another band. After completing the 3-year course at Lanie Arts, she answered an ad in "The Stage" magazine, which was looking for 5 girls who could sing and dance. Victoria was picked, history was about to be made. (Victoria had met: Emma who had been in a play with her when they were kids; Geri while auditioning for a role in Tank Girl (1995); Mel C. attended a rival school when they were 15; and Mel B. at the audition for the forming of the band.) The Spice Girls became fantastically successful, achieving international fame. The wildly popular Spice Girls performed at sold-out concerts, did tours, and of course the Spice World (1997) movie. Victoria married soccer player David Beckham . The couple has four children.
- IMDb Mini Biography By: [email protected]
Spouse (1)
( 4 July 1999 - present) (4 children)
Trade Mark (4)
Her hair styles & hair colour are sometimes changed
Rarely smiles.
Holds her handbag over her mouth whenever she laughs.
Trivia (55)
Winner of the 1997 MTV Video Music Award for Best Dance Video, "Wannabe".
Winner of the 1997 MTV Europe Music Award for Best Group.
Has a tattoo of four eight-pointed stars representing herself, her husband and her two older sons at the base of her spine.
Is a vegetarian.
When her luggage was lost on a flight, she demanded free airfare for life (2000).
Tried out for the role of Lara Croft in Lara Croft: Tomb Raider (2001) but lost the role to Angelina Jolie
Is a big fan of Simon Morley 's and David Friend 's Puppetry of the Penis: Live at the Forum (2012), and once attended a private screening of the show with her husband and other celebrities.
Signed with Damon Dash 's Roc-a-Wear clothing line to promote the apparel in U.S. and European billboard ads. She has already appeared on a billboard on Times Square, the building opposite to MTV Studios in New York.
Has a sister, Louise, and a brother, Christian. Used to dance ballet as a child and teenager.
After being dropped from Virgin Records, she signed a 1.5 million pounds contract for Telstar Records (2001) and they will release and promote her music worldwide, except for USA where she signed a new deal (worth $2 million) with Rocc-A-Fella Records (2003) and they will release and promote her music in USA.
Winner of five awards at "Smash Hits Poll Winners Party 1996" with The Spice Girls, in London.
Winner of four awards at "Brit Awards 1997" with The Spice Girls.
Winner of two awards at "Billboard Awards 1997" with The Spice Girls in Las Vegas.
Winner of five awards at "American Music Awards 1998" with The Spice Girls in Los Angeles.
Winner of Special award at "Brit Awards 1998" with The Spice Girls in London, UK.
Winner of Best Dressed Female Award at "Elle Style Awards 2000" in London.
Winner of Best Female Haircut at "Pantene Pro-V Awards 2000" in London, UK.
Winner of Best Dressed Female Artist at "Lycra British Style Awards 2003" in London.
Voted Best Dressed Woman for the year 2002 by British "Prima" magazine.
Voted Best Dressed Woman for the year 2003 by British "Prima" magazine.
Winner of Best Dressed International Female at "Elle Style Awards 2003" in Madrid, Spain.
Voted Best Dressed Pop Artist for the year 2000 by "Heat" magazine. Also voted Best Dressed Couple (shared with her husband).
Winner of two awards at "MTV Europe Music Awards 1998" with The Spice Girls in Milan, Italy.
Winner of two awards at "Smash Hits Poll Winners Party 1998" with The Spice Girls and one award for Best Female Haircut, in London.
Winner of a Special Award for Outstanding Contribution to the British Music Industry at "Brit Awards 2000" with The Spice Girls, in London.
Favorite designers are Dolce & Gabbana and Donatella Versace .
She is the only member of Spice Girls not to have had a UK number one single as a solo artist.
Elton John and Elizabeth Hurley are godparents to her two older boys, Brooklyn and Romeo.
Her son Romeo, suffers from epilepsy.
| Adams |
What is the name of a tremor that occurs after an earthquake? | Victoria Beckham - Biography - IMDb
Victoria Beckham
Biography
Showing all 73 items
Jump to: Overview (4) | Mini Bio (1) | Spouse (1) | Trade Mark (4) | Trivia (55) | Personal Quotes (8)
Overview (4)
5' 4¼" (1.63 m)
Mini Bio (1)
Victoria Beckham was born Victoria Caroline Adams on 17 April 1974 in Harlow, Essex, England, to Jacqueline Doreen (Cannon), an insurance clerk and hairdresser, and Anthony William Adams, an electronics engineer. She does not like being called Vicky. Instead, call her Posh, which stands for the best of everything (an old luxury liner term, P.O.S.H. stood for "Port Out, Starboard Home"-- the best rooms). Growing up, she didn't like being driven to school in her father's Rolls Royce (they were very wealthy; later, as Posh, she would have an image of someone who revels in wealth). Victoria began as a dancer before eventually landing a spot as a member of Spice Girls . While in college, Victoria was briefly in another band. After completing the 3-year course at Lanie Arts, she answered an ad in "The Stage" magazine, which was looking for 5 girls who could sing and dance. Victoria was picked, history was about to be made. (Victoria had met: Emma who had been in a play with her when they were kids; Geri while auditioning for a role in Tank Girl (1995); Mel C. attended a rival school when they were 15; and Mel B. at the audition for the forming of the band.) The Spice Girls became fantastically successful, achieving international fame. The wildly popular Spice Girls performed at sold-out concerts, did tours, and of course the Spice World (1997) movie. Victoria married soccer player David Beckham . The couple has four children.
- IMDb Mini Biography By: [email protected]
Spouse (1)
( 4 July 1999 - present) (4 children)
Trade Mark (4)
Her hair styles & hair colour are sometimes changed
Rarely smiles.
Holds her handbag over her mouth whenever she laughs.
Trivia (55)
Winner of the 1997 MTV Video Music Award for Best Dance Video, "Wannabe".
Winner of the 1997 MTV Europe Music Award for Best Group.
Has a tattoo of four eight-pointed stars representing herself, her husband and her two older sons at the base of her spine.
Is a vegetarian.
When her luggage was lost on a flight, she demanded free airfare for life (2000).
Tried out for the role of Lara Croft in Lara Croft: Tomb Raider (2001) but lost the role to Angelina Jolie
Is a big fan of Simon Morley 's and David Friend 's Puppetry of the Penis: Live at the Forum (2012), and once attended a private screening of the show with her husband and other celebrities.
Signed with Damon Dash 's Roc-a-Wear clothing line to promote the apparel in U.S. and European billboard ads. She has already appeared on a billboard on Times Square, the building opposite to MTV Studios in New York.
Has a sister, Louise, and a brother, Christian. Used to dance ballet as a child and teenager.
After being dropped from Virgin Records, she signed a 1.5 million pounds contract for Telstar Records (2001) and they will release and promote her music worldwide, except for USA where she signed a new deal (worth $2 million) with Rocc-A-Fella Records (2003) and they will release and promote her music in USA.
Winner of five awards at "Smash Hits Poll Winners Party 1996" with The Spice Girls, in London.
Winner of four awards at "Brit Awards 1997" with The Spice Girls.
Winner of two awards at "Billboard Awards 1997" with The Spice Girls in Las Vegas.
Winner of five awards at "American Music Awards 1998" with The Spice Girls in Los Angeles.
Winner of Special award at "Brit Awards 1998" with The Spice Girls in London, UK.
Winner of Best Dressed Female Award at "Elle Style Awards 2000" in London.
Winner of Best Female Haircut at "Pantene Pro-V Awards 2000" in London, UK.
Winner of Best Dressed Female Artist at "Lycra British Style Awards 2003" in London.
Voted Best Dressed Woman for the year 2002 by British "Prima" magazine.
Voted Best Dressed Woman for the year 2003 by British "Prima" magazine.
Winner of Best Dressed International Female at "Elle Style Awards 2003" in Madrid, Spain.
Voted Best Dressed Pop Artist for the year 2000 by "Heat" magazine. Also voted Best Dressed Couple (shared with her husband).
Winner of two awards at "MTV Europe Music Awards 1998" with The Spice Girls in Milan, Italy.
Winner of two awards at "Smash Hits Poll Winners Party 1998" with The Spice Girls and one award for Best Female Haircut, in London.
Winner of a Special Award for Outstanding Contribution to the British Music Industry at "Brit Awards 2000" with The Spice Girls, in London.
Favorite designers are Dolce & Gabbana and Donatella Versace .
She is the only member of Spice Girls not to have had a UK number one single as a solo artist.
Elton John and Elizabeth Hurley are godparents to her two older boys, Brooklyn and Romeo.
Her son Romeo, suffers from epilepsy.
| i don't know |
"What cleaning product was advertised as ""Stronger than dirt""?" | Our History | Ajax Heroes
Our History
Stronger Than Dirt for Over 65 Years
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Our History
In 1947 a team of cleaning experts came up with a powerful new cleanser. They needed a name as effective as their product, which led them to “Ajax.” Ajax was a hero of the Trojan Wars – think back to your Greek history – who was said to be taller and stronger than any other soldier. He was also known for marching into battle with the cleanest uniform on the Adriatic Peninsula.
In 1967 a team of laundry experts brought Ajax’s power to the world of wash and rinse, and Ajax Laundry Detergent was born. It was in a powder – the state-of-the-art in those days.
Ajax announced itself to the world with a still-famous advertising campaign featuring the White Knight who zapped clothes clean, and ended with the slogan “Stronger than Dirt” – as a shout-out to our Greek hero.
In 1968, Jim Morrison of the Doors also gave us a shout-out when he chanted “Stronger than Dirt” at the end of the iconic song “Touch Me.”
In 1973, Ajax reduced its phosphate content as commitment to sustainability. In the same year it submitted data to the government which proved that clothes washed in Ajax lasted longer.
Believe it or not, it wasn’t until the Mid-1980’s that laundry detergent was offerred in a liquid form. Which today is the most commonly used laundry detergent.
In 2008, Ajax introduced 2x concentrated formulas that provided the same great clean with half the dose. Offering consumers a great product while significantly reducing the impact on the environment.
Today we are still making the “Stronger than Dirt” all-american cleaning hero known as Ajax. Our scientists continue to find new cleaning agents and ways to make all our products work harder for you and your family. Look for our newest products, Dual Action that fights stains and brightens colors or new Ajax Odor Out. This intense cleaner deep cleans the toughest odors like the “funk” we find on our children’s sports clothes! Ajax comes in six different varieties specialized in cleaning all sorts of tough everyday stains and odors. Try them all or enjoy your favorite day in and day out.
And one last thing, we are really proud of the fact we are made in America by hard working people for people like you!
Ajax© is a registered trademark of Colgate-Palmolive Company and is used under license. © 2014 U.S. Nonwovens Corp. * The everyday price of the leading premium brand 50oz. detergent is $8.25 vs. Ajax 50oz. which has an everyday price of $2.89. Assuming the consumer purchases 26-50oz. bottles per year.
| Ajax |
Who was the original host of Mr and Mrs? | Ajax Stronger Than Dirt #1 - YouTube
Ajax Stronger Than Dirt #1
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Uploaded on Jun 23, 2006
1960s commercial for Ajax Laundry Detergent (with Ultramarine Plus, whatever THAT is). I have no idea what a knight on horseback riding around with a magic cleaning lance has to do with detergent, but there you are...
Thanks for mikey50077 for pointing this out: That's Alice Nunn, (much) later from "Pee Wee's Big Adventure", plugging the detergent. So if you buy Ajax today, you can tell 'em Large Marge sent you.
Category
| i don't know |
To help drivers at night what colour are the studs which mark the right hand edge of the road? | Road Markings
Road markings
Centre line on a single carriageway road
Lane line separating traffic travelling in the same direction (single or dual carriageway road)
Hazard warning line (replaces a centre line or a lane line). An upright sign may indicate the nature of the hazard,such as a bend. The marking is used also on the approach to a junction
Diagonal white lines (hatched markings) bounded by broken lines may be used in the centre of the road to separate opposing flows of traffic. They are often provided at junctions to protect traffic turning right. They may also be used on the approach to a central traffic island or the start of a dual carriageway. Hatched markings with a single, broken boundary line may be used at the edge of the road or next to the central reservation of a dual carriageway: the diagonal lines always slope towards the direction of travel. You should not enter any hatched area bounded by a broken line unless it is safe to do so. Road markings along the part of the carriageway where traffic passes in the same direction on either side of the chevron marking. Vehicles should not enter the area unless safe to do so. This marking is likely to be found in one-way streets with central islands and where an exit lane leaves at a junction Part of the carriageway where traffic passes in the same direction on either side of the chevron marking. The continuous boundary line means that vehicles must not enter the area except in an emergency. This marking is used where slip roads leave and join motorways and many dual carriageway roads. It is also used for segregated left-turn lanes at roundabouts. Arrow indicating the direction in which to pass hatched markings and double white lines, or the route that high vehicles should take under a low arch bridge (may be reversed) Reduction in the number of lanes, or area not available to traffic. Vehicles must not cross the continuous white line except in an emergency. Used on the right-hand side of a motorway, dual carriageway road or slip road road markings
Part of the carriageway where traffic passes in the same direction on either side of the chevron marking. Vehicles should not enter the area unless safe to do so. This marking is likely to be found in one-way streets with central islands and where an exit lane leaves at a junction
Part of the carriageway where traffic passes in the same direction on either side of the chevron marking. The continuous boundary line means that vehicles must not enter the area except in an emergency. This marking is used where slip roads leave and join motorways and many dual carriageway roads. It is also used for segregated left-turn lanes at roundabouts
Reduction in the number of lanes, or area not available to traffic. Vehicles must not cross the continuous white line except in an emergency. Used on the right-hand side of a motorway, dual carriageway road or slip road
Arrow indicating the direction in which to pass hatched markings and double white lines, or the route that high vehicles should take under a low arch bridge (may be reversed)
Double white lines
Double white lines These are used to prevent overtaking where visibility is restricted,and to separate opposing traffic flows on steep hills with climbing lanes. Double continuous lines are also sometimes used on other single carriageway roads that have two lanes in at least one direction. Viewed in the direction of travel, if the line closest to you is continuous, you must not cross or straddle it (except to turn into or out of a side road or property, avoid a stationary vehicle blocking the lane, or overtake a pedal cycle, horse or road works vehicle moving at not more than 10 mph). Where the line closest to you is broken, you may cross the lines to overtake if it is safe to do so. Stopping is prohibited on any length of road that has double white lines, even if the line on that side of the road is broken. The exceptions are stopping to pick up or set down passengers, or to load or unload. In these circumstances, you should park off the main carriageway wherever possible.
Along the edge of the road
Edge of carriageway, other than at junctions, exits from private drives and lay-bys. Used on the left-hand side of the road and alongside the central reservation of dual carriageway roads
Alternative edge of carriageway marking, with raised ribs to provide audible and tactile warnings when the line is being crossed. They are used on motorways and other roads with hard shoulders or hard marginal strips
Edge of main carriageway at a junction (particularly where a slip road leaves or joins), at an exit from a private drive or at a lay-by. Also used to divide the main carriageway from a traffic lane that leaves the main carriageway at a junction ahead (lane drop)
Edge of main carriageway at a junction or at an exit from a private drive. Used in conjunction with "give way" markings on the side road
At junctions
Where stationary traffic would be likely to block a junction, a yellow box may be marked on the road, covering all or part of the junction. You must not enter the box if your exit is not clear. If turning right at the junction, you may enter the box (behind other right-turning vehicles, if any) to wait for a gap in the oncoming traffic, but only if the right-turn exit is clear
A mini-roundabout is normally found on a road with a speed limit of 30 mph or less. It should be treated the same as a conventional roundabout. You must give way to traffic from the right, and keep to the left of the white circle unless the size of your vehicle or the junction layout makes driving over it unavoidable
Some conventional roundabouts may have a segregated left-turn lane where drivers do not give way to traffic on the roundabout. This may be separated from the roundabout by either a solid island or chevron markings. Where the chevrons are bounded by continuous lines, vehicles must not enter the area except in an emergency. You should therefore choose the correct lane well before the roundabout. A directional sign in advance of the junction may show the segregated lane
Traffic lanes at junctions
Appropriate traffic lanes for different movements at junction ahead. A double-headed arrow is used where two different movements may be made from the same lane or where that lane divides into two or more lanes ahead (e.g. a lane with a combined "left" and "ahead" arrow may divide into a left-turn lane and an ahead lane)
Compulsory traffic movements at a junction ahead. These may apply to a specific traffic lane or to all traffic approaching the junction Traffic
Direction to be taken by traffic turning within a junction
Appropriate traffic lanes for particular destinations
Worded markings
Area of carriageway to be kept clear of stationary traffic, usually to allow the passage of vehicles into or out of a side road or access. The white bars may be omitted
Direction in which pedestrians should look before crossing the road (particularly in a one-way street or where there is a bus lane)
Vehicles must not pass this marking. May be used with the upright "no entry" sign
Associated with a hazard. There will normally be an upright warning sign
Reflecting road studs
Coloured road studs help drivers at night, especially on wet roads, or in poor visibility. White studs mark traffic lanes or the centre of the road. The left-hand side of the carriageway is marked by red studs, and the edge of the central reservation of a motorway or dual carriageway road by amber studs. Green studs are used to mark lay-bys and the entrances to, and exits from,slip roads.
| Amber |
"What was advertised with the slogan ""This dirt says hot, the label says not""?" | Just Driving | Theory Test Motorway Rules
Q1. When joining a motorway you must always
A) use the hard shoulder
C) come to a stop before joining the motorway
B) stop at the end of the acceleration lane
D) give way to traffic already on the motorway
Answer: D
Explanation:
You should give way to traffic already on the motorway. Where possible they may move over to let you in but don't force your way into the traffic stream. The traffic may be travelling at high speed so you should match your speed to fit in.
Q2. What is the national speed limit for cars and motorcycles in the centre lane of a three-lane motorway?
A) 40 mph
Answer: A
Explanation:
On a motorway all traffic should use the left-hand lane unless overtaking. Use the centre or right-hand lanes if you need to overtake. If you're overtaking a number of slower vehicles move back to the left-hand lane when you're safely past. Check your mirrors frequently and don't stay in the middle or right-hand lane if the left-hand lane is free.
Q5. Which of these IS NOT allowed to travel in the right-hand lane of a three-lane motorway?
A) A small delivery van
C) A vehicle towing a trailer
B) A motorcycle
D) A motorcycle and side-car
Answer: C
Explanation:
A vehicle with a trailer is restricted to 60 mph. For this reason it isn't allowed in the right-hand lane as it might hold up the faster-moving traffic that wishes to overtake in that lane.
Q6. You break down on a motorway. You need to call for help. Why may it be better to use an emergency roadside telephone rather than a mobile phone?
A) It connects you to a local garage
C) It allows easy location by the emergency services
B) Using a mobile phone will distract other drivers
D) Mobile phones do not work on motorways
Answer: C
Explanation:
On a motorway it is best to use a roadside emergency telephone so that the emergency services are able to locate you easily. The nearest telephone is shown by an arrow on marker posts at the edge of the hard shoulder. If you use a mobile, they will need to know your exact location. Before you call, find out the number on the nearest marker post. This number will identify your exact location.
Q7. After a breakdown you need to rejoin the main carriageway of a motorway from the hard shoulder. You should
A) move out onto the carriageway then build up your speed
C) gain speed on the hard shoulder before moving out onto the carriageway
B) move out onto the carriageway using your hazard lights
D) wait on the hard shoulder until someone flashes their headlights at you
Answer: C
Explanation:
Wait for a safe gap in the traffic before you move out. Indicate your intention and use the hard shoulder to gain speed but don't force your way into the traffic.
Q8. A crawler lane on a motorway is found
A) on a steep gradient
C) before a junction
B) before a service area
D) along the hard shoulder
Answer: A
Explanation:
Slow-moving, large vehicles might slow down the progress of other traffic. On a steep gradient this extra lane is provided for these slow-moving vehicles to allow the faster-moving traffic to flow more easily.
Q9. What do these motorway signs show?
A) They are countdown markers to a bridge
C) They are countdown markers to the next exit
B) They are distance markers to the next telephone
D) They warn of a police control ahead
Answer: C
Explanation:
The exit from a motorway is indicated by countdown markers. These are positioned 90 metres (100 yards) apart, the first being 270 metres (300 yards) from the start of the slip road. Move into the left-hand lane well before you reach the start of the slip road.
Q10. On a motorway the amber reflective studs can be found between
A) the hard shoulder and the carriageway
C) the central reservation and the carriageway
B) the acceleration lane and the carriageway
D) each pair of the lanes
Answer: C
Explanation:
On motorways reflective studs are located into the road to help you in the dark and in conditions of poor visibility. Amber-coloured studs are found on the right-hand edge of the main carriageway, next to the central reservation.
Q11. What colour are the reflective studs between the lanes on a motorway?
A) Green
Answer: C
Explanation:
The studs between the carriageway and the hard shoulder are normally red. These change to green where there is a slip road. They will help you identify slip roads when visibility is poor or when it is dark.
Q13. You have broken down on a motorway. To find the nearest emergency telephone you should always walk
A) with the traffic flow
C) in the direction shown on the marker posts
B) facing oncoming traffic
D) in the direction of the nearest exit
Answer: C
Explanation:
Along the hard shoulder there are marker posts at 100-metre intervals. These will direct you to the nearest emergency telephone.
Q14. You are joining a motorway. Why is it important to make full use of the slip road?
A) Because there is space available to turn round if you need to
C) To build up a speed similar to traffic on the motorway
B) To allow you direct access to the overtaking lanes
D) Because you can continue on the hard shoulder
Answer: C
Explanation:
Try to join the motorway without affecting the progress of the traffic already travelling on it. Always give way to traffic already on the motorway. At busy times you may have to slow down to merge into slow-moving traffic.
Q15. How should you use the emergency telephone on a motorway?
A) Stay close to the carriageway
C) Keep your back to the traffic
B) Face the oncoming traffic
D) Stand on the hard shoulder
Answer: B
Explanation:
Traffic is passing you at speed. If the draught from a large lorry catches you by surprise it could blow you off balance and even onto the carriageway. By facing the oncoming traffic you can see approaching lorries and so be prepared for their draught. You are also in a position to see other hazards approaching.
Q16. You are on a motorway. What colour are the reflective studs on the left of the carriageway?
A) Green
D) Either the right or centre
Answer: A
Explanation:
On a three-lane motorway you should travel in the left-hand lane unless you're overtaking. This applies regardless of the speed at which you're travelling.
Q18. When going through a contraflow system on a motorway you should
A) ensure that you do not exceed 30 mph
C) switch lanes to keep the traffic flowing
B) keep a good distance from the vehicle ahead
D) stay close to the vehicle ahead to reduce queues
Answer: B
Explanation:
There's likely to be a speed restriction in force. Keep to this. Don't• switch lanes• get too close to traffic in front of you.Be aware there will be no permanent barrier between you and the oncoming traffic.
Q19. You are on a three-lane motorway. There are red reflective studs on your left and white ones to your right. Where are you?
A) In the right-hand lane
C) On the hard shoulder
B) In the middle lane
D) In the left-hand lane
Answer: D
Explanation:
The colours of the reflective studs on the motorway and their locations are• red – between the hard shoulder and the carriageway• white – lane markings• amber – between the edge of the carriageway and the central reservation• green – along slip road exits and entrances• bright green/yellow – roadworks and contraflow systems.
Q20. You are approaching roadworks on a motorway. What should you do?
A) Speed up to clear the area quickly
C) Obey all speed limits
B) Always use the hard shoulder
D) Stay very close to the vehicle in front
Answer: C
Explanation:
Collisions can often happen at roadworks. Be aware of the speed limits, slow down in good time and keep your distance from the vehicle in front.
Q21. Which FOUR of these must NOT use motorways?
A) Learner car drivers
Answer: B
Explanation:
You should keep to the left and only use the right-hand lane if you're passing slower-moving traffic.
Q25. What should you use the hard shoulder of a motorway for?
A) Stopping in an emergency
C) Stopping when you are tired
B) Leaving the motorway
Answer: A
Explanation:
Don't use the hard shoulder for stopping unless it is an emergency. If you want to stop for any other reason go to the next exit or service station.
Q26. You are in the right-hand lane on a motorway. You see these overhead signs. This means
A) move to the left and reduce your speed to 50 mph
C) use the hard shoulder until you have passed the hazard
B) there are roadworks 50 metres (55 yards) ahead
D) leave the motorway at the next exit
Answer: A
Explanation:
You MUST obey this sign. There might not be any visible signs of a problem ahead. However, there might be queuing traffic or another hazard which you cannot yet see.
Q27. You are allowed to stop on a motorway when you
A) need to walk and get fresh air
C) are told to do so by flashing red lights
B) wish to pick up hitchhikers
D) need to use a mobile telephone
Answer: C
Explanation:
You MUST stop if there are red lights flashing above every lane on the motorway. However, if any of the other lanes do not show flashing red lights or red cross you may move into that lane and continue if it is safe to do so.
Q28. You are travelling along the left-hand lane of a three-lane motorway. Traffic is joining from a slip road. You should
A) race the other vehicles
C) maintain a steady speed
B) move to another lane
D) switch on your hazard flashers
Answer: B
Explanation:
You should move to another lane if it is safe to do so. This can greatly assist the flow of traffic joining the motorway, especially at peak times.
Q29. A basic rule when on motorways is
A) use the lane that has least traffic
C) overtake on the side that is clearest
B) keep to the left-hand lane unless overtaking
D) try to keep above 50 mph to prevent congestion
Answer: B
Explanation:
You should normally travel in the left-hand lane unless you are overtaking a slower-moving vehicle. When you are past that vehicle move back into the left-hand lane as soon as it's safe to do so. Don't cut across in front of the vehicle that you're overtaking.
Q30. On motorways you should never overtake on the left unless
A) you can see well ahead that the hard shoulder is clear
C) you warn drivers behind by signalling left
B) the traffic in the right-hand lane is signalling right
D) there is a queue of slow-moving traffic to your right that is moving more slowly
than you are
Answer: D
Explanation:
Only overtake on the left if traffic is moving slowly in queues and the traffic on your right is moving more slowly than the traffic in your lane.
Q31. Motorway emergency telephones are usually linked to the police. In some areas they are now linked to
A) the Highways Agency Control Centre
C) the Driving Standards Agency
B) the Driver Vehicle Licensing Agency
D) the local Vehicle Registration Office
Answer: A
Explanation:
In some areas motorway telephones are now linked to a Highways Agency Control Centre, instead of the police. Highways Agency Traffic Officers work in partnership with the police and assist at motorway emergencies and incidents. They are recognised by a high-visibility orange and yellow jacket and high-visibility vehicle with yellow and black chequered markings.
Q32. An Emergency Refuge Area is an area
A) on a motorway for use in cases of emergency or breakdown
C) on a motorway for a police patrol to park and watch traffic
B) for use if you think you will be involved in a road rage incident
D) for construction and road workers to store emergency equipment
Answer: A
Explanation:
Emergency Refuge Areas may be found at the side of the hard shoulder about 500 metres apart. If you break down you should use them rather than the hard shoulder if you are able. When re-joining the motorway you must remember to take extra care especially when the hard shoulder is being used as a running lane within an Active Traffic Management area. Try to match your speed to that of traffic in the lane you are joining.
Q33. What is an Emergency Refuge Area on a motorway for?
A) An area to park in when you want to use a mobile phone
C) For an emergency recovery vehicle to park in a contra-flow system
B) To use in cases of emergency or breakdown
D) To drive in when there is queuing traffic ahead
Answer: B
Explanation:
In cases of breakdown or emergency try to get your vehicle into an Emergency Refuge Area. This is safer than just stopping on the hard shoulder as it gives you greater distance from the main carriageway. If you are able to re-join the motorway you must take extra care, especially when the hard shoulder is being used as a running lane.
Q34. Highways Agency Traffic Officers
A) will not be able to assist at a breakdown or emergency
C) will tow a broken down vehicle and it's passengers home
B) are not able to stop and direct anyone on a motorway
D) are able to stop and direct anyone on a motorway
Answer: D
Explanation:
Highways Agency Traffic Officers (HATOs) are able to stop and direct traffic on most motorways and some 'A' class roads. They work in partnership with the police at motorway incidents and provide a highly-trained and visible service. Their role is to help keep traffic moving and make your journey as safe and reliable as possible. They are recognised by an orange and yellow jacket and their vehicle has yellow and black markings.
Q35. You are on a motorway. A red cross is displayed above the hard shoulder. What does this mean?
A) Pull up in this lane to answer your mobile phone
C) This lane can be used if you need a rest
B) Use this lane as a running lane
D) You should not travel in this lane
Answer: D
Explanation:
Active Traffic Management schemes are being introduced on motorways. Within these areas at certain times the hard shoulder will be used as a running lane. A red cross above the hard shoulder shows that this lane should NOT be used, except for emergencies and breakdowns.
Q36. You are on a motorway in an Active Traffic Management (ATM) area. A mandatory speed limit is displayed above the hard shoulder. What does this mean?
A) You should not travel in this lane
C) You can park on the hard shoulder if you feel tired
B) The hard shoulder can be used as a running lane
D) You can pull up in this lane to answer a mobile phone
Answer: B
Explanation:
A mandatory speed limit sign above the hard shoulder shows that it can be used as a running lane between junctions. You must stay within the speed limit. Look out for vehicles that may have broken down and could be blocking the hard shoulder.
Q37. The aim of an Active Traffic Management scheme on a motorway is to
A) prevent overtaking
Answer: D
Explanation:
Active Traffic Management schemes are intended to reduce congestion and make journey times more reliable. In these areas the hard shoulder may be used as a running lane to ease congestion at peak times or in the event of an incident. It may appear that you could travel faster for a short distance, but keeping traffic flow at a constant speed may improve your journey time.
Q38. You are in an Active Traffic Management area on a motorway. When the Actively Managed mode is operating
A) speed limits are only advisory
C) the speed limit is always 30 mph
B) the national speed limit will apply
D) all speed limit signals are set
Answer: D
Explanation:
When an Active Traffic Management (ATM) scheme is operating on a motorway you MUST follow the mandatory instructions shown on the gantries above each lane. This includes the hard shoulder.
Q39. You are travelling on a motorway. A red cross is shown above the hard shoulder. What does this mean?
A) Use this lane as a rest area
C) Do not use this lane to travel in
B) Use this as a normal running lane
D) National speed limit applies in this lane
Answer: C
Explanation:
When a red cross is shown above the hard shoulder it should only be used for breakdowns or emergencies. Within Active Traffic Management (ATM) areas the hard shoulder may sometimes be used as a running lane. Speed limit signs directly above the hard shoulder will show that it's open.
Q40. Why can it be an advantage for traffic speed to stay constant over a longer distance?
A) You will do more stop-start driving
C) You will be able to use more direct routes
B) You will use far more fuel
D) Your overall journey time will normally improve
Answer: D
Explanation:
When traffic travels at a constant speed over a longer distance, journey times normally improve. You may feel that you could travel faster for short periods but this won't generally improve your overall journey time. Signs will show the maximum speed at which you should travel.
Q41. You should not normally travel on the hard shoulder of a motorway. When can you use it?
A) When taking the next exit
C) When signs direct you to
B) When traffic is stopped
D) When traffic is slow moving
Answer: C
Explanation:
Normally you should only use the hard shoulder for emergencies and breakdowns, and at roadworks when signs direct you to do so. Active Traffic Management (ATM) areas are being introduced to ease traffic congestion. In these areas the hard shoulder may be used as a running lane when speed limit signs are shown directly above.
Q42. For what reason may you use the right-hand lane of a motorway?
A) For keeping out of the way of lorries
C) For turning right
B) For travelling at more than 70 mph
D) For overtaking other vehicles
Answer: D
Explanation:
The right-hand lane of the motorway is for overtaking. Sometimes you may be directed into a right-hand lane as a result of roadworks or a traffic incident. This will be indicated by signs or officers directing the traffic.
Q43. On a motorway what is used to reduce traffic bunching?
A) Variable speed limits
Answer: A
Explanation:
Congestion can be reduced by keeping traffic at a constant speed. At busy times maximum speed limits are displayed on overhead gantries. These can be varied quickly depending on the amount of traffic. By keeping to a constant speed on busy sections of motorway overall journey times are normally improved.
Q44. When should you stop on a motorway?
A) If you have to read a map
D) When told to by the police
B) When you are tired and need a rest
E) If your mobile phone rings
C) If red lights show above every lane
F) When signalled by a Highways Agency Traffic Officer
Answer: C, D and F
Explanation:
There are some occasions when you may have to stop on the carriageway of a motorway. These include when being signalled by the police or a Highways Agency Traffic Officer, when flashing red lights show above every lane and in traffic jams.
Q45. When may you stop on a motorway?
A) If you have to read a map
C) If your mobile phone rings
B) When you are tired and need a rest
D) In an emergency or breakdown
Answer: D
Explanation:
You should not normally stop on a motorway but there may be occasions when you need to do so. If you are unfortunate enough to break down make every effort to pull up on the hard shoulder.
Q46. You are travelling on a motorway. Unless signs show a lower speed limit you must NOT exceed
A) 50 mph
Answer: C
Explanation:
The national speed limit for a car or motorcycle on the motorway is 70 mph. Lower speed limits may be in force, for example at roadworks, so look out for the signs. Variable speed limits operate in some areas to control very busy stretches of motorway. The speed limit may change depending on the volume of traffic.
Q47. Motorway emergency telephones are usually linked to the police. In some areas they are now linked to
A) the local ambulance service
C) the local fire brigade
B) an Highways Agency control centre
D) a breakdown service control centre
Answer: B
Explanation:
The controller will ask you• the make and colour of your vehicle• whether you are a member of an emergency breakdown service• the number shown on the emergency telephone casing• whether you are travelling alone.
Q48. You are on a motorway. There are red flashing lights above every lane. You must
A) pull onto the hard shoulder
C) leave at the next exit
B) slow down and watch for further signals
D) stop and wait
Answer: D
Explanation:
Red flashing lights above every lane mean you must not go on any further. You'll also see a red cross illuminated. Stop and wait. Don't• change lanes• continue• pull onto the hard shoulder (unless in an emergency).
Q49. You are on a three-lane motorway. A red cross is shown above the hard shoulder and mandatory speed limits above all other lanes. This means
A) the hard shoulder can be used as a rest area if you feel tired
C) the hard shoulder can be used as a normal running lane
B) the hard shoulder is for emergency or breakdown use only
D) the hard shoulder has a speed limit of 50 mph
Answer: B
Explanation:
A red cross above the hard shoulder shows it is closed as a running lane and should only be used for emergencies or breakdowns. At busy times within an Active Traffic Management (ATM) area the hard shoulder may be used as a running lane. This will be shown by a mandatory speed limit on the gantry above.
Q50. You are on a three-lane motorway and see this sign. It means you can use
A) any lane except the hard shoulder
C) the three right hand lanes only
B) the hard shoulder only
D) all the lanes including the hard shoulder
Answer: D
Explanation:
Mandatory speed limit signs above all lanes including the hard shoulder, show that you are in an Active Traffic Management (ATM) area. In this case you can use the hard shoulder as a running lane. You must stay within the speed limit shown. Look out for any vehicles that may have broken down and be blocking the hard shoulder.
Q51. You are travelling on a motorway. You decide you need a rest. You should
A) stop on the hard shoulder
C) pull up on a slip road
B) pull in at the nearest service area
D) park on the central reservation
Answer: B
Explanation:
If you feel tired stop at the nearest service area. If it's too far away leave the motorway at the next exit and find a safe place to stop. You must not stop on the carriageway or hard shoulder of a motorway except in an emergency, in a traffic queue, when signalled to do so by a police or enforcement officer, or by traffic signals. Plan your journey so that you have regular rest stops.
Q52. You are on a motorway. You become tired and decide you need to rest. What should you do?
A) Stop on the hard shoulder
C) Park on the central reservation
B) Pull up on a slip road
D) Leave at the next exit
Answer: D
Explanation:
Ideally you should plan your journey so that you have regular rest stops. If you do become tired leave at the next exit, or pull in at a service area if this is sooner.
Q53. You are towing a trailer on a motorway. What is your maximum speed limit?
A) 40 mph
Answer: A
Explanation:
Using your hazard lights, as well as brake lights, will give following traffic an extra warning of the problem ahead. Only use them for long enough to ensure that your warning has been seen.
Q56. You get a puncture on the motorway. You manage to get your vehicle onto the hard shoulder. You should
A) change the wheel yourself immediately
C) try to wave down another vehicle for help
B) use the emergency telephone and call for assistance
D) only change the wheel if you have a passenger to help you
Answer: B
Explanation:
Due to the danger from passing traffic you should park as far to the left as you can and leave the vehicle by the nearside door.Do not attempt even simple repairs. Instead walk to an emergency telephone on your side of the road and phone for assistance. While waiting for assistance to arrive wait near your car, keeping well away from the carriageway and hard shoulder.
Q57. You are driving on a motorway. By mistake, you go past the exit that you wanted to take. You should
A) carefully reverse on the hard shoulder
C) carefully reverse in the left-hand lane
B) carry on to the next exit
D) make a U-turn at the next gap in the central reservation
Answer: B
Explanation:
It is against the law to reverse, cross the central reservation or drive against the traffic flow on a motorway. If you have missed your exit ask yourself if your concentration is fading. It could be that you need to take a rest break before completing your journey.
Q58. You are driving at 70 mph on a three-lane motorway. There is no traffic ahead. Which lane should you use?
A) Any lane
Answer: D
Explanation:
If the left-hand lane is free you should use it, regardless of the speed you're travelling.
Q59. Your vehicle has broken down on a motorway. You are not able to stop on the hard shoulder. What should you do?
A) Switch on your hazard warning lights
C) Attempt to repair your vehicle quickly
B) Stop following traffic and ask for help
D) Stand behind your vehicle to warn others
Answer: A
Explanation:
If you can't get your vehicle onto the hard shoulder, use your hazard warning lights to warn others. Leave your vehicle only when you can safely get clear of the carriageway. Do not try to repair the vehicle or attempt to place any warning device on the carriageway.
Q60. Why is it particularly important to carry out a check on your vehicle before making a long motorway journey?
A) You will have to do more harsh braking on motorways
C) The road surface will wear down the tyres faster
B) Motorway service stations do not deal with breakdowns
D) Continuous high speeds may increase the risk of your vehicle breaking down
Answer: D
Explanation:
Before you start your journey make sure that your vehicle can cope with the demands of high-speed driving. You should check a number of things, the main ones being oil, water and tyres. You also need to plan rest stops if you're going a long way.
Q61. You are driving on a motorway. The car ahead shows its hazard lights for a short time. This tells you that
A) the driver wants you to overtake
C) traffic ahead is slowing or stopping suddenly
B) the other car is going to change lanes
D) there is a police speed check ahead
Answer: C
Explanation:
If the vehicle in front shows its hazard lights there may be an incident or queuing traffic ahead. As well as keeping a safe distance, look beyond it to help you get an early warning of any hazards and a picture of the situation ahead.
Q62. You are intending to leave the motorway at the next exit. Before you reach the exit you should normally position your vehicle
A) in the middle lane
C) on the hard shoulder
B) in the left-hand lane
D) in any lane
Answer: B
Explanation:
You'll see the first advance direction sign one mile from the exit. If you're travelling at 60 mph in the right-hand lane you'll only have about 50 seconds before you reach the countdown markers. There will be another sign at the half-mile point. Move in to the left-hand lane in good time. Don't cut across traffic at the last moment and don't risk missing your exit.
Q63. As a provisional licence holder you should not drive a car
A) over 30 mph
D) with passengers in rear seats
Answer: C
Explanation:
When you've passed your practical test ask your instructor to take you for a lesson on the motorway. You'll need to get used to the speed of traffic and how to deal with multiple lanes. The Pass Plus scheme has been created for new drivers, and includes motorway driving. Ask your ADI for details.
Q64. Your vehicle breaks down on the hard shoulder of a motorway. You decide to use your mobile phone to call for help. You should
A) stand at the rear of the vehicle while making the call
C) get out of the vehicle by the right-hand door
B) try to repair the vehicle yourself
D) check your location from the marker posts on the left
Answer: D
Explanation:
The emergency services need to know your exact location so they can reach you as quickly as possible. Look for a number on the nearest marker post beside the hard shoulder. Give this number when you call the emergency services as it will help them to locate you. Be ready to describe where you are, for example, by reference to the last junction or service station you passed.
Q65. You are on a three-lane motorway towing a trailer. You may use the right-hand lane when
A) there are lane closures
C) you can maintain a high speed
B) there is slow moving traffic
D) large vehicles are in the left and centre lanes
Answer: A
Explanation:
If you are towing a caravan or trailer you must not use the right-hand lane on a motorway with three or more lanes, except in certain circumstances, such as lane closures.
Q66. You are on a motorway. There is a contraflow system ahead. What would you expect to find?
A) Temporary traffic lights
Answer: B
Explanation:
When approaching a contraflow system reduce speed in good time and obey all speed limits. You may be travelling in a narrower lane than normal with no permanent barrier between you and the oncoming traffic. Be aware that the hard shoulder may be used for traffic and the road ahead could be obstructed by slow-moving or broken down vehicles.
Q67. On a motorway you may only stop on the hard shoulder
A) in an emergency
C) if you miss the exit that you wanted
B) if you feel tired and need to rest
D) to pick up a hitchhiker
Answer: A
Explanation:
You should only stop on the hard shoulder in a genuine emergency. DON'T stop on it to have a rest or picnic, pick up hitchhikers, answer a mobile phone or check a map. If you miss your intended exit carry on to the next, never reverse along the hard shoulder.
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Policemen no longer use the traditional truncheon what is the new instrument called? | "Traditional Methods for Mission and Evangelism" | Missions Institute of Orthodox Christianity at Hellenic College Holy Cross
"Traditional Methods for Mission and Evangelism"
TRADITIONAL METHODS FOR MISSION AND EVANGELISM
Fr. Luke A. Veronis
An International Conference on Mission and Evangelism – Brookline, 1995
"Let Your Light Shine Before Others" (Mt 5:16)
On a dangerous seacoast where shipwrecks often occur there was once a crude little lifesaving station. The building was just a hut, and there was only one boat. But the few devoted members kept a constant watch over the sea, and with no thought of themselves went out day and night tirelessly searching for the lost. Many lives were saved by this wonderful little station, so that it became famous. Some of those who were saved, and various others in the surrounding area, wanted to become associated with the station and give of their time and money and effort for the support of its work. New boats were bought and new crews trained. The little lifesaving station grew.
Some of the members of the lifesaving station were unhappy that the building was so crude and poorly equipped. They felt that a more comfortable place should be provided as the first refuge of those saved from the sea. So they replaced the emergency cots with beds and put better furniture in the enlarged building. Now the lifesaving station became a popular gathering place for its members, and they decorated it beautifully and furnished it exquisitely, because they used it as a sort of club. Fewer members were now interested in going to sea on lifesaving missions, so they hired lifeboat crews to do this work. The lifesaving motif still prevailed in this club’s decoration, and there was a liturgical lifeboat in the room where the club initiations were held. About this time a large ship was wrecked off the coast, and the hired crews brought in boatloads of cold, wet and half-drowned people. They were dirty and sick, and some of them had black skin and some had yellow skin. The beautiful new club was in chaos. So the property committee immediately had a shower house built outside the club where victims of shipwreck could be cleaned up before coming inside.
At the next meeting, there was a split in the club membership. Most of the members wanted to stop the club’s lifesaving activities as being unpleasant and a hindrance to the normal social life of the club. Some members insisted upon lifesaving as their primary purpose and pointed out that they were still called a lifesaving station. But they were finally voted down and told that if they wanted to save the lives of all the various kinds of people who were shipwrecked in those waters, they could begin their own lifesaving station down the coast. They did.
As the years went by, the new station experienced the same changes that had occurred in the old. It evolved into a club, and yet another lifesaving station was founded. History continued to repeat itself, and if you visit that sea coast today, you will find a number of exclusive clubs along that shore. Shipwrecks are frequent in those waters, but most of the people drown!
Here we see a powerful analogy of what happens within our Church when we remain enclosed in buildings, forgetting our evangelistic privilege and responsibility. A great danger exists to our own being as Christians, and to the identity of the Church, when we forget our call to go forth to ALL nations and share in the gospel of salvation with all peoples. Archbishop Anastasios of Albania has appropriated stated, "As unthinkable as it is to have a church without liturgical life, it would be even more unthinkable to have a church without missionary life" (Yannoulatos 1990:53).
In line with this thought, I would like to turn to our Orthodox tradition and talk today about different methods or principles of mission and evangelism which have been a part of our Church throughout all her history. I will not give a list of so called steps of evangelism, however; do this and you will be effective. No, instead I want to meditate on how our great missionary forbearers proclaimed the gospel - what did the Apostle Paul, or Saints Nina of Georgia, Gregory the Enlightener of Armenia, Cyril and Methodios, Stephen of Perm, Makarios Gloukharev, Kosmas Aitolos, Herman and Innocent of Alaska, and Nicholas of Japan do. We need to study their examples, and find models which we can imitate. In addition to their examples, I would like to tie in some practical experiences that I have witnessed in today's missionary effort in Albania.
From this presentation, I hope to raise questions or provoking thoughts which can challenge the Orthodox Church to honestly analyze her world-wide mission program. We need to begin taking the next step forward in our modern mission effort. Through such an evaluation, I think we will also see principles which apply not only in cross-cultural situations, but at home as well.
Overall, we will look at four general areas in our tradition: the character of the missionary, the missionary team that goes forth, the preaching of the message itself, and the actual training of leaders within the young indigenous community. All four areas integrally relate to the overall method of how to evangelize in a traditional Orthodox way. I will conclude by sharing a vision to reflect upon for the training and preparation of future missionaries.
1. Spiritual Character of the Missionary: "It is no longer I who live, but Christ who lives in me" (Gal 2:20)
As we reflect upon the illustrious missionaries of the past, the most distinctive and obvious feature for all these missionaries was their exemplary life. Before any message could be preached, something had to be shown. The crucial aspect of a mission is not what one proclaims, but what one lives, who one is. Orthodox theology and history teach us that the transformed life preaches in a way that no words can match. One holy man said, "Preach the Gospel at all times, and if necessary, use words" (Francis of Assisi). Thus, the first and foremost principle of any "method" of mission is the development of the spiritual character of missionaries -- their struggle for holiness, their capacity to carry God's grace, their humble, servant attitude, and their identification with the people.
a. Struggle for Holiness
Missionaries ought to exemplify holiness and direct people to grow in a faith that leads toward holiness. As Fr. Lev Gillet wrote, "Faith is nothing unless it transforms our lives, unless it bears fruit, and leads to holiness" (A Monk of the Eastern Church, 1992:222). For this reason many great missionaries of the past took a period of time to cultivate their spiritual life "in the desert" before their active mission began. We have the examples of the Apostle Paul going into the desert of Arabia for three years, Cyril and Methodius spending considerable time in a monastery, Stephen of Perm living more than a decade in a monastery, Kosmas Aitolos abiding for 19 years on Mount Athos, and of course Herman of Alaska, who was considered one of the pious monks of the monastery of Valaam before departing for Alaska.
The saying of Saint Seraphim of Sarov encompasses this whole message, "Acquire inner peace and thousands around you will be saved." Of course, the journey toward deep inner peace is life-long, but it should begin before we entering into the mission field. Unfortunately, too many missionaries lack this peace. They think to be fruitful simply implies busying themselves with numerous activities -- programs, schedules, meetings; they forget or ignore the most basic responsibility, their own inner peace and spiritual growth toward holiness. "The transformed life of the entire being in Christ is the true characteristic of a missionary" (Yannoulatos, 1964:147).
In Albania, I hold a frequent dialogue with a group of young medical doctors and students who are open to discussing matters of life and faith. The majority of these men come from Orthodox families, but most profess to be either atheist or agnostic. With one of the most outspoken doctors, I asked the question, "What is your purpose in life?" He proceeded to answer that his goal was to do good for humanity, to do more good than bad. This was a nice answer, and many people seemed satisfied with such a response. But from the Church's perspective, this answer falls short of our calling. God doesn't want us to simply do some good, He calls us to become holy, to be different, to be united with Christ in his holiness, to be “aghios,” not of this world. Our goal is to honestly repeat the words of Saint Paul, "It is no longer I who live, but Christ who lives within me” (Gal 2:20).
When missionaries begin to live a holy life in a pagan society, they have begun to offer the first and most basic lesson to the people they go to serve. Without this desire to become holy themselves, and then to lead people toward holiness, missionaries will be no different than humanitarian workers.
New believers must realize that holiness is something natural to all Christians, attainable both for the missionary and for new believers who commit their lives to Jesus Christ and His Church. Holiness does not mean achieving extraordinary ascetic feats, or being perfect in all we do. It is giving up one's own interest and putting on Christ, opening oneself up to the power of the Holy Spirit and allowing Christ to shine through one's life. It is doing small things with great love all for the glory of Jesus Christ.
b. Become Carriers of God's Grace
In this journey toward holiness, missionaries begin to understand and teach that they act simply as carriers of God's grace, instruments in the hands of God. Mother Teresa of Calcutta often uses an appropriate analogy. She says about her work "I am a little pencil in the hands of God. He does the thinking. He does the writing. He does everything -- and it's really hard -- sometimes I'm a broken pencil. He has to sharpen it a little more. But be an instrument in his hands so that He can use you any time, anywhere" (Hunt 1987:243) Missionaries should ask themselves daily, "Am I a carrier of God's grace? Do I realize my primary responsibility lies here."
Simeon Yanovsky, a contemporary of St. Herman, and a skeptic and agnostic before meeting the holy elder, spoke in this way of the humble missionary, "To my great surprise, the simple uneducated monk Fr. Herman . . . had a great natural intellect, much common sense, he was well read in the writings of the holy fathers, but above all he had the grace of God" (Oleksa 1987:49).
The purpose of mission is precisely this, to reflect the holiness, the goodness, the hope that comes through experiencing the life, death and resurrection of Jesus Christ; to act as vessels carrying God's grace to all people.
c. Maintain an Humble Attitude and Identify With the People
Another essential aspect of the missionary's character is his or her humble, loving, patient, servant attitude. Opposite behavior tempts some missionaries. These foreigners often hold a position of authority, especially when going from first to third world countries, simply because they control the money or administration of the sending agencies. Some of these people may subconsciously become missionaries for this exact reason, to be given an authority and an air of importance which they could not find staying at home.
The example of Jesus washing the feet of his disciples remains the prime model for missionaries. They are to serve the people they go to help and to identify with them in their struggles and needs. The 19th century missionary Makarios Gloukharev offers a vivid example. During the beginning stages of his ministry in the Altai mountains of Siberia, Makarios met much resistance and indifference from the people. This initial attitude tempted him to contemplate abandoning his mission because these people, he thought, were not ready for Christianity. After re-evaluating his mission strategy, however, he concluded that he could proclaim the gospel more effectively through his example, not his words. He began to imitate the humility of Christ by doing menial chores for the local people as a symbolic proclamation of the Gospel. He believed that to enter homes and sweep the floors as a humble servant was to identify himself with Christ, to bear witness to Him in a more authentic way than sermons. Through his subservient attitude he slowly began to reach the people.
Other missionaries behaved in a similar manner. Saint Herman fervently defended the rights of the Alaskan natives against cruel Russian traders and officials. He became one with the people so much so that each persecution against them was a persecution against him. He pleaded in a letter to the leader of the Russian-American Company, "I, the most humble servant of the local peoples and their nursemaid, stand before you with bloody tears and write my request: be a father and protector to us . . . wipe away the tears of our defenseless orphans, soothe the sorrows of aching hearts, let us know what joy is like" (Oleksa 1987:310). So we see identification with the people is imperative for any missionary.
Thus, the first and most basic method of mission is the spiritual development of missionaries - their struggle for holiness, their capacity to carry God's grace, their humble, servant attitude, and their identification with the people. The heart of any method lies with this beginning.
2. Mission Teams: "Jesus sent them out two by two" (Mk 6:7)
a. Example of Christian Community
A second fundamental principle is to approach the missionary task understanding that we are only a part of a team. Jesus sent his disciples out two by two, and in like manner we need to go forth, working together for the glory of God.
The importance of a team has much more to do than with the fact of offering companionship to one another. A group of missionaries can proclaim the gospel loudly through the example they establish. They teach their first lesson in Christian community through the love, care, respect, and compassion shown within their missionary fellowship. A positive example is the ministry of Makarios Gloukharev. He departed for the Altai mountains with two other companions. From the beginning, the three imitated the Apostolic Church by sharing everything with one another as a symbol of their unity and love. They hoped that this witness would touch the hearts of the indigenous peoples.
As a part of a team, the missionary also realizes that he or she is not the lone “savior,” but that he or she is working with others for the glory of God. As St. Paul emphasized, “I planted. Apollos watered. But God caused the growth… for we are God’s servants working together” (1 Cor 3:16,19).
Unfortunately, the opposite behavior sometimes exists in mission work. Jealousy, competition, misunderstanding, and insistence on one's own way are sometimes traits among missionaries. Such behavior damages the very foundation of the Christian message we try to preach.
b. Diversity of Team
Another benefit of a team is diversity. Many parts encompass the body of Christ, and the more parts exposed to non-believers, the more likely they will find their bridge into the Church. Remember the openness of Saint Paul in his work in Corinth, "There are different kinds of spiritual gifts, but the same Spirit; there are different forms of service but the same Lord; there are different workings but the same God who produces all of them in everyone… As a body is one though it has many parts, and all the parts of the body, though many, are one body, so also Christ" (I Cor 12:4-6,12).
The missionary saints of our tradition were not all monks or even men. In addition with the bishops, priests (celibate and married), and monks, there were, "princesses, diplomats, officers, soldiers, merchants, mariners, emigrants, travelers, and captives" (Yannoulatos 1989:66) The greater the variety, the more numerous examples people have to understanding the faith.
Our mission in Albania offers a positive example. Although our mission team is small, we presently have 12 long-term missionaries, it is quite diverse. Among the twelve we have two monks, three nuns, two married priests with their presbyteras (one with two children), two lay women and a lay man. Their professions include an architect, an accountant, a nurse, elementary and secondary teachers, and a communications specialist. I have witnessed the impact this diversity can have. Some people are attracted immediately to the monastics. Others have certain biases and seem more comfortable with a married person, or even a non-theologian lay man or woman. The diversity reflects the diverse people we try to reach, and thus offers different avenues for people to hear the Gospel. In this area I admire our Protestant brothers and sisters. In Albania, long-term Protestant missionaries number more than 400, and include a wide range of people -- from pastors and theologians, to doctors, lawyers, businessmen, a retired policemen, engineers, teachers, old and young. "One waters, another plants, but God gives the growth."
c. Prayer Team
A missionary team also comprises not only the active workers in the field, but also people back at home who support them with their prayers. This may not seem to be a "method" of evangelism, but in fact it is one of the most essential ingredients to a fruitful mission. If we look at the example of Saint Paul, we see a strong belief in prayer as the foundation for all his ministry and work. In every letter to his neophyte churches, Paul continually asked for their prayers on his behalf and on behalf of the gospel. His work was in vain without constant prayer for protection, strength, guidance, and boldness for himself, his co-workers, and his infant believers.
So we see how the mission team plays an integral role as a method of mission. Through the support it offers, together with setting an example of Christian community and diversity, the mission team itself proclaims the gospel.
3. Proclaiming the Gospel Message: "I have become all things to all people, that I might by all means save some" (I Cor 9:22)
a. Patience, Flexibility, and Creativity
The third method of mission involves proclaiming the spoken gospel in relevant and meaningful ways. In this area, the first attitudes missionaries must cultivate are patience, flexibility, and creativity. Serving as a priest in Albania over the past year and a half has given me some memorable and educational experiences. For example, there was the first time I celebrated the Divine Liturgy in a village. This village, typical of most places in Albania, had not participated in the Divine Liturgy during the last 25 years of communist rule. Even over the past four years of freedom, a priest had come into the village to offer the Eucharist only a few times. During my first service, the Church was like an outdoor bazaar, with a continual hum of noise. When I turned around to say, "Paqe me të gjithë - Peace be with you", I saw some people smoking their cigarettes in the middle of the Church. Part of me wanted to yell at them, "This is a house of God. Why are you acting as if it is an outdoor bazaar?" And yet, another part of me said to myself, "They are like sheep without a shepherd. This is just another sign of the need to educate and cultivate the Orthodox ethos here."
I experienced another unique situation during the Resurrection Service this past Paschal season. In the middle of the night, the noise in the church reached such a high level that when I began the Divine Liturgy with, "Blessed is the kingdom..." the chanter, who was only 15 feet away from me, literally couldn't hear my voice. I had to ask the people (for the fifth time) to please be quiet and show some respect inside the house of God. I told those who wanted to receive communion to come forward in front of the Royal Gates (and about 70 people approached thinking that they would receive at that very moment). I then proceeded to ask those who wanted to talk to please leave the Church and continue their discussions outside. We began the Divine Liturgy again with the chanter standing beside the royal gate, one foot away from me. Silence prevailed for 10 seconds and then noise erupted again. We proceeded to celebrate a beautiful and moving liturgy for the next hour and a half in the midst of total chaos and unbelievable noise. This is the reality of many places in Albania.
I offer these stories as examples which show how mission work demands creative approaches to ministry. Obviously, we don't handle situations the same way we would in a parish in America. Thus, we must challenge ourselves with questions, "Is it appropriate to offer a three hour Matins and Divine Liturgy in villages that have not had any services for 30 years? Is there another way we can begin in our teaching of worship? Can we be creative, staying within our Orthodox tradition, and develop something practical and unique for our present situation?"
Saint Innocent's ministry offers some creative ideas to difficult problems. For example, as bishop, he allowed 'pious and informed' laymen to administer the sacrament of baptism due to a shortage of priests (a priest would complete the baptismal prayer and chrismate the newly initiated at a later time). He also established men AND WOMEN to act as "readers," people who led weekly worship services in the absence of a priest. Celebrating such "reader" services on a regular basis would better prepare the people for the Divine Liturgy, when a priest actually comes into the village.
Saints Cyril and Methodios offer another insightful example. They translated the Mass of St. Peter in Slavonic, instead of one of the Byzantine liturgies, and used this western rite service in their ministry among the people of Moravia. They were sensitive to the fact that Frankish missionaries had been using this liturgy in Latin for the previous 50 years, and thus wanted to use this as a bridge to connect with the people. Here, we see the greatest Byzantine missionaries not afraid to use a Roman service to meet their particular needs and situation. Our modern efforts require such patience, flexibility, creativity, and vision.
b. Appropriate Catechism
Another area of preaching the Gospel involves the catechism itself. In situations like Albania, where many people call themselves Orthodox but know little if anything about the true Orthodox faith, missionaries ought to emphasize the importance of learning and practicing the faith. We cannot be satisfied with people who call themselves Orthodox simply because their grandparents were Orthodox. Sometimes we deceive ourselves by baptising people without any teaching, simply so that the Church can say we have "so many" Orthodox Christians. Can we be satisfied with less quantity but better quality? Makarios Gloukharev worked 14 years in the mountains of Siberia, during which time he baptised only 675 adults out of 44,000 inhabitants. Obviously, he believed in intense catechism to prepare people for their Christian journey. His careful catechism, however, prepared a foundation upon which later missionaries would see the fruit. Forty years after Makarios’ departure from the Altai mountains, more than 25,000 inhabitants had entered into the Church.
In our preparatory teaching for baptism, we should take care not to teach simply rules and doctrine. Some priests seem satisfied with people who profess an ideology based on external rules and commandments, without ever challenging believers to discover the ultimate, intimate relationship with the Holy Trinity. Our faith does not strive to teach a high truth, or fine morality. We seek to open the path for the Holy Spirit to move and live within the person. The goal of our teaching ought to be for new believers to become "new creations." Sometimes, I stop and wonder how many of the people I have baptized feel they have become a new creation? How many have truly died to their old self and become new? We have the responsibility to challenge each newly baptized person to be satisfied with nothing less than holiness in their lives. We can remind them of the words of Saint Gregory the Theologian, "Don't you know that the only way to be a son of God is to become a saint."
One positive example I remember occurred with Ana, a girl from a Muslim family, who decided to become Orthodox with a group of her University friends. On the day of her baptism, she expressed to me with tears of joy the excitement she felt putting behind her old life, with all its sins, and beginning a new and exciting life in Christ. In this person, I clearly witnessed a radical discovery and the start of a transformation. Becoming a new creation is the purpose of our baptism.
c. Contextualization
A final principle of preaching the spoken gospel is the idea of "becoming all things for all people so that by all means [we] may save some" (I Cor 9:23). From Saint Paul we see how he preached to the Jews as a Jew, but presented the gospel in a different way among the Gentiles. For example, among the philosophical and idolatrous Athenians, Saint Paul mentioned nothing about the Jewish background and fulfilled prophecies of the Messiah Jesus. Instead, he dealt with the Greeks at their level. He didn't condemn them for their gross idolatry, but instead chose to find good in their worship: "Men of Athens, I perceive that in all things you are very religious; for as I was passing through and considering the objects of your worship, I even found an altar with this inscription: To the Unknown God. Therefore, the one who you worship without knowing, Him I proclaim to you” (Acts 17:22,23).
From this introduction, he proceeded to talk about topics relevant to the Greek mind. He even quoted Greek philosophers and pagan poets to support his apology of the faith. In this way, Saint Paul contextualized the gospel and minimized the chances of his Gentile audience rejecting his message simply because of a cultural or religious bias.
So our sensitivity of proclaiming the Gospel with creativity, flexibility, boldness, contextualization, and truth, creating an intimate, transforming relationship between the hearer and God, are essential characteristics of a proper method for mission.
4. Training of Indigenous Leaders: "Entrust to faithful people who will be able to teach others as well" (2 Tim 2:2)
The fourth method of mission work is the training of indigenous leadership. From the beginning of one's ministry, the missionary has to seek out interested believers who will take the reigns of leadership as soon as possible. Saint Paul's words to his disciple Timothy offer wisdom to the missionary, "What you have heard from me through many witnesses entrust to faithful people who will be able to teach others as well" (2 Tim 2:2). Too often, this task proves very difficult for missionaries. The foreigners frequently foster an unhealthy paternal love which hinders their children from growing up.
a. Time Frame for Missionary
From the beginning of their ministry, missionaries have to think about the end of their ministry. Missionaries should keep in mind the fact that they are working themselves out of a job. They ought to live and work among the people as if no foreign worker, but a local person, will succeed them.
The life of Saint Paul reveals a deep understanding to this principle. The divine apostle traveled throughout Asia Minor, Macedonia and Greece for a period of 8-12 years, rarely staying in one city or town for longer than several months and never for more than 2-3 years. Yet, by the end of one decade, he could write that there existed "no further place for me in these regions" (Rom 15:23). How many missionaries go into the field thinking that their work can be completed in 10 years time? How many missionaries are willing to pass on the baton of ministry at the right moment, instead of overstaying their calling?
A critical look at our own modern missionary efforts raise questions. There have been Orthodox missionaries in East Africa for 30 years, but why do we still consider the church an infant, needing overbearing care by her missionary parents? The 25 year modern Orthodox mission in Korea could be another interesting and enlightening study. For our situation in Albania, as we work to revive a once dead church, we must daily ask ourselves if we are ready to pass over leadership after the necessary number of years? Archbishop Anastasios of Albania has given us the directive that whenever any of us leave our mission work, we have succeeded only in as much as we have trained and prepared Albanian leaders to fill our places.
b. Responsibility and Trust
Missionaries need to align their goals and work with such a time perspective. Their ministry is not to baptize or even to preach to all the people in one area. Their goal needs to be the training of select leaders who themselves have the zeal, desire, inspiration and guidance of the Holy Spirit to fulfill this work. If the missionaries train their spiritual children correctly from the beginning, if they open their eyes to the gift and power of the Holy Spirit and teach them to trust in the Spirit in their lives, the leaders have fulfilled a major task of their work.
We should trust that the Holy Spirit will guide the young believers; we should trust that Christ will dwell in them. We ought to have faith in the transforming power of the gospel in their lives. Sometime missionaries' reliance upon methods, systems, programs, organizations and overbearing, paternal patronage seem to minimize our and their faith as new believers.
When missionaries don't trust their new believers and leaders to do something because they are too young and immature in the faith, or because they do not have enough formal training and theological education, missionaries come close to the danger of minimizing the power of the Holy Spirit.
c. Personal Mentorship
In this training of individual leaders, missionaries need to spend quality time on personal relationships, mentoring, and spiritual guidance. To build up leaders takes time, not just through spoken lessons on the faith, but especially through allowing them to stay close to us and learn from our daily life. The examples we give through our lives offer the greatest lesson from which they can learn
Sometimes this aspect of personal mentorship is difficult, especially for Americans. We have been taught to focus on numbers, the bigger the better. If we spend the majority of our time with only a handful of people, instead of the masses, then some of us think we err. And yet, how much more effective our ministry can be if we focus our time on a limited number of leaders, and allow them to reach out to the masses. Remember the words of Saint Paul. "What you have heard from me through many witnesses entrust to faithful people who will be able to teach others as well" (2 Tim 2:2). Timothy, Silas, Luke, Mark, Sosthenes, Titus -- these were the young men who always traveled with Paul and learned first-hand from him. Paul directed other leaders in each city or town in which he established a church. Look at the last chapter of Romans, and we get an enlightening glimpse of the many disciples and co-workers, men and women, who Paul trained and influenced. Because of such "leadership" ministry he could confidently leave the eastern region of the Roman Empire after one decade of work.
Of course, within the overall ministry of a missionary, there will be need for programs, buildings, and projects, but the most important issue, the heart and soul of our work, is the people themselves. As we build up programs, are we building up the leaders who can run the programs? As we build many churches, do we have the faithful leaders who will transform these concrete buildings into houses of God on fire for the Gospel? The goal of Orthodox mission is not to build physical buildings, but to create living Eucharistic communities which act as evangelistic centers for the entire surrounding area. The indigenous people are the ones who know the language, customs, and life of their own people much better than any foreigner, thus they can more effectively serve as leaders and preachers.
d. Opportunities for Service
Combined with this focus on a select number of leaders, missionaries need to find practical opportunities for these young leaders to develop their talents. Train the new converts from the beginning to be "missionaries" among their own people. There exists a great danger to subtly lead new converts into a passivity. If the missionaries teach their first converts to constantly rely on the missionary, to wait upon his work and efforts, and not to challenge the Holy Spirit within themselves, they may become dependant and passive. Their faith remains contained. Growth and development lie dormant.
From the beginning we should teach new believers that their source of strength comes not from the missionary, but from the Holy Spirit working through the Church. The Holy Spirit abiding in the Church is above any one bishop, priest, or missionary. The foundation is our loving Father who created us, our Lord Jesus Christ who saved us, the Holy Spirit who abides in us, and the Church which protects us. If we teach new believers to place their trust here, and challenge them to share whatever little knowledge they have, then we begin to build a strong foundation.
Too often missionaries want to do everything, because they feel they can do it better than the new believer. And yet, how does one learn if they don't practice. As missionaries, our responsibility is to give freedom, and then to guide and counsel. We constantly should ask ourselves, if we leave today, if we get kicked out of the country unexpectedly, will the Church survive? Are there enough leaders to direct and lead?
So, let us heed the words of Saint Paul, "What you have heard from me through many witnesses entrust to faithful people who will be able to teach others as well."
Vision for the Orthodox Mission
I would like to conclude my talk with a vision I have for our Orthodox mission. The modern Orthodox missionary renewal began over 35 years ago with the establishment of the Porefthentes movement in Greece. Over these past three decades, our own mission program in America grew from a tiny office in the Greek Archdiocese, to today's Orthodox Christian Mission Center in St. Augustine, FL. We now send scores of short-term missionaries each summer, and support a growing number of long-term missionaries. We are even on the verge of beginning a chair of missiology at Holy Cross. But what next? Where do we go from here? The future continually brings new challenges. Which of us could have ever guessed the new opportunities that have arisen in the past decade? We have a thriving indigenous Orthodox Church in Indonesia. Albania, the bastion of atheism, is now open to all, with a resurrected Orthodox Church. And the fall of the iron curtain has opened new doors for help and service.
How can we respond to such opportunities? The vision I have tries to deal with this. It entails the establishment of a mission school and center, in the form of a quasi-monastic community. A place of learning missionary and cultural principles, all revolving around a life of spiritual formation -- prayer, solitude, and study of Scripture and the Church Fathers, especially our great missionary fathers and mothers. A place preparing and forming missionaries.
One of the most important principles I have learned during my limited missionary experience, is the idea that good intentions are not always good enough. Too many people enter the mission field ill-equipped, causing more damage than good despite their sincere intentions. People thinking about missionary work should take time to reflect and wrestle with the daunting task that awaits them. They should address such questions as to which methods they will use in their work. Do they realize that their own spiritual formation and struggle for holiness are the foundation of their work? Do they have a proper attitude of humility, ready to learn even more than they may offer? Have they thought about going out as a team (of course, all married couples should look at their spouses as team members), and what impact their team behavior will have? What about the actual message they will proclaim, and the means of conveying that message in a contextualized, meaningful way? And finally, have they thought about the importance of the training of indigenous leaders from the beginning, and what such training entails?
This summary of some traditional methods of Orthodox mission acts as a foundation to the vision. Such a mission school and center would serve as a preparation ground for missionaries to learn these methods. It would offer the training needed to prepare new missionaries for their upcoming task, while acting as a place for rest and renewal for veteran missionaries. It could also be a necessary center which continually sends forth a challenge to all our Orthodox faithful to be responsible in their faith and fulfill God's calling to the Great Commission. I won't expand more on this vision, because I only offer it as a means of conclusion, and as a thought-provoking idea with which the leaders of our missionary movement can wrestle.
As we in the Orthodox Church recover our historical understanding and commitment to missionary responsibility, and as we recommit ourselves to the traditional methods of mission and evangelism mentioned today, then our Church can save herself from becoming a social club (as described in the opening story), and can help her recover her status as a "life-saving station" in the midst of the world's troubled waters.
| Asp |
What surname was shared by the second and sixth presidents of the USA? | TRANSPARENCY AND THE POLICE:
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President Zedillo's second allusion was to an incident in southern California in April. It involved two American Sheriff's deputies beating some Mexican illegal immigrants whom they had chased at high speeds for over an hour on an 80 mile journey north from the Mexican border (Claiborne & Wexler 1996).
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The incident was videotaped by local television news crews who patrol the skies in helicopters and broadcast to the world.
The Mexican government regularly protests against the treatment of its citizens by U.S. authorities and had protested this incident (Claiborne & Wexler 1996; Moore 1996b). Obviously President Zedillo's other fear was that Mexico's moral authority to chastise the United States would be compromised by a video of Mexican brutality. In August, President Zedillo's nightmare came true but in a much worst form than he ever imagined.
On September 5 Mexicans were shocked by what they saw on their national television networks. A brutally beaten man was tied to a tree in the square of the Mexican village of Playa Vicente in the State of Veracruz. A second man poured gasoline over the captive's body, tossed a match and watched as flames engulfed the screaming victim. A crowd of villagers watched as the burning man twisted and wreathed in pain and terror (Moore 1996a, A1).
This was just the latest in a rash of cases within a few weeks in which people in towns across Mexico, disgusted with police corruption and ineptitude, had taken the law into their own hands. But, the burning at Playa Vicente was filmed on a home video camera and the tape sent to the television networks. There was also a petition reportedly signed by town leaders calling for the execution shown on the tape. The petition read:
"This town is fed up with injustice and has no confidence in the judicial system. That is why this town is taking justice into its own hands" (Id.)
In today's world of video cameras and global news networks, more and more spheres of social and political life are being laid open to public scrutiny. Michel Foucault (1979) was certainly very prescient when he coined the clever metaphor for social control in modern society, namely the all-seeing eye of the central guard tower of Jeremy Bentham's Panopticon prison. The all-seeing eye has assumed new proportions with the advent of the video camera.
But what Foucault fails to mention is that the penetrating gaze of modern life extends not only into the private realm of the individual citizen but also into the low visibility spheres of official behavior. The state stares out at the citizens; but the citizens are staring back.
The incident in southern California is one of an growing number of encounters between American police and citizens which have shown up on national and international television. No doubt the most famous of them all is the Los Angeles police beating of Rodney King. But, there have been others. One involved a highway patrolman driving an unmarked car that was equipped with a video camera whose intended use was to document how the suspect behaved during the arrest, particularly useful in drunk driving arrests and resisting arrests. However, it caught a police officer who dragged a woman out of her car and roughed her up after a long chase during which she refused to pull over.
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This new visibility of police actions is a healthy development for democracies. It is undoubtedly going to move the police closer to the ideal of a lawful, humane and respectful police. At the same time it is highlighting areas of police work which are in need of greater training, such as self-control after high-speed chases.
2 THE OLD TRANSPARENCY: EMPIRICAL RESEARCH AND THE TRADITION OF SELF GOVERNMENT
Before there were video cameras, the actions of police and criminal justice officials in the United States were made transparent by another means, namely, systematic empirical research. The studies were often done by people who were not members of the government and not funded with government money. They were just concerned citizens and civic reformers of various kinds. Their initiatives grew out of the well-established tradition of local government and citizen participation in government that has been an fundamental feature of the American experience since the earliest days of the colonies.
Americans never really liked government or trusted it. The republican ideals of self- reliance, self-sufficiency and individualism have always held a special place in the pantheon of American cultural values. They have been glorified by such cultural icons like Ralph Waldo Emerson in his essay on "Self Reliance" and by Henry David Thoreau in his classic, Walden Pond. They motivated Thomas Jefferson to buy the "Louisiana Purchase" from France which doubled the land mass of the United States. He did it to be sure there would be enough land that most citizens could live as independent, self-reliant farmers.
Government, of course, was a necessity. But it could be rendered less threatening if it were done by citizens acting as 'statesmen' out of a civic obligation to promote the commonweal rather than by aloof, unresponsive bureaucrats taking directions from some distant central authority who could easily become a tyrant. However, as the scale and complexity of modern life increased, the old ideal gave way; but not entirely. Citizens continued to keep a keen eye on government in various ways. Empirical studies were one of those ways.
Empirical research as a force in making government more democratic has evolved and been institutionalized over the years. It has moved from simple fact-finding investigations on the part of civic-minded individuals or sometimes partisan legislative committees to sophisticated research employing rigorous experimental designs with random assignment of treatment variables.
Today the federal government spends millions of dollars each year sponsoring research on numerous aspects of crime and the administration of justice. The National Institute of Justice, which is one of the research units within the U.S. Department of Justice, has just celebrated its 25th anniversary of funding and shaping such studies (U.S. Department of Justice. National Institute of Justice 1994). Its achievements are truly impressive.
Many of its studies subjected long-held assumptions in policing to careful testing and found them unsupported by the data. Those findings led to changes in policing strategies.
Preventive Patrol
One of the first and best known of these studies with a rigorous experimental design, was the Kansas City (Missouri) Preventive Patrol Experiment, conducted by the Police Foundation, a private research organization established over 25 years ago by the Ford Foundation and supported subsequently by research grants as well as sales of reports and some contributions from private sources.
The Kansas City study examined an assumption that had become conventional wisdom in police work and which was costing police departments a lot of money. The assumption was that police should spend their patrol time driving around a given area and that by doing so they deterred crime; made citizens feel safer; could respond more quickly to calls about crimes; and increase the chance of arrest by reducing their response time. Based on this assumption police departments had been increasing the number of officers and cars and the sophistication of their communications systems all of which placed considerable strain on their budgets.
In the experiment, the researchers randomly assigned neighborhoods to three different patrolling techniques: (1) no preventive patrol (police cars entered the area only to answer specific calls); (2) normal preventive patrol as formerly done; (3) increased preventive patrol (cars cruised the streets two to three times more frequently than usual). The study found that neither crime rates nor citizens' perception of their safety were significantly affected by changes in these levels of preventive patrol (Kelling, et al. 1974).
Another study also conducted by the Police Foundation found that police response time was unrelated to the probability of making an arrest or locating a witness; and that neither dispatch nor travel times were strongly related to citizen satisfaction. But, the time element that did prove important was the length of time it takes a citizen to report a crime to the police. If a victim or witness waited an hour or longer before calling the police, the speed with which the police responded was likely to be unimportant (Pate, et al. 1976).
Domestic Assault
Another area in which research studies using sophisticated designs have had an major impact is the matter of the police response to domestic assaults, wife battering. Prior to the 1970's this was one of those low-visibility, no-win issues that the police and local criminal justice systems dealt with by local ad hoc policies arrived at mostly by default. In every town across the country the police were routinely called upon to deal with domestic assaults. For a variety of reasons their responses usually left the victim no better off after the police response than before.
In many jurisdictions the law did not permit the police to arrest the batterer because the crime (often a non-felonious assault) was a misdemeanor. Police were not permitted by law to arrest without a warrant from a judge in cases of misdemeanors that they had not witnessed. The police would often just try to restore order and leave, telling the victim that if she wanted to have the abuser arrested she would have to go down to the courthouse and swear out a warrant before a judge. Usually that meant waiting from Friday night until Monday morning when things had calmed down and motivation to act had dissipated.
Even if there were grounds for arrest, experience had shown that wives and girlfriends usually refused to prosecute their abusers. If the abuser were convicted, sending him to jail was seen as making the situation worse because his income would be lost thereby increasing the family unit's hardship and further aggravating his relationship with the spouse. Thus the conventional wisdom was that there was nothing much that could be done unless the victim/woman was willing to make a major commitment to getting out of the relationship or getting legal protection from the courts.
These de facto polices were also undoubtedly shaped to an extent by male prejudice against women and by old cultural beliefs about the subordination of women and the supposed right of husbands to use violence to control "their women". Such old prejudices were probably what shaped the frame of mind of the Torrington, Connecticut police officers who on June 10, 1983 responded to another call for help from Tracey Thurmon, a young wife in her early twenties, who had been calling them for eight months over beatings from her husband. On this occasion the responding officers stood by and watched while her husband, Burt Thurman stabbed her and minutes later jumped on her neck crippling her and inflicting permanent scars (Froelich 1989).
The Torrington police and police everywhere, however, took notice when Mrs. Thurmon successfully sue them for $2 million. Thurman said police had repeatedly ignored her complaints about death threats from her husband, whom she was in the process of divorcing. Shesued for damages, claiming that the police were (Froelich 1989) violating her constitutional right to equal protection. The jury sided with Thurman, faulting 24 city police officers, 40 percent of the force. It was the first federal award of its kind (Polman 1986).
Since the early 1970s police departments had been put on notice by increasingly vocal feminist movement to rethink their policies for handling such women's issues as domestic assault. But, finding a defensible policy did not become urgent until Thurmon's suit. As a result of the case, Connecticut passed the "Thurman Law" that requires police to treat acts of domestic violence as they would any other assault.
In the early 1970s feminists in New York City had tried to get the police to adopt a policy of mandatory arrest in domestic assault cases. That challenge framed the issue. Was it better to make an arrest or not in such cases? In 1980 the National Institute of Justice funded a study by Professor Lawrence Sherman of the Police Foundation with the cooperation of the Minneapolis Police Department to subject this question to examination using an experimental design.
The experiment systematically varied the police use of three approaches when responding to misdemeanor spousal assault calls: (1) ordering the suspect to leave home for 8 hours; (2) advising the couple to calm down; and (3) arresting the suspect. The study found that "arrest worked best" (Sherman & Berk 1984). A night in jail for the suspect appeared to cut in half the risk of repeat violence against the same victim within the 6-month follow-up period, from 20 percent to 10 percent. The report recommended that the police in all 50 States be allowed to make warrantless arrests in misdemeanor domestic violence cases.
This study got widespread publicity and had immediate effects on police practice. Many police departments changed their policies to require an arrest in domestic violence situations. By 1988, 90 percent of police agencies surveyed either "encouraged" or "required" arrest in such cases; 10 States had enacted laws making spouse assault a separate criminal offense; and half of the States rescinded legislation that prevented police from making an arrest if they did not witness the crime (Sherman, et al. 1992).
This is a rare example of empirical research having such dramatic impact on public policy in the police work. But the story becomes even more interesting because it also illustrates the dangers of public policy makers embracing research results too quickly. Perhaps these results were embraced so quickly because the mandatory arrest policy is what the feminists had been pushing for and because the policy was so simple and universal. It called for no distinctions to be made between situations where the police should arrest and those where they should not. No discretion had to be exercised. So it was politically and legally very tidy.
However, subsequent replications of the study in other cities have shown that the situation is not that simple. As with all research, the findings of any given study must be re-validated under different circumstances in order to confirm the results and to assess their generalizability to other populations and other settings. Minneapolis is certainly not representative of all American cities.
In 1986 the National Institute of Justice funded replications of the experiment in Omaha, Nebraska; Charlotte, North Carolina; Milwaukee, Wisconsin; Metro-Dade, Miami Florida. The replications found that the effect of arrest varied depending upon certain conditions. In some cities arrest had the same positive effect it had had in Minneapolis, reducing the risk of future violence. But in other cities and circumstances, arrest increased the likelihood of future violence. In Milwaukee, arresting unmarried suspects appeared to make them more violent; but, not so for the married suspects. In three cities, arresting unemployed suspects made them more likely to repeat their violence; but not so for the employed suspects (Blumstein & Petersilia 1994).
Looking for the common denominator, Professor Sherman summed up the findings of the various studies as follows:
"Arrest increases domestic violence among people who have nothing to lose, especially the unemployed.
Arrest deters domestic violence in the short run, but escalates violence later on in cities with higher proportions of unemployed black suspects.
A small but chronic portion of all violent couples produce the majority of domestic violence incidents.
Offenders who flee before police arrive are substantially deterred by warrants for their arrest, at least in Omaha" (Sherman, et al. 1992).
Corruption
Before the National Institute of Justice existed, empirical research on the police and the justice system did not involve experimental designs but it did address important subjects like corruption, lawlessness and brutality. The purpose of the earlier studies was to make the police and the justice system visible to the public and thereby bring about reforms. Their methods were interviews, observations and analysis of records. Their reports were often bolstered with elaborate statistical charts and tables, based on their analyses of police, court and prison records. Many of these studies influenced the development of public policy, although in a less direct and dramatic form as the Minneapolis Domestic Assault experiment.
Police corruption has been the object of a long string of investigations and studies. In New York City, for example, almost every generation since the 1890s has had its investigation into police corruption. The State of New York even institutionalized the investigation function by establishing the New York State Crime Commission as a permanent body intended to ferret out official misbehavior.
This long line of investigations can be traced at least to the 1870s when several reform organizations of citizens, such as the Society for the Suppression of Vice, the Society for the Prevention of Cruelty to Children, and the Society for the Prevention of Crime began challenging the Police Department's established way of doing things. They wanted the police to enforce the laws regarding moral behavior and to cease their cozy relationship with saloon keepers, professional gamblers, and proprietors of brothels in which the police extorted money in exchange for allowing vice to flourish (Richardson 1970).
In 1891 the Rev. Charles Parkhurst, the minister of the Madison Square Presbyterian Church, became the president of the Society for the Prevention of Crime. He quickly changed the Society's tactics from demanding that particular dives be closed to breakup the connections between the lawbreakers, the police and the politicians. In February 1892 he used his Sunday sermon to deliver a scathing attack on the Police Department and the Tammany politicians that controlled it.
Police officials responded by demanding that he produce evidence for his allegations. They assumed he had none and they were right; but not for long. He immediately became and empirical researcher, setting out on nocturnal expeditions guided by an experienced informant. He visited various dives and brothels and became convinced that the Police Department was the focal point around which this network of vice revolved.
On March 13 he devoted a second sermon to the New York police and the local municipal administration. He said, "I believe that administration to be essentially corrupt, interiorly rotten, and in all its combined tendency and effect to stand in diametric resistance to all that Christ and a loyally Christian pulpit represent in the world" (Richardson 1970, 237). He then presented his evidence and, in a call to action, asked what the people were going to do about it.
Subsequently a grand jury used his findings as the basis for a presentment (a formal accusatory instrument) attacking the Police Department. The police responded by transferring some of the precinct commanders and the Superintendent of Police retired; but little else changed. Parkhurst kept up his documented attacks and was joined by a newly formed citizens' group called the City Vigilance League. The investigative work was done without compensation by two men over two years. Finally the day of reckoning happened. In the 1893 state elections the Republicans captured control of the legislature and launched a legislative investigation of the New York City Police and the democratic municipal administration that controlled them.
Known as the Lexow Commission, after its chairman, Senator Charles Lexow, the legislative committee brought the dark side of the police into full view. It demonstrated a systematic and pervasive pattern of police corruption, brutality, election fraud, payoffs for appointments and promotions, political interference in transfers and assignments, police involvement in confidence frauds, and the police belief that they were above the law. The tangible consequences of the investigation, however, were not as dramatic as reformers had hoped.
The incumbent political administration was voted out of office; the police commissioners removed a few officers after departmental trials; some officers were convicted of criminal acts but their convictions were later set aside by the courts and they were restored to office with full back pay.
Some structural changes were made. The Police Department was no longer allowed to control its own finances. A special commission was established and empowered to carry out "a radical reorganization of the department" by summarily removing, with the approval of the mayor, "any person and persons connected with said department, who, in their judgment, do not possess the necessary qualifications or answer the requirements of the service...." (Richardson 1970, 242).
Judging from the American experience, police corruption can not be solved once and for all. It is a perennial issue about which government officials, politicians and citizens must be ever vigilant. Most importantly it is people outside the police and the government who represent critical counter forces against corruption.
On April 25, 1970 eighty years after the Lexow Committee and other inquiries into police corruption in New York City, the New York Times published an article charging widespread police corruption in the city and official laxity in dealing with it. The mayor of the city established the Knapp Commission to investigate the charges. The commission was funded by money from government and private sources.
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The Commission concluded that it is a mistake to think of corruption in terms of the so- called "rotten apple theory." Corruption is not the result of a few morally weak individuals whose presence corrupts everyone else. It is the result of structures and the lack of structures that put police officers in situations where the rewards of illicit behavior far outweigh those of lawful behavior and where the motives and mechanisms for identifying and prosecuting improper behavior are weak or non-existent.
The Commission recommended that a completely separate office unconnected with the police or the prosecutor's office be established for the sole purpose of investigating and prosecuting corruption. The office had to be fully independent and designed so as to protect police officers and citizens who chose to report corruption to the authorities and to help with the prosecution. Further, the office must have jurisdiction going beyond the Police Department to include lawyers, prosecutors and judges and geographic jurisdiction that inlcudes all of the five separate counties covered by the City of New York.
"The Commission also made the following recommendations:
Corrupt activity must be curtalied by eliminating as many situation as possible which expose policemen to corruptoion, and by controlling experure where corruption hazards are unavoidable.
Temptations to engage in corrupt activity on the part of the police and the public must be reduced by subjecting both to significant risks of detection, apprehension, conviction and penalities.
Incentives for meritorious police performance must be increased.
Police attitudes toward corruption must continue to change.
A climate of reform must be supported by the public" (Id., 17).
The Commission also noted that because of the nature of policework in New York and everywhere else, the police develop feelings of isolation from the community and hostility. The police develop intense group loyalty which breeds both a powerful aversion to criticism from outsiders and and an intense desire to be proud of the Department. This mixture of hostility and pride had created what the Commission described as "the most serious roadblock to a rational attack upon police corruption, [ namely,] a stubborn refusal at all levels of the Department to acknowledge that a serious problem exists" (New York City. Commission to Investigate Allegations of Police Corruption and the City's Anti-Corruption Procedures 1972, 6).
Police Lawlessness: The Third Degree, the Exclusionary Rule, Stop and Frisk
Another crucial aspect of policework that has been the object of close scrutiny by researchers has been police obedience to the rule of law, particular the law of arrest and related Constitutional law which restricts the power of the police. These restrictions are the key to a free and open society. They are what stand between the citizen and state. They are intended to shield the citizen from interference from the police until and unless certain conditions obtain including a certain level of evidence exists that the citizen is involved in some illegal act. In keeping with the liberal tradition and its anti-authoritarian bias, these restrictions have been designed and enforced in accordance with the belief that it is better to allow 100 guilty men go free than to convict one innocent man.
Following the common law tradition, American police may not search or seize a person unless they have a threshold level of evidence that supports their belief that a crime has been committed and that the person has committed it. That threshold is referred to in legal terms as "probable cause." This is one of those legal terms that can not be precisely defined but nevertheless has a definite meaning although in given cases even supreme court justices may disagree as to whether the evidence rises to the level of probable cause.
At a minimum the requirement of probable cause means that the police may not arbitrarily arrest (seize) or search someone without the slightest shred of evidence. It also means that the police can not lawfully require a suspect to provide evidence against himself. This restriction on self-incrimination is, of course, also protected by the 5th Amendment to the federal constitution.
Restricting the powers of the police to stop, search, question and detain citizens, of course, reduces to some extent their effectiveness as crime fighters. They have to work harder to get evidence. This loss in crime fighting effectiveness is what is known in the liberal tradition as "the price of liberty." Much of the debate that accompanies changes in restrictions on the police revolves around the question as to whether the price of liberty is too high or the danger of police power is too great.
These changes represent a continual rebalancing of the scales between liberty and order. They are testimony to the accuracy of the famous Dr. Samuel Johnson's observation that "the danger of unbounded liberty and the danger of bounding it have produced a problem in the science of government which human understanding seems hitherto unable to solve."
During the 1960s the United States Supreme Court made several attempts to solve this problem. On the one hand, it restricted police authority by imposing on the states the so-called "exclusionary rule" under which evidence obtained by the police in violation of the legal restrictions would be excluded from use at trial and requiring the police to warn suspects of their constitutional rights including the right to remain silent and the right to have an attorney.
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Preceeding both of these highly controversial policy changes there had been substantial bodies of empirical research that had been done. Those studies had become part of the body of common knowledge about how American police operated and, no doubt, influenced the court's understanding of the nature of the problems.
One of the most thorough studies of police illegality was published in 1931 by the first national crime commission known as the "Wickersham Commission" after Attorney General George Wickerham, its chairman. Even though it was a government sponsored commission, it included outside members and consultants and it did not hesitate to issue severe criticisms. Its report on the police was scathing and uncompromising as the title suggests, Report on Lawlessness in Law Enforcement (U.S. National Commission on Law Observance and Enforcement 1931a).
In 347 blistering pages it described the systemmatic use of the "third degree" by the police to coerce confessions out of suspects, sometimes using force and violence, other times using more subtle psychological weapons. Based on interviews and observeration in 15 cities the Commission found that along with the third degree other violations of law were common including (1) illegal arrests; (2) excessive force at arrest or in jail; (3)illegal detention without production in court; (4) wrongful denial of bail or insistence upon excessive bail; (5) isolation of the prisoner from his family and friends; (6) denial of the opportunity to get counsel or interview counsel; (7) confinement in bad quarters or under bad living conditions.
In its report the Commission went back to first principles of a free society. It wrote:
"Most important of all is the right to personal freedom. It is a fundamental principle of the common law that a citizen may not lawfully be imprisoned by a policeman or any other official merely because the official thinks such action to be for the public good. A policeman...must be able to point to a specific statute or a specific rule of the common law that authorizes him to arrest and detain a citizen under the circumstances of a given case....This is what John Adams meant by 'a government of laws and not of men'. This principle of the rule of law goes back to the words of the Magna Charta" (Id., 32).
In its discussion of police illegality in Los Angeles, California, the Commission reported that it had learned that it was customary practice for the police to manhandle people in custody and to keep them incommunicado often for 72 hours before they were charged or released and that the police believed they had the lawful right to arrest and hold persons on suspicion. They also noted with favor that there existed in Los Angeles one of the most forceful agencies to combat the third degree in the United States, namely a group of private citizens who had formed the Constitutional Rights Committee of the Los Angeles Bar Association.
The Constitutional Rights Committee was not formed in reaction to any particular case of brutality. It grew out of a discussion group known as the Southern California Academy of Criminology, founded by the pioneering former Chief of Police of Los Angeles, August Vollmer and the Dean of the University of Southern California Law School, Justin Miller. That Academy brought together police, social workers, criminologists, juvenile court workers, and lawyers. The official objectives of the Committee were: (1) to abolish physcial injury by third- degree methods; (2)to abolish mental third-degree methods; (3)assure that suspects would be taken promptly before a magistrate; (4) assure that homes would not be searched without a warrant; (5) abolish holding prisoners incommunicado; (6) abolish illegal arrests with warrants (U.S. National Commission on Law Observance and Enforcement 1931a, 145). Over the next thirty years these objectives were slowly incorporated into consitutional limitations imposed on the police by the Supreme Court.
At the same time in the 1960s when the Supreme Court was imposing these restrictions on the police and alledgedly "handcuffing" the police, as the police referred to it, the court expanded police to stop citizens and search them on the basis of less than probable cause. However, the search had to be limited to a pat-down known as a "frisk" of the person's clothing solely for the purpose of protecting the police officer from the possibility of injury if the suspect were carrying a weapon. The frisk could only be done if the police officer could articulate reasonable grounds to believe that the suspect might be armed and involved in a crime. A mere hunch was not enough to justify the frisk.
This policy change was regarded as a dramatic departure from the traditional constitutional standard of probable cause and was roundly condemned in a dissenting opinion by Justice Douglas. But, whether one agrees with the opinion or not, what is noteworthy for our purposes is that the policy had been long debated in the literature and the debates had been informed by empirical studies including some of the findings of the Wickersham Commission.
During the 1920s the country was trying to cope with the lawlessness associated with the 18th Amendment, the National Prohibition of Alcohol. Prohibition and its enforcement was a major stimulus for the consolidation of organized crime groups from Al Capone to other mobsters who ran speakeasies and trafficked in illegal alcohol. Some people felt that the police needed greater authority to cope with the problem and that the probable cause standard for searches should be lower when it came to searches for illicit alcohol. The Wickersham Commssion, whose main reason for existence was to address the law enforcement problems created by Prohibition, disagreed. It wrote:
"The limitations upon search and seizure have undoubtedly hampered investigators and special agents in every connection. But apart from the constitutional questions, too much resentment and irritation is likely to be provoked by changes whcih would give to enforcement of natonal Prohibition greater latitude than is permitted with respect to other laws. We do not think it is adviseable to alter the federal law with respect to search and seizure, assuming it would be possible (U.S. National Commission on Law Observance and Enforcement 1931b, 66)."
Over the next decade, however, public concern shitfed from alcohol to gun control. Several law professors wrestled with that problem of finding the balance between liberty and order. Police illegality started to be seen from a different perspective. They began to argue that part of the problem was that the law of arrest was outdated and the police needed new powers.
Professor John B. Waite (1931) led the attack using empirical data to support his position. He argued that if the police made an unlawful arrest of someone who turned out to be guilt of a crime then the arrest should be made legal retroactively. He was particular concerned about guns and showed that one fourth of the "gun-toters" arrested in Detroit went unpunished because the courts suppressed the evidence due to illegal searches (Waite 1933). (Michigan had its own exclusionary rule at the time.)
Other law professors joined in the dialogue, adding facts and arguments of their own (McDonald 1977). The reknown Jerome Hall provided additional documentation of extensive police illegality, but he argued that part of the problem was that the law of arrest did not provide the police with the authority to act in situations in which action was necessary.
So the police were being forced by the inadequacy of the law to act illegally. And this kind of police illegality he did not condemn, although he argued that it had to be remedied because it fostered police illegality of the wrong kind. He wrote: "As between strict adherence to outmoded rules, and practices at odds with such rules, the latter may well be the lesser evil. But, that alternative, as a deliberate policy, cannot in a society constructed upon law, be a permanent one..." (1936, 366).
When it came to the problem of authority for the police to stop and search people who they thought were carrying guns but for which they did not have probable cause to conduct a search lawfully, Professor Andrew Bruce thought he had an answer, namely the revitalization of the "doctine of the night prowler." The doctrine can be traced back to the Ordinance of 1233 in England which established the "night watchman," long forerunners of the modern police. The ordinance directed the watchmen to "arrest those who enter ville at night and go about armed" (Bruce & Rosmarin 1933-1934).
Bruce showed that the common law courts had recognized that authority for watchmen to detain suspicious "night walkers" at least until the morning without probable cause. He argued it should be allowed for modern police in order to cope with the gun carrying problem.
In the 1940s the Interstate Commission on Crime was established by the American Bar Association to develop model legislation that could be copied by the states when and if they chose to reform their laws. The Commission eventually wrote the Uniform Arrest Act which was intended to respond to these concerns about the outmoded nature of the law as well as differences among the states in their arrest law.
But before drafting any model legislation they asked Professor Sam Warner to conduct a first-hand empirical study of police arrest practices "in order to determine the possibility of drafting a model act to reconcile the law as written with the law in action" (McDonald 1977, 54). The Commission was of the opinion that "in nearly all, and probably in all, American cities the police regularly violated the law in making arrests", and they guessed that "over 75% of all arrest are ilegal in some particular." But they "wondered if this was not necessarily so, because strict compliance with the law would hamstring the police in their efforts to protect society" (Warner 1940; Warner 1942).
Warner's own study confirmed the belief that many arrests were illegal in some particular, but he and the Commssioners concluded that the law of arrest was indeed part of the problem and that adjustments needed to be made. By the 1960s the state of New York passed as law allowing the police to stop and frisk suspicious people under certain circumstances. Shortly thereafter the U.S. Supreme held that stop and frisk was a constittional tactic that the police needed to use in situations where there was no probable cause but society expected the police to at least make some inquiries as to what has happening.
3 CONCLUSION
Empirical research by private citizens from outside the government, and sometimes in cooperation with government spsonsored inquiries, has been a crucially important force in the struggle to achieve a democratic, fair, humane, and lawful police in the United States. Empirical researchers are one very important set of guardians that guard the guardians. States committed to the democratic liberal ideal would do well to learn the simple lesson from the American experience. Achieving a democratic and lawful police force is a never-ending task. A government of checks and balances is not enough. One needs transparency in government. The people must be able to know if the checks and balances are working and if public policies set by the people are indeed being followed or are in need of revision.
Empirical research provides transparency. Therefore, if there is one lesson which I would recommend that Central and Eastern European police agencies and government officials learn from the American experience it is that the liberal-democratic police ideal is more likely to grow and thrive if there is also a robust community of researchers, scholars and citizen activists watching, recording and analyzing the police and making them transparent. And, finally, you should know that the National Institute of Justice (NIJ), of the U.S. Department of Justice, stands ready to assist with the development of such a research tradition.
NOTES
. Grupo Beta Sur is one of several new Mexico elite police units designed to protect migrants from bandits and extortion by corrupt Mexican police. They are modeled the first such unit, known as Grupo Beta, established in 1991 in Tijuana, which proved to be very successful (Golden 1992; Rotella 1992). Two factors in the context of the creation of the Tijuana Grupo Beta are noteworthy.
A special police unit with the sole purpose of protecting illegal immigrants from bandits was first established by the San Diego Police Department in 1976 (Kolendar 1978). It was disbanded 18 months later after more than a hundred arrests and several shoot-outs and hot pursuits across the international border. One of the reasons for disbanding was political pressure from Mexico, who was embarrassed by the fact that many of the bandits caught robbing the migrants were Tijuana and federal Mexican police officers (Romney 1992; Rotella 1992). The controversial and harrowing work of the unit has been chronicled by Joseph Wambaugh, in his non-fiction book, Lines and Shadows (1991).
In 1984 the San Diego police established a successor unit to protect the illegal imigrants. It was disbanded in 1989 after shooting 44 suspects, killing 18. This time they were disbanded due to allegations that they were wrongly killing Mexicans. Later the same year, however, the San Diego Police Department re-established yet another unit, its third, to protect the immigrants. That unit still operates today and strikes an observer as very strange because it involves uniformed police officers hiding out at night in the canyons and arroyos along the border and reassuring illegal immigrants whom they meet sneaking into the country that they are there to protect themfrom bandits, not turn them over to La Migra or take them back to Mexico. In the current anti-immigrant atmosphere in the country, especially in California, this unit represents classic and noble example of how one democratic police agency adjusts its resources and priorities to conflicting political demands without losing sight of their more basic obligation to protect human life because the person is a human being, not because he or she is a citizen or a [sic]
In 1990 the relations between the United States and Mexico began to change as the two governments were pursuing the North American Free Trade Agreement with Canada. Mexican officials were particularly concerned the the public image of Mexican lawlessness could threaten negotiations. Conflicts along the border fed that image especially the series of violent clashes that were happening along the Tijuana-San Diego border. So Mexican officials dissolved its Border Inspection Group because of constant complaints about its corruption and established Grupo Beta. The Beta unit was composed of officers from state, federal and local police units. The officers are paid double the normal salary of Mexican police and they are held to higher standars of integrity (Golden 1992).
Subsequently, an administrative review panel recommended that Deputy Franklin, a 20 year veteran of the police force, be suspended without pay for one month, and Deputy Watson, a five year veteran, who delivered more blows on the tape, was recommended for termination (Associated Press 1996).
. She later explained that she didn't pull over because she did not know the police officer was indeed a police officer. She thought she was being waylaid by an attacker.
Much of that research and other literature is now available free of charge to you and anyone else in the world who has a computer and is linked to the INTERNET and the World Wide Web. You can locate them and in many cases download a copy of them for your personal use. What is more, incredible as it may seem, NIJ's Web site contains software which will translate those studies into Russian, French, German or Spanish (again at no charge).
The City of New York contributed $325,000; the State of New York contributed $75,000; the federal government through the National Institute of Justice contributed $215,037; and an additional $134,000 was contributed by 12 private foundations (New York City. Commission to Investigate Allegations of Police Corruption and the City's Anti-Corruption Procedures 1972).
. Mapp v. Ohio, 367 U.S. 643 (1961); Miranda v. Arizona, 384 U.S. 436 (1966).
. Terry v. Ohio, 392 U.S. 1 (1968).
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What was the pop-up figure called in the fun house in The Man With the Golden Gun? | YTS - The Man with the Golden Gun (1974) Download YIFY movie torrent
The Man with the Golden Gun
1974
The Man with the Golden Gun
1974
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Synopsis
James Bond is led to believe that he is targeted by the world's most expensive assassin while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.
Scaramanga is a hit-man who charges a million dollars per job. He becomes linked to the death of a scientist working on a powerful solar cell, and James Bond is called in to investigate. As he tracks down Scaramanga, he realises that he is highly respected by the killer, but will this prove to be an advantage in the final showdown?
Parental Guide
November 01, 2015 at 08:01 AM
Director
Reviewed by TrevorAclea 7 / 10
Much better than its reputation
The Man With the Golden Gun was producer Harry Saltzman's last hurrah before selling out his share in the Bond series to United Artists to ensure the maximum inconvenience to his detested partner Cubby Broccoli. It's certainly not premium Bond: at times it threatens to turn into an episode of The Avengers, what with Scaramanga's funhouse, his midget servant Nick Nack, it's human statues or the off-kilter angles of MI6's Hong Kong HQ located in the rusting wreck of the Queen Elizabeth, not to mention Roger Moore's more Steed-like Bond. Although there are hints of the lows to come in Moore's tenure Bond being saved by a pair of schoolgirls or defeating a villain by pretending to be a tailor's dummy this is still recognisable an old-school Bond film, with thankfully few gadgets, although it's disappointing that the producers provide Scaramanga with an island lair and super-weapon to give Bond something to blow up at the end (a rather half-hearted effort to be sure: instead of a private army, Scaramanga simply has Herve Villachaize and a maintenance man).
Britt Ekland's irritating 'typical silly woman' comic relief was a bit hard to take in 1974 and gets worse with each passing year, but Christopher Lee's Scaramanga is one of the more interesting Bond villains, not least because of his imagined empathy with his prey he regards himself as Bond's moral and professional equal, the kind of pathological snobbery Fleming's books were full of but the films increasingly abandoned.
Reviewed by Righty-Sock ( [email protected]
) 7 / 10
Scaramanga's trademark weapon was a single-shot, gold plated, 4.2-caliber handgun
In Guy Hamilton's 'The Man With the Golden Gun', James Bond still enjoys a good cigar, and prefers Dom Perignon '62 above the '64 offered...
He sure does love Swedish babes, and dares to kiss a talented dancer's 'magnificent' abdomen... He slaps a tall, graceful slim girl, and he slaps her hard... He attempts to overtake Scaramanga's car by crossing a canal with no bridge in sight, and pilots a small seaplane to let us see those incredible prehistoric islands off the coast of Thailand...
Francisco Scaramanga (Christopher Lee) is a world's class assassin who has stolen a prize solar energy device, but who only needs one bullet to finish a job... He likes Tabasco sauce, gold jewelry, and a girl in a bikini... He caresses his lover with a golden gun, and loves to kill for a million dollars a shot... He has a 'sign' of great sexual prowess... He perverse love/hate relationship with a mischievous French-speaking assistant, and admires Bond so much that he even keeps a mannequin of him at his island retreat... He claims to be an artist, and challenges 007 to 'a duel between titans' on the sunlit beach... A man of taste, his AMC Matador car suddenly sprouted wings and jetted off into the blue sky
Britt Ekland spends most of the film either locked in the trunk of Scaramanga's flying car or stuck in the closet of Bond's hotel room while 007 makes love to Andrea (Maud Adams).
Maud Adams remains the only exotic woman to have starred in two different Bond features, and would also have a brief cameo in "A View To A Kill." This Swedish beauty is sick of Scaramanga's sadistic games
It was she who sent the gold bullet to M16 that set Bond on Scaramanga's tail
Nick Nack (Hervé Villechaize) perfectly proves that the smallest of Bond's adversaries can easily give 007 big trouble... He annoyed 007 right up until the very end of the mission
His tiny mannerisms perfectly fitted the fantasy tradition of the Bond movies... He's seen so quick on his feet as he plays with the controls that operate the 'fun house' on Scaramanga island
'The Man With the Golden Gun' remains thin and obvious 007 extravaganza with conventional expensive excitements... The boat and car chases merely reprise sequences in both 'Live and Let Die' and 'Diamonds Are Forever.'
Last note: After being absent in 'Live and Let Die,' Desmond Llewelyn returns as the beloved Q, but provides 007 no fantastic gadgets and weapons this time...
Reviewed by Jonathon Dabell ( [email protected]
) / 10
Enjoyable Bond adventure, but not one of the very best.
The Man With the Golden Gun ditches the original novel almost completely (the book was set in Jamaica, for a start, whereas the film is located in the Far East). However, it is still a fairly entertaining entry is the long-running series, and features three strong reasons for tuning in: 1)a classic Bond villain in the shape of Francisco Scaramanga 2)a classic villain's henchman in the shape of psycho dwarf NickNack, and 3)a stunning Bond girl in the shape of Mary Goodnight. There'a also the most outrageous car stunt ever seen in a motion picture, rendered all the more impressive by the fact that it is not a computer enhanced sequence but was filmed for real (including that infamous loop-the-loop in the red sports car).
Bond is played by Roger Moore for the second time. Moore is relaxed and easy-going in his usual manner, but shows a bit of the old Connery toughness during a couple of martial arts fight sequences. His mission is simply to stay alive this time, having been targeted by world renowned hitman Francisco Scaramanga (chilling Christopher Lee). Moore decides that rather than waiting around to be shot, he will hunt for Scaramanga himself, and his search takes him to Beirut, Macao, Hong Kong and, finally, a privately owned Thai island. En route, he discovers that Scaramanga has bigger fish to fry than simply killing 007, as he also plans to use a powerful solar device to power-up a deadly laser gun that he has had built.
It's a surprisingly slow-moving film for a Bond flick, with more talky scenes than is customary. However, the action when it comes is pretty memorable. The comedy relief provided by Clifton James (you may remember him as a mouthy cop from Live and Let Die) is somewhat irritating and hurts the film more than it helps it. Lulu's title song is dated, but catchy. I would rate this an an enjoyable Bond escapade, definitely worth catching for series completists and fans of action bonanzas, but it isn't really the best of the bunch and isn't even the best of Moore's films in the series. If you're only going to see five minutes of the film, though, you simply must tune in for that afore-mentioned car stunt.... awesome!
| AL |
Which F1 team failed to turn up for the 2002 Hungarian Grand Prix and have not been seen on an F1 track since? | Life Size Cut Outs | Cardboard Life Size Stand Ups | MegaPrint
Life Size Cut Outs
Want a life size stand up of someone?
We can do that!
Send us the picture to scan, or a digital file of your person, and we'll print a cut out in life size on 3/16" gatorboard. We put a triangle stand on the back so it will stand by itself.
We see life size stand ups used in tradeshow booths, at events and conferences, store front displays, and we've even done them for the lobby of a Broadway show! Cutouts are lots of fun.
Photos for life size cut outs should be 72-100 dpi in their final size. You will need at least a 4 megapixel (1692xdigital camera image to work well, and that's if the person fills the photo. More pixels are better!
Typical size is 36"x72". Remember, we need to think about the structural strength and stability of life size stand ups, so it's a good idea not to have arms sticking straight out, people standing on one foot, etc. We ship these folded in two, with tape on the back serving as a hinge. The stand on the back velcros to the two halves, keeping them upright and straight.
To Order:
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In CB jargon what is a bone box? | CB Slang: Bone Box
What does "Bone Box" mean?
A:
If you hear a truck driver say "Bone Box" on their CB radio, it's just another way to say "Ambulance." There are hundreds of other popular CB slang phrases - to learn more, check out the links below or browse the rest of our online CB slang dictionary.
This CB slang dictionary is protected by copyright law. © 2016 Subrio, LLC. All rights reserved. Contact Us
| Ambulance |
What type of snake is reputed to have been used by Cleopatra when committing suicide? | CB SLANG
CB SLANG AND TECHNICAL TERMS
1962-1998
(from the book "Woody's World Of CB")
The list below represents just about every CB-ism you'll run across. Please keep in mind that if you jump on the air with a sentence full of slang words and phrases below you'll sound like an idiot. These are words that you'll run across throughout a variety of conversations, and it's helpful to know what they mean.
My best advice I can give you is:
1). Listen well before you speak, many parts of the country differ on their protocols and terminology.
2). Always be polite
3). Minimize the "Slang". When you talk to someone on the radio, use it like you would a telephone with one added restraint - don't use profanity. It doesn't take a BIG man to swear, it's takes a BIG man to convey his thoughts and feelings WITHOUT swearing.
(For help with SSB communications - refer to my SSB section)
A
ALERT -Affiliated League of Emergency Radio Teams
All the good numbers -Best wishes.
Alligator-Tread from the tire of an 18 wheeler on the road
Alligator Station -All mouth and no ears. A person who likes to talk just to hear himself.
Amigo -Friend
Ankle biter- Small child or annoying teenager
Antenna Farm- Base station with many antennas strung up in the air
Antler Alley -Deer crossing
Appliance Operator -Non technical person who knows how to turn the rig on, and thats about all.
AM -Amplitude Modulation
Ancient Mariner -AM, or someone who uses AM
Astrodome City- Houston Texas (see Space City)
B
Baby Bear- Cop in training, or rookie
Backdoor -Vehicle behind the one who is ahead of it.
Backdoor closed- Rear of convoy covered for police
Back em up -Slow down
Back off the hammer -Slow down
Backslide- Return trip
Bad scene- A crowded channel
Ballet Dancer -A antenna that really sways
Barefoot Using an unmodified CB transmitter
Bar city -Forrest City, AK
Base Station -Radio installed at a fixed location, house, etc.
Bay City -San Francisco
Bit on the seat of the britches -Got tagged for a speeding ticket
Blackn White- Cop
Blackn White Cber -Cop with CB in his car
Black Ice -A patch of iced over blacktop road.
Bleeding/Bleedover -Strong signals from a station on another channel, interfering with your reception
Blessed Event -A new CB rig
Blew my doors off -Pass by me with great speed, sometimes referenced to loud or strong signal
Blowin Smoke -Loud signal
Boast Toastie -A CB expert
Boat Anchor -Either an old tube rig or a radio that is unrepairable.
Bodacious- Awesome
Boy Scouts -The State Police
Box -Tractor Trailer
Break -Request to use the channel, while other stations are using the frequency
Variations: Breaker, Breaker-Broke, Breakity-Break, Break For
Breaking Up- Audio cutting in and out
Breaker-Breaker -Same as break. Also the title of Chuck Norriss first mainstream movie.
Breaking the ol needle- Strong signal
Bring it back -Answer back
Bring yourself on it- Request to move into the right lane
Brown paper bag -Unmarked Police car
Brush your teeth and comb your hair-Radar trap ahead
BTO- Big Time Operator
Bubble gum machine- Flashing lights on top of car
Bucket Mouth- Loudmouth, or someone who uses a lot of profanity.
Bucket of bolts -Eighteen wheeler
Buckeye State -Ohio
Bug Out -To leave a channel
Bumper Lane- Passing lane
Button Pusher -Another Cber who is trying to breakup your communication with another station by keying his microphone, playing sounds, etc.
C
Cactus Patch- Phoenix Arizona; Roswell New Mexico
Camera -Police radar
Can- Shell of a CB set, or tunable coil in CB set
Candy Man -FCC
Cartel- A group hogging a channel
Casa- House
Catch ya on the flip-flop- Ill talk to you on my return trip
CB -Radio
Cell Block- Location of the base station
Chain Gang -Members of a CB club
Channel 25 -The telephone
Charlie -The FCC (see Uncle Charlie)
Chew n choke -Restaurant
Checking My Eyelinds For Pin Holes -Tired or sleepy.
Check the seatcovers -Look at that passenger (usually a woman)
Chicken Coup- Weigh station
Chicken Coup is Clean -Weigh station is closed.
Chicken Inspector -Weigh station inspector
Circle City -Indianapolis Indiana
Chopped Top- A short antenna
Choo-Choo town-Chattanooga
Christmas Tree -18-wheeler with an excess of running lights
Chrome Dome- Mobile unit with a roof antenna
Cigar City -Tampa
Citizens Band- The radio service used by CBers. Also the name of a popular 70s movie.
City Kitty- City police
Clarifier -Found on SSB rigs, this control varies the receiver frequency to help tune the other station in (called "delta-tune" on AM rigs). Because sideband is so sensitive, it is a common practice to "open" the transmit side of a clarifier so that the Transmit and Receive frequencies are tied together.
Clean Cat- An unmodified rig
Clean Shot -Road ahead is free of obstructions, construction, and police
Clean as a hounds tooth -Same as clean shot
Cleaner channel- Quieter channel ("Lets find a cleaner channel to talk on")
Clear- Final transmission "This is 505 and Im clear"
Clear after you -You are ending transmission after the other person finishes signing off
Clear as a spring day -Same as "Clean Shot"
Coffee Bean- Waiter or waitress
Coffee Break -Informal gathering of CBers
Coke stop- Restroom
Cold Rig- 18-wheeler pulling a refrigerated trailer
Collect Call -Call for a specific Cber
Colorado Kool Aid -Beer
Come again -Repeat your last transmission
Come Back- Answer my call
Comic Book -Truckers log book
Coming in Loudn Proud- Loud and clear signal
Container -Chassis and shell of a CB rig
Concrete Blonde -Hooker
Convoy- 2 or more vehicles traveling the same route. This term was made popular, then over-used by the entertainment industry via songs and movies.
Cooking -Driving
Cooking Good -Reached desired speed.
Copy -Receiving a message: "Do you copy?"
Copying the mail- Listening to traffic on a given channel. Also referred to as "Reading the mail"
Corn Binder- International Truck
Cotton picker- Non-profane profanity. Replaces any variety of four letter words.
County Mountie- County police / Sheriffs Dept.
Covered Up -Transmission was blocked by interference or high noise level
Cow Town- Fort Worth
Cradle Baby -CBer who is afraid to ask someone to stand by
Cub Scouts -Sheriffs men
Cup of Mud -Cup of coffee
Curly Locks- Coils in a CB rig
Cut Out -To leave a channel
Cut Some Zs -Get some sleep
Cut The Coax -Turn off the radio
CW -Morse Code
Ding-a-ling -Goofy or bad operator. Also referred to as a LID
Dirty Side-Eastern Seaboard
Dixie Cup- Female operator with southern accent
Dog Biscuits -DBs
Doing the Five-Five- Traveling at 55mph
Doin it to it- Full speed
Doing our thing in the lefthand lane- Full speed in the passing lane
Do it to me -Answer back
Do you copy?- Do you understand?
Dome- Houston
Dont Tense -Take it easy
Dont Feed The Bears- Dont get any tickets
Donald Duck -Sideband station
Double key- Two stations talking at the same time.
Double L- Telephone call. Also referred to as "Landline"
Double Nickel -55mph
Double Nickel Highway -Interstate #55
Double Seven- No, or "Negative contact"
Down n Out- Signing off / ending transmission
Downn gone- Signing off
Down and on the side -Through talking but listening.
Drag Your Feet-Wait a few seconds before transmitting to see if there is a "Breaker"
Dream Weaver- Sleepy driver who is all over the road.
Dress For Sale -Hooker
Dressed for the ball -You have your "Ears ON", listening to the road conditions
Drop Out -Fading signal
Drop Stop Destination -where freight will be dropped off.
Drop the Hammer -Go as fast as you can
Drop the hammer down -Same as above
Dropped a carrier -Keyed the microphone to prevent someone else to talk
Dropped it off the shoulder- Ran off the side of the highway
Duck Plucker -Obscene term
Dusted yer britches- Keyed up at the same time.
Dusted my britches -Passed me
Dusted Your Ears- Transmission interrupted.
DX -Long Distance
Eager beaver -Anxious young woman
Ears- Receiver / Radio
Ears ON -CB radio turned ON
Eastbound -Vehicle moving in the eastern direction
Easy chair- Middle CB vehicle in a line of three or more.
Eighteen wheeler -Tractor trailer truck
Eighteen legged Pogo Stick -18 wheeler
Eights -Love and kisses
Eights and other good numbers -Love and kisses, and best wishes
Eighty-eights -Love and kisses
Eighty-eights around the house - Good luck and best wishes to you and yours.
Equalizer - High-gain antenna, high-power transmitter, and sometimes "radar detector"
Eatum-up Roadside diner
Everybody must be walking the dog- All channels are busy.
Evil Knievel -Motorcycle cop
Fake brake- Driver with his foot on the brake
Fat load- Overweight truck load
FCC -Federal Communications Commision
Feed The Bears -Paying a speeding fine or ticket
Feed the ponies- Loose at the racetrack
Fender bender -Traffic accident
Fifth wheel -Trailer hitch on tractor trailer trucks
Fifty Dollar Lane -Passing lane
Fingers -A channel-hopping CBer
First Sargent -Wife
Flag waver -Highway repair crew
Flaps down -Slow down
Flatbed -Track trailer with flatbed.
Flight Man- Weigh station worker on wheels.
Flip flop -Return trip
Flip-Flopping Bears -Police reversing direction
Flipper -Return trip
Flop box -Motel, or room in truck stop
FM- Frequency Modulation
Fog Lifter -Interesting CBer
Follow the stripes home- Have a safe trip
Footwarmer- Linear amplifier
Forty weight -Coffee sometimes Beer.
Forty fours - Childern; kisses
Four - Shortened version of 10-4
Four Wheeler - Car
Four lane parking lot - Interstate highway
Four legged go-go dancers - Pigs
Four Roger - OK/ 10-4/ Four / Roger
Four Ten - OK/ 10-4 / Four / Four Roger / Roger
Fox - Sexy lady
Fox hunt - FCC hunting for illegal operators
Fox jaws - Female with nice voice, but not necessarily a body to match
Free Ride - Prostitute
Freight Box - Trailer for big rig
Friendly Candy Company - FCC
Front Door - The lead car/truck in a convoy
Fugitive - CBer operating on a different channel than favorite
Full of vitamins - Running full bore
Full Bore - Traveling at full speed
Full Throttle - Traveling at full speed
Funny Candy Company - FCC
Funny channels - Channels that are outside the legal 11meter band.
G
Gallon - 1000 watts of power
Garbage - Too much small talk on a channel
Gas Jockey - Gas station attendant
Gateway City - St.Louis Missouri
Geological Survey - CBer who looks under his set
Get horizontal - Lie down to sleep
Get Trucking - Make some distance.
Getting out - Putting out a good signal
Ghost Town - Casper, Wyoming
Give me a shout - Call for me on the radio
Glory Card - Class D License
Glory Roll - CBer who gets his name in S9
Go Breaker - Invitation to break
Go Ahead - Answer back.
Go Back to him - Talk to him.
Go Juice - Truck fuel
Go to channel 41 - In the 23ch days a joke to get someone off the airwaves.
Going Horizontal - Lying down;sleeping; or switching antenna polarization
Going like a raped ape - Moving fast
Gone - Leaving the airwaves or channel
Gone 10-7 - permanently Dead, deceased.
Goodies - Extra accessories for a CB rig
Good Buddy - At one time it meant "Friend" or "buddy", today it means "Homosexual"
Goon Squad - Channel Hoggers
Got a copy? - Can you hear me?
Got my shoes on - Switched the linear ON
Got your ears on? - Are you on this frequency
Got my eyeballs peeled - Im looking hard
Got my foot in it - Accelerating.
Go to 100 - Restroom stop.
Grab Bag - Illegal hamming on CB
Grass Median - strip along the highway
Green light - You have the go ahead.
Green Stamps - Money
Green Stamp Collector - Police with radar
Green Stamp lane - Passing lane
Green Stamp Road - Toll road.
Grease monkey - Mechanic
Greasy Spoon - Bad place to eat
Ground Clouds - Fog
Hang it in your ear - Response to a foolish remark
Hand - Truck driver
Handle - Moniker/ Name i.e.- "Whats the handle on that end?"
Happy Number - An "S" meter reading
Hanker - Getting a "notion" to do something. A "Want".
Have a nice one - Have a good trip, weekend, day, etc.
Hay Shaker - Trailer transporting a mobile home
Heading for a hole - Giving someone advance notice you are going into a low spot for communications.
Heavenly Body - Peterbilt semi
Hell bent for leather - Traveling really fast.
Heres looking at you - Another way to sign off
Henchmen - A group of CBers
Hiding in the grass - Police on a median strip
Hiding in the bushes, sitting under the leaves - Hidden police car.
Highball - Go nonstop to your destination at a rapid pace.
High Rise - A large bridge or overpass.
Hippie Chippie - Female hitchhiker.
Hit the cobblestones - Hit the road.
Hog - Harley Davidson
Holler - Give me a call.
Holler in a short - Ill call you back shortly.
Home Twenty - Home location
Hot Stuff - Cup of coffee
Hot Lanta - Atlanta, Georgia
Hotwater City - Hot Springs, Arkansas
Hound Men - Policemen looking for CBers using rigs while mobile
How am I hitting you? - How do you receive me?
How tall are you? - How tall is your truck?
H Town - Hopkinsville, Kentucky
Hung Up - CBer who cant leave set
Hundred mile coffee - Strong coffee
I
Im gone - Leaving the airwaves, or frequency.
Ice Box - Refrigerated trailer.
Ice Box - International Crystals first CB rig
Idiot Box - TV set
Indian - Neighbor who has TVI from you
In a short - Real soon.
In a short-short - Real soon
In the mud - Noise or other signals on the channel.
In the Pokey with Smokey - Arrested.
Indians TVI from CB transmissions
Invitations -Traffic citations, tickets.
Jack - CB term for brother or friend.
Jack Rabbit - Police of any kind
Jam - Deliberately interfere with another station.
Japanese toy - CB
Jaw Jacking - Talking, Jaw boning.
Jewelry - Lights on a rig.
Jimmy - GMC truck.
Jingle - To contact a CBer via the telephone.
Johnny Law - Cop
J Trail - CB Jamboree season
Juke Joint - Small, inexpensive eating or drinking place.
Jump Down - Switching to a lower channel.
Jump Up - Switching to a higher channel.
K
Keep em Between the Ditches - Have a safe trip
Keep the bugs off your glass and the trouble off your
- CB Sign-off.
Keep the whites on your noise and the reds on your tail - Stay on the road. Drive carefully and have a good trip.
Keep the shiny side up and the greasy side down - Drive safely.
Keep the wheels spinning - Drive safely.
Keep your eyes and ears open and your black stack smokin - Be alert and make good time.
Keep your noise between the ditches and smokey out of your britches - Drive carefully, lookout for speedtraps.
Keep your rubber down and your metal up Drive carefully and have a good trip.
Kenny Whopper - Kenworth tractor equipment.
Keyboard - Controls of a CB set
Keying the mike - Activating the microphone without speaking. Same as "Dead Key".
Keydown - RF power contest. Operators travel from all parts of the country to attend keydown events. Their trucks/vans put out well over 10kw (10,000 watts) and use expensive amplifiers and many alternators! The object of the game is to see who is "Top Dog", or more powerfull than the others.
Kicker - Linear amplifier.
Kitty Cat - Catepilar powered tractor.
Knock the stack out - Accelerate.
Knuckle Buster - Fight.
Kojak with a Kodak - Cop with radar.
K.W. - Kenworth tractor equipment.
Lady Bear - Female police officer
Lady Breaker - Female CB operator asking for a break.
Lame - Broken down vehicle
Land Yacht - Mobile home or camper.
Lane Flipper - Car or truck that keeps changing lanes.
Lane Lover - Someone who wont budge out of a particular lane.
Latrine Lips - One who has a dirty mouth.
Lay an eye out - Take a look at this
Let the channel roll - Telling other CBers to break in and use the channel.
Legal Beagle - One who always follows the rules
Lettuce - money
LID - CBer with poor operating skills. The Term LID originated in Amateur radio and the CW mode. It meant "Poor Fist".
Lights green, bring on the machine - Road is clear of police and obstructions.
Lil Ol modulator - CB Set
Line - Freight line company.
Mardi Gras Town - New Orleans, Louisiana
Mare - Woman
Mashing the mike - Same as "Deadkey"
Mayday - Distress call.
Mate - Good buddy or friend.
Meatwagon - Ambulance.
Mercy! - Exclamation. "Mercy sakes alive", "Mercy sakes".
Mercy Sakes - See above.
Mike Fright - Shy person, afraid to talk on the radio.
Mikey Mouse - Temporary, non professional fix to a situation.
Mile High - Denver, Colorado
Mile Marker - Milepost on interstate highways.
Mile Post - Same as Mile marker.
Mini Skirt - Woman, girl
Mobile - CB radio station in a car or truck.
Mobile Eyeball - Checking out another truck while passing it.
Mobile - Forrest Logging truck
Mobile Mattress - 4 wheeler pulling a camper.
Modulate - Talk
Modulating - Talking
Modulation - Audio portion of your signal.
Modulation Booster - Microphone pre-amp/compressor either external or internal to the microphone or radio. External devices between the mike and rig are called Modulators.
Modulator - Some refer to it as a linear. Its actually a device to boost the transmit audio.
Money Bus - Armored truck.
Monitor - To listen, i.e.- "I monitor channel 16"
Monster Lane - Speed lane
Moth Ball - Annual CB Convention
Motor Boat - Rapid fluttering signal.
Motor City - Detroit
Motorcycle Mama - Woman riding on a motorcycle.
Mouth Piece - Lawyer
Mr. Clean - Overtly cautious driver.
Muck Truck - Cement truck.
On the by - Listening, not talking.
On the standby - Monitoring but not talking.
On the side - Standing by, available for a call, listening on frequency.
O.M. (old man) - A CBer
On a [insert city name] Turn - i.e.- "Im on an Alamo turn" (Ill make my return from San Antonio).
One eyed monster - TV Set
One foot on the floor, one hanging out the door, and she just wont do no more - Full speed.
Open Season - Cops are everywhere
Other Half - The wife, or husband. Boyfriend or girlfriend.
Out - Through transmitting.
Over - Your turn to transmit.
Over and out - Closing the transmission.
Over modulation - Talking too loud; audio is distorted or otherwise unreadible.
OW - Old woman.
P
PA - Public Address. This feature isnt used a lot nowadays except as a switch for internal, illegal modifications.
Pack it in - Ending transmission
Pair of sevens - No contact or answer.
Panic in the streets - Area being monitored by the FCC
Papa Bear - State trooper with CB.
Paper hanger - Police giving ticket.
Paperwork - Speeding ticket
Part 15 - Relates to the section of FCC rules which pertain to unlicensed stations
Part 95 - FCC Rules and Regulations.
Pass the numbers - Best wishes
Patch City - Town
Peanut butter in his ears - Is not listening.
Pedal against the middle - drive fast
Pedaling in the middle - Straddling both lanes.
Peeling Off - Getting of the freeway.
PEP - Peak Envelope Power; most often refers to SSB output.
Petro Refinery - Truck hauling gas or oil.
PF Flyers - Truck wheels.
Pill (s) - Reference to transistor finals in linear amplifiers. The greater number of "pills", the larger the amplifier is.
Plain Wrapper - Unmarked police car
Play Dead - Stand by
Penman - CBer to-be who has filed for license
Pedal to the metal -Running flat out, in excess of the speed limit
Peel your eyeballs - Be on the lookout.
Peter Rabbit - Used in the Western US for "Smokey"
Phone Patch - A device which hooks a base unit to the telephone.
Pickem up - Pickup truck
Picture taking machine - Radar
Piece of paper - Speeding ticket.
Pigeon - someone caught speeding.
Pigeon Plucker - Police ticketing speeders.
Pig Pen - Another name for weigh station / chicken coop
Pink Panther - Unmarking police vehicle; one with CB
Pink QSL Card - Warning ticket.
Pinning the needle - Strong signal being received.
Pipe Line - Specific Channel
Pit Stop - Gas stop; Restroom stop; just about any kind of stop.
Play Dead - Stand by
PLL Phase-Lock-Loop. The digital circuitry which determines your frequencies. One chip does it all compared to the "olden" days where a separate transmit and receive crystal was required for each channel.
Polack kids - Cattle
Polack school bus - Cattle truck
Pole Cat - Black and white patrol car; sometimes refers to sneaky person.
Politz-eye - The police
Porcupine - Car with a lot of antennas on it.
Porky Bear - Cops
PTT Switch - Push-to-talk switch on microphone
Professional Beaver - Hooker
Pull in for a short - Quick stop.
Pull the big one - Signing off for good
Pull the hammer back - Slow down police ahead.
Pull the plug - To signoff the air and turn the radio OFF.
Pushing a truck - Driving a rig.
Put an eyeball on him - Saw him.
Put it on the floor and looking for some more - Full speed.
Put the word on the base - Mobile unit to a base unit with phone patch.
Put your foot on the floor and let the motor toter - Accelerate.
Q
Q-bird - An intermittent tone generator
QSL Card - Personalized postcard sent to confirm a conversation.
QSL - Term used on SSB for "Roger"; i.e.- "QSL on that". While the Q signals were originally used on CW in the Amateur Radio Service, and often are the butt of complaints, they have found their way into CBs society, and live with them we must.
QSK - Another Ham term, reformatted for CB. Means "Break"
QRM - Noise or interference
QSY - Change or changing channels/frequency.
QRT - Off the air; Signing OFF.
QRX - To wait, or standby.
QSB - Noise
QSO - Pronounced "Que-Sew", meaning "conversation" or "communication".
QSY - Move to a different channel or frequency.
QTH - Location
Quck trip around the horn - Scanning the 40channel band.
R
Radar Alley - Ohio Turnpike
Radio - "Rig" or CB transceiver.
Radio Check - Meter reading, Signal report, statement of the quality of the signal. Often mis-used, and a joke on channel 19. Too many people use this as an excuse to start a conversation.
Radio Runt - Child or young person breaking in on a channel.
Rain Locker - Shower room
Raise - To try and contact someone
Rake the leaves - Last vehicle in a CB convoy
Ratchet-Jaw - Non-stop talker
REACT - Radio Emergency Associated Citizens Teams.
Read - To receive; or "hear" ("How do you read me?")
Rebound - Return trip.
Red Lighted - Police with someone pulled over.
Redneck radio - Someone who talks on the CB using only slang terms.
REST - Radio Emergency Safety Teams
Rest-em-up - Roadside rest stop
RF - Radio Frequency
RF Gain - This control, found on many CB radios, comes in handy when you have a station close by, which is overloading your radios "Front-end". It de-sensitizes the incoming signal.
Rig - Radio
Rig Rip - off Stolen CB
Riot Squad - Neighbors who have TVI
River City - Memphis Tennessee in the Southeast; Paducah, Kentucky in the midwest.
Road Jockey - Driver of tractor trailer.
Road Ranger - Smokey
Rock City - Little Rock, Arkansas.
Rockin chair - car in the middle of a convoy
Rodeo Town - Cheyenne, Wyoming
Roger Dodger - Same as "Roger"
Roller Skate - A car
Rolling Bears - Cops on the move.
Rolling Ranch - Cattle truck
Rolling Refinery - Truck hauling gas or oil.
Rookie Rig - Newbie CBer
Rubber City - Akron, Ohio
Running Barefoot - Using a radio at the legal output no extra "help"
Run interference - CB-less car speeding along past you.
Running on rags - Driving a vehicle with little to no tread on the tires.
Running Shotgun - Driving partner
Running together - CBers traveling in the same direction, keeping in contact with each other.
S
Sailboat fuel - Running on empty
Salt mines - Place of employment.
Salt Shaker - Highway department Salt truck
San Quentin Jailbait - Under age female hitch hiker.
Sandbox Dump - truck hauling dirt or stones
Savages - CBers who hog the channel
Scale house - Weigh station
School twenty - Location of school.
Scrub brush - Street cleaning truck
Seatcover - Attractive female occupant in a car
Set of Dials - A CB rig
Seven-thirds - Best regards
Seventy-Thirds - Sign-off meaning "Best wishes"
Shake the bushes - Lead CBer looking for radar traps or other police.
Shakey City - Los Angeles
Shaking the windows - Clear reception of signal.
Shim - To illegally soup up a transmitter
Shoot the breeze - Casual conversation.
Shout - Calling someone on the CB
Short-short - Soon.
Shot an eyeball on it - Saw it.
Shovelling coal - Accelerating.
Show-off lane - Passing lane.
Skates - Tires
Skip - Atmospheric conditions that cause signals to travel much farther than they normally would. Typically signals are line-of-sight, but when the ionosphere is "charged" by the sun, signals that would normally pass through it are now reflected back to Earth, or "Skip" a large distance. Hams refer to this as a "Band opening".
Skipland - Distant stations
Skippers - CBers who talk a long distance.
Skip Talkn - Someone who has been talking a long distance.
Sidedoor - Passing lane.
Sidewinder - Someone talking on sideband.
Sin City - Cincinnati, Ohio (Midwest); Las Vegas, Nevada (West)
Sitting in the saddle - Middle CB vehicle in a line of three or more vehicles
Six wheeler - Small truck.
Slaughter house - Channel 11
Slammer - Jail.
"S" Meter - The meter on your radio which indicated incoming signal strength. Usually calibrated in "S" units (1 "S" unit = 1DB). S units are also referred to as "Pounds".
Slave Drivers - CBers who take control of a channel
Slider - VFO, sometimes referred to clarifier
Smile and comb your hair - Radar trap up ahead.
Smokey - State Police
Smokey report - Police location report.
Smokey Beaver - Woman police officer.
Smokey Dozing - Police in a stopped car.
Smokeys thick - Police are everywhere.
Smokey with a camera - Cop with radar
Smokey with ears - Cop with CB in car.
SNAFU - Foul up
Sneakers - Linear amp i.e.- "Do you have your sneakers on?"
Sneaky Snake - Hidden patrol car
Snooperscope - An illegally high antenna
Solid-state - Electronic device that doesnt use tubes.
Someone spilled honey on the road - State troopers ahead everywhere.
Somebody stepped on you - Another station transmitted at the same time and was stronger
Sonnet - A CBer who advertises products over the air
Souped Up - A rig modified to run illegally high power.
Sounding Choice - Clear, strong signal.
Sport City - Shreveport, Louisiana
Splashed - Getting bleedover from another channel
Splashover - Same thing as splashed
Splatter - Same thing as splashover
Spreading the greens - Cops giving out tickets.
Spud town - Boise Idaho
Squelch - Control on radio which silences the speaker until a signal of a certain strength breaks through it.
SSB - Single-Sideband
State Bear - State Trooper.
Stepped on - Reception squashed by bleedover or another strong signal. "Come on back, you got stepped on"
Stepped all over you - Similar to "Stepped On"
Stop to get groceries - Stop and eat.
Straight Shot - Road is clear of police and other obstructions.
Stroller - CBer with a walkie-talkie
Struggle - Trying to "Break" a channel
Sucker - A CB rig on the service bench
Suds - Beer
Superdome city - New Orleans, Louisiana
Suppository - Negative.
Sunbeam - A CBer who livens the channel with witticisms.
Sweet thing - Female CB operator.
SWR - Standing Wave Ratio. An incorrect impedance match can cause some of the transmitted signal to "reflect" back to the transmitter, which can reduce your signal, and possibly damage the Finals section of your transmitter. While a good match (1:1) is desirable, anything under 2:1 is safe. In my opinion, if you have two identical stations, at the same location, with one station having an SWR reading of 1.2:1 and another at 1.7:1, a receiving station at the other end, wont see a noticeable difference between the two signals. Sometimes referred to in the plural sense (SWRS) which makes about as much sense as "We" (see WE in the "W" section).
T
Taco Town - Corpus Christi, Texas
Taking pictures - Police radar
Taking pictures each way - Two-way radar
Tanker - Truck hauling liquid
Tennessee Valley Indians - TV Interference
Tearjerker - A CBer who always cries the blues
10-1 Receiving poorly
Ten-ten - well do it again Signoff.
The dirty side - New York City
Thread - Wires in a CB rig.
Threes and eights - Signoff- Best wishes.
Thin - A very weak signal
Thin Man - CBer with a weak carrier
Ticker Tape - The FCC rules
Ticks - FCC rules
Tighten up on the rubber band - Accelerate
Tighten your seat, were running heavey - We are accelerating.
Tijuana Taxi - Police car; Wrecker; Taxi
Tinsel City - Hollywood California
Toenails are scratching - Full speed.
Toenails in the radiator - Full speed
Toenails on the front bumper - Full speed.
Toilet mouth - Foul mouth. Someone who uses obscene language.
Tooled-up - A souped up rig
Top Twenty - National CB Jamboree held 3 days each year in a different city.
Trading Stamps - Money.
Transceiver - Combination of Transmitter and Receiver in one box.
Treetop Tall Strong, - Loud signal
Trick babe - Prostitute
Tricky Dicks - San Clemente, California
Truck em easy - Drive safely
Truck em up stop - Truck Stop
T-R Switch - Transmit Receive switch found on older radios.
T Town - Texarkana
Turkey Call - An intermittent tone generator
Turning around my house - Rotating my antenna for better reception.
Turn Over - Stop
Turn Twenty - Location of exit or turn.
TVI - Television Interference.
Twelves - I have company present.
Twenty - Location.
Two Stool beaver - Very fat woman.
Twin huskies - Dual antennas
Twin Pets - A CBer who has 2 sets from the same manufacturer
Two miles of ditches for every mile of road - Drive safely, keep in the middle.
Tx - Transmit
U.C.B.T.A. - United CB Truckers Association
Ungowa Bwana - O.K.
Uncle Charlie - FCC
Uppers and Lowers - Indicates that the radio will go above channel 40 and below channel 1
USB - Upper Sideband
USCRC - United States Citizens Radio Council
Use the Jake - Slow down
V
Valve -Tube
V.F.O. - Variable Frequency Oscillator, sometimes called a "Slider".
VOX - Voice operated relay. Allows the operator to transmit with the sound of his voice, rather than using a microphone push-to-talk switch.
W
Wall-to-wall - Very strong signal. Often used in conjunction with "Treetop Tall"
Walkie-talkie - Portable, battery operated, handheld transceiver.
Walking in here blowing smoke - Clear signal.
Walking on you - Covering up your signal i.e.- "Try it again, the other guy is walking on you".
Walking the dog - Clear reception
Wallpaper - QSL cards
Wall-to-wall bears - Police are everywhere.
Wall-to-wall and treetop tall - Strong, clear signal the loudest.
Wall-to-wall and ten feet tall - Strong clear signal
Warden - The wife, the FCC
Walked on - Same as "Stepped On"
Watch the pavement - Drive safely
Watch your donkey - Police are coming up behind you.
Water hole - Truck stop
Watt - RF power rating. "My rig puts out 5 watts".
Way is bueno - The road ahead is clear.
Wear your bumper out - Following too close.
Welfare station - CB setup bought with welfare money.
Were c lear - Signoff
Were down - Signoff
Were down, out, and on the side - Through transmitting but listening.
Were listening - Monitoring the channel
We - While "We" normally means two or more, in most cases when you hear someone say "we" on the radio, he is referring to himself only. This strange use of the word "we" is not confined to the CB band spectrum only. Many hams use (or mis-use) this as well.
Wearing socks - Has linear amplifier.
Were trying - Trying t
| i don't know |
Which British motor cycle manufacturer made the Square Four? | Ariel: Square Four | Vintage British Motorcycles
Produced between 1931 and 1959. A total of 15,641 Square Fours were built.
Ariel Square Four 4F 500(1931-32). 927 made.
Ariel Square Four 4F 600(1932-40). 2,674 made.
Ariel Square Four 4G (1936-49). 4,288 made.
Ariel Square Four Mark I (1949-53). 3,922 made.
Ariel Square Four Mark II (1953-59). 3,828 made.
The Ariel Square Four was a British motorcycle designed by Edward Turner who devised the Square Four engine in 1928. At this time he was looking for work, showing drawings of his engine design to motorcycle manufacturers. The engine was essentially a pair of 'across frame' OHC parallel twins joined by their geared central flywheels, with one four cylinder block (or Monobloc) and one head. The idea for the engine was rejected by BSA, but adopted by Ariel. Thus it became the Ariel Square Four.
Ariel Square Four 4F (1931 - 1936). The first Ariel Square Four 4F was shown at the Olympia Motorcycle Show in 1930 in chain driven overhead-camshaft 500 cc form. Early Square Fours used a hand-change, four-speed Burman gearbox.
In 1932 the cylinder bores were enlarged by 5 mm to give a capacity of 601 cc. This model was used for the Maudes Trophy test, covering 700 miles in 700 minutes, followed by a timed lap of 87.4 mph. (In 1923 a Mr George Pettyt, of Maude's Motor Mart, had donated a "challenge trophy" for the ACU to award each year for the most meritorious, observed endurance test for motor cycles, known as the Maudes Trophy.)
Ariel Square Four 4G (1936 - 1949). The "Cammy" engine gained a reputation for overheating the rear cylinder heads, so in 1936 the engine was completely redesigned, emerging as the 1937 OHV 995 cc model 4G. In 1939 Ariel's patented Anstey-link plunger rear suspension became an option.[5]
In 1946 the plunger rear was available again, and oil damped telescopic front forks replaced the previous girder type.
Ariel Square Four Mark I (1949 - 1953). In 1949 the Ariel Square Four Mark I saw the cast-iron cylinder head and barrel replaced by alloy head and barrel. This saved about 30 lb in weight. The 1949 machine weighed around 435 lb dry, produced 35 bhp at 5500 rpm and was capable of 90 mph-plus.
Ariel Square Four Mark II (1953 - 1959). In 1953, the "four pipe" 997 cc Ariel Square Four Mk II was released, with a separate barrels and a re-designed cylinder head, with four separate exhaust pipes. The Square Four was now a genuine 100 mph motorcycle.
In 1954 Ariel built prototypes of a Mk3 with Earles forks, but the model was never put into production.
In 1959 Square Four production, and that of all other Ariel four-stroke models, ceased.
| Ariel |
What was the name of Christopher Robin's nurse? | British Classic Motorcycles - Ariel
In 1871, James Starley went into partnership with William Hillman to build bicycles.
Hillman later became well known for his motor car company.
Starley and Hillman invented and patented the wire spoked wheel.
They developed a light weight bicycle frame of the Penny Farthing design to which their wire spoked wheels were fitted.
They called their bicycle the Ariel Cycle.
However the Ariel name was not used again for a while as Starley went to work for companies such as Coventry Machinists and Swift Cycles.
Charles Sangster had been a successful engineer at Swift.
In 1895, Sangster planned a new company making components for the cycle trade.
Components Limited was formed with financial backing from Harvey du Cros Jnr. who was already the finance behind Dunlop and Swift.
Around this time, Dunlop was the only mass producer of pneumatic bicycle tyres.
Dunlop tyres were fitted to virtually all makes of bicycle produced in the UK.
In 1896, Dunlop resurrected the Dunlop Cycle Co. and resumed bicycle production.
This caused unrest in the bicycle manufacturing world.
Other manufacturers were upset at having to fit a rival's products to their bicycles.
The Dunlop Cycle Company therefore decided to find a new name for its bicycle division.
Sangster took on the Dunlop cycle division, leaving Dunlop to concentrate on tyre design and manufacture.
The Ariel name was with Swift but was soon transferred to Components Ltd.
Ariel was then registered as a trade name under which Dunlop bicycles were produced.
A factory was founded at Dale Road, Bournbrook, Selly Oak, South Birmingham in 1896.
In 1898, the first Ariel motor vehicle was a quadricycle that used a 2.25 hp De Dion engine mounted behind the rear axle.
A year later, a motor tricycle was introduced. This also featured a De Dion engine, now located ahead of the rear axle to give a better weight distribution.
In 1901, Ariel introduced a bicycle frame fitted with a 211cc Minerva engine fastened to the frame downtube.
From 1910, Ariel used single cylinder side valve engines based on the White and Poppe design. These were made right through to 1925 with some of them being built for military use in World War I.
Engines used by Ariel around this time included Swiss built MAG engines and British built JAP and Abingdon (later Abingdon King Dick) V-twins.
In 1925, Val Page joined Ariel as a new designer. Val was a talented engineer who had previously worked at J.A. Prestwich (JAP).
Page designed new engines for 1926.
Most Ariel four stroke single cylinder engines from 1926 to 1959 were based on this design.
Ariels made between 1926 and 1930 were known as 'Black Ariels'.
A classic Ariel of the 1930s was the 500cc single cylinder Red Hunter with its gleaming chrome and red petrol tank with inset instrument panel.
The 500cc Ariel Square Four engine, designed by Edward Turner, first appeared at the 1930 Olympia Show ready for the 1931 season.
In 1932, the capacity of the Square Four was increased to 600cc.
In 1932, Components Ltd. went bankrupt.
Jack Sangster, Charles Sangster's son, bought the Ariel subsidiary from the receivers.
The company was renamed Ariel Motors (J.S.) Ltd.
In 1936, Jack Sangster bought the Triumph motorcycle concern.
In 1937, a redesigned Square Four overhead valve engine of 995cc with iron barrels and head was introduced.
This was known as the 4G.
In 1939, Anstey link plunger rear suspension was an option. It was still available when production restarted after World War II, when telescopic forks replaced the girder forks.
Ariel had been involved in various military projects during the war including the manufacture of a military motorcycle, the 350cc Model W / NG based on the earlier Red Hunter.
In the late 1940s, Ariel introduced a 500cc OHV twin cylinder machine known as the KH.
In 1951, Jack Sangster sold Ariel and Triumph to the Birmingham Small Arms Company group (BSA) and became a member on the BSA board.
At the beginning of the 1950s an alloy engined version of the Square Four was introduced. This was known as the Mk I.
In 1954, a prototype Square Four Mk III was built featuring Earles forks.
In 1954, Ariel introduced the 650 Huntmaster.
The engine was based on the BSA 650 A10.
Also in 1954, the Ariel Colt was introduced. This was a 200cc four stroke machine.
For 1954, with the exception of the Square Four, the Ariel range had the option of the Pivoted Rear Fork frame.
The Square Four remained in a plunger frame until production ceased in 1959, however, in 1957, a prototype Square Four Mk IV was produced featuring a swing arm frame.
In 1956, Jack Sangster became the new Chairman of the BSA group.
In 1957, Edward Turner became head of the automotive division which then included Ariel, Triumph and BSA motorcycles.
In 1959, the BSA group took the decision to stop all four stroke production for the time being, and the Ariel Leader was introduced.
The Leader was a fully faired machine with a 250cc twin cylinder two stroke engine.
An un-faired version, the Arrow, became available in 1960.
In 1963, BSA closed the Selly Oak works and transferred all production to Small Heath.
In 1963, the 50cc Ariel Pixie was introduced. This featured a version of the BSA Beagle four stroke engine reduced from 75cc to 50cc.
In 1964, a 200cc version of the Arrow was introduced.
Ariel ceased motorcycle production in 1966, although the BSA group used the Ariel name once more on the Ariel 3, a three wheeled 50cc two stroke moped.
Production of the Ariel 3 was short lived and was dropped along with the Ariel name shortly afterwards.
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| i don't know |
Following the US invasion of Iraq in 2003, the US Army produced a set of playing cards featuring its 52 most wanted Iraqis. Which card was assigned to Saddam Hussein? | Most-wanted Iraqi playing cards : Wikis (The Full Wiki)
3 Sources
About the cards
Each card contains the wanted person's name, a picture if available, and the job performed by that individual. The highest-ranking cards, starting with the aces and kings, were used for the people at the top of the most-wanted list. The ace of spades is Saddam Hussein , the aces of clubs and hearts are his sons Qusay and Uday respectively, and the ace of diamonds is Saddam's presidential secretary Abid Hamid Mahmud al-Tikriti. This strict correspondence to the order of the most-wanted list was not carried through the entire deck, but some time later in 2003, the list itself was renumbered to conform (almost) to the deck of cards.
According to Navy Lt. Cmdr. Jim Brooks, a spokesman for the Defense Intelligence Agency , such playing cards have been used as far back as the Civil War and again in World War II — Army Air Corps decks printed with the silhouettes of German and Japanese fighter aircraft fetch hundreds of dollars today — and in the Korean War . Troops often play cards to pass the time, and seeing the names, faces and titles of the wanted Iraqis during their games will help soldiers and Marines in case they run into the wanted individuals in the field, Brooks said. [1]
Developed by five US Army Soldiers, 2LT Hans Mumm, SSG Shawn Mahoney, SGT Andrei Salter, SGT Scott Boehmler, and SPC Joseph Barrios, who were assigned to the Defense Intelligence Agency, [2] the deck of cards was first announced publicly in Iraq on April 11, 2003, in a press conference by Army Brig. Gen. Vincent Brooks , deputy director of operations at U.S. Central Command . On that same evening Max Hodges, a Houston-based entrepreneur, found and downloaded a high-resolution artwork file for the deck from a Defense Department web server. Discovering the following day that the file had vanished from the military web server he became the first eBay seller to offer the artwork file, in PDF , which could be used to reproduce the deck. [1] He quickly contracted Gemaco Playing Card Company to print 1,000 decks for about $4,000 and started selling both the decks, in advance of receiving them from the printer, on eBay, Amazon.com and his own web site. When some of his early auctions for a $4 deck of cards quickly rose to over $120, [3] it didn't take long for other eBayers to jump on the bandwagon and print or order decks of their own to sell. In just a few days hundreds of sellers materialized and the price dropped to just a few dollars per deck.
Within hours of the press conference, a New York City based entrepreneur set-up BaghdadRummy.com [4] (a play on Secretary of Defense Don "Rummy" Rumsfeld 's nickname and the card game Rummy ), the first of what became dozens of websites operated by other entrepreneurs, to sell the cards to the public.
Texas -based Liberty Playing Card Co . received an order to manufacture the cards for the U.S. Embassy in Kuwait and by claiming to be "the authorized government contractor" quickly became another popular domestic supplier for the commercial market. The U.S. military inadvertently included in the jokers the trademarked Hoyle joker owned by The United States Playing Card Company of Cincinnati, Ohio . Although The U.S. Playing Card company does not object to the government's use of the image, they do object to other companies using the trademarked image. Thus, in some sense, the U.S. military inadvertently granted The U.S. Playing Card Company exclusive rights to manufacture the authentic decks, if the trademarked images on the jokers are considered a requirement for being authentic.
The deck of cards spawned many imitations and parodies, such as decks featuring members of the Bush administration and the Republican Party [2] , as well as prominent liberals and members of the Democratic Party. Other decks were created to commemorate the subsequent Presidential Election, including the colorfully balanced Presidential Poker [3] deck which contains a suit for each political point-of-view (positive Republicans, negative Republicans, positive Democrats, negative Democrats) along with a unique poker variation that lampooned the issues contests in the 2004 race. There has been criticism of the Bush administration for being preoccupied with Iraq and losing focus of Osama bin Laden and the most wanted al-Qaeda members; those of this view often cite as an example that the government hasn't made up a similar deck of cards for the top al-Qaeda members.
Complete decks are good examples of ephemera , because they will have lost their original purpose and their novelty interest in a relatively short time, and they will become original printed witnesses of some major historical events.
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Six ♦: Sabawi Ibrahim Hasan , presidential adviser (#36, was #50).
Five ♦: Abd al-Baqi Abd al-Karim Abdallah, Baath Party regional command chairman (#40, was #22).
Four ♦: Yahya Abdallah, Baath Party regional command chairman (#44, was #25).
Three ♦: Muhsin Khadr, Baath Party regional command chairman (#48, was #29).
Two ♦: Adil Abdallah Mahdi, Baath Party regional command chairman (#52, was #33).
Other
There are also two jokers: one lists Arab titles, the other Iraqi military ranks. There are no cards for most-wanted #45 (was #26), Nayif Shindakh Thamir, #53 (was #34) Husayn al-Awadi, or #54 (was #35) Khamis Sirhan al-Muhammad, although knight cards could be used for this purpose, but in this case whole deck would be rearranged.
The 13 June 2003 edition of the BBC One satirical news quiz, Have I Got News for You , featured a set of the playing cards in one round, spoofing guest host Bruce Forsyth 's 1980s game show Play Your Cards Right . The two teams played a version of the latter's main game, retitled Play Your Iraqi Cards Right (although during the segment it was revealed that the writers' first choice had been Play Your Kurds Right), with the same rules (and audience participation). Much of the humour of the round came from the reactions of the two team captains: while Paul Merton was clearly familiar with the game and greatly enjoyed it, his opponent, Ian Hislop , admitted he'd never seen Play Your Cards Right and appeared mystified by the game's rules and etiquette (when at one point Merton and the crowd shouted the traditional cry of "lower, lower," to predict the next card in the hidden sequence, Hislop memorably commented, "I'm not sure this programme could get much lower!")
A similar deck of fictional North Korean war criminals forms the basis of the plot of the game Mercenaries: Playground of Destruction.
Also similar is The "Least Wanted" Deck, which was distributed by libertarian/independent radio host Alex Jones . This deck featured supposed prominent members of the New World Order .
See also
| Ace of spades |
Geoffrey Howe was made a lord he is now known as Lord Howe of where? | Most-wanted Iraqi playing cards : Wikis (The Full Wiki)
3 Sources
About the cards
Each card contains the wanted person's name, a picture if available, and the job performed by that individual. The highest-ranking cards, starting with the aces and kings, were used for the people at the top of the most-wanted list. The ace of spades is Saddam Hussein , the aces of clubs and hearts are his sons Qusay and Uday respectively, and the ace of diamonds is Saddam's presidential secretary Abid Hamid Mahmud al-Tikriti. This strict correspondence to the order of the most-wanted list was not carried through the entire deck, but some time later in 2003, the list itself was renumbered to conform (almost) to the deck of cards.
According to Navy Lt. Cmdr. Jim Brooks, a spokesman for the Defense Intelligence Agency , such playing cards have been used as far back as the Civil War and again in World War II — Army Air Corps decks printed with the silhouettes of German and Japanese fighter aircraft fetch hundreds of dollars today — and in the Korean War . Troops often play cards to pass the time, and seeing the names, faces and titles of the wanted Iraqis during their games will help soldiers and Marines in case they run into the wanted individuals in the field, Brooks said. [1]
Developed by five US Army Soldiers, 2LT Hans Mumm, SSG Shawn Mahoney, SGT Andrei Salter, SGT Scott Boehmler, and SPC Joseph Barrios, who were assigned to the Defense Intelligence Agency, [2] the deck of cards was first announced publicly in Iraq on April 11, 2003, in a press conference by Army Brig. Gen. Vincent Brooks , deputy director of operations at U.S. Central Command . On that same evening Max Hodges, a Houston-based entrepreneur, found and downloaded a high-resolution artwork file for the deck from a Defense Department web server. Discovering the following day that the file had vanished from the military web server he became the first eBay seller to offer the artwork file, in PDF , which could be used to reproduce the deck. [1] He quickly contracted Gemaco Playing Card Company to print 1,000 decks for about $4,000 and started selling both the decks, in advance of receiving them from the printer, on eBay, Amazon.com and his own web site. When some of his early auctions for a $4 deck of cards quickly rose to over $120, [3] it didn't take long for other eBayers to jump on the bandwagon and print or order decks of their own to sell. In just a few days hundreds of sellers materialized and the price dropped to just a few dollars per deck.
Within hours of the press conference, a New York City based entrepreneur set-up BaghdadRummy.com [4] (a play on Secretary of Defense Don "Rummy" Rumsfeld 's nickname and the card game Rummy ), the first of what became dozens of websites operated by other entrepreneurs, to sell the cards to the public.
Texas -based Liberty Playing Card Co . received an order to manufacture the cards for the U.S. Embassy in Kuwait and by claiming to be "the authorized government contractor" quickly became another popular domestic supplier for the commercial market. The U.S. military inadvertently included in the jokers the trademarked Hoyle joker owned by The United States Playing Card Company of Cincinnati, Ohio . Although The U.S. Playing Card company does not object to the government's use of the image, they do object to other companies using the trademarked image. Thus, in some sense, the U.S. military inadvertently granted The U.S. Playing Card Company exclusive rights to manufacture the authentic decks, if the trademarked images on the jokers are considered a requirement for being authentic.
The deck of cards spawned many imitations and parodies, such as decks featuring members of the Bush administration and the Republican Party [2] , as well as prominent liberals and members of the Democratic Party. Other decks were created to commemorate the subsequent Presidential Election, including the colorfully balanced Presidential Poker [3] deck which contains a suit for each political point-of-view (positive Republicans, negative Republicans, positive Democrats, negative Democrats) along with a unique poker variation that lampooned the issues contests in the 2004 race. There has been criticism of the Bush administration for being preoccupied with Iraq and losing focus of Osama bin Laden and the most wanted al-Qaeda members; those of this view often cite as an example that the government hasn't made up a similar deck of cards for the top al-Qaeda members.
Complete decks are good examples of ephemera , because they will have lost their original purpose and their novelty interest in a relatively short time, and they will become original printed witnesses of some major historical events.
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Six ♦: Sabawi Ibrahim Hasan , presidential adviser (#36, was #50).
Five ♦: Abd al-Baqi Abd al-Karim Abdallah, Baath Party regional command chairman (#40, was #22).
Four ♦: Yahya Abdallah, Baath Party regional command chairman (#44, was #25).
Three ♦: Muhsin Khadr, Baath Party regional command chairman (#48, was #29).
Two ♦: Adil Abdallah Mahdi, Baath Party regional command chairman (#52, was #33).
Other
There are also two jokers: one lists Arab titles, the other Iraqi military ranks. There are no cards for most-wanted #45 (was #26), Nayif Shindakh Thamir, #53 (was #34) Husayn al-Awadi, or #54 (was #35) Khamis Sirhan al-Muhammad, although knight cards could be used for this purpose, but in this case whole deck would be rearranged.
The 13 June 2003 edition of the BBC One satirical news quiz, Have I Got News for You , featured a set of the playing cards in one round, spoofing guest host Bruce Forsyth 's 1980s game show Play Your Cards Right . The two teams played a version of the latter's main game, retitled Play Your Iraqi Cards Right (although during the segment it was revealed that the writers' first choice had been Play Your Kurds Right), with the same rules (and audience participation). Much of the humour of the round came from the reactions of the two team captains: while Paul Merton was clearly familiar with the game and greatly enjoyed it, his opponent, Ian Hislop , admitted he'd never seen Play Your Cards Right and appeared mystified by the game's rules and etiquette (when at one point Merton and the crowd shouted the traditional cry of "lower, lower," to predict the next card in the hidden sequence, Hislop memorably commented, "I'm not sure this programme could get much lower!")
A similar deck of fictional North Korean war criminals forms the basis of the plot of the game Mercenaries: Playground of Destruction.
Also similar is The "Least Wanted" Deck, which was distributed by libertarian/independent radio host Alex Jones . This deck featured supposed prominent members of the New World Order .
See also
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Which British motor manufacturer used to make the Ruby? | List of British cars
List of British cars
List of all British Car Brands
British cars define elegance. Just mention the name Rolls Royce or Bentley and images of chauffeurs and red carpet galas are sure to stand out. Britain is not only famous for its luxurious vehicles, as it is well-known for a variety of sporting makes and models as well. British cars are timeless examples of both beauty and performance.
Britain is home to the world's most famous luxury car brands. Rolls Royce is the most distinguished luxury car brand in the world. The British brand has a long history of defining excellence and making remarkable vehicles. In 1938, Rolls Royce made a Wraith model, which had a body crafted completely out of polished Peruvian hardwood. Bentley is another famous luxury brand with a long history. Today, driving a Bentley garners immediate elite status. Jaguars are another popular British luxury car brand. Jaguars are famous for their distinct curves and striking hood emblems.
Sport car racing has a long tradition in Britain. This passion for racing has created some amazing performance brands. Perhaps the most famous British sport car brand is Aston Martin. Aston Martin is unparalleled in their ability to combine classic British elegance with raw performance. Austin Healy is another renowned British sports car maker. They were very popular during the 1960's and continue to live in racing lore to this day. Triumph is perhaps the classic British racing car maker. Crossing over to motorcycle manufacturing as well, Triumph is all about speed and performance.
The Austin Mini Cooper has a history of being the everyday car. However, just because they were made to be used on a daily basis does not mean they lack zip. The Mini Cooper is a compact sporty vehicle made for tight European roads. Mini Coopers' are an economical option for those requiring excellence and performance.
British cars are special for their luxurious appointments and performance capabilities. British car manufacturers have managed to successfully marry the two, thus creating some spectacular vehicles. Due to this British cars remain timeless beauties and much sought after vehicles.
Brand
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Who played Eddie Didgeridoo Catflap in the TV sitcom Filthy, Rich and Catflap? | Car History 4U - History of British Motor Car / Automobile Manufacturers
History of British Motor Car / Automobile Manufacturers
8.7 Great Britain (UK)
8.7.1. Aston Martin
The company was founded in 1913 by Lionel Martin and Robert Bamford and the first car to bear the name was ready by 1915.
After encountering financial difficulties during 1924/5 the company was sold in 1926 and renamed “Aston Martin Motors”. Seven years later, in 1933, the company changed ownership again.
Up to the start of World War 2, in 1939, about 700 Aston Martin cars had been produced.
In 1947 the company was purchased by David Brown Limited, who also acquired the Lagonda car company the same year.
The DB range of cars started in 1948 with the 2-Litre Sports DB1. This was followed by the 2,580 cc DB2 (1950-53) and the racing model DB3 in 1957.
The 240 hp (179 kW) 3,670 cc DB4 was first produced in 1958; a car with a top speed of 140 mph (224 kph).
By 1963, when production of the DB4 ceased, 1,110 had been made (from 1962 70 were convertibles). 100 short wheelbase DB4 GT/Zagoto models were also built.
The lightweight DB4 GT version was introduced in 1959. 75 of these cars, which had a top speed of 153 mph (240 kph), were built. Is 75 correct?
In 1961 the company launched the DB4 Vantage model. The 266 hp (198 kW) car was fitted with three SU carburettors. 136 saloons and 32 convertibles were built.
Between 1961 and 1963 19 DB4 GT Zagato models were produced, the bodies of which were built by Zagato in Italy.
The 3,995 cc DB 5 model was produced from 1963 to 1965. The 282 hp (210 kW) version, which was fitted with three SU carburettors, had a top speed of 141 mph (226 kph).
In 1964 the company produced the high performance, 314 hp (234 kW), DB5 Vantage coupe model. 65 were built.
A total of 1,024 DB5 models were produced; 901 two-door coupes and 123 convertibles. A figure of 1,063 has also been quoted. Which is correct?
19 of the convertibles were left-hand drive. 12 special estate car versions were also built.
A DB5 car was used in the 1964 James Bond film Goldfinger (Ian Fleming’s book featured a DB Mark III).
1,567 DB6 models were produced from 1965 to 1970.
The 325 hp (242 kW) 3,996 cc car had a top speed of 150 mph (240 kph). It accelerated from 0-60 mph (96 kph) in 8.4 seconds.
A Mark 2 version was launched in 1969.
Having been sold in 1972 to a British consortium, the company was bought in 1975 by two American businessmen, who produced the V8 Vantage in 1977 and the the convertible Volante in 1978.
Between the early 1980s and 1987 the company changed ownership three more times until the Ford Motor Company initially purchased 75% of the company (gaining full control in 1993).
Between 1968 and 1988 approx. 5,000 Aston Martin cars were made.
In 1993 the company announced the DB7. In 2002, when production reached 6,000, the DB7 became the top selling DB model. The DB9 coupe was introduced in 2003, followed by a convertible version the following year.
In March 2007 the Ford Motor Company sold Aston Martin to a British consortium led by David Richards.
8.7.2. Austin
The Austin Motor Company was founded in 1905 by Herbert Austin, becoming a private limited company in 1908.
In 1906 the company produced a large 5 litre family sized model, the first of about 8 different models that were produced in this first decade. In its first year the company produced 23 cars.
By 1917 the company’s factory at Longbridge was the largest of its type in Great Britain.
The first model introduced after the end of World War 1 was the Austin 20 in 1919. In 1922 a scaled down version, the Austin 12, was produced.
Another model introduced in 1922 was the Austin 7, which remained in production until 1939 by which time over 375,000 had been made. It was also being built in Germany, U.S.A and France.
In the early 1930s it was the most popular car in the world. The car had a 747 cc engine and a top speed of 42 mph (67 kph).
The first cars produced after World War 2 were based on pre-war designs. These were the Austin 8, 10, 12 & 16 models.
The 1,200 cc Austin A40 was the company’s first post war designed car and was produced between 1947 and 1951.
By 1952 Austin had produced some 28 different models since it started production in 1906 and two million cars.
In 1952 the company merged with Morris Motors to form the British Motor Corporation (which was taken over in 1968 and renamed the British Leyland Motor Company).
Whilst part of British Leyland the Austin-Healey 100 (1953-56), Sprite (1958-70) and 3000 (1959-67) sports cars were manufactured.
In 1959 the Austin Mini was introduced and 5,387,862 were produced by the year 2000.
These cars had an 848 or 1,275 cc 4-cylinder transverse engine and a top speed of 72 or 96 mph (115/154 kph), dependent on which engine was fitted.
Between 1952 and 1989, when the last car to carry the Austin name was built, about 14 new models were introduced, including the Austin A30, A40, A60 Cambridge, 1100/1300, 1800, Maxi, Allegro and Metro.
8.7.3. Bentley
The Bentley Motor Company was founded in 1918 by two brothers; Walter and H Bentley.
Most of the early models were very successful racing cars, one of the most famous being the 3.0 litre Bentley, which had a top speed of 80 mph (128 kph).
It won the 24-hour Le Mans race in 1924, with other models winning from 1927 to 1930.
Between 1921 and 1927 the company produced 1,633 of these 3 litre cars.
The Company was seriously affected by the 1929 stock market crash, having just launched its ultra-luxury 8-litre model and only 100 were made.
After producing just over 3,000 cars the company was bought by Rolls-Royce in 1931.
The first model produced after the end of World War 2 bearing the Bentley name was the 4.3 litre Mark Vl (1946-52), with a convertible version introduced in 1951.
In 1952 the R Type was introduced and 2,320 of these 4,566 cc cars were made.
The 4,887 cc Continental version was produced for the European market; the first Bentley car to carry the Continental name, and 207 were made by 1955.
The S2 Type was produced between 1959 and 1962, followed by the S3 (1962-65), the T1 (1965-77), and the T2 (1977-81).
2007 Models include the Brooklands, Arnage, Azure and Continental.
8.7.4. Jaguar
In 1932 the Swallow Sidecar Company produced its first car; the two-door SS 1.
In the mid 1930s the company produced the Jaguar SS100, the first car to carry the Jaguar name. Just over 300 of these 2.5 and 3.5 litre cars were made.
Immediately after World War 2 the company changed its name to Jaguar Cars Limited due to the link between the initials “SS” and Nazi Germany.
The first cars bearing solely the Jaguar name were the pre-war designed 1.5/2.5/3.5 litre models that were produced from 1945 to 1948.
The Mark V, produced in 1948, was the first post war designed model. Shortly afterwards the company launched the XK120.
This was followed by the XK140 in 1954 and the XK150 in 1957.
About 72,500 E-Type Jaguars were produced between 1961 and 1973. The car had a top speed of 150 mph (240 kph) and could accelerate from 0-60 mph in 7.1 seconds.
In 1968 the top selling XJ6 entered service and by 1979 over 155,000 had been made.
After various mergers during the 1960s and then nationalisation, the company became a separate company again in 1984. Five years later it was acquired by the Ford Motor Company.
Other models produced between 1950 and 1980 include the S Type, 240, 420, Mk 1, Mk 2 (over 90,000 produced), Mk V11/Vlll/lX and the XJ12.
Models produced since 1980 include the XJS 5.3, XK8 and XJ8. The 2007 range includes the XK, XJ, and XF range, the S Types and the X Types.
8.7.5. Rolls-Royce
Rolls-Royce Limited was formed in 1906 by Charles Rolls and Henry Royce.
In 1904 an agreement had been reached that C S Rolls & Co would sell only cars manufactured by Royce Limited and that the cars would bear the name “Rolls-Royce”.
Between 1904 and the start of World War 2 in 1939 about 22,200 cars were produced.
In 1907 the company launched the six-cylinder Silver Ghost, selling 6,173 by 1925.
Between 1906 and 1972 the company produced some 20 different models, including the Phantom, Wraith, Silver Wraith, Silver Dawn and Silver Shadow range.
In 1971 Rolls-Royce Limited was nationalised by the British Government when it encountered serious financial problems.
Two years later, in 1973, it was de-nationalised with the formation of “Rolls-Royce Motors” and “Rolls-Royce Limited” (aero-engine business).
In 1975 “Rolls-Royce Motors” launched the Camargue, production of which ceased in 1986.
“Rolls Royce Motors” was acquired by the British company Vickers in 1980 and then, in 1998, by Volkswagen.
The rights to the Rolls-Royce name and logo were, however, licensed to BMW and “Rolls-Royce Motors” were only allowed to use the name and logo until 1 January 2003.
In 2002 the Volkswagen owned “Rolls-Royce Motors” ceased production of their Corniche model.
In January 2003 BMW’s subsidiary “Rolls-Royce Motor Cars” launched their Phantom model.
8.7.6. MG
The MG letters are derived from the initials of Morris Garages Ltd, which was a distributor for Morris Cars Ltd from 1913 until the late 1920s.
In 1922 Cecil Kimber became General Manager of Morris Garages and in 1923 he started to produce customised Morris cars.
These “specials” became known as “Morris Garage Chummys”. Within a year, possibly initially along with the Morris badge, the distinctive octagon MG badge started to appear.
The 1924 14/28 MG Super Sports Morris is considered by many to be the first car fitted with the MG badge (fitted on the car’s running boards). 440 were built between 1924 and 1927.
This 1,802 cc model, which had a top speed of 65 mph (104 kph), consisted of a new sports body fitted to a Morris Oxford chassis.
Just before Cecil Kimber’s death in 1945 he referred to a car called “Old Number One” (FC 7900) as the “first M.G. car I ever built.” The MG badge was fitted on the side of the car.
The car had a 1,496 cc Hotchkiss four-cylinder engine and produced about 38 bhp. The car was registered in March 1925, just prior to the competitive event for which it was built.
In 1927 Morris Garages introduced the MG 14/40 model.
This was followed in 1928 by the MG 18/80, a car considered to be the first purpose built MG. In addition to its specially designed chassis, the Morris type bullnose radiator was replaced on this model with the now traditional MG grille.
In 1929 MG cars produced M-Type Midget, the first in a long line of “Midget” sports cars models.
1930s
Company records are said to indicate that the M.G. Car Company Ltd (Reg # 249645) was formed in 1930. In what month? In that year MG built about 1,000 cars.
The first car produced in 1930 by the newly formed Company was the MG 18/100 “Tigress” racing car. Two further racing cars were produced in the 1930s, the Q-Type in 1934 and the R-Type in 1935.
In 1935 the M.G. Car Company was sold to Morris Motors Ltd.
Up to the start of World War 2 in 1939 the company produced more than 10 different sports models, a small salon car, the MG KN (1933-34), another medium sized car, the MG VA (1937-39) and the two larger salon cars, the MG SA (1936-39) and the WA (1938-39).
1940s
The first car produced after World War 2 was the 1,250 cc MG TC Midget, a sports car that had a top speed of 78 mph (125 kph). Between 1945 and 1949 over 10,000 were built.
In 1947 MG introduced the YA Type, a medium sized saloon car that had been developed by late 1939. Nearly 6,200 of these cars were built up to 1951.
1950s
During the 1950s MG also produced 3 models of the TD Midegt (1950-53); a total of 29,566 + 98 in 1949, the TF Midget (1953-55); a total of 9,600 (including 3,400 1,466 cc models), the 1,488 cc MGA (1955-62); a total of 101,081 and three Magnette models, the ZA, ZB & Mk lll (1953-61).
1960s
Between 1961 and 1968 the company produced the Mk lV Magnette.
The 1,798 cc MGB was produced from 1962 to 1980, a car with a top speed of 105 mph (168 kph). Including a GT version, over 500,000 of these cars were built. In 1975 an MGB became the one millionth MG car.
In 1962 the company also started production of their MG 1100 model, with nearly 117,000 being built by 1967. MG also produced the 1300 model from 1967 to 1973.
Other Models
Other models produced up to 2007 include the MG Midget, MGC, RV8, MGF & TF, Maestro, Montego, Metro, MG ZR, ZS & ZT, MG 3, MG 7 and the MG XPower SV.
Ownership
Between 1935 and 2007 t MG has been owned by Morris Motors & the Nuffield Organistion (1935-52), BMC (1952-68), BLMC (1968-86), Rover Group (1986-88), BAe (1988-94), BMW (1994-2000), the MG Rover Group (2000-05) and the Nanjing Automobile Group of China since 2005.
8.7.7. Morris
William Richard Morris formed WRM Motors in 1912 and by 1913 he had produced his first car, the 1018 cc two-seater Morris Oxford (Bullnose).
By the end of 1914, including a coupe version, over 1300 of these cars had been built.
In 1915 the company introduced a larger car, the 1.5 litre 4-seater Morris Cowley. Between 1915 and 1917 just over 1,140 Morris Cowley and Oxford cars were produced.
In 1919 WRM Motors ceased trading and Morris Motors Ltd was established.
In 1926, just before the renowned “Bullnose” radiator was replaced by a flat one, the Cowley and Oxford models accounted for over 40% of all British car production. Production of these first two models ceased in the mid 1930s.
In 1928 the company produced the first in a range of Morris Minor models. Between 1928 and 1933 over 86,000 of these 847 cc cars were built. The model was replaced by the Morris Eight.
Production of the Morris 8 (hp) started in 1935, with the 100,000th being delivered on 30 June 1936. Within 3 years nearly 220,000 were built, including the updated Series 1, Series 2 and Series E.
A wide range of other models were produced during the 1930s, including the 1,938 and 2,062 cc Oxford Six (1929-33), the Isis (1930-35), the 16 & 20 models, with over 6,300 produced (1934-35), the 14/16/18 range (1935-39), the Morris 10 (1933-48) and the Morris 8 (1935-48).
In 1937 the Morris Company became Europe’s largest vehicle manufacturer and by 1939 it was the first British company to produce one million vehicles.
In 1938 Morris Motors Ltd merged with the MG Car Company and Riley to form the Nuffield Organisation.
Production resumed after World Two (1939-45) with the pre-war Morris 8 and 10. In 1948 the model 8 was replaced by the Morris Minor and the model 10 by the Morris Oxford. The Morris Six MS was also introduced in 1948.
Between 1948 and 1971 three versions of the Morris Minor were produced; the 918 cc MM model (1948-53), the 803 cc Series 2 (1952-56) and the 948 and 1098 cc Morris 1000, of which nearly 850,000 were built (1956-71).
In 1961 the one millionth Morris Minor was built, the first British car to achieve this figure.
The 1,476 cc Morris Oxford MO model was produced from 1948 to 1954 and nearly 160,000 were built. The 40.5 hp (30 kW) car had a top speed of 72 mph (115 kph).
Between 1954 and 1961 four further versions of the Morris Oxford, all with a 1,489 cc engine, were produced.
The Hindustan Ambassador produced in India (1958 and still in production in 2007) was based upon the Oxford lll model. See Part 2, Section 8.9.1 .
The final version was the 1,622 cc Oxford Vl (1961-71), of which over 208,000 were built.
In 1952 the Nuffield Organisation merged with the Austin Motor Company to become the British Motor Corporation (BMC). In 1968 BMC became part of British Leyland Motor Corporation and then British Leyland in 1975.
The “Mini” car was first produced in 1959 and was originally sold by BMC as both the Austin 7 and the Morris Mini-Minor. In North America and France it was called the Austin 850 and Morris 850.
The car was first named the “Mini” in 1961.
It was the first front wheel drive car in the world with a traverse fitted engine. This two-door car had an 848 cc engine and was only 10 feet (305 cm) long. It had a top speed of 72 mph (115 kph).
The Mini Cooper version was produced in 1964 with a 997 cc engine, which was later increased to 1,275 cc, giving the car a top speed of 98 mph (157 kph).
When production of the Mini Cooper ceased in 1971 150,000 had been built. A newer version was introduced in 1990.
In 2000, when production of the Mini ended, over 5.3 million had been built. During this time three upgrades had taken place; the Mk ll, the Clubman and the Mk lll, plus an estate version and the Mini Moke.
In 2001 BMW produced a newly styled Mini One and Mini Cooper.
Other Morris cars produced include the 1100, with over 800,000 built (1962-71), the 1300 (1967), the 1800 (1966-75) and the Marina (1971-80).
The Ital model (1980-84) was the last car to carry the Morris name.
8.7.8. Other British Car Manufacturers
AC, Alvis, Argyll, Armstrong Siddley, Bond, Bristol, BSA, Healey, Hillman, Humber, Jenson, Jowett, Lagonda, Lanchester, Lea Francis, Lotus, Metropolitan, Morgan, Napier, Panther, Reliant, Riley, Rover, Singer, Standard, Sunbeam, Triumph, TVR, Vanden Plas, Vanguard, Vauxhall and Wolseley.
8.7.9. British Car Web Sites
British Motor Manufacturers
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