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1962 saw the first trans-Atlantic satellite broadcast via which satellite? | Telstar 1 makes live trans-Atlantic TV broadcast, July 23, 1962 | EDN
Telstar 1 makes live trans-Atlantic TV broadcast, July 23, 1962
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The first live trans-Atlantic television satellite broadcast took place on July 23, 1962, and was made via AT&T’s Telstar 1 satellite.
Telstar had been launched 13 days prior to the broadcast by Delta rocket from Cape Canaveral. It was the first privately sponsored space launch.
Telstar was part of a multi-national agreement between AT&T, Bell Telephone Laboratories, NASA, the British General Post Office, and the French National PTT (Post, Telegraph & Telecom Office) to develop experimental satellite communications over the Atlantic Ocean.
Limited by what the Delta rocket could carry, the satellite is roughly spherical (see photo), measures 34.5 inches in length, and weighs about 170 pounds. Telstar was spin-stabilized and its outer surface was covered with solar cells to generate power.
Telstar had one innovative transponder to relay data and an omnidirectional array of small antenna elements around the satellite's "equator" received 6 GHz microwave signals to be relayed. The transponder converted the frequency to 4 GHz, amplified the signals in a traveling-wave tube, and retransmitted them omnidirectionally via the adjacent array of larger box-shaped cavities. The prominent helical antenna was for telecommands from a ground station.
The first public broadcast featured CBS's Walter Cronkite and NBC's Chet Huntley in New York, and the BBC's Richard Dimbleby in Brussels. The transmission linked London and Paris to the US. The link is established at 10:58 BST . Telstar 1 also relayed the first telephone call to be transmitted through space later in the same day.
Although no longer functional, Telstar remains in orbit as of this publishing.
Also see:
| Telstar |
The US Statue of Liberty is the work of which French sculptor? | Telstar: Satellites Beamed First TV Signals Across the Ocean
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Lucky first try
Fortunately, unlike other satellites of the time, Telstar 1 launched on the first try. It soared into space on July 10, 1962, from its launch pad at Cape Canaveral in Florida.
The 34-inch (87 cm) spherical satellite, which weighed 171 pounds (77 kilograms), was inserted into an orbit of about 3,505 miles (5,640 kilometers) at its highest, and 903 miles (1,453 kilometers) at its lowest. This is quite different from the major communications satellites of today, which "hover" at one point above the surface in geosynchronous orbit , but bear in mind that this was a test.
Telstar's first live television pictures in France — relayed only a few hours after launch, according to NASA — showed a U.S. flag outside of a receiving station in Maine. The satellite was also equipped to handle telephone calls and even picture faxes, and had an experiment that could examine the radiation in the Van Allen belts above Earth.
"Telstar was a tremendous technical success, and the international reaction was spectacular," NASA later wrote in "Beyond the Ionosphere."
"A U.S. Information Agency (USIA) poll showed that Telstar was better known in Great Britain than Sputnik had been in 1957. Rather than launching a useless bauble, the Americans had put into orbit a satellite that promised to tie together the ears and eyes of the world."
The satellite, in fact, was immortalized in a song in 1962. A British band called The Tornados created the song "Telstar," which hit No. 1 on the U.S. Billboard 100 at the height of its popularity. Many years later, Susanna Hoff, lead singer of the Bangles, wrote a 1991 song that mentioned the satellite; it was called "Wishing on Telstar."
Monopoly concerns
Telstar 1 started to have transmission difficulties in November 1962, and eventually saw its transmitter fail in February 1963. Telstar 2 launched on May 7, 1963. It was practically a twin of Telstar 1, but in this case, the satellite lasted until it was turned off in 1965 — longer than its predecessor.
AT&T had clearly demonstrated acumen in how to build and use a satellite. They already had a monopoly in the telephone business, and according to NASA, there were those that feared that the monopoly could extend into space as well.
"AT&T's preeminent position as the largest U.S. common carrier and sole international telephone carrier, together with its willingness and ability to commit large sums of money to the development of communications satellites, convincingly suggested that commercial satellite utilization would very likely become AT&T utilization," NASA wrote.
In August 1962, President John F. Kennedy approved the Communications Satellite Act . This act had been in the works for several years. The act placed U.S. satellite communications under a federally supervised company (with joint participation from several U.S. firms) called the Communications Satellite Corporation, or Comsat. While AT&T was a participant in Comsat, this ensured that the company could not have a space-faring monopoly.
Comsat was later a founder of an entity called Intelsat that focused on international satellite coverage. In 1970, the Federal Communications Commission — under the Open Skies Policy — opened up domestic satellite communications launches to all firms that were capable of doing it. Comsat and Intelsat still exist today, but under very different structures.
October 4, 2007 marks the 50th anniversary of the launch of the manmade satellite. How well do you remember the past half-century in space? Take this 10-question quiz and test your knowledge of space history.
Start Over | More Quizzes
Telstar's legacy
All in all, Telstar showed that the communications business was an area of great flux in the 1960s and 1970s. The Telstar satellites ushered in an era where satellites turned from experimental machines to sophisticated systems with great value to the companies producing them.
A new wave of advanced geosynchronous spacecraft shares the Telstar name, but these commercial satellites are far more advanced than their predecessors. Telstar 301 launched in 1983, followed by Telstar 302 in 1984. Telstar 302, renamed Telstar 3C, was put into orbit by a Space shuttle Discovery crew. A dozen more satellites bearing the Telstar name have since been launched.
Telstar 1 is still in orbit , as of February 2013, but it is no longer functional.
— Elizabeth Howell, SPACE.com Contributor
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Professor Caractacus Pott appears in which children’s novel by Ian Fleming? | Chitty Chitty Bang Bang
Plot
------------- Plot by IMDB -------------
EnglishAn eccentric professor invents wacky machinery, but can't seem to make ends meet. When he invents a revolutionary car, a foreign government becomes interested in it, and resorts to skullduggery to get their hands on it.
Summary written by Murray Chapman {[email protected]}
A wierd inventor (Caractacus Potts) invents an amazing flying car, which drives by itself. It takes him and his family to Vulgaria, where the sinister buffoon Baron Bomburst kidnaps the car. The baron has made children illegal, and Caractacus and Co. have to try and rescue the children of Vulgaria...
Summary written by Blokie {[email protected]}
------------- Plot by DVD Empire -------------
Ladies and gentlemen, boys and girls--star your engines. You're about to take an incredible ride with one of the most wonderful family films of all time! Now celebrating its 30th Anniversary, Chitty Chitty Bang Bang has never looked or sounded better.Dick Van Dyke stars as eccentric inventor Caractacus Potts, who creates an extraordinary car called Chitty Chitty Bang Bang. It not only drives--but also flies and floats--as it leads him, his two children and his beautiful lady friend, Truly Scrumptious, into a magical world of pirates, castles and endless adventure.
------------- Plot by AMG -------------
One of the stars of Walt Disney's Mary Poppins, Dick Van Dyke, is re-united with that film's composer and lyricist, Richard M.Sherman and Robert B. Sherman, in this big budget and bloodless children's fantasy musical, based on the children's book by James Bond author Ian Fleming. Van Dyke plays Caractacus Potts, a failed inventor who lives in a big house with his two children -- Jemima Heather Ripley and Jeremy Adrian Hall -- and eccentric father Lionel Jeffries. Potts has to raise 30 shillings so his children can buy a broken-down racing car from the junkyard. After a disastrous attempt to sell his invention of whistling sweets to Lord Scrumptious (James Robertson-Justice), the local candy maker, he finally gets enough money for the car by doing a Dick Van Dyke dance routine at the county fair. Potts takes the car and miraculously transforms the vehicle into a shiny new car named Chitty Chitty Bang Bang. While on a picnic with the children and Truly Scrumptious (Sally Ann Howes), Lord Scrumptious' beautiful daughter, Potts concocts a fantasy tale about the magical powers of the car, which can now float on water and fly. In the tale, Baron Bomburst (Gert Frobe) wants the car for himself and kidnaps the automobile and the inventor. But Bomburst captures Grandpa by mistake along with the wrong car, so Potts, Truly, and the children have to enlist Chitty Chitty Bang Bang on a rescue mission to Bomburst's lair to save Grandpa.
Actors
Dick Van Dyke ..... Caractacus Potts
Sally Ann Howes ..... Truly Scrumptious
Lionel Jeffries ..... Grandpa Potts
Gert Fr�be ..... Baron Bomburst (as Gert Frobe)
Anna Quayle ..... Baroness Bomburst
James Robertson Justice ..... Lord Scrumptious
Robert Helpmann ..... Child Catcher
Harry Fielder ..... Bit Part (uncredited)
Robert Jenner ..... Field Worker (uncredited)
Nigel Kingsley ..... Extra (uncredited)
Joseph Ross ..... Child Extra (uncredited)
Peter Ross ..... Child Extra (uncredited)
Richard Wattis ..... Secretary at Sweet Factory (uncredited)
Reviews
------------- Review by AMG -------------
By the end of the 1960s, the financial failure of big-budget films like Chitty Chitty Bang Bang started the final descent of the traditional film musical. However, while it is hardly a classic, it is fondly remembered by many who grew up with it. The basic story ingredients -- crackpot inventor, beautiful love interest, magic car, exotic settings -- are perfectly fine, but somehow the mixture fails to gel. Part of the problem is the tone of the film, which is often overly arch or cloying. Much of the dialogue just doesn't work, and the film is much too long and never as inventive as it needs to be. The score is very hummable, with many numbers -- the title song, "Truly Scrumptious," "Hushabye Mountain," "Toot Sweets" -- that stay with the audience long after the movie is over. Although the kids are a bit much, Dick Van Dyke is appealing and handles the material well; his dancing is, as always, delightful. Sally Ann Howes is a lovely and charming Truly, and Anna Quayle makes the most of her brief supporting role. As the Child Catcher, Robert Helpmann is perhaps too disturbing for little ones. The special effects are not very impressive, but the scenery is quite attractive. There's enough here to make the film worth viewing, but overall it's a missed opportunity at a great family film.
------------- Review by Amazon -------------
This remastered, pan-and-scan 30th-anniversary edition of that kiddie-car caper is flawed but solid family fare. It retains a quaint charm while some of the songs--including the title tune--are quite hummable. A huge plus is Dick Van Dyke, who is extremely appealing as an eccentric inventor around the turn of the century. With nimble fingers and a unique way of looking at the world, he invents for his children a magic car that floats and flies. Or does he? The special effects are tame by today's standards, and the film is about 20 minutes too long--but its enthusiasm charms. The script was cowritten by Roald Dahl and based on the novel by Ian Fleming, best known for his James Bond adventures. --Rochelle O'Gorman
Awards
(1968) Academy - Best Song (nom) ..... Richard M. Sherman
(1968) Academy - Best Song (nom) ..... Robert B. Sherman
(1968) Golden Globe - Best Original Score (nom) ..... Robert B. Sherman
(1968) Golden Globe - Best Original Score (nom) ..... Richard M. Sherman
(1968) Golden Globe - Best Original Song (nom) ..... Richard M. Sherman
(1968) Golden Globe - Best Original Song (nom) ..... Robert B. Sherman
Features
| Chitty Chitty Bang Bang |
According to the folklore of which European country, Santa Claus has a brother called Bells Nichols? | Children’s Playhouse of Maryland opens 2015-2016 season with Ian Fleming’s “Chitty Chitty Bang Bang”
Children’s Playhouse of Maryland opens 2015-2016 season with Ian Fleming’s “Chitty Chitty Bang Bang”
Sep 08, 2015 | by Jacquie Lucy | 443.840.4668 (office) | 443.761.2482 (cell)
Sept. 19,20, 26,27 and Oct. 3, 4, Administration Building Lecture Hall, CCBC Essex
Baltimore County, MD – Children’s Playhouse of Maryland, in residence at Community College of Baltimore County, Essex, kicks off its 2015-2016 season with a bang -- Ian Fleming’s “Chitty Chitty Bang Bang” to be exact! The production will run weekends at 1 p.m. on Sept. 19, 20, 26, 27, and Oct. 3, 4 with an additional performance at 7 p.m. on Saturday, Sept. 26. All Performances will be held in the Administration Building Lecture Hall, 7201 Rossville Blvd. The Sunday, Oct. 4, performance will be sign-language interpreted by students in the American Sign Language Certificate Program at CCBC Catonsville. Tickets are $10 each and can be purchased online at www.cpmarts.org or from the CCBC Box Office at 443-840-ARTS (2787) from Tuesdays through Fridays, 9 a.m. to 3 p.m. Based on availability, tickets may be purchased at the door.
“Chitty Chitty Bang Bang” is based on the 1968 film from Ian Fleming’s novel with book by Jeremy Sams with lyrics and music by Robert B. Sherman and Richard M. Sherman. The musical comedy is the story of an inventor, Caractacus Potts, an eccentric who begins restoring an old race car that his children, Jemima and Jeremy, find in a junk heap. They discover that the car is magic and can fly. When the evil Baron Bomburst tries to take the car, all sorts of misadventures ensue! Songs include “Truly Scrumptious,” “Hushabye Mountain,” “Toot Sweets” and “Chitty Chitty Bang Bang.”
This CPM production features a cast of more than 40 student actors from Baltimore City, Baltimore County and Harford County. Charlie Holt of Kingsville, Md. appears as Caractacus Potts with Rhiannon Owen of Nottingham, Md. as Truly Scrumptious. Also featured are Maia Vong of Towson, Md. and Dylan Morrison of Perry Hall, Md. as Jemima and Jeremy Potts.
Student actors appearing in featured roles are: DeVonte’ Tasker of Baltimore, Md. (Boris); Theo Halligan of Baltimore, Md. (Goran), Eva Hellerbach of Baltimore, Md. (Baroness Bomburst), Nathan Beyer of Fallston, Md. (Baron Bomburst/Lord Scrumptious), Victoria Caldwell of Joppa, Md. (Toymaker), Max Wolf of Parkville, Md. (Grandpa), Sam Patterson of Towson, Md. (Childcatcher).
Appearing in supporting roles are: Ethan Holler, Rachel Miller and Gwen Lowell of Baltimore, Md., Erin, Evelyn, Maeve and Nora Acerno of Bel Air, Md., Ann and Pierce Elliott of Cockeysville, Naim Peace of Edgewood, Md., Ali Radomsky, Mara Jade Beaumier and Mia Dill of Essex, Md., Matt Byrd, Zachary Byrd and Maura Bohn of Halethorpe, Md., Addison Barry, Emma Hester, Sammy Jungwirth and Emily Ricci of Nottingham, Md., Allison Mudd of Parkville, Md., Claire Schafer and Olivia Aubele of Perry Hall, Md., Amy Claudio, Sophie Claudio and Angela Boeren of Rosedale, Md., Katie Doyle and Kathryn Schudel of Towson, Md. and Olivia Lockett of White Marsh, Md.
Liz Boyer Hunnicutt directs this production, Chris Rose is the Musical Director and Amanda Dickson is the choreographer.
The CCBC Essex Administration Building Lecture Hall is a wheelchair-accessible facility. Please request accommodations at the time of ticket purchase. For more information, please call the Box Office at 443-840-ARTS (2787) or the CPM Administrative Office at 443-840-2426. For directions to the Essex campus, go to www.ccbcmd.edu.
SNEAK PEEK!
CPM’s production of “Chitty Chitty Bang Bang” will be premiered at the 9th Annual CPM Fundraising Gala to be held Saturday, Sept. 12 on the Mainstage of the College Community Center Theatre at CCBC Essex, 7201 Rossville Blvd. Tickets are only $25 each and can be purchased online at www.cpmarts.org or from the CCBC Box Office at 443-840-ARTS (2787) from Tuesdays through Fridays, 9 a.m. to 3 p.m. Tickets may be purchased at the door.
The Mainstage theatre is wheel-chair accessible.
VIEW CCBC EVENTS AT WWW.CCBCMD.EDU FOR THE MOST UP-TO-DATE EVENT INFORMATION The CCBC website provides updates and changes as well as more information about CCBC events.
###
About the Community College of Baltimore County ( www.ccbcmd.edu )
CCBC is ranked among the number one providers of undergraduate education, workforce development, technology training, and lifelong learning/life enrichment in the Baltimore Metropolitan area. Rooted in the community since 1957, CCBC offers a unique approach to learning that empowers people to transform their lives.
Nationally recognized as a leader in innovative learning strategies, CCBC educates nearly 65,000 people each year, including more than half of all Baltimore County residents attending undergraduate college. Its Continuing Education division is the preferred training partner for Maryland businesses, serving more than 100 employers annually with customized employee development training.
CCBC is accredited by the Middle States Commission on Higher Education, 3624 Market Street, 2nd Floor West, Philadelphia, PA 19104 (267-284-5000). The Middle States Commission on Higher Education is an institutional accrediting agency recognized by the U.S. Secretary of Education and the Council for Higher Education Accreditation.
CCBC. The incredible value of education.
About the Children’s Playhouse of Maryland
Children’s Playhouse of Maryland, Inc., in residence at CCBC Essex, is a not for profit community theatre dedicated to youth performers ages 18 and under.
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How many events make up a Triathlon? | How Long Is a Triathlon? | ACTIVE
How Long Is a Triathlon?
How Long Is a Triathlon?
By Gale Bernhardt
For Active.com
There are four common distances for triathlon competitions, and many variations on those distances.
One thing that may cause a variation from the standard distance is the race venue. Often, race directors are challenged to find a safe venue for a swim, bike and run event. To keep the logistics and safety concerns of staging such an event to a dull roar, on occasion, race directors wisely select a race course that is slightly different than the common distances mentioned in this column.
Featured Events
More: Leon's World's Fastest Triathlon
Thankfully, good race directors and benevolent volunteers continue to host events, some of which are world-class, at a growing number of locations.
At many races, event directors provide not only individual competitor categories, but team categories as well. For many single-sport athletes, team competition provides a new camaraderie to their solo training. Additionally, it might just spark the fire to train for a triathlon as an individual competitor.
So, how long is a triathlon anyway? Here are the four most common race distances:
Sprint Distance
A sprint-distance triathlon is often the best way for a new triathlete to have positive experience in their first event. A typical sprint distance event consists of 400 to 500 yards (or meters) of swimming, 12 to 15 miles of cycling and typically a 3.1-mile run. This distance makes completing the event quite manageable for fit and soon-to-be fit athletes.
More: How to Train for a Sprint Triathlon
Olympic Distance
In the late 1980s, a 1.5 kilometer swim, 40 kilometer bike ride and a 10 kilometer run (0.9 miles swimming, 24.8 miles of cycling and 6.2 miles of running) was often called "International-Distance Triathlon" because that distance was accepted as the international standard and used at the first Triathlon World Championship. That championship was held August 6, 1989 in Avignon, France and the winners were Erin Baker of New Zealand and Mark Allen of the United States.
In 1994 the International Triathlon Union (ITU), lead by president Les McDonald, convinced the International Olympic Committee to make triathlon an Olympic sport for the Sydney Games of 2000. The title for the "International-Distance Triathlon" was changed to Olympic-distance. Today, an Olympic-distance triathlon remains a 1.5-kilometer swim, 40-kilometer bike ride and a 10-kilometer run.
About the Author
Gale Bernhardt
Gale Bernhardt was the USA Triathlon team coach at the 2003 Pan American Games and 2004 Athens Olympics. She's worked as a World Cup coach and delivered education training for the International Triathlon Union's Sport Development Team. Thousands of athletes have had successful training and racing experiences using Gale's easy-to-follow training plans. You can find some of her training plans on Active Trainer to help you succeed.
Gale Bernhardt was the USA Triathlon team coach at the 2003 Pan American Games and 2004 Athens Olympics. She's worked as a World Cup coach and delivered education training for the International Triathlon Union's Sport Development Team. Thousands of athletes have had successful training and racing experiences using Gale's easy-to-follow training plans. You can find some of her training plans on Active Trainer to help you succeed.
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Convict Magwitch appears in which novel by Charles Dickens? | How Olympic Triathletes Make Money (When They Make Any Money at All) | Outside Online
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How Olympic Triathletes Make Money (When They Make Any Money at All)
In triathlon, where training volume can make it impossible to hold down another job, Olympic hopefuls often live with parents or sleep on friends’ couches, struggling to make ends meet
Manny Huerta. Photo: Screenshot from REVOLUTION3 Triathlon
Manny Huerta is one of the lucky ones.
For years, after leaving behind a full running scholarship at Florida Atlantic University , Huerta relied on family and friends to help him get by while he chased his triathlon dreams. In May, Huerta qualified for the London Olympics with a nail-biting ninth-place finish at the ITU World Triathlon race in San Diego.
“If it wouldn’t have been for friends and family and supporters, I would have been in a really bad situation,” Huerta said.
An Olympic medal is one of the hardest-earned prizes in the world. Athletes who make it to the Games do so after years of sacrifice, hoping that climbing onto the podium will make it all worth it.
Yet many Olympians never see that work turn into income. And many more, who are tantalizing close to the rings, struggle to simply make ends meet. In triathlon, where training volume can make it impossible to hold down another job, Olympic hopefuls often live with parents or sleep on friends’ couches.
“They probably are losing money on the sport at that stage,” said USA Triathlon Performance Director Andy Schmitz, of up-and-coming athletes. “Probably the only athletes in the black are those [eight athletes] on the national team.”
Huerta’s parents immigrated to Miami from Cuba when he was 13 years old and he dreamt of competing for his adopted country. To even have a shot at donning the red, white, and blue at the Olympics Huerta had to race draft-legal ITU events instead of the popular Ironman and half-Ironmans.
The International Triathlon Union (ITU) is the body that oversees Olympic racing. ITU races are shorter, faster, and draft-legal, meaning competitors can bike close together in packs. ITU races are also significantly harder to make a living at because of the heightened competition for smaller prizes, the expensive travel all over the world, and the lack of media and sponsors in the U.S.
“Once every four years, people actually watch and care and talk about it,” said Jarrod Shoemaker, a 2008 U.S. Olympian and president of the newly formed Professional Triathlon Association . “I think it’s a huge problem breaking into the draft-legal side of the sport.”
WHERE DOES THE MONEY COME FROM?
While no study has been done on how much triathletes make, USA Track and Field Foundation Board Director Jack Wickens did a comprehensive evaluation of track and field athletes’ income—for which there are many similarities.
Wickens found that while it depends on the event—race walkers make nothing, sprints and marathons are the most lucrative—typically the top one or two athletes do extremely well and the top 10 athletes in the world in an event can make up to $100,000 annually. But runners that are 10th-25th in the world typically “feast or famine,” making $10,000 to $60,000 depending on the year. Athletes outside the top 25 in the world nearly always have another job.
“An awful lot of them never make a good living their entire career,” Wickens said.
Incomes are similar in triathlon; Shoemaker guesses the top five-10 percent of professional triathletes make $50,000 to $100,000 annually, with a handful of superstars earning significantly more. Chrissie Wellington and Chris McCormack likely make over $1 million per year. Professionals outside the top five-10 percent and up-and-coming athletes are lucky to make $20,000, often relying on other income. Schmitz agrees with that assessment.
“The best in the world do very, very well. That drops off very quickly,” Schmitz said. “It’s truly limited to the top half of one percent in the world.”
Top professional triathletes earn money through prize purses and sponsors. Lesser-known or less-connected athletes rely heavily on prize money, which is the same for everyone, while athletes with bigger names can make more from sponsors. Sponsorship money depends on three things, Schmitz said: performance, personality, and connections.
Some athletes, like hurdler Lolo Jones , can capitalize on their personality without necessarily having the results to back it up, Wickens said. Some athletes, like Shoemaker, also make connecting with sponsors a priority, according to Schmitz.
Most sponsorships, however, come in the form of free product, not money. Because of the lack of information about sponsor contracts and income, athletes can end up undermining each other. One may agree to accept far less from a sponsor than another. Shoemaker believes it’s important for athletes to talk to sponsors, get involved with local brands, and to ask for actual money or bonus schedules from bigger companies.
“It’s easier to get companies to give you stuff," he said. "It’s harder to get good money out of companies unless you’re really good."
"WITHOUT USAT, I WOULDN'T BE GOING TO THE OLYMPICS"
Athletes competing in ITU races are also eligible to receive grants from USAT and the U.S. Olympic Committee (USOC). The U.S. is one of very few countries with no government support for its Olympic and national team athletes. The USOC, USAT, and other sports’ national bodies, like USA Track and Field, are funded through commercial contracts, such as those with McDonald’s, and through individual fundraising.
In triathlon, athletes can qualify for funding from USAT based on performance. The maximum degree of support a top triathlete could receive, said Schmitz, is a $1,500/month stipend for living expenses, $1,000/quarter for performance services such as massage or physical therapy, $4,000/year for training camps, and $6,000/year for coaching. Athletes can also receive funding to travel to ITU races. Each allocation must be applied for and vetted and performance criteria must continuously be met.
“It’s a pretty solid basis of support,” said Schmitz.
The USOC also allows athletes with certain qualifications to live at one of the Olympic Training Centers. The degree of access those athletes have to the facilities, training amenities, and room and board depends on the athlete.
“The first couple of years, that was key,” said Huerta, of living at the Colorado Springs training center after leaving college.
Receiving that kind of support, though, is rare; those numbers are maximum capped amounts. But, support from USAT and USOC can make the difference between chasing the Olympic dream or competing in more profitable non-drafting races.
“Without USAT, I would not be able to afford to do ITU and wouldn’t be going to the Olympics,” said Sarah Groff, who is competing for the U.S. at the London Games this summer.
Groff still lives with relatives or roommates when she’s in the U.S. The first couple of years, she worked odd jobs or waitressed during the off-season to tide her over between races. Now, though, she’s able to make a decent living, but “not a lot of money,” she said.
Next year, she plans to do more of the non-drafting, big money races like HyVee, with its $1 million prize purse, instead of just focusing on ITU races. “There’s no retirement plan in ITU,” she said.
ITU VS. NON-DRAFTING
Groff could have chosen to focus completely on non-drafting races, but her first coach, Siri Lindley, a two-time ITU World Champion, pushed her toward ITU racing despite some of the financial problems it poses.
There are a couple of challenges for ITU athletes. ITU draft-legal racing is far less popular in the U.S. than in Europe, which means there is less press and fewer sponsors for American ITU athletes. “ITU’s just kind of out of sight, out of mind,” said Groff.
Prize purses are top-heavy and quickly drop-off in both non-drafting and draft-legal racing. (While first place at the Ironman Championships in Kona takes home $110,000, 10th wins only $6,000 and 11th earns nothing.) But, those prizes can be particularly sparse in ITU racing, with the biggest money in the domestic draft-legal Lifetime series and HyVee races.
Competition in ITU races is also deeper and fiercer, with the best from every country battling it out and places separated by just seconds, said both Groff and Shoemaker.
Additionally, athletes trying to make it on the ITU circuit must spend money upfront to travel to races in Lynga, Norway, or Kinloch, New Zealand. Those up-and-coming athletes hope to rack up ITU points, which can earn them spots at more prestigious races and, maybe, Olympic qualification. Travel could eventually be reimbursed by USAT, but typically not until an athlete proves him or herself.
The alternative for a talented triathlete would be to stick to the lucrative domestic non-drafting and half-Ironman races.
“It’s tough for an athlete to see the chance to make money versus spend money and run around,” Shoemaker said.
YOU CAN MAKE MONEY
Although triathletes and runners may not have the $500,000 minimum starting salary of an NBA player, there is some money to be made in the sport. The U.S. synchronized swim team was featured in Time magazine for their fundraising swim shows and requirements that many of the swimmers work bingo halls.
A high school classmate of Groff’s made the 2006 Olympic women’s hockey team and took home the silver medal. However, she had to continue working as a teacher up until leaving for the Games and came back to work right after. There’s simply no money to be made in women’s hockey.
At least, in triathlon, Groff can make some money. “You can make lots of money in triathlon,” Groff said. “I’m psyched to be able to do it.”
Making money’s never been a focus for Huerta, who has only a handful of sponsors and lives most of the year with his coach on the side of a volcano in Costa Rica, where it’s cheaper. He’s just happy he’s been one of the lucky ones.
“I can’t wait to get to the Olympics and then back in the U.S.,” he said.
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What was the surname of US songwriting brothers George and Ira? | Gershwin: Meaning Of Name Gershwin | Nameberry.com
Pop Culture References for the name Gershwin
Please add to or correct the information provided by other members of the Nameberry community.
Cecil Gershwin Palmer, fictional host of podcast "Welcome to Night Vale"
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| George Gershwin |
British monarchs are traditionally crowned in which London building? | Singer Billy Joel Honored as next Recipient of Gershwin Prize - YouTube
Singer Billy Joel Honored as next Recipient of Gershwin Prize
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Published on Nov 19, 2014
Grammy-award winning singer-songwriter Billy Joel is honored at the Library of Congress ahead of receiving the Gershwin Prize for Popular Song.
Full Story:
Grammy-award winning singer-songwriter Billy Joel, who penned hit tunes such as "Piano Man" and "New York State of Mind," was honored at the Library of Congress on Tuesday as the next recipient of the Gershwin Prize for Popular Song.
Joel, 65, is the sixth recipient of the prize that honors individuals for lifetime achievement in popular music. It is named after songwriting brothers George and Ira Gershwin.
The national library hosted a luncheon for the singer in advance of the prize ceremony, which will be held on Wednesday night.
"Your music is the soundtrack to all of our lives. And we bless you for your talent and for your humanity. Thank you for being with us today," musician Michael Feinstein said, in welcoming remarks.
The luncheon began with a performance of Joel's hit "The Longest Time" by the Library of Congress Chorale.
U.S. Representative Gregg Harper presented Joel with an American flag that was flown over the Capitol.
Joel said the prize was especially meaningful, because it reminded him of his performances in the late 1980's in what was then the Soviet Union, in which he used the George Gershwin tune "Rhapsody in Blue" to begin his historic shows.
"We wanted people to know - we're American, this is our stuff and this is what we're going to give you," Joel told the audience, and added: "I have to say those are probably the most exciting concerts we've ever done, everything after that has been somewhat anticlimactic, but knowing that I was there with George was, was a big help, so this means a lot to me. I thank you very much," he said.
Joel, whose career has spanned 50 years, is one of the most popular recording artists and has had 33 top-40 hits. His multiple Grammy wins include song and album of the year in 1978 for "Just the Way You Are."
He was also presented with a Grammy Legend Award in 1990 and was inducted into the Rock and Roll Hall of Fame in 1999.
The New York-born singer will join Carole King, Paul Simon, Stevie Wonder, Sir Paul McCartney and the songwriting duo Burt Bacharach and the late Hal David, all previous recipients of the Gershwin Prize.
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What is 1500 in Roman numerals? | How to write 1500 in Roman Numerals
How to write 1500 in Roman Numerals
Question: What is 1500 in Roman Numerals?
Is your question, "What is 1500 in Roman Numerals?" If so, you have come to the right place. 1500 is displayed in Roman Numerals below.
1500 in Roman Numerals is
MD
| MD |
What is the largest natural lake in England? | 1500 in roman numerals
1500 in roman numerals
The numer 1500 is written in roman numerals like this: MD
MD = 1500
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What value points is the black ball in the game of snooker? | How many points are the snooker balls worth? | Reference.com
How many points are the snooker balls worth?
A:
Quick Answer
Each color ball in snooker is worth a different number of points with the highest value ball being the black ball, which is worth seven points. The red ball is worth one point, yellow is worth two points, green is worth three points, brown is worth four points, blue is worth five points and pink is worth six points.
Full Answer
In the game of snooker the red balls must be hit into a pocket first. Once a red ball has been potted, the player has the opportunity to try and pot a colored ball of their choice. If they are successful, they can then pot another red ball followed by another color. Once all the red balls are potted in the pockets, the players must then try and pot the colored balls in order of their value, from lowest to highest.
| seven |
How many bails are part of a wicket in a game of cricket? | Snooker Rules
Snooker Rules
Snooker is played with fifteen object balls that are not numbered and are solid red (called reds), six object balls of other colors that are not numbered (called colors in snooker) and a cue ball (called the white ball).
The aim of snooker is to pocket the balls legally according to the rules and to score a greater number of points than the opponent. Point values for object balls: red-1, yellow-2, green-3, brown-4, blue-5, pink-6, black-7.
Opening break
The game of Snooker begins with the cue ball in hand in the Half Circle (so the starting player can place the cue ball anywhere inside the Half Circle).
The rules for the opening break are the same as when one of the players gets the right to strike.
Game Rules
A player who gets the right to strike has to hit one of the red ball first. If there are no more red balls on the table, the ball on will be the ball with the lowest point value.
Each shot has to be completed in 60 seconds, otherwise a foul is called.
A strike, when the next legal object is a red ball, is legal when:
The white ball is not potted.
The white ball hits a red ball first.
Only red balls are potted.
Otherwise the strike is a foul.
When the strike on the red ball is legal:
If no red ball is potted then the opposing player is next.
When a red ball is potted then the player gets as many points as the number of red balls he has potted. The striker's next legal object is a colored ball (see next point rules).
After successfully potting one or more red(s), the player has to nominate a color (other than red), which will be the "ball on" for the next shot. The shot is legal if
the white ball is not potted.
the nominated ball is hit by the white ball first.
no other ball is potted.
Otherwise the strike is a foul.
When the strike on the colored ball is legal:
If no ball is potted then the opposing player is next.
When a colored ball is potted then the player's points increase by the point value of the potted colored ball. The striker's next legal object is a red ball. If there are no more red balls on the table, the next legal object is the ball with the lowest points.
Snooker Fouls
If a hit is a foul then the other player gets penalty points:
4 points if the white ball is potted.
7 points if time limit is exceeded (60 seconds/shot)
If the white hits the wrong ball first then the value of this ball.
If the wrong ball is potted first then the value of this ball.
When a hit results in more fouls then the opposing player gets the points of foul with the highest value.
Penalty points have a minimal value of 4.
After committing a foul the incoming player may
play the ball(s) as they lie
request to pass the shot and let the offending player play the stroke again (without returning to the original position)
Free ball
After a foul, if the cue ball is snookered, the next player may nominate any ball to play as a "Free ball". For this stroke, such ball shall be regarded as, and acquire the value of, the ball on. It is a foul should the cue ball fail to first hit, or - except when only the pink and black remain on the table - be snookered by, the free ball. If the "free ball" is potted, it is spotted, and the value of the ball on is scored. If the ball on is potted it is scored.
For example, if the ball "on" is a red, and the nominated free ball is a pink, the player will receive one point for potting the pink (which is then respotted). He then continues to attempt to pot a colour which, if successful, is followed by another red etc.
Foul and miss
If the player did not hit the ball on first, it is a "miss", and the next player may request that the ball(s) be returned to the original position and have the offending player play the stroke again. This can be requested three times in a row.
This rule is only included in the "PRO" mode of the game.
Game over rule
potting or fouling when only the Black remains.
one of the player concedes.
the point difference between the players at the end of the shooter's break is more than the remaining points on the table plus 20, the frame ends automatically.
there is more than 7 points difference and only the black ball remaining on the table.
The player with more points wins the frame.
Playoff
If the scores are equal after potting the last ball, the black ball is respotted and the player on plays again from the D. The first foul or pot ends the game.
Snooker variants
Quick snooker
The rules are the same, but there are only six reds on the table, only 25 seconds is available per shot, and the game is played on a smaller table.
Lite snooker
The rules are the same, but there are only ten reds (six optionally) on the table, and the game is played on a pool-sized table using pool-sized balls.
Power snooker
The rules are the same, with the following modifications:
20 seconds shot clock, if it is exceeded, the opponent gets 20 points
the duration of a game is 15 minutes (10, 20, 30 optionally)
if at least two reds hit the cushion at the break shot, the player who broke remains at the table
the table is re-racked after the last black is potted
there are 9 reds in a diamond shaped-rack, one of those is the special power ball
the power ball scores 2 points when potted, and it starts a 2 minutes power play
any balls potted during power play counts double
any foul during a power play counts double
any pot with the cue ball in the power zone (behind the baulk line) counts double (quadruple during power play)
any foul with the cue ball in the power zone counts double (quadruple during power play)
after any foul, the opponent may move the cue ball anywhere in the power zone
Further help
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Which substance makes bread rise? | Science of Bread: Bread Science 101 | Exploratorium
Chinese Taro Root Buns
From Chinese baozi to Armenian lavash, bread comes in thousands of forms. What do they have in common? On the most basic level, they all involve cooking a mixture of milled grains and water.
Armenian lavash
Imagine a continuum of breads, ranging from the thinnest flatbreads to the fluffiest brioche. Some are amazingly simple: Matzoh, for example, is nothing more than flour and water, baked until crisp. Raised breads, on the other hand, involve the complex interactions between flour and the leaveners that give them their porous, tender quality.
Leaveners come in two main forms: baking powder or soda and yeast.
Matzoh
Baking powder or baking soda work quickly, relying on chemical reactions between acidic and alkaline compounds to produce the carbon dioxide necessary to inflate dough or batter (more on this later). Baking powder and baking soda are used to leaven baked goods that have a delicate structure, ones that rise quickly as carbon dioxide is produced, such as quick breads like cornbread and biscuits.
Saccharomyces cerevisiae, or baker's yeast. Photos courtesy of Peter Hollenhorst and Catherine Fox.
Yeast, on the other hand, is a live, single-celled fungus. There are about 160 species of yeast, and many of them live all around us. However, most people are familiar with yeast in its mass-produced form: the beige granules that come in little paper packets. This organism lies dormant until it comes into contact with warm water. Once reactivated, yeast begins feeding on the sugars in flour, and releases the carbon dioxide that makes bread rise (although at a much slower rate than baking powder or soda). Yeast also adds many of the distinctive flavors and aromas we associate with bread. For more on yeast, check out our fun yeast activity .
But leavening agents would just be bubbling brews without something to contain them. Heres where flour comes in. There are lots of different types of flour used in bread, but the most commonly used in raised bread is wheat flour. This is because wheat flour contains two proteins, glutenin and gliadin, which, when combined with water, form gluten. As you knead the dough, the gluten becomes more and more stretchy. This gum-like substance fills with thousands of gas bubbles as the yeast goes to work during rising.
gluten animation
To learn more about gluten, check out the gluten animation .
Starch, a carbohydrate that makes up about 70% of flour by weight, also gets in on the act. When starch granules are attacked by enzymes present in flour, they release the sugars that yeast feeds on. Starch also reinforces gluten and absorbs water during baking, helping the gluten to contain the pockets of gas produced by the yeast.
Sometimes, a baker will let the dough rise several times, allowing the gluten to develop more completely and the yeast to add more of its flavors. When the dough is finally cookedeither in an oven, over a fire, or in a steamer, depending on what kind of bread youre bakingthe yeast inside it continues feeding, and the pockets of gas in the dough continue to expand. As the temperature of the cooking dough rises, the yeast eventually dies, the gluten hardens, and the dough solidifies. Et voilà! Bread!
For more about bread science, check out these links !
| Yeast |
Miel is French for which foodstuff? | Yeast' s Crucial Roles in Breadbaking
Yeast's Crucial Roles in Breadbaking
It acts as a leavener, dough developer, and flavor builder
by Shirley Corriher
fromFine Cooking
Issue 43
Yeast is the driving force behind fermentation, the magical process that allows a dense mass of dough to become a well-risen loaf of bread. And yet yeast is nothing more than a single-celled fungus. How does it do it?
Yeast works by consuming sugar and excreting carbon dioxide and alcohol as byproducts. In bread making, yeast has three major roles. Most of us are familiar with yeast's leavening ability. But you may not be aware that fermentation helps to strengthen and develop gluten in dough and also contributes to incredible flavors in bread.
Yeast makes dough rise
Yeast cells thrive on simple sugars. As the sugars are metabolized, carbon dioxide and alcohol are released into the bread dough, making it rise. Photo: Scott Phillips.
The essentials of any bread dough are flour, water, and of course yeast. As soon as these ingredients are stirred together, enzymes in the yeast and the flour cause large starch molecules to break down into simple sugars. The yeast metabolizes these simple sugars and exudes a liquid that releases carbon dioxide and ethyl alcohol into existing air bubbles in the dough.
If the dough has a strong and elastic gluten network, the carbon dioxide is held within the bubble and will begin to inflate it, just like someone blowing up bubblegum. As more and more tiny air cells fill with carbon dioxide, the dough rises and we're on the way to leavened bread.
Yeast strengthens bread dough
When you stir together flour and water, two proteins in the flour—glutenin and gliadin—grab water and each other to form a bubblegum-like, elastic mass of molecules that we call gluten. In bread making, we want to develop as much gluten as we can because it strengthens the dough and holds in gases that will make the bread rise.
Once flour and water are mixed together, any further working of the dough encourages more gluten to form. Manipulating the dough in any way allows more proteins and water to find each other and link together. If you've ever made homemade pasta, you know that each time you roll the dough through the machine, the dough becomes more elastic; in other words, more gluten is developed. And with puff pastry dough, every time you fold, turn, and roll the dough, it becomes more elastic.
Yeast, like kneading, helps develop the gluten network. With every burst of carbon dioxide that the yeast releases into an air bubble, protein and water molecules move about and have another chance to connect and form more gluten. In this way, a dough's rising is an almost molecule-by-molecule kneading. Next time you punch down bread dough after its first rise, notice how smooth and strong the gluten has become, in part from the rise.
At this stage, most bakers stretch and tuck the dough into a round to give it a smooth, tight top that will trap the gases produced by fermentation. Then they let this very springy dough stand for 10 to 15 minutes. This lets the gluten bonds relax a little and makes the final shaping of the dough easier. This rounding and resting step isn't included in many home baking recipes, but it's a good thing to do.
Fermentation generates flavor in bread
This loaf of artisan bread owes its complex flavor to a lengthy fermentation, which breaks down big molecules into smaller flavorful ones. Photo: Judi Rutz.
As Harold McGee, the author of On Food & Cooking, has pointed out, big molecules in proteins, starches, and fats don't have much flavor, but when they break down into their building blocks—proteins into amino acids, starches into sugars, or fats into free fatty acids—they all have marvelous flavors. Fermentation, whether it's acting on fruit juices to make wine or on flour to make bread, does exactly that—it breaks down large molecules into smaller, flavorful ones.
At the beginning of fermentation, enzymes in the yeast start breaking down starch into more flavorful sugars. The yeast uses these sugars, as well as sugars already present in the dough, and produces not only carbon dioxide and alcohol but also a host of flavorful byproducts such as organic acids and amino acids. A multitude of enzymes encourages all kinds of reactions that break big chains of molecules into smaller ones—amylose and maltose into glucose, proteins into amino acids.
As fermentation proceeds, the dough becomes more acidic. This is due in part to rising levels of carbon dioxide, but there are also more flavorful organic acids like acetic acid (vinegar) and lactic acid being formed from the alcohol in the dough. (This is similar to what happens to a bottle of wine that has been left uncorked for a while: the alcohol combines with oxygen to make vinegar.) The acidity of the dough causes more molecules to break down. The dough becomes a veritable ferment of reactions. Eventually, the amount of alcohol formed starts to inhibit the yeast's activity.
Yeast has help in producing flavorful compounds. Bacteria are important flavor builders as well. There are bacteria in the dough from the beginning, but as long as the yeast is very active, it consumes sugars as quickly as they're produced, leaving no food for the bacteria, which also like sugar. But when bakers chill a dough and slow down its rise, the cold dramatically reduces yeast activity. The bacteria, on the other hand, function well even in cold temperatures, so they now have an opportunity to thrive, producing many more marvelously flavorful acids.
Page:
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What colour is The Old Kent Road on a Monopoly board? | Old Kent Road | Monopoly Wiki | Fandom powered by Wikia
Houses cost £30 each
Hotel, £30 plus 4 Houses
If a player owns ALL the lots of any Color-Group, the rent is Doubled on Unimproved Lots in that group.
Old Kent Road is the first brown (formerly dark purple) property , featured in the Standard UK version ("London") of the classic Monopoly boardgame. It is well known as the least expensive property in the game.
Old Kent Road is named after a road in South East London, England , which forms part of Watling Street; the Roman road which ran from Dover to Holyhead.
Many people have sung songs about the Old Kent Road. Even Fozzie Bear:
| Brown |
What colour ‘Christmas’ did Elvis Presley sing about in 1964? | Old Kent Road - UK (London) edition - Monopoly in the Real World on Waymarking.com
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Old Kent Road - UK (London) edition - Monopoly in the Real World on Waymarking.com
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N 51° 28.724 W 000° 03.269
30U E 704531 N 5707178
Quick Description: The Old Kent Road the first of the two cheapest (Brown) properties on the British (London) standard Monopoly board. It is equivalent property to Mediterranean Avenue on the original 1935 edition (which used dark purple instead of brown).
Location: United Kingdom
Date Posted: 12/27/2007 12:51:47 PM
Waymark Code: WM2VTQ
.KML File (Google Earth)
Long Description:
I would hazard a guess that the modern Old Kent Rd is the least glamourous Monopoly property in any set, anywhere. It does, however, have a good deal of interesting history
The humble Old Kent Road follows the course of Watling Street the Roman Road that connected London with Canterbury to the South East (as well as other points to the North West).
Charles II travelled along it on his way from Dover to the restoration of the crown in 1660. Unlike me, he probably did not have to wait in the rain for a 172 bus.
It was on the Old Kent Road that Charles Dickens' David Copperfield was reduced to selling his waistcoat to Mr Dolloby for ninepence.
The Old Kent road has long been known for the number of inns and pubs. The World Turned Upside Down is one of the oldest (although the present building looks fairly modern) and is the pub nominated for the Old Kent Road on the Monopoly Pub Crawl . It still has a wide assortment of pubs, clubs, and all kinds of restaurant - including an Elvis-themed Chinese restaurant.
The Old Kent Road also lends its name to an old Music Hall song "Wotcher! Knocked 'em in the Old Kent Road" originally by Albert Chevalier but also performed by such luminaries as Shirley Temple in The Little Princess (1939) and The Muppets sung by Fozzie Bear in pearly king dress.
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Pavane, Polonaise and Polka are all types of what activity? | polonaise noun definition in Pieces of music topic from the Oxford Advanced Learner's Dictionary
polonaise noun definition in Pieces of music topic from the Oxford Advanced Learner's Dictionary
polonaise
noun: Pieces of music topic
a slow Polish dance that was popular in the 19th century; a piece of music for this dance
| Dance |
Which fictional superhero is known as ‘The Man of Steel’? | Home
Home
Contact
Dance styles we cater for
Please click on our contact page to request the name of the dancer or dancers you require, your venue, dates/times for the dancer or dancers to attend.
Our dancers and their dance styles can be viewed below. Dance styles are also featured below.
Red Hot Dance Company
Whatever dance style you require we have the dancers for you!
allemande courtly baroque dance in which the arms are interlaced
beguine vigorous Caribbean dance
bolero Spanish dance with sudden pauses and sharp turns
bossa-nova Brazilian dance similar to samba
boston waltz-like dance
bourrée French baroque dance with quick rhythm
bransle an old French follow-the-leader dance
buck-and-wing solo tap dance with many leg flings and leaps
cabriole curved furniture leg ending in a ball; exuberant dance or caper
cage dancing
cakewalk prancing stage dance with backward tilt
canary lively Renaissance courtly dance
cancan French woman's dance involving high kicks while holding up front of skirt
carioca variation of the samba
cha-cha fast rhythmic ballroom dance
chaconne Spanish baroque dance in triple time
Charleston fast-paced 1920s dance characterized by energetic kicking
club dancing
cinque-pace lively medieval dance with five steps
conga Afro-Congan dance performed by a group in a single line
contredanse folk dance in which two lines of couples face each other
cotillion elaborate ballroom dance with frequent changes of partner
courante quick Italian baroque dance involving running steps
czardas Hungarian dance that increases in speed
doppio double meter Renaissance dance step
ductia vigorous stamping dance
dump obsolete English dance in 4/4 time
estampie vigorous rhythmic Provençal stamping dance
fandango lively Spanish dance performed by a couple
farandole lively Provençal dance in which men and women hold hands
farruca Spanish gypsy dance with sudden tempo and mood changes
flamenco vigorous rhythmic dance originating with Gypsies
fox-trot slow and complex ballroom dance
galliard sprightly Renaissance and Baroque dance
galop lively double-time dance
gavotte moderate tempo French peasant dance
gigue lively Baroque dance in triple time
habanera slow and seductive Cuban dance
hambo Swedish folk dance in three-four time
hip hop dancing
hornpipe lively British folk dance
hula sinuous Polynesian dance with rhythmic hip movements
hustle lively disco dance derived from swing elements with a plus-like pattern
jig springy and sprightly dance
jitterbug jazz dance featuring vigorous acrobatic feats
jive fast dance done to jazz or swing music
jota fast Spanish folk dance in triple time
juba dance with clapping and leg slapping performed by Southern blacks
kazachoc Slavic fast dance in which dancer squats and kicks out legs alternately
kazatzka Slavic folk dance performed by a couple
ketjak traditional Balinese dance accompanied by male chorus
kolo Central European folk dance having a ring of dancers
lap dancing
lavolta lively bouncy dance for two persons
limbo dance of the West Indies where dancers pass under horizontal pole
lindy hop lively dance closely resembling the jitterbug and famous for its aerials
malaguena Spanish dance performed by a couple, similar to the fandango
mambo Cuban ballroom dance resembling the rumba or cha-cha
matachin Spanish ritualised sword-dance or battle dance
maxixe Brazilian ballroom dance resembling the two-step
mazurka Polish folk dance in moderate triple measure
merengue Caribbean ballroom dance in which feet are frequently dragged
minuet slow and stately Baroque dance in 3/4 time
moresco a Moorish dance or morris-dance
morris vigorous English dance performed by costumed men
music video dancing
one-step ballroom dance marked by quick walking steps
paso-doble quick Spanish one-step dance
passacaglia slow solemn Italian or Spanish dance
passepied Breton dance resembling a quick minuet
pavane stately English Renaissance court dance
podium dancing
polacca stately Polish dance; polonaise
polka lively Bohemian dance for a couple
polonaise stately Polish dance of moderate tempo
quadrille square dance for four couples; card game for four people
quickstep fast march-like dance
reel lively dance of the Scottish Highlands
rigadoon lively Baroque period dance
round dance in a ring
roundel anything circular; circle; disc; ring-dance
rumba Cuban ballroom dance with pronounced hip movements
salsa fast Latin American jazz-influenced dance
saltarello lively Italian dance
samba Brazilian dance of African origin
sarabande stately Spanish Baroque court dance
schottische old polka-like round dance
seguidilla Spanish folk dance
shag dance where participants hop energetically
shimmy jazz dance featuring rapid shaking of the body
shuffle dance featuring sliding or scraping of the feet
stomp jazz dance featuring heavy stamping of the feet
strathspey reel-like Scottish dance of moderate tempo
table dancing
tango Latin-American (orig. Argentinian) ballroom dance with long pauses
tarantella fast violent Italian folk dance
tordion Renaissance dance similar to but slower than a galliard
tricotee lively old dance
twist dance featuring many gyrations of the hips
two-step ballroom dance with two main steps
varsovienne polka-like Polish dance
veleta English ballroom round dance for couples
volta old leaping dance
waltz ballroom dance in 3/4 time
zamacueca Chilean dance where partners move around each other
zambra Spanish dance
zapateado Latin-American dance with rhythmic tapping of the feet
ziganka Russian country dance
zoppetto medieval Italian limping hop dance
zouk Caribbean disco dance and corresponding type of fast rhythmic musicWord Definition
allemande courtly baroque dance in which the arms are interlaced
beguine vigorous Caribbean dance
bolero Spanish dance with sudden pauses and sharp turns
bossa-nova Brazilian dance similar to samba
boston waltz-like dance
bourrée French baroque dance with quick rhythm
bransle an old French follow-the-leader dance
buck-and-wing solo tap dance with many leg flings and leaps
cabriole curved furniture leg ending in a ball; exuberant dance or caper
cakewalk prancing stage dance with backward tilt
canary lively Renaissance courtly dance
cancan French woman's dance involving high kicks while holding up front of skirt
carioca variation of the samba
cha-cha fast rhythmic ballroom dance
chaconne Spanish baroque dance in triple time
Charleston fast-paced 1920s dance characterized by energetic kicking
cinque-pace lively medieval dance with five steps
conga Afro-Congan dance performed by a group in a single line
contredanse folk dance in which two lines of couples face each other
cotillion elaborate ballroom dance with frequent changes of partner
courante quick Italian baroque dance involving running steps
czardas Hungarian dance that increases in speed
doppio double meter Renaissance dance step
ductia vigorous stamping dance
dump obsolete English dance in 4/4 time
estampie vigorous rhythmic Provençal stamping dance
fandango lively Spanish dance performed by a couple
farandole lively Provençal dance in which men and women hold hands
farruca Spanish gypsy dance with sudden tempo and mood changes
flamenco vigorous rhythmic dance originating with Gypsies
fox-trot slow and complex ballroom dance
galliard sprightly Renaissance and Baroque dance
galop lively double-time dance
gavotte moderate tempo French peasant dance
gigue lively Baroque dance in triple time
habanera slow and seductive Cuban dance
hambo Swedish folk dance in three-four time
hora circle dance
hornpipe lively British folk dance
hula sinuous Polynesian dance with rhythmic hip movements
hustle lively disco dance derived from swing elements with a plus-like pattern
jig springy and sprightly dance
jitterbug jazz dance featuring vigorous acrobatic feats
jive fast dance done to jazz or swing music
jota fast Spanish folk dance in triple time
juba dance with clapping and leg slapping performed by Southern blacks
kazachoc Slavic fast dance in which dancer squats and kicks out legs alternately
kazatzka Slavic folk dance performed by a couple
ketjak traditional Balinese dance accompanied by male chorus
kolo Central European folk dance having a ring of dancers
lavolta lively bouncy dance for two persons
limbo dance of the West Indies where dancers pass under horizontal pole
lindy hop lively dance closely resembling the jitterbug and famous for its aerials
malaguena Spanish dance performed by a couple, similar to the fandango
mambo Cuban ballroom dance resembling the rumba or cha-cha
matachin Spanish ritualised sword-dance or battle dance
maxixe Brazilian ballroom dance resembling the two-step
mazurka Polish folk dance in moderate triple measure
merengue Caribbean ballroom dance in which feet are frequently dragged
minuet slow and stately Baroque dance in 3/4 time
moresco a Moorish dance or morris-dance
morris vigorous English dance performed by costumed men
one-step ballroom dance marked by quick walking steps
paso-doble quick Spanish one-step dance
passacaglia slow solemn Italian or Spanish dance
passepied Breton dance resembling a quick minuet
pavane stately English Renaissance court dance
polacca stately Polish dance; polonaise
polka lively Bohemian dance for a couple
polonaise stately Polish dance of moderate tempo
quadrille square dance for four couples; card game for four people
quickstep fast march-like dance
reel lively dance of the Scottish Highlands
rigadoon lively Baroque period dance
round dance in a ring
roundel anything circular; circle; disc; ring-dance
rumba Cuban ballroom dance with pronounced hip movements
salsa fast Latin American jazz-influenced dance
saltarello lively Italian dance
samba Brazilian dance of African origin
sarabande stately Spanish Baroque court dance
schottische old polka-like round dance
seguidilla Spanish folk dance
shag dance where participants hop energetically
shimmy jazz dance featuring rapid shaking of the body
shuffle dance featuring sliding or scraping of the feet
stomp jazz dance featuring heavy stamping of the feet
strathspey reel-like Scottish dance of moderate tempo
tango Latin-American (orig. Argentinian) ballroom dance with long pauses
tarantella fast violent Italian folk dance
tordion Renaissance dance similar to but slower than a galliard
tricotee lively old dance
twist dance featuring many gyrations of the hips
two-step ballroom dance with two main steps
varsovienne polka-like Polish dance
veleta English ballroom round dance for couples
volta old leaping dance
waltz ballroom dance in 3/4 time
zamacueca Chilean dance where partners move around each other
zambra Spanish dance
zapateado Latin-American dance with rhythmic tapping of the feet
ziganka Russian country dance
| i don't know |
In the US in the 1920’s and 1930’s the Chicago Piano was a slang term for what? | 1930s Slang
Every decade has its own slang, yet the 1930s slang is a type of jargon that is completely unique to the spirit of the time. The 1930s slang embodies the history of what was going on in the world as well as a fusion of everything that was considered “cool” during that era.
Examples of 1930s slang
Here is some of the popular slang of the 1930s. Keep in mind that much of the slang may be widely recognizable words that are used today; however, some of the words have since taken on a different meaning.
Abyssinia - This means “I’ll be seeing you” and if you say it really fast you will be able to actually hear it as you say the word.
Horn – This means telephone.
Apple – Everyone has heard of “the big apple” (being New York) however did you know that the word “apple” referred to any big city in the 1930s?
Broad/dame/doll – These words were all slang for the fairer sex; they simply referred to women.
Gat/rod/heater/convincer – A couple of these words are still used today when referring to a gun.
Big House – Nothing has changed with this one as it still refers to a prison.
Hooch/Booze – This was a term for whiskey.
Trigger Men – This was (and sometimes still is used) a term for hired gunmen.
Hot mama/looker/ omato/dish/sweet patootie – These were all terms to describe good looking women.
Cadillac – While now this word simply refers to a car, in the 1930s it referred to an ounce of cocaine or heroin.
Canary – No it’s not a bird – at least not in the 1930s; a canary in the 1930s referred to a female singer.
Cats/alligators – These words were used to describe people who were fans of swing music.
Chicago typewriter/chopper – These words referred to the Thompson machine gun also known as “Tommy Gun.”
City Juice/Dog Soup – These terms referred to a cup of water.
Copper – Look closely and you will notice that we still use part of this word when referring to a police officer. Instead of a “cop” in the 1930s a police officer was called a “copper.”
Chicago overcoat – This refers to a coffin. There was a ton of gang violence in Chicago during the 1930s so it was not uncommon for the word “Chicago” to be used as a lead word for a slang term relative to violence.
Dick/gumshoe/flatfoot – Believe it or not these words referred to a detective. If you think about the character “Dick Tracy” you will remember that he was a detective during the 1930s. The slang word for detective back then was “dick” so basically they were calling him Detective Tracy in the slang vernacular of the time.
History of the Era
It has been long said that if the 1930s were a book, it would begin with the Great Depression and end with the influx of the second World War. It was the fourth decade in the twentieth century history of the United States, the country’s darkest hour, and quite possibly one of the most socially ambient decades of all.
Despite the toll that the Great Depression took on the United States, there was still a spirit of the times that fused the tension of the era with the social realism and art deco style that gained popularity throughout the world. As a result of factors like these, there evolved the slang of the 1930s – a now lost treasure, or dissonant charm, this was the slang that encouraged lost minds to awaken to new hope and forge ahead towards their dreams.
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In which European city was Giacomo Casanova born? | 1920's Slang Dictionary : Prohibition Terms : AlCapones.com
Chin music: Punch on the jaw
Chinese squeeze: Grafting by skimming profits off the top
Chippy: Woman of easy virtue
Chisel: To swindle or cheat
Chiv: Knife, "a stabbing or cutting weapon"
Chopper squad: Men with machine guns
Chump: person marked for a con or a gullible person.
Clammed: Close-mouthed (clammed up)
Clean sneak: An escape with no clues left behind
Clip joint: In some cases, a nightclub where the prices are high and the patrons are fleeced
Clipped: Shot
Close your head: Shut up
Clout: Shoplifter
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What is the traditional colour of a wedding dress in China? | Traditional Chinese Wedding Dresses - China culture
Traditional Chinese Wedding Dresses
Traditional Etiquette and Taboos
There are mainly three kinds of etiquettes in China. The first category is the daily life...
It is being said that marriage is fixed at the heaven and we humans are just like a puppet that walk through the path of life to finally choose our partners. Since ages, marriage is considered a very sacred ritual where a girl and a boy tie their knot and wish to spend rest of their life together. Regardless of the country or religion a person belongs, marriage is the most memorable and precious moment of his life.
Marriage custom and tradition varies a lot from place to place. People from different country have some of their own way to arrange a marriage. Some of the custom that is commonly prevalent in most of the culture across the world are special wedding dress for bride and groom, wedding cake, wedding ring, wedding flowers, wedding songs etc. Wedding dress is given the utmost importance so as to impart the most unique appearance to the couple.
Traditional Chinese Wedding Dresses and Rituals
Chinese wedding dresses have attained world wide fame because of its antique and artistic embroidery. Rituals preceding the Chinese wedding are devoted to its ancient culture and tradition which is still prevalent in China. These rituals have its deep impact on the wedding dress of bride and groom. It is believed that wedding dress should never reflect black, blue or gray color as it may bring sorrow to their married life. Red and white are the two most prominently used colors in Chinese wedding dress. Red color is considered as the symbol of love and prosperity; hence most of the dresses include red as their base color. Even the candles, flowers, ribbons and fireworks, all used in red.
Chinese Wedding Dresses Design
These days some of the most exclusive wedding design includes expensive and precious work of gold and silver thread all across the borders. Skilled craftsmen are hired to impart artistic embroidery work with these gold and silver threads. Qi Pao is a one-piece frock that is the choice of young age brides in China. Traditional wedding dresses include two-piece dress named as Gua, Kwa or the Chengsam. These dresses are mostly prominent in brides from southern China.
Traditionally wore wedding dresses for both men and women include Chengasm with dragon and phoenix design. Dragon is the symbol of power and is worshipped by Chinese since ancient time. The combination of dragon and phoenix symbolizes the balance of male and female power. Black silk coat decorated with dragon robe is the typical wedding dress for groom. Most of such traditional dress designs are believed to be inherited from the time of Qing dynasty which has been the last dynasty of China.
A Modern Chinese Treatment
Recently, the taste of youth has changed a bit and they even prefer to wear more simple and sober set of coat without any robe or hat. It has been a trend now a day to change the outfit twice or thrice over the night. It is considered a status symbol of a family, more are the dresses more sophisticated is the family.
Besides these eye catching wedding costumes, a Chinese wedding dress also include complex but elegant headdress. Brides are adorned with such an exclusive hairstyles which adds up to their beauty even more. Hair designers are given special training before they could be a perfect head dresser for a bride. Sometimes the hairstyle is so complicated and heavy that bride could do nothing but to keep his head straight so as to maintain the balance. Such a headdress is also an outcome of ancient Chinese culture. Earlier it was a tradition that bride would first look at her husband only on their betrothal bed.
In this world of modernization, people don't prefer to follow all the culture and rituals as such even the Chinese bride could be sometimes seen in western outfit of white gown with a scarf and a formal black suit.
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The Darya-i-Nur pink diamond is part of the crown jewels of which country? | Chinese Wedding Dresses - The Stages and Related Links
Chinese Wedding Dresses
Chinese Celebrations and Festivals
Chinese Wedding Dresses
Models walk the runway during the Famory Cup China Wedding Dress Design Contest 2008 at the China Fashion Week Spring/Summer Collection 2009 Nov. 7, 2008 in Beijing, China. Many Chinese brides opt to wear Western-style wedding dresses. Getty Images
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By Lauren Mack
At most Chinese weddings, the bride wears a qipao . At many Chinese weddings, the bride wears more than one Chinese wedding dress. Most brides opt for three dresses - one red qipao , one white, Western-style wedding gown, and a third ball gown. The bride will begin the wedding banquet with one dress of these dresses.
After three courses are served, the bride usually changes into her second Chinese wedding dress. After the sixth course, the bride will change once again into her third Chinese wedding dress. Some brides may opt for a fourth Chinese wedding dress to be worn as when greeting guests as they leave the wedding party.
The groom typically wears one or two suits. While some grooms may opt for a traditional Zhongshan suit , or Mao suit, it is more likely to see older guests wearing a Mao suit . Instead, most grooms wear tuxedos or Western-style business suits.
In addition to the Chinese wedding dresses worn on the wedding day, the bride and groom may either wear the same dresses for their Chinese wedding photos or wear a completely different set of clothing.
Wedding guests usually wear bright colors especially red which symbolizes luck and wealth in Chinese culture. Guests should avoid white, which is reserved for the bride, and black, which is considered a somber color.
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Who was the mother of the Greek god Eros? | EROS - Greek God of Love (Roman Cupid, Amor)
Eros
Eros playing flute, Athenian red-figure lekythos C5th B.C., Museum of Fine Arts Boston
EROS was the mischievous god of love, a minion and constant companion of the goddess Aphrodite .
The poet Hesiod first represents him as a primordial deity who emerges self-born at the beginning of time to spur procreation. (See the Protogenos Eros and Phanes for more information.) The same poet later describes two love-gods, Eros and Himeros (Desire), accompanying Aphrodite at the time of her birth from the sea-foam. Some classical writers interpreted this to mean the pair were born of the goddess immediately following her birth or else alongside her from the sea-foam. The scene was particular popular in ancient art where the godlings flutter about the goddess as she reclines inside a conch-shell.
Eventually Eros was multiplied by ancient poets and artists into a host of Erotes (Roman Cupides). The singular Eros, however, remained distinct in myth. It was he who lit the flame of love in the hearts of the gods and men, armed with either a bow and arrows or a flaming torch. Eros was often portrayed as the disobedient but fiercely loyal child of Aphrodite.
In ancient vase painting Eros is depicted as either a handsome youth or child. His attributes were varied--from the usual bow and arrows, to the gifts of a lover such as a hare, sash, or flower. Sculptors preferred the image of the bow-armed boy, whereas mosaic artists favoured the figure of a winged putto (plump baby).
FAMILY OF EROS
PARENTS
[1.1] APHRODITE (Ibycus Frag 284, Anacreontea Frag 44, Apollonius Rhodius 3.82, Pausanias 9.27.1, Plato Phaedrus, Philostratus Younger 8, Oppian Halieutica 4.10, Hyginus Astronomica 2.30, Ovid Metamorphoses 1.452 & 5.363, Seneca Phaedra 274, Statius Silvae 1.2.51, Apuleius 11.218, Nonnus Dionysiaca 4.238 & 33.4)
[1.2] ARES & APHRODITE (Ibycus Frag 575, Nonnus Dionysiaca 5.88)
[1.3] OURANOS & APHRODITE (she was born pregnant with Eros from the genitals of Ouranos) (possibly Hesiod Theogony 176, Sappho Frag 198, Nonnus Dionysiaca 33.4 & 41.128)
[3.1] ZEPHRYOS & IRIS (Alcaeus Frag 327)
[4.1] EILEITHYIA (Pausanias 9.27.1)
[5.1] POROS & PENIA (Plato Symposium 178)
OFFSPRING
[1.1] HEDONE (by Psykhe ) (Apuleius 6.24)
ENCYCLOPEDIA
EROS (Erôs), in Latin, AMOR or CUPI′DO, the god of love. In the sense in which he is usually conceived, Eros is the creature of the later Greek poets; and in order to understand the ancients properly we must distinguish three Erotes: viz. the Eros of the ancient cosmogonies, the Eros of the philosophers and mysteries, who bears great resemblance to the first, and the Eros whom we meet with in the epigrammatic and erotic poets, whose witty and playful descriptions of the god, however, can scarcely be considered as a part of the ancient religious belief of the Greeks. Homer does not mention Eros, and Hesiod, the earliest author that mentions him, describes him as the cosmogonic Eros. First, says Hesiod (Theog. 120, &c.), there was Chaos, then came Ge, Tartarus, and Eros, the fairest among the gods, who rules over the minds and the council of gods and men. In this account we already perceive a combination of the most ancient with later notions.
According to the former, Eros was one of the fundamental causes in the formation of the world, inasmuch as he was the uniting power of love, which brought order and harmony among the conflicting elements of which Chaos consisted. In the same metaphysical sense he is conceived by Aristotle (Metaph. i. 4); and similarly in the Orphic poetry (Orph. Hymn. 5; comp. Aristoph. Av. 695) he is described as the first of the gods, who sprang from the world's egg. In Plato's Symposium (p. 178,b) he is likewise called the oldest of the gods. It is quite in accordance with the notion of the cosmogonic Eros, that he is described as a son of Cronos and Ge, of Eileithyia, or as a god who had no parentage, and came into existence by himself. (Paus. ix. c. 27.) The Eros of later poets, on the other hand, who gave rise to that notion of the god which is most familiar to us, is one of the youngest of all the gods. (Paus. l. c. ; Cic. de Nat. Deor. iii. 23.) The parentage of the second Eros is very differently described, for he is called a son of Aphrodite (either Aphrodite Urania or Aphrodite Pandemos), or Polymnia, or a son of Porus and Penia, who was begotten on Aphrodite's birthday. (Plat. l. c. ; Sext. Emp. adv. Math. i. 540.) According to other genealogies, again, Eros was a son of Hermes by Artemis or Aphrodite, or of Ares by Aphrodite (Cic. de Nat. Deor. iii. 23), or of Zephyrus and Iris (Plut. Amal. 20; Eustath. ad Hom. p. 555), or, lastly, a son of Zeus by his own daughter Aphrodite, so that Zeus was at once his father and grandfather. (Virg. Cir. 134.) Eros in this stage is always conceived and was always represented as a handsome youth, and it is not till about after the time of Alexander the Great that Eros is represented by the epigrammatists and the erotic poets as a wanton boy, of whom a thousand tricks and cruel sports are related, and from whom neither gods nor men were safe. He is generally described as a son of Aphrodite; but as love finds its way into the hearts of men in a manner which no one knows, the poets sometimes describe him as of unknown origin (Theocrit. xiii. 2), or they say that he had indeed a mother, but not a father. (Meleagr. Epigr. 50.) In this stage Eros has nothing to do with uniting the discordant elements of the universe, or the higher sympathy or love which binds human kind together; but he is purely the god of sensual love, who bears sway over the inhabitants of Olympus as well as over men and all living creatures: he tames lions and tigers, breaks the thunderbolts of Zeus, deprives Heracles of his arms, and carries on his sport with the monsters of the sea. (Orph. Hymn. 57 ; Virg. Eclog. x. 29; Mosch. Idyll. vi. 10; Theocrit. iii. 15.) His arms, consisting of arrows, which he carries in a golden quiver, and of torches, no one can touch with impunity. (Mosch. Idyll. vi.; Theocrit. xxiii. 4; Ov. Trist. v. 1, 22.) His arrows are of different power: some are golden, and kindle love in the heart they wound; others are blunt and heavy with lead, and produce aversion to a lover. (Ov. Met. i. 468; Eurip. Iphig. Aul. 548.) Eros is further represented with golden wings, and as fluttering about like a bird. (Comp. Eustath. ad Hom. p. 987.) His eyes are sometimes covered, so that he acts blindly. (Theocrit. x. 20.) He is the usual companion of his mother Aphrodite, and poets and artists represent him, moreover, as accompanied by such allegorical beings as Pothos, Himeros, Dionysus, Tyche, Peitho, the Charites or Muses. (Pind. Ol. i. 41; Anacr. xxxiii. 8; Hesiod, Theog. 201; Paus. vi. 24. § 5, vii. 26. § 3, i. 43. §6.) His statue and that of Hermes usually stood in the Greek gymnasia. (Athen. xiii. p. 551; Eustath. ad Hom. p. 1596.)
We must especially notice the connexion of Eros with Anteros, with which persons usually connect the notion of "Love returned." But originally Anteros was a being opposed to Eros, and fighting against him. (Paus. i. 30. § 1, vi. 23. § 4.) This conflict, however, was also conceived as the rivalry existing between two lovers, and Anteros accordingly punished those who did not return the love of others; so that he is the avenging Eros, or a deus ultor. (Paus. i. 30. § 1; Ov. Met. xiii. 750, &c.; Plat. Phaedr. p. 255, d.) The number of Erotes (Amores and Cupidines) is playfully extended ad libitum by later poets, and these Erotes are described either as sons of Aphrodite or of nymphs. Among the places distinguished for their worship of Eros, Thespiae in Boeotia stands foremost: there his worship was very ancient, and the old representation of the god was a rude stone (Paus. ix. 27. § 1), to which in later times, however, the most exquisite works of art were added. (Eustath. ad Hom. p. 266.) At Thespiae a quinquennial festival, the Erotidia or Erotia, were celebrated in honour of the god. (Paus. l. c.; Athen. xiii. p. 561.) Besides Sparta, Samos, and Parion on the Hellespont, he was also worshipped at Athens, where he had an altar at the entrance of the Academy. (Paus. i. 30. § 1.) At Megara his statue, together with those of Himeros and Pothos, stood in the temple of Aphrodite. (Paus. i. 43. § 6, comp. iii. 26. § 3, vi. 24. § 5, vii. 26. § 3.) Among the things sacred to Eros, and which frequently appear with him in works of art, we may mention the rose, wild beasts which are tamed by him, the hare, the cock, and the ram. Eros was a favourite subject with the ancient statuaries, but his representation seems to have been brought to perfection by Praxiteles, who conceived him as a full-grown youth of the most perfect beauty. (Lucian, Am. ii. 17; Plin. H. N. xxxvi. 4, 5.) In later times artists followed the example of poets, and represented him as a little boy.
Source: Dictionary of Greek and Roman Biography and Mythology.
CLASSICAL LITERATURE QUOTES
Aphrodite, Ares, Eros and Phobos, Greco-Roman fresco from Pompeii C1st A.D., Naples National Archaeological Museum
I. ALTERNATE GENEALOGIES
Scholiast on Apollonius of Rhodes (trans. Campbell, Vol. Greek Lyric III Ibycus Frag 324) (Greek scholia) :
"Apollonios (Apollonius) [Greek poet C3rd B.C.] makes Eros child of Aphrodite, Sappho [Greek poet C6th B.C.] makes him child of Ge (Gaea, Earth) and Ouranos (Uranus, Sky), Simonides [Greek poet C6th-5th B.C.] child of Aphrodite and Ares, Ibykos (Ibycus) [poet C6th B.C.] . . ((lacuna)), and Hesiod [Greek poet C8th-7th B.C.] says Eros came from Khaos (Chaos)."
Scholiast on Theocritus (trans. Campbell, Vol. Greek Lyric I Sappho, Fragment 198) (Greek scholia) :
"Alkaios (Alcaeus) [Greek poet C6th B.C.] said Eros was the child of Iris (Rainbow) and Zephyros (West Wind); Sappho [Greek poet C6th B.C.] made him the child of Aphrodite and Ouranos (Uranus, Heaven)."
Pausanias, Description of Greece 9. 27. 1 (trans. Jones) (Greek travelogue C2nd A.D.) :
"Most men consider Eros to be the youngest of the gods and the son of Aphrodite. But Olen the Lykian (Lycian) [legendary Greek poet] who composed the oldest Greek hymns, says in a hymn to Eileithyia that she was the mother of Eros. Later than Olen, both Pamphos and Orpheus [legendary Greek poets] wrote hexameter verse, and composed poems on Eros, in order that they might be among those sung by the Lykomidai (Lycomidae) to accompany the ritual. I read them after conversation with a Torchbearer. Of these things I will make no further mention. Hesiod, or he who wrote the Theogony fathered on Hesiod, writes, I know, that Khaos (Chaos) was born first, and after Khaos, Ge (Gaea, Earth), Tartaros (Tartarus) and Eros. Sappho of Lesbos wrote many poems about Eros, but they are not consistent.”
II. SON OF APHRODITE
Hesiod, Theogony 176 ff (trans. Evelyn-White) (Greek epic C8th or 7th B.C.) :
"Eros (Love), and comely Himeros (Desire) followed her [Aphrodite] at her birth at the first and as she went into the assembly of the gods."
[Hesiod may be suggesting that Eros and Aphrodite were born of Aphrodite at her birth. Indeed, according to Sappho, Ouranos (Uranus) was the father of Eros by Aphrodite, which suggests she was imagined born pregnant with the god. Nonnus says this explicitly.]
Stesichorus, Fragment 575 (trans. Campbell, Vol. Greek Lyric III) (C5th B.C.) :
"[Eros] You cruel child of guileful Aphrodite, whom she bore to Ares."
Scholiast on Apollonius of Rhodes (trans. Campbell, Vol. Greek Lyric III Ibycus Frag 324) (Greek scholia) :
"Apollonios (Apollonius) [Greek poet C3rd B.C.] makes Eros child of Aphrodite . . . Simonides [Greek poet C6th-5th B.C.] child of Aphrodite and Ares."
Sappho, Fragment 198 (from Scholiast on Theocritus) (trans. Campbell, Vol. Greek Lyric I ) (Greek Lyric C6th B.C.) :
"Sappho made Eros the child of Aphrodite and Ouranos (Uranus, Heaven)."
Pausanias, Description of Greece 9. 27. 1 (trans. Jones) (Greek travelogue C2nd A.D.) :
"Most men consider Eros to be the youngest of the gods and the son of Aphrodite."
Ovid, Fasti 4. 1 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) :
"[Aphrodite] gentle mother of twin Cupides (Loves) [Erotes], favour me."
Seneca, Phaedra 274 ff (trans. Miller) (Roman tragedy C1st A.D.) :
"Thou goddess [Aphrodite], born of the cruel sea, who art called mother of both Cupides [i.e. Eros and Anteros], that wanton, smiling boy of thine."
Statius, Thebaid 4. 786 ff (trans. Mozley) (Roman epic C1st A.D.) :
"The child, lying in the bosom of the vernal earth and deep in herbage, now crawls forwad on his face and crushes the soft grasses, no in clamorous thrist for milk cries for his beloved nurse . . . Such was the young Mars [Ares] amid Odrysian snow, such was the winged boy [Eros] on the heights of Maenalus [after his birth]."
Apuleius, The Golden Ass 11. 218 ff (trans. Walsh) (Roman novel C2nd A.D.) :
"Heavenly Venus [Aphrodite]; gave birth to Amor (Love) [Eros] when the world was first begun."
Nonnus, Dionysiaca 5. 88 ff (trans. Rouse) (Greek epic C5th A.D.) :
"Aphrodite wishing to delight Ares in the deep shrewdness of her mind, clasped a golden necklace showing place about the girl's blushing neck [a gift to their daughter Harmonia at her marriage to Kadmos (Cadmus)], a clever work of Hephaistos (Hephaestus) set with sparkling gems in masterly refinement. This he had made for his Kyprian (Cyprian) bride, a gift for his first glimpse of Archer Eros (Love) [born to Aphrodite the wife of Hephaistos but fathered by her lover Ares]. For the heavyknee bridegroom always expected that Kythereia (Cytherea) would bear him a hobbling son, having the image of his father in his feet. But his though was mistaken; and when he beheld a whole-footed son [Eros] brilliant with wings like Maia's son Hermes, he made this magnificent necklace."
Nonnus, Dionysiaca 41. 128 ff :
"[Aphrodite was born from the sea :] There, as soon as she was seen on the neighbouring harbourage [i.e. Beroe in Lebanon], she brought forth wild Eros (Love), first seed and beginning of generation, quickening guide of the system of the universe; and the quickleg boy, kicking manfully with his lively legs, hastened the hard labour of that body without a nurse, and beat on the closed womb of his unwedded mother; then a hot one even before birth, he shook his light wings and with a tumbling push opened the gates of birth. Thus quickly Eros leapt into his mother's gleaming arms, and pounced at once upon her firm breasts spreading himself over that nursing bosom. Untaught he yearned for his food; he bit with his gums the end of the teat never milked before, and greedily drank all the milk of those breasts swollen with the pressure of life-giving drops."
For additional references see Eros God of Love (General) (next page)
III. SON OF CHAOS OR NYX
For this genealogy see the ELDER EROS
IV. SON OF URANUS & GAEA OR APHRODITE
Sappho, Fragment 198 (from Scholiast on Apollonius of Rhodes) (trans. Campbell, Vol. Greek Lyric I) (C6th B.C.) :
"Sappho makes Eros child of Ge (Gaea, Earth) and Ouranos (Uranus, Heaven)."
V. SON OF ZEPHYRUS & IRIS
Alcaeus, Fragment (trans. Campbell, Vol. Greek Lyric I Sappho, Fragment 198) (Greek Lyric C6th B.C.) :
"Alkaios (Alcaeus) [Greek poet C6th B.C.] said Eros was the child of Iris (Rainbow) and Zephyros (Zephyrus, West Wind)."
Alcaeus, Fragment 327 (from Plutarch, Dialogue on Love) (trans. Campbell, Vol. Greek Lyric I) (C6th B.C.) :
"The most grim of gods [Eros], whom Iris of the fair sandals bore, having lain with golden-haired Zephyros."
[N.B. The union of the rainbow with the west-wind symbolizes the variegated brilliance of passion.]
VI. SON OF EILEITHYIA
Pausanias, Description of Greece 9. 27. 1 (trans. Jones) (Greek travelogue C2nd A.D.) :
"Olen the Lykian (Lycian) who composed the oldest Greek hymns, says in a hymn to Eileithyia that she was the mother of Eros.”
VII. SON OF PORUS & PENIA
Plato, Symposium 178 (Greek philosopher C4th B.C.) :
"On the birthday of Aphrodite there was a feast of the gods, at which the god Poros (Porus, Expediency), who is the son of Metis (Wisdom), was one of the guests. When the feast was over, Penia (Poverty), as the manner is on such occasions, came about the doors to beg. Now Poros who was the worse for nectar (there was no wine in those days), went into the garden of Zeus and fell into a heavy sleep, and Penia considering her own straitened circumstances, plotted to have a child by him, and accordingly she lay down at his side and conceived Eros (Love), who partly because he is naturally a lover of the beautiful, and because Aphrodite is herself beautiful, and also because he was born on her birthday, is her follower and attendant."
EROS, APHRODITE & THE GIANT TYPHOEUS
Eros-Cupid riding dolphin, Greco-Roman mosaic from Zeugma C1st-2nd A.D., Gaziantep Museum
Pseudo-Hyginus, Astronomica 2. 30 (trans. Grant) (Roman mythographer C2nd A.D.) :
"Fishes. Diognetus Erythraeus says that once Venus [Aphrodite] and her son Cupid [Eros] came in Syria to the river Euphrates. There Typhon [Typhoeus], of whom we have already spoken, suddenly appeared. Venus [Aphrodite] and her son threw themselves into the river and there changed their forms to fishes, and by so doing this escaped danger. So afterwards the Syrians, who are adjacent to these regions, stopped eating fish, fearing to catch them lest with like reason they seem either to oppose the protection of the gods, or to entrap the gods themselves."
Ovid, Fasti 2. 458 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) :
"Pisces, heaven's horses. They say that you and your brother (for your stars gleam together) ferried two gods on your backs. Once Dione [Venus-Aphrodite], in flight from terrible Typhon [Typhoeus] (when Jupiter [Zeus] armed in heaven's defence), reached the Euphrates with tiny Cupidos (Cupid) [Eros] in tow and sat by the hem of Palestine's stream. Poplars and reeds dominated the tops of the banks; willows, too, offered hope of concealment. While she hid, the wood roared with wind. She pales with fear, and believes a hostile band approaches. As she clutched son to breast, she cries : ‘To the rescue, Nymphae (Nymphs), and bring help to two divinities.' No delay; she leapt. Twin fish went underneath them; for which, you see, the present stars are named. Hence timid Syrians think it wrong to serve up this species; they defile no mouths with fish.’"
Nonnus, Dionysiaca 2. 223 ff (trans. Rouse) (Greek epic C5th A.D.) :
"[When the monster Typhoeus besieged Olympos :] The bonds indissoluble of harmony are dissolved : for bold Eros has flown in panic, leaving behind his generative arrows, the adorner of brides, he the all-mastering, the unmastered!"
For MORE information on this monstrous giant see TYPHOEUS
LOVE OF EROS & PSYCHE
For this story see PSYKHE
LOVE OF EROS & RHODOPE
Nonnus, Dionysiaca 32. 46 ff (trans. Rouse) (Greek epic C5th A.D.) :
"[Hera deceptively addresses Zeus (her story might be a lie) :] ‘I hasten to visit the blazing court of the East near to Helios (Helius, the Sun). For Eros is on the wing beside the waters of Tethys, struck with passion for Rhodope Okeanos' (Oceanus') daughter, and he has renounced his matchmaking! So the order of the universe is out of joint, life is worthless when wedlock is gone. I have been to summon him, and here I am on my way back. For you know I am called the Lady of Wedlock, because my hands hold the accomplishment of childbirth.’"
EROS & THE LOVES OF THE GODS
Aphrodite and Eros, Greco-Roman fresco from Pompeii C1st A.D., Naples National Archaeological Museum
Seneca, Phaedra 186 ff (trans. Miller) (Roman tragedy C1st A.D.) :
"This winged god [Cupid-Eros] rules ruthlessly throughout the earth and inflames Jove [Zeus] himself, wounded with unquenched fires. Gradivus [Mars-Ares], the warrior god, has felt those flames; that god [Vulcan-Hephaestus] has felt them who fashions the three-forked thunderbolts, yea, he who tends the hot furnaces ever raging ‘neath Aetna's (Etna's) peaks is inflamed by so mall a fire as this. Nay, Phoebus [Apollon], himself, who guides with sure aim his arrows from the bowstring, a boy of more sure aim pierces with his flying shaft, and flits about, baneful alike to heaven and to earth."
Seneca, Phaedra 290 ff :
"He [Eros] smites maids' breasts with unknown heat, and bids the very gods leave heaven and dwell on earth in borrowed forms."
I. THE VIRGIN GODDESSES
Sappho, Fragment 34 (trans. Campbell, Vol. Greek Lyric I) (C6th B.C.) :
"Eros, loosener of limbs, never approaches her [Artemis]."
Apollonius Rhodius, Argonautica 3. 28 ff ff (trans. Rieu) (Greek epic C3rd B.C.) :
"Athene (Athena), who smilingly replied : ‘Sprung as I am from Zeus, I have never felt the arrows of the Boy [i.e. Eros], and of love-charms I know nothing.’"
[N.B. Apollonius is saying that Athena is sexless because she was sprung from the head of Zeus rather than being born in a conventional manner.]
N.B. In the Homeric Hymn to Aphrodite it is stated that the goddesses Athena, Hestia and Artemis were immune to love. However, Aphrodite, rather than Eros is there described as the source of passion.
II. THE LOVES OF ZEUS
Corinna, Fragment 654 (trans. Campbell, Vol. Greek Lyric IV) (C5th B.C.) :
"And of your [Asopos' (Asopus')] daughters Zeus has three; and Poseidon, married three; and Phoibos (Phoebus) [Apollon] two, and Hermes one. For so did the pair Eros and Kypris (Cypris)[Aphrodite] persuade them, that they should go in secret to your house and take your nine daughters."
Pseudo-Hyginus, Astronomica 2. 42 (trans. Grant) (Roman mythographer C2nd A.D.) :
"One of them [the planets] is the star of Jove [Zeus], Phaenon by name, a youth whom Prometheus made excelling all others in beauty, when he was making men, as Heraclides Ponticus [Greek philosopher C4th B.C.] says. When he intended to keep him back, without presenting him to Jove [Zeus] as he did the others, Cupid [Eros] reported this to Jove, whereupon Mercurius [Hermes] was sent to Phaenon and persuaded him to come to Jove and become immortal. Therefore he is placed among the stars."
Nonnus, Dionysiaca 7. 110 ff (trans. Rouse) (Greek epic C5th A.D.) :
"Now Eros the wise, the self-taught, the manager of the ages, knocked at the gloomy gates of primeval Khaos (Chaos). He took out the divine quiver, in which were kept apart twelve firefed arrows for Zeus, when his desire turned towards one or another of mortal women for a bride. Right on the back of his quiver of lovebolts he had engraved with letters of gold a sentence in verse for each:--
The first takes Kronion (Cronion) [Zeus] to the bend of heifer-fronted Io.
The second shall Europa woo for the bold bull abducting.
The third to Plouto's (Pluto's) bridal brings the lord of high Olympos.
The fourth shall call to Danaë a golden bed-companion.
The fifth shall offer Semele a burning fiery wedding.
The sixth shall bring the King of heaven an eagle to Aigina (Aegina).
The seventh joins Antiope to a pretended Satyros.
The eighth, a swan endowed with mind shall bring to naked Leda.
The ninth a noble stallion gives unto Perrhaibid Dia.
The tenth three fullmoon nights of bliss gives to Alkmena's (Alcmena's) bedmate.
The eleventh goes to carry out Laodameia's bridal.
The twelfth draws to Olympias her thrice-encircling husband.
When Eros had seen and handled each in turn, he put back the other fire-barbed shafts, and taking the fifth he fitted it to the shining bowstring; but first he put a sprig of ivy on the barb of the winged arrow, to be a fitting chaplet for the god of the vine, and dipt the whole shaft in a bowl of nectar, that Bakkhos (Bacchus) [Dionysos] might grow a nectarial vintage.
While Eros was fluttering along to the house of Zeus, Semele also was out with the rosy morning."
Nonnus, Dionysiaca 7. 190 ff :
"[Semele was bathing in a Theban stream :] Nor did the allseeing eye of Zeus fail to see her : from the heights he turned the infinite circle of his vision upon the girl. At this moment Eros (Love) stood before the Father, who watched her, and the inexorable archer drew in the air the bow which fosters life. The bowstring sparkled over the flower-decked shaft, and as the bow was drawn stretched back the poet-missile sounded the Bacchic strain. Zeus was the butt--for all his greatness he bowed his neck to Eros the nobody! And like a shooting star the shaft of love flew spinning into the heart of Zeus, with a bridal whistle, but swerving with a calculated twist it had just scratched his rounded thigh with its grooves--a foretaste of the birth to come [i.e. the infant Dionysos would be recovered from the dead body of Semele and implanted in the thigh of Zeus]. Then Kronion (Cronion) quickly turned the eye which was the channel of desire and the love-charm flogged him into passion for the girl. At the sight of Semele he leapt up, in wonder."
Nonnus, Dionysiaca 7. 267 ff :
"Enchanted [by Semele] he [Zeus] received the sweet maddening spark in a heart which new it well. Allfather was worsted by a child : little Eros with his feeble shot set afire this Archer of Thunderbolts. Not the deluge of the flood, not the fiery lightning could help its possessor: that huge heavenly flame itself was vanquished by the small fire of unwarlike Paphia [Aphrodite]; little Eros faced the shaggy skin, his magical girdle faced the aegis; the heavy-booming din of the thunderclap was the slave of his lovebreeding quiver. The god was shaken by the heartbewitching sting of desire for Semele, in amazement: for love is near neightbour to admiration."
III. THE LOVES OF ARES
The Anacreontea, Fragment 28 (trans. Campbell, Vol. Greek Lyric II) (C5th B.C.) :
"Kythere's (Cythere's) [Aphrodite's] husband [Hephaistos (Hephaestus)] was making the Erotes (Loves) weapons of iron in the forge of Lemnos; Kypris (Cypris) [Aphrodite] was dipping the points in her sweet honey and Eros was adding gall. One day Ares came in from the battlefield brandishing a strong spear and began to make fun of Eros' weapon. Eros said ‘This one is heavy: try it and you will see.’ Ares took the javelin, while Kypris smiled quietly; and with a groan he said, ‘It is heavy: take it back.’ ‘Keep it,’ said Eros."
[N.B. This was perhaps an introduction to the story of the adultery of Ares and Aphrodite.]
IV. THE LOVES OF APHRODITE
Ovid, Metamorphoses 10. 525 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"Once, when Venus' [Aphrodite's] son [Eros] was kissing her, his quiver dangling down, a jutting arrow, unbeknown, had grazed her breast. She pushed the boy away. In face the wound was deeper than it seemed, though unperceived at first. [And she became] enraptured by the beauty of a man [Adonis]."
V. THE LOVES OF APOLLO
Philostratus the Younger, Imagines 14 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"[From a description of an ancient Greek painting depicting the death of Apollon's love Hyakinthos (Hyacinthus) :] The discus [lies] at his feet ((lacuna)) . . Eros (Love), is both radiant and at the same time downcast, and Zephyros (Zephyrus, the West Wind), who just shows his savage eye from his place of look-out--by all this the painter suggests the death of the youth, and as Apollon makes his cast [of the deadly discus]."
Ovid, Metamorphoses 1. 452 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"Daphne daughter of Peneus was the first love of great Phoebus [Apollon], a love not lit by chance unwitting, but by Cupido's [Eros'] spiteful wrath. Delius [Apollon], proud in victory saw Cupido [Eros] draw his bow's taut arc, and said : ‘Mischievous boy, what are a brave man's arms to you? That gear becomes my shoulders best. My aim is sure; I wound my enemies, I wound wild beasts; my countless arrows slew but now the bloated Python, whose vast coils across so many acres spread their blight. You and your loves! You have your torch to light them Let that content you; never claim my fame!’
And Venus' [Aphrodite's] son [Eros] replied : ‘Your bow, Phoebus, may vanquish all, but mine shall vanquish you. As every creature yields to power divine, so likewise shall your glory yield to mine.’
Then winging through the air his eager way he stood upon Parnasos' shady peak, and from his quiver's laden armoury he drew two arrows of opposing power, one shaft that rouses love and one that routs it. The first gleams bright with piercing point of gold; the other, cull and blunt is tipped with lead. This one he lodged in Nympha Peneis' [Daphne's] heart; the first he shot to pierce Apollo to the marrow. At once he loves; she flies the name of love."
VI. THE LOVE OF HADES
Ovid, Metamorphoses 5. 363 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"Tyrannus [Haides] had left his dark domains to and fro, drawn in his chariot and sable steeds, inspected the foundations of the isle [of Sicily]. His survey done, and no point found to fail, he put his fears aside; when, as he roamed, Erycina [Venus-Aphrodite], from her mountain throne, saw him and clasped her swift-winged son, and said : ‘Cupido [Eros], my child, my warrior, my power, take those sure shafts with which you conquer all, and shoot your speedy arrows to the heart of the great god to whom the last lot fell when the three realms were draw. Your majesty subdues the gods of heaven and even Jove [Zeus], subdues the Gods of the Sea and him, even him, [Poseidon] who rules the Gods of the Sea. Why should Tartara (Hell) lag behind? Why not there too extend your mother's empire and your own? The third part of the world's at stake, while we in heaven (so long-suffering!) are despised--my power grows less, and less the power of Amor [Eros]. Do you not see how Pallas [Athena] and Diana [Artemis], queen of the chase, have both deserted me? And Ceres'[Demeter's] daughter [Persephone], if we suffer it, will stay a virgin too--her hope's the same. So for the sake of our joint sovereignty, if that can touch your pride, unite in love that goddess and her uncle [Haides].’ So she spoke. Then Cupido, guided by his mother, opened his quiver and of all his thousand arrows selected one, the sharpest and the surest, the arrow most obedient to the bow, and bent the pliant horn against his knee and shot the barbed shaft deep in Dis' [Haides'] heart."
VII. THE LOVES OF DIONYSUS
Eros-Cupid picking grapes, Greco-Roman mosaic from Carthage C4th A.D., Carthage National Museum
Nonnus, Dionysiaca 11. 351 ff (trans. Rouse) (Greek epic C5th A.D.) :
"[Following the death of Dionysos' beloved Ampelos (Ampelus) :] Eros came near in the horned shape of a shaggy Seilenos (Silenus), holding a thyrsus, with a dappled skin draped upon him, as he supported his frame on a fennel stalk, for a staff the old man's friend; and he spoke comfortable words to groaning Bakkhos (Bacchus) : ‘Let loose on another love the sparks of this love of yours; turn the sting upon another youth in exchange, and forget the dead. For new love is ever the physic for older love, since old time knows not how to destroy love even if he has learnt to hide all things. If you need a painhealing medicine for your trouble, court a better boy: fancy can wither fancy . . . [he then tells the tale of the lovers Kalamos (Calamus) and Karpos (Carpus)].’
So stormy Eros comforted Dionysos with gentle friendly words, and softened the sweet pangs."
Nonnus, Dionysiaca 15. 220 ff :
"The deceiver Eros excited the longing herdsman [Hymnos (Hymnus)], and shook him with yet stronger passion [for the nymphe Nikaia (Nicaea)]."
[N.B. Nikaia slew Hymnos but his death was avenged by Eros who incited a passion for her in Dionysos.]
Nonnus, Dionysiaca 15.370 & 392 ff :
"[Nemesis the goddess of retribution :] Pointed out the newly slain corpse [of a boy callously slain by the Nymphe he loved] to the Kyprian (Cyprian) [Aphrodite], and upbraided Eros himself [at the injustice] . . . Pan and Phoibos (Phoebus) [Apollon] cried out aloud [at the injustice]: ‘A curse on the fife! Where is Nemesis? Where is Kypris (Cypris) [Aphrodite]? Eros, handle not your quiver . . .’
And Eros, eyeing the untamed heart of the murderous girl, threw down his bow, and swore an oath by the oxherd, to bring the maiden unwilling under the yoke of Dionysos [i.e. that she would be raped by the god]."
Nonnus, Dionysiaca 16. 1 ff :
"The death of the plaintive shepherd [Hymnos (Hymnus) who was slain by Nikaia (Nicaea)] was not unavenged; but valiant Eros caught up his bow and drew a shaft of desire, arming unseen himself against Dionysos as he sat by the bank of the pebbly stream. Fleet Nikaia had finished her wonted hunt for game; sweating and tired by hard work in her beloved highlands, she was bathing her bare body in a mountain cascade. Now longshot Eros made no delay. He set the endshining beard of a winged arrow to the string, and rounded his bow, and buried the whole shot in the heart of love-maddened Lyaios (Lyaeus) [Dionysos]. Then Dionysos saw the girl swimming in the water bareskin, and his mind was shaken with sweet madness by the fiery shaft."
Nonnus, Dionysiaca 16. 263 ff :
"Eros espied her [Nikaia (Nicaea)] sleeping, and pointed her out to Bakkhos (Bacchus), pitying Hymnos; Nemesis laughed at the sight. And sly Dionysos with shoes that made no noise crept soundless to his bridal." [N.B. Nikaia's punishment for the slaying of Hymnos was to be raped by the god Dionysos.]
Nonnus, Dionysiaca 41. 399 ff :
"[Aphrodite calls on Eros to cause Dionysos and Poseidon to fall in love with her daughter Beroe :] [The goddess] returned to her own house. She placed her own goldwrought throne beside the place where her son [Eros] sat, and throwing an arm round his waist, with quiet countenance opened her glad arms to receive the boy and held the dear burden on her knees; she kissed both his lips and eyes, touched his mind-bewitching bow and fingered the quiver, and spoke in feigned anger these cunning words : ‘You hope of all life! You cajoler of the Foamborn! . . . Come--for your sister's [Beroe's] beauty draw your bow and bewitch the gods, or say, shoot one shaft and hit with the same shot Poseidon and vinegod Lyaios (Lyaeus) [Dionysos], Blessed Ones both. I will give you a gift for your long shot which will be a proper wage worthy of your feat--I will give you the marriage harp of gold, which Phoibos (Phoebus) [Apollon] gave to Harmonia at the door of the bridal chamber; I will place it in your hands in memory of a city to be, that you may be not only an archer, but a harpist, just like Apollon . . .’
He [Eros] obeyed her request; treading on Time's heels hot Eros (Love) swiftly sped, plying his feet into the wind, high in the clouds scoring the air with winged step, and carried his flaming bow; the quiver too, filled with gentle fire, hung down over his shoulder. As when a star stretches straight with a long trail of sparks . . . so went furious Eros in a swift rush, and his wings beat the air with a sharp whirring sound that whistled down from the sky. Then near the Assyrian rock he united from fiery arrows on one string, to bring two wooers into like desire for the love of a maid [Beroe], rivals for one bride, the vinegod [Dionysos] and the ruler of the sea [Poseidon] . . . One came from the deep waters of the sea-neighbouring roadstead, and one left the land of Tyre, and among the mountains of Lebanon the two met in one place . . .
Then Eros came quickly up to the maiden hard by, and struck both divinities with two arrows. He maddened Dionysos to offer his treasures to the bride, life's merry heart and the ruddy vintage of the grape; he goaded to love the lord of the trident, that he might bring the sea-neighbouring maid a double lovegift, seafaring battle on the water and varied dishes for the table. He set Bakkhos (Bacchus) more in a flame, since wine excites the mind for desire, and wine finds unbridled youth much more obedient to the rein when it is charmed with the prick of unreason; so he shot Bakkhos and drove the whole shaft into his heart, and Bakkhos burnt, as much as he was charmed by the trickling honey of persuasion. Thus he maddened them both; and in the counterfeit shape of a bird circling his tracks in the airy road as swift as the rapid winds, he rose with paddling feet, and cried these taunting words : ‘If Dionysos confounds men with wine, I excite Bakkhos with fire!’"
Nonnus, Dionysiaca 42. 336 ff :
"He [Dionysos in love with Beroe] sorrowfully prayed to Hypnos (Hypnus, Sleep) and Eros (Love) and Aphrodite of the Evening [i.e. the star Venus], all at once, to let him see the same vision [of his love] once more, longing for the deceptive phantom of an embrace."
Nonnus, Dionysiaca 43. 420 ff :
"[After Dionysos loses the contest for Beroe, Eros promises him other loves :] Lyaios (Lyaeus) never smiled, and his brother Eros came to console him in his jealous mood : ‘Dionysos, why do you still bear a grudge against the cestus that makes marriages? Beroe was no proper bride for Bakkhos (Bacchus), but his marriage of the sea was quite fitting, because I joined the daughter of Aphrodite of the sea to a husband whose path is in the sea. I have kept a daintier one for your bridechamber, Ariadne, of the family of Minos and your kin. Leave Amymone to the sea, a nobody, one of the family of the sea herself. You must leave the mountains of Lebanon and the waters of Adonis and go to Phrygia, the land of lovely girls; there awaits you a bride without salt water, Aura of Titan stock. Thrake the friend of brides will receive you, with a wreath of victory ready and a bride's bower; thither Pallene also the shakespear summons you, beside whose chamber I will crown you with a wedding wreath for your prowess, when you have won Aphrodite's delectable wrestling-match.’
So wild Eros spoke to his lovemad brother Bakkhos : then he flapt his whizzing fiery wings, and up the sham bird flew in the skies travelling until he came to the house of Zeus."
Nonnus, Dionysiaca 47. 332 ff :
"[Ariadne laments after being abandoned by Theseus on the island of Naxos :] ‘Are the very images of Eros (Love) and Anteros (Love Returned) jealous of me? For I saw a deslightful vision of marriage accomplished in a deceitful dream, and lovely Theseus was gone.’"
Nonnus, Dionysiaca 47. 456 ff :
"[At the wedding of Dionysos and Ariadne :] Eros decked out the bridal chamber for Bakkhos (Bacchus) . . . Fiery Eros made a round flowergarland with red roses and plaited a wreath coloured like the stars, as prophet and herald of the heavenly Crown; and round about the Naxian bride danced a swarm of the Erotes (Loves) which attend on marriage."
Nonnus, Dionysiaca 48. 106 ff :
"[Dionysos wrestled Pallene in a contest for her hand in marriage :] Kypris (Cypris) [Aphrodite] presided over the ring. In the midst was Eros naked, holding out to Bakkhos the bridal wreath. Wrestling was to win the bride : Peitho clad her delicate body in a silvery robe, foretelling victory for Lyaios's (Lyaeus') wooing . . . After the victory in this contest, with the consent of Zeus, Eros crowned his brother with the cluster that heralds a wedding; for he had accomplished a delectable wedding-bout."
Nonnus, Dionysiaca 48. 264 ff :
"[The virginal Titanis Aura] saw a vision in her dreams which foretold a delectable marriage to come--how the fiery god, wild Eros, fitted shaft to burning string and shot the hares in the forest, shot the wild beasts in a row with his tiny shafts; how Kypris (Cypris) [Aphrodite] came laughing, wandering with the young son of Myrrha [Adonis] when he hunted, and Aura the maiden was there, carrying the quiver of huntsman Eros on the shoulder which was ere now used to the bow of Artemis. But Eros went on killing the beasts, until he was weary of the bowstring and hitting the grim face of a panther or the snout of a bear; then he caught a lioness alive with the allbewitching cestus, and dragged the beast away showed her fettered to his merry mother. The maiden saw in the darkness how mischievious Eros teased herself also as he leaned her arm on Kythereia (Cytherea) and Adonis, while he made his prey the proud lioness, bend a slavish knee before Aphrodite, as he cried loudly, ‘Garlanded mother of the Erotes (Loves)! I lead to you Aura, the maiden too fond of maidenhood, and she bows her neck. Now you dancers of lovestricken Orkhomenos (Orchomenus) [the Kharites (Charites)], crown this cestus, the strap that waists on marriage, because it has conquered the stubborn will of this invincible lioness!’
Such was the prophetic oracle which Aura the mountain maiden saw. Nor was it vain for the loves, since they themselves bring a man in to the net and hunt a woman. The maiden awoke, raved against the prudent laurel, upbraided Eros and the Paphian [Aphrodite]."
Nonnus, Dionysiaca 48. 470 ff :
"Eros drove Dionysos mad for the girl [Aura] with the delicious wound of his arrow, then curving his wings flew lightly to Olympos. And the god roamed over the hills scourged with a greater fire. For there was not the smallest comfort for him. He had then no hope of the girl's love, no physic for his passion; but Eros burnt him more and more with the mindbewitching fire to win mad obstinate Aura at last."
Nonnus, Dionysiaca 48. 593 ff :
"When fiery Eros beheld Aura stumbling heavyknee [in drunkeness], he leapt down from heaven, and smiling with peaceful countenance spoke to Dionysos [who was trying to seduce the maid] with full sympathy : ‘Are you for a hunt, Dionysos? Virgin Aura awaits you!’
With these words, he made haste away to Olympos flapping his wings, but first he had inscribed on the spring petals--‘Bridegroom, complete your marriage while the maiden is still asleep; and let us be silent that sleep may not leave the maiden.’"
EROS & THE LOVES OF THE HEROES
Eros and the race of Atalanta, Athenian red-figure lekythos C5th B.C., Cleveland Museum of Art
Theognis, Fragment 1. 1231 (trans. Gerber, Vol. Greek Elegiac) (Greek elegy C6th B.C.) :
"Cruel Eros (Love), the Maniai (Maniae, Spirits of Madness) took you up and nursed you. Because of you Troy's acropolis was destroyed, and great Theseus, Aegeus' son, and noble Aias (Ajax), Oileus' son, through your acts of recklessness."
[N.B. The myths referred to are the love of Paris for Helene, Theseus' abduction of Helene, and Ajax' rape of Kassandra (Cassandra).]
I. THE LOVE OF PERSEUS & ANDROMEDA
Philostratus the Elder, Imagines 1. 29 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"[From a description of an ancient Greek painting at Neapolis (Naples) :] Perseus who, they say, slew in Aithiopia (Ethipia) a Ketos (Sea-Monster) . . . Now the painter glorifies this tale and shows his pity for Andromeda in that she was given over to the Ketos (Sea-Monster). The contest is already finished and the Ketos lies stretched out on the strand, weltering in streams of blood--the reason the sea is red--while Eros (Love) frees Andromeda from her bonds. Eros is painted with wings as usual, but here, as it not usual, he is a young man, panting and still showing the effects of his toil; for before the deed Perseus put up a prayer to Eros that he should come and with him swoop down upon the creature, and Eros came, for he heard the Greek's prayer."
II. THE LOVE OF MEDEA & JASON
III. THE LOVE OF HERACLES & ABDERUS
Philostratus the Elder, Imagines 2. 25 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"[From a description of an ancient Greek painting at Neapolis (Naples) :] The Burial of Abderos (Abderus) . . . You must regard this present labour [i.e. the mares of Diomedes] as the more difficult, since Eros (Love) enjoins it upon Herakles in addition to many others, and since the hardship laid upon him was no slight matter. For Herakles is bearing the half-eaten body of Abderos [his beloved], which he has snatched from the [man-eating] mares . . . The tears he shed over them, the embraces he may have given them, the laments he uttered, the burden of grief on his countenance--let such marks of sorrow be assigned to another lover."
IV. THE LOVE OF PELOPS & HIPPODAMEIA
Philostratus the Younger, Imagines 9 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"He [Oinomaos (Oenomaus)] urges Myrtilos (Myrtilus) on. But Eros, sad of mien, is cutting the axle of the chariot, making clear two things : that the girl [Hippodameia] in love with her lover [Pelops] is conspiring against her father [Oinomaos]." [N.B. In the myth Myrtilos is bribed by Pelops to cut the axle of Oinomaos. Eros (Love) is symbolically the cause, since the race was for the hand of Hippodameia.]
V. THE LOVE OF HERO & LEANDER
Musaeus, Hero and Leander 20 ff (Greek poetry C5th - 6th A.D.) :
"And Eros (Love) upstrained his bow, shot forth a single shaft into both cities together, kindling a youth [Leandros (Leander)] and maiden [Hero]."
VI. THE LOVE OF SCYLLA DAUGHTER OF NISUS
Nonnus, Dionysiaca 25. 150 ff (trans. Rouse) (Greek epic C5th A.D.) :
"[Minos won his war against King Nisos of Megara with the help of the gods of love who caused the king's daughter to fall in love with Minos and betray her father :] Kypris (Cypris) [Aphrodite] wore a gleaming helmet . . . the bridal swarm of unwarlike Erotes (Loves) shot their arrows in battle . . . he [Ares] saw his Phobos (Rout) and his Deimos (Terror) supporting the Erotes (Loves), when he beheld Aphrodite holding the buckler and Pothos (Desire) casting a lance, while daintyrobe Eros wrought a fairhair victory against the fighting men in arms."
VII. THE LOVE OF MORRHEUS & CHALCOMEDE
Nonnus, Dionysiaca 33. 4 ff :
"[During Dionysos' war with the Indians, Eros causes the Indian warrior Morrheus to fall in love with Khalkomedeia (Chalcomedea), and so assists the god.]
[Aphrodite addresses the Kharis (Charis) Pasithea :] ‘Dear girl, what trouble has changed your looks? . . . Are you plagued by my son [Eros god of love], perhaps? Are you in love with some herdsman, among the mountains, struck with desire, like Selene (Goddess of the Moon)? Has Eros perhaps flicked you also with the cestus, like Eos (the Dawn) once before? . . .’
When Aphrodite had said this, the Kharis weeping replied : ‘O mother of the Erotes (Loves)! O sower of life in the everlasting universe . . . I am tormented by the afflictions of Lyaios (Lyaeus) [Dionysos] my father, driven about in terror by the Erinyes (Fury). He is your brother - protect Dionysos if you can! . . .’
Then sweetsmiling Aphrodite put off the wonted laugh from her radiant rosy face, and told her messenger Aglaia (Aglaea) [one of the Kharites (Charites)] to call Eros her son, that swift airy flyer, that guide to the fruitful increase of the human race.
The Kharis moved her footsteps, and turned her face this way over earth and sea and sky, if somewhere she might find the restless track of Eros--for he beats his wings everywhere circling the four separate regions of the universe [perhaps earth, sea, sky and underworld].
She found him on the golden top of Olympos, shooting the nectar-drops from a cup [playing cottabus and game in which wine was thrown out of cups at a mark]. Beside him stood Hymenaios (Hymenaeus), his fair-haired playfellow in the dainty game . . . [See Eros & his Playmate Hymenaeus on the following page for this section.]
Now Aglaia (Aglaea) stood by him [Eros], and she received the prizes from the hands of the prince of heart's delight. She beckoned the boy aside, and with silence their only witness, she whispered into his ear the artful message of her intriguing mistress : ‘Allvanquisher unvanquished, preserver of life coeval with the universe, make haste! Kythereia (Cytherea) is in distress. None of her attendants has remained with her; Kharis (Charis, Grace) has gone, Peitho (Seduction) has vanished, Pothos (Sexual Longing) the inconstant has left her; she had none to send but me. She needs your invincible quiver!’
No sooner had she spoken, than Eros wanted to know all about it; for all young people, when they hear only the beginning of a story, are eager to hear the end. So he rattled out with that unbridled tongue of his--‘Who has hurt my dear Paphian? Let me take arms in hand and fight all the world! If my mother is in distress, let me stretch my allvanquishing bowstring against even Kronion (Cronion) [Zeus], to make him once more a mad ravishing love-bird, and eagle, or a bull swimming in the sea! Or if Pallas [Athene] has provoked her, if Crookshank [Hephaistos (Hephaestus)] has hurt her by lighting the bright torch of the Kekropian (Cecropian) light, I will fight them both, Hephaistos and Athene! Or if Archeress [Artemis] hareslayer moves her to anger, I will draw the fiery Olympian sword of Orion to prick Artemis and drive her out of the sky! Or if it is Hermes I will carry off with me Maia's son on my wings, and let him call useless Peitho [his wife] in vain to his help. Or I will leave my arrows and the fiery belt of my quiver, I will lash Phoibos (Phoebus) [Apollon] a willing victim with cords of laurel leaves, holding him bound in a belt of speaking iris. Indeed I fear not the strength of Enyalios [Ares], it will not weary me to flog Ares when he is shackled by the delightful cestus. The two luminaries I will drag down from heaven to be drudges in Paphos, and give my mother for a servant Phaethon [Helios the Sun] with Klymene (Clymene) [his wife], Selene [the Moon] with Endymion [her husband], that all may know that I vanquish all things!’
He spoke, and straight through the air he plied his feet, and reached the dwelling of eager Aphrodite long before Aglaia with his pair of whirring wings. His mother with serene countenance took him into her embrace, and threw one happy arm round her boy, lifting him on her knees, a welcome burden. He sat there while she kissed the boy's lips and eyes; then she touched his mindcharming bow, and handled the quiver, and pretending to breathe anger, spoke these delusive words : ‘My dear child, you have forgotten Phaethon [Helios the Sun] and Kythereia (Cytherea) [Aphrodite]! Pasiphae no longer wants the Bull's love. Helios mocks at me, and arms the offspring of Astris, the warrior Deriades his own daughter's son, to destroy the Bassarides of womanmad Dionysos and to rout the love-stricken Satyroi (Satyrs) of Bromios. But it has provoked me more than all, that battlestirring Ares in mortal shape, with Enyo by his side, without regard for his old love of Aphrodite, ahs armed himself against Dionysos at Hera's bidding and supports the Indian king. Now then, on this field Ares if for Deriades--then you fight for Lyaios (Lyaeus) [Dionysos]. He has a spear, you have a stronger bow, before which bend the knee Zeus the Highest and furious Ares and Hermes the lawgiver; even that Archer Apollon fears your bow. If you will give a boon to your Foamborn, fight for the Bassarides and Dionysos. Go I pray, to the Eastern clime and let no one catch you--go to the Indian plain, where there is a handmaid of Lyaios amongst the Bakkhantes (Bacchantes), more excellent than her yearsmates, named Khalkomede (Chalcomede), who loves the maiden state--but if you should see Khalkomede and Kypris (Cypris) both together in Libanos (Lebanon), you cannot tell which was Aphrodite, my dear boy! Go to that place and help Dionysos ranging the wilds, by shooting Morrheus for the beauty of Khalkomedeia. I will give you a Worthing prize for your shooting, a wellmade Lemnian chaplet, like the rays of fiery Helios (the Sun). Shoot a sweet arrow, and you will do a grace both to Kypris and to dionysos; honour my bridesmaid bird of love [the dove] and yours, the herald of lifelong wedding and happy hearts!’
So spoke the goddess; and Eros wildly leapt from his mother's lap and took up his bow, slung the allvanquishing quiver about his little shoulder, and sailed away on his wings through the air; round Kerne (Cerne) he turned his flight opposite the rays of morning, smiling that he had set afire that great charioteer of the heavenly car with his little darts, and the light of the loves had conquered the light of Helios (the Sun). Soon he was moving in the midst of the Indian host, and laid his bow against the neck of Khalkomedeia, aiming the shaft round her rosy cheek, and sent it into the heart of Morrheus. Then paddling his way with the double beat of his floating wings he mounted to the starry barriers of his father [i.e. Ouranos (Uranus, Sky) father of Aphrodite who emerged fully grown and pregnant with Eros from bloody foam of Ouranos' castration], leaving the Indian transfixed with the fiery shaft.
Now Morrheus moved lovesick this way and that way, struck by the arrow of desire, wherever the maiden went; the sword he lifted was tame, his spear hung idle, his bold spirit was lashed by the cestus of love, he turned his enamoured gaze all about and moved his eyes at the bidding of Kypri (Cypris)s, uncomforted."
Nonnus, Dionysiaca 33. 238 ff :
"He [Morrheus] softened his voice to womanish love-prattle, as the arrow of nightly love quivered beneath his heart : ‘Bow and arrows of Ares, I have done with you; for another shaft and a better constrains me, the arrow of desire! I have done with you, quiver! The cestus-strap has conquered my shieldsling. No more I equip a fighting hand against Bassarides. The gods of my nation, Water and Earth, I will leave, and set up altars both to Kypris (Cypris) [Aphrodite] and Dionysos; I will throw away the brazen spear of Enyalios [Ares] and Athene.’"
Nonnus, Dionysiaca 34. 34 ff :
"[Morrheus in love :] Perhaps that allvanquishing braggart Himeros (Desire) has been aiming at you bridal sparks from his unresting quiver."
EROS, APHRODITE & THE LOVE OF MEDEA
Eros-Cupid riding crab, Greco-Roman fresco from Pompeii C1st A.D., Naples National Archaeological Museum
After the arrival of the Argonauts in Kolkhis (Colchis), the goddess Hera conspires to have Medea fall in love with Jason to assist the hero in his quest for the Golden Fleece. To this end she petitions Aphrodite have her son Eros strike the princess with his darts.
Apollonius Rhodius, Argonautica 3. 25 ff (trans. Rieu) (Greek epic C3rd B.C.) :
"[Hera addresses Athene (Athena) :] ‘We must have a word with Aphrodite. Let us go together and ask her to persuade her boy, if that is possible, to loose an arrow at Aeetes' daughter, Medea of the many spells, and make her fall in love with Iason (Jason) . . .’
The solution to their problem pleased Athene, who smilingly replied : ‘Sprung as I am from Zeus, I have never felt the arrows of the Boy, and of love-charms I know nothing.’"
Apollonius Rhodius, Argonautica 3. 82 ff :
"[Hera addresses Aphrodite :] ‘All we require of you is quietly to tell your boy to use his wizardry and make Aeetes' daughter fall in love with Iason (Jason) . . .’
‘But ladies,’ said Kypris (Cypris) [Aphrodite], speaking now to both of them [i.e. Hera and Athene], ‘he is far more likely to obey you than me. There is no reverence in him, but faced by you he might display some spark of decent feeling. He certainly pays no attention to me: he defies me and always does the opposite of what I say. In fact I am so worn out by his naughtiness that I have half a mind to break his bow and wicked arrows in his very sight, remembering how he threatened me with them in one of his moods. He said, "If you don't keep your hands off me while I can still control my temper, you can blame yourself for the consequences."’
Hera and Athene smiled at this and exchanged glances. But Aphrodite was hurt. She said : ‘Other people find my troubles amusing. I really should not speak of them to all and sundry; it is enough for me to know them. However, as you have both set your hearts on it, I will try and coax my boy. He will not refuse.’
Hera took Aphrodite's slender hand in hers and with a sweet smile replied : ‘Very well, Kytherea (Cytherea). Play your part, just as you say; but quickly, please. And do not scold or argue with your child when he annoys you. He will improve by and by.’
With that she rose to go. Athene followed her, and the pair left for home. Kypris (Cypris) too set out, and after searching up and down Olympos for her boy, found him far away in the fruit-laden orchard of Zeus. With him was Ganymede, whose beauty had so captivated Zeus that he took him up to heaven to live with the immortals. The two lads, who had much in common, were playing with golden knuckle-bones. Eros, the greedy boy, was standing there with a whole handful of them clutched to his breast and a happy flush of mantling his cheeks. Near by sat Ganymede, hunched up, silent and disconsolate with only two left. He threw these for what they were worth in quick succession and was furious when Eros laughed. Of course he lost them both immediately--they joined the rest. So he went off in despair with empty hands and did not notice the goddess's approach.
Aphrodite came up to her boy, took his chin in her hand and said : ‘Why this triumphant smile, you rascal? I do believe you won the game unfairly be cheating a beginner. But listen now. Will you be good and do me a favour I am going to ask of you? Then I will give you one of Zeus's lovely toys, the one that his fond nurse Adresteia (Adrastia) made for him in the Idaian cave when he was still a child and liked to play. It is a perfect ball; Hephaistos (Hephaestus) himself could not make you a better toy. It is made of golden hoops laced together all the way round with double stitching; but the seams are hidden by a winding blue band. When you throw it up, it will leave a fiery trail behind it like a meteor in the sky. That is what I'll give you, if you let fly an arrow at Aeetes' girl [Medea] and make her fall in love with Iason (Jason). But you must act at once, or I may not be so generous.’
When he heard this, Eros was delighted. He threw down all his toys, flung his arms round his mother and hung on to her skirt with both hands, imploring her to let him have the ball at once. But she gently refused, and drawing him towards her, held him close and kissed his cheeks. Then with a smile she said, ‘By your own dear head and mine, I swear I will not disappoint you. You shall have the gift when you have shot an arrow into Medea's heart.’
Eros gathered up his knuckle-bones, counted them all carefully, and put them in the fold of his mother's shining robe. Fetching his quiver from where it leant against a tree, he slung it on his shoulder with a golden strap, picked up his crooked bow, and made his way through the luxuriant orchard of Zeus' palace. Then he passed through the celestial gates of Olympos, where a pathway for the gods leads down, and twin poles, earth's highest points, soar in lofty pinnacles that catch the first rays of the risen sun. And as he swept on through the boundless air he saw ever-changing scene beneath him, here the life-supporting land with its peopled cities and its sacred rivers, here mountain peaks, and hear the all-encircling sea . . .
Eros, passing through the clear air, had arrived unseen and bent on mischief, like a gladfly setting out to plague the grazing heifers, the fly that cowherds call the breese. In the porch, under the lintel of the door, the quickly strung his vow and from his quiver took a new arrow, fraught with pain. Still unobserved, he ran across the threshold glancing around him sharply. Then he crouched low at Iason's feet, fitted the notch to the middle of the string, and drawing the bow as far as his hands would stretch, shot at Medea. And her heart stood still.
With a happy laugh Eros sped out of the high-roofed hall on his way back, leaving his shaft deep in the girl's breast, hot as fire. Time and again she darted a bright glance at Iason (Jason). All else was forgotten. Her heart, brimful of this new agony, throbbed within her and overflowed with the sweetness of the pain."
Apollonius Rhodius, Argonautica 3. 449 ff :
"Medea retired, a prey to all the inquietude that Eros awakens."
Apollonius Rhodius, Argonautica 3. 7762 ff :
"Her [Medea's] whole body was possessed by agony, a searing pain which shot along her nerves and deep into the nape of her neck, that vulnerable spot where the relentless archer of Eros causes the keenest pangs."
Apollonius Rhodius, Argonautica 4. 55 ff :
"[Selene the Moon addresses Medea :] ‘The little god of mischief has given you Iason, and many a heartache with him. Well, go your way; but clever as you are, steel yourself now to face a life of sighs and misery.’ So said Selene."
Apollonius Rhodius, Argonautica 4. 446 ff :
"Unconscionable Eros, bane and tormentor of mankind, parent of strife, fountain of tears, source of a thousand ills, rise mighty Power, and fall on the ons of our enemies with all the force you used upon Medea when you filled her with insensate fury [i.e. she plotted the murder of her own brother for the love of Iason (Jason)]."
Philostratus the Younger, Imagines 8 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"[Ostensibly a description of an ancient Greek painting depicting a scene from Apollonius' Argonautica :] [Aphrodite, Hera and Athena approach Eros who is playing a game with Ganymedes.] . . . What do the goddesses desire and what necessity brings them together? The Argo carrying its fifty heroes has anchored in the Phasis after passing through the Bosphoros (Bosphorus) and the Clashing Rocks . . . While the sailors of the Argo are considering the situation, the goddesses have come as suppliants to be Eros that he assist them in saving the sailors by going to fetch Medeia (Medea), the daughter of Aietes (Aeetes); and as pay for this service his mother shows him a ball which she says was once a plaything of Zeus. Do you see the clever art of the painting? The ball itself is of gold; the stitching on it is such as to be assumed by the mind rather than seen by the eye, and spirals of blue encircle it; and very likely, when it is tossed in the air, the radiance emanating from it will lead us to compare it with the twinkling of stars. As for Eros, he no longer even looks at the dice, but throwing them on the ground he clings to his mother's [Aphrodite's] dress, begging her to make good her promise to him; for, he says, he will not fail in the task."
Philostratus the Younger, Imagines 7 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"[From a description of an ancient Greek painting depicting the meeting of Iason (Jason) and Medea :] Eros (Love) is claiming this situation as his own, and he stands leaning on his bow with his legs crossed, turning his torch towards the earth, inasmuch as the work of love is as yet hardly begun."
Valerius Flaccus, Argonautica 8. 232 ff (trans. Mozley) (Roman epic C1st A.D.) :
"Venus [Aphrodite] smiled upon the lovers [Jason and Medea in matrimony], and Cupid [Eros] with his pleadings roused Aeetes' daughter [Medea] from the gloomy thoughts that vexed her; Cytherea [Aphrodite] clothes the girl with her own robe of saffron texture, and gives her own twofold coronal and the jewels destined to burn upon another bride."
ANCIENT GREEK & ROMAN ART
| Aphrodite |
Which nuts are traditionally given as ‘Wedding Favours’ to a bride’s guests? | HIMEROS - Greek God of Sexual Desire
HIMEROS
Desire, Longing, Yearning
Himeros and Paris, Athenian red-figure amphora C5th B.C., Antikensammlung Berlin
HIMEROS was the god of sexual desire and one of the Erotes, the winged gods of love. When Aphrodite was born from the sea-foam's she was greeted by the twin loves Eros and Himeros. Some say Aphrodite was born pregnant with the twins and birthed them as soon as she was born. The pair remained her constant companions acting as agents of her divine power.
Himeros was depicted as winged youth or child. He often appears alongside Eros in scenes of Aphrodite's birth, fluttering around the goddess as she reclines in her conch-shell bed. At others times he appears as one of a triad of love gods with Eros and Pothos (Love and Passion). When paired with Eros he was perhaps identified with Anteros (Reciprocal Love).
FAMILY OF HIMEROS
[1.1] APHRODITE (born together with the goddess?) (perhaps suggested in Hesiod Theog 176)
[1.2] APHRODITE (Ovid Fasti 4.1)
ENCYCLOPEDIA
HI′MERUS (Himeros), the personification of longing love, is first mentioned by Hesiod (Theog. 201), where he and Eros appear as the companions of Aphrodite. He is sometimes seen in works of art representing erotic circles; and in the temple of Aphrodite at Megara, he was represented by Scopas, together with Eros and Pothus. (Paus. i. 43. § 6.)
Source: Dictionary of Greek and Roman Biography and Mythology.
CLASSICAL LITERATURE QUOTES
Eros, Himeros and Pothos, Athenian red-figure stamnos C5th B.C., British Museum
Hesiod, Theogony 176 ff (trans. Evelyn-White) (Greek epic C8th or C7th B.C.) :
"And with her [Aphrodite] went Eros, and comely Himeros (Desire) followed her at her birth at the first and as she went into the assembly of the gods."
Hesiod, Theogony 53 ff :
"A little way from the topmost peak of snowy Olympos, there are their [the Mousai's (Muses')] bright dancing-places and beautiful homes, and beside them the Kharites (Charites, Graces) and Himeros (Desire) live in delight."
Pindar, Eulogies Fragment 122 (trans. Sandys) (Greek lyric C5th B.C.) :
"Aphrodite the heavenly mother of Erotes (Loves)."
Pindar, Dirges Fragment 128 :
"May I delight in the graces of Aphrodisian Erotes (Loves)."
Sappho, Fragment 194 (from Himerius, Orations) (trans. Campbell, Vol. Greek Lyric I) (Greek lyric C6th B.C.) :
"[The rites of Aphrodite :] After the contests [mock contests of suitors] she goes into the bridal chamber, garlands the room and makes up the bed, then she gathers the girls into the bridal room and brings in Aphrodite herself on the Kharites' (Charites', Graces') chariot with her chorus of Erotes (Loves) to join in the fun. She binds Aphrodite's hair in hyacinth . . . she adorns the Erotes' wings and tresses with gold and urges them on in procession before the chariot, waving their torches in the air."
Anacreon, Fragment 445 (trans. Campbell, Vol. Greek Lyric II) (Greek lyric C6th B.C.) :
"[To the Erotes (Loves) :] You are violent and wicked, and you do not know against whom you will hurl your weapons."
Anacreon, Fragment 445 (from Himerius, Orations) :
"Anakreon tuned his lyre and threatened that if the Erotes (Loves) did not at once wound the youth, he would never again strike up a song in their praise."
Himeros and Peitho, Athenian red-figure calyx krater C5th B.C., Regional Archeological Museum Antonio Salinas
The Anacreontea, Fragment 4 (trans. Campbell, Vol. Greek Lyric II) (Greek lyric C5th or 4th B.C.) :
"Put vines on it for me [a cup crafted in silver by Hephaistos] with bunches of grapes on them . . . the Satyroi (Satyrs) laughing, Erotes (Loves) all in gold, Kythere [Aphrodite] laughing together with handsome Lyaios (Lyaeus) [Dionysos], Eros (Love) and Aphrodite."
The Anacreontea, Fragment 5 :
"Erotes (Loves) unarmed and laughing Kharites (Charites, Graces)."
The Anacreontea, Fragment 23 :
"My lyre sings only of the Erotes (Loves)."
The Anacreontea, Fragment 25 :
"Eros (Love) is always weaving his nest in my heart : one Pothos (Desire) is getting his wings, another is still an egg, another is half-hatched already; and there is a continuous shouting from the wide-mouthed chicks; little baby Erotes (Loves) are fed by bigger ones, and when fully grown they immediately beget others in their turn."
The Anacreontea, Fragment 38 :
"Let us be merry and drink wine and sing of Bakkhos (Bacchus) [Dionysos], the inventor of the choral dance, the lover of all songs, leading the same life as the Erotes (Loves), the darling of Kythere (Cytherea) [Aphrodite]."
The Anacreontea, Fragment 35 :
"The soft rose. It is the breath of the gods and the joy of mortals, the glory of the Kharites (Charites, Graces) in spring-time, the delight of the Erotes (Loves) with their rich garlands and of Aphrodite; it is a subject for poetry and the graceful plant of the Mousai (Muses)."
The Anacreontea, Fragment 44 :
"Let us mix the Erotes' (Loves') rose with Dionysos : let us fasten on our brows the rose with its lovely petals and drink, laughing gently. Rose, finest of flowers, rose, darling of spring, rose, delight of the gods also, rose with which Kythere's (Cytherea's) son [Eros, Love] garlands his lovely curls when he dances with the Kharites (Charites, Graces)."
Simonides, Fragment 67 (trans. Campbell, Vol. Greek Lyric III) (Greek lyric C6th to 5th B.C.) :
"Who tuned his lyre for songs of the sweet love of boys, songs with the scent of the Kharites (Charites, Graces) and Erotes (Loves)."
Aphrodite, Eros and Himeros, Athenian red-figure hydria C5th B.C., National Etruscan Museum
Bacchylides, Fragment 9 (trans. Campbell, Vol. Greek Lyric IV) (Greek lyric C5th B.C.) :
"Golden violet-crowned Kypris (Cypris) [Aphrodite], to praise her, mother of the infexible Erotes (Loves)."
Ion of Chios, Fragment 744 (trans. Campbell, Vol. Greek Lyric IV) (Greek lyric C5th B.C.) :
"The untamed child (Wine), bull-faced, young and not young, sweetest attendant of loud-roaring Erotes (Loves), wine that makes thoughts soar, ruler of mankind."
Greek Lyric V Folk Songs, Fragment 864 (from Lucian, On Dancing) (trans. Campbell, Vol. Greek Lyric V) :
"The song sung by the Spartans while dancing is an invitation to Aphrodite and the Erotes (Loves) to revel and dance along with them."
Plato, Cratylus 400d & 419e - 420b (trans. Lamb) (Greek philosopher C4th B.C.) :
"[Plato invents philosophical etymologies to explain the names of the gods :]
Sokrates (Socrates) : Let us inquire what thought men had in giving them [the gods] their names . . . The first men who gave names [to the gods] were no ordinary persons, but high thinkers and great talkers . . .
[Of the Loves :] The name himeros (longing) was given to the stream (rhous) which most draws the soul; for because it flows with a rush (hiemenos) and with a desire for things and thus draws the soul on through the impulse of its flowing, all this power gives it the name of himeros. And the word pothos (yearning) signifies that it pertains not to that which is present, but to that which is elsewhere (allothi pou) or absent, and therefore the same feeling which is called himeros when its object is present, is called pothos when it is absent."
Pausanias, Description of Greece 1. 43. 6 (trans. Jones) (Greek travelogue C2nd A.D.) :
"There is also [statues in the temple of Aphrodite at Megara] Peitho (Persuasion) and another goddess whom they name Paregoron (Consoler), works of Praxiteles. By Skopas (Scopas) are Eros (Love) and Himeros (Desire) and Pothos (Yearning), if indeed their functions are as different as their names."
Philostratus the Elder, Imagines 2. 9 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) :
"Desire (himeros), the companion of love (eros), so suffuses the eyes that it seems clearly to drip from them."
Ovid, Fasti 4. 1 (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) :
"[Venus-Aphrodite] gentle mother of twin Cupides (Loves) [Eros and Himeros?], favour me."
HIMEROS & THE BIRTH OF APHRODITE
Eros, Himeros and the birth of Aphrodite, Greco-Roman mosaic from Phillipopolis, Suweida Regional Museum
Hesiod, Theogony 176 ff (trans. Evelyn-White) (Greek epic C8th or C7th B.C.) :
"And with her [Aphrodite] went Eros (Love), and comely Himeros (Desire) followed her at her birth at the first and as she went into the assembly of the gods."
[N.B. Hesiod is perhaps suggesting that Eros and Himeros were born with or from the goddess at her birth.]
The Anacreontea, Fragment 57 (trans. Campbell, Vol. Greek Lyric II) (Greek lyric C5th or C4th B.C.) :
"[Aphrodite] roaming over the waves like sea-lettuce, moving her soft-skinned body in her voyage over the white calm sea, she pulls the breakers along her path. Above her rosy breast and below her soft neck a great wave divides her skin. In the midst of the furrow, like a lily wound among violets, Kypris (Cypris) [Aphrodite] shines out from the clam sea. Over the silver on dancing dolphins ride guileful Eros (Love) and laughing Himeros (Desire), and the chorus of bow-backed fish plunging in the waves sports with the Paphian where she swims."
Pausanias, Description of Greece 5. 11. 8 (trans. Jones) (Greek travelogue C2nd A.D.) :
"[Among the reliefs decorating the throne in the temple of Zeus at Olympia :] On the pedestal supporting the throne and Zeus with all his adornments are works in gold : . . . Eros (Love) receiving Aphrodite as she rises from the sea, and Aphrodite is being crowned by Peitho (Persuasion)."
Quintus Smyrnaeus, Fall of Troy 5. 70 ff (trans. Way) (Greek epic C4th A.D.) :
"Out of the sea was rising lovely-crowned Kypris (Cypris) [Aphrodite], foam-blossoms still upon her hair; and round her hovered smiling witchingly Himeros (Desire), and danced the Kharites (Charites, Graces) lovely-tressed."
ANCIENT GREEK & ROMAN ART
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How many children did Queen Victoria and Prince Albert have? | Queen Victoria's Children
Queen Victoria's Children
How many children did Queen Victoria have?
Queen Victoria and Prince Albert had 9 children (4 boys and 5 girls).
They were:
Victoria Adelaide Mary Louise: b.1840, d. 1901
Was given the title Princess Royal because she was the eldest daughter. She married Frederick (Fritz) of Prussia, 1858 and was given the additional title of Empress of Germany.
Edward Albert: b. 1841, d.1910.
Edward was born on 9 November 1841 as the Duke of Cornwall and the Duke of Rothesay. He became the Prince of Wales a month later because he was next in line to the throne. He married Princess Alexandra of Denmark in 1863. Edward succeeded the British Throne as King Edward VII when Queen Victoria died and reigned until his death on 6th May 1910.
Alice Maud Mary: b. 1843, d. 1878
After marrying married Prince Louis of Hesse-Darmstadt in 1862, Alice was given the additional title of Grand Duchess of Hesse-Darmstadt.
Alfred Ernest Albert: b. 1844, d.1900
Was given the title of Duke of Edinburgh and Saxe-Coburg-Gotha. He married Princess Marie of Russia in 1874. He was the first member of the Royal family to visit Australia.
Helena Augusta Victoria: b.1846, d.1923
After marring Prince Christian of Schleswig-Holstein she was given the the additional title of Princess Helena of Schleswig-Holstein.
Louise Caroline Alberta: b.1848, d.1939
After marrying Marquess of Lorne in 1871, was given the the additional title of Dowager Duchess of Argyll
Arthur William Patrick Albert: b.1850, d.1942
Known as Duke of Connaught. He married Princess Louise of Prussia
Leopold George Duncan Albert: b.1853, d.1884
Knon as Duke of Albany. He married Princess Helena of Waldeck-Pyrmont.
Beatrice Mary Victoria Feodore: b. 1856, d. 1944
After marrying Prince Henry of Battenberg she was given the additional title of Princess Beatrice of Battenberg.
The Royal Family today is related to many European monarchies because of the marriages of Queen Victoria's children. Eight of Victoria's children sat on the thrones of Europe, those of Great Britain, Prussia, Greece, Romania, Russia, Norway, Sweden and Spain.
Queen Victoria was survived by 6 children, 40 grandchildren and 37 great-grandchildren, including four future sovereigns of England: Edward VII, George V, Edward VIII and George VI.
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What is the name of Juliet’s cousin, and Romeo’s rival, in Shakespeare’s Romeo and Juliet? | Facts about Queen Victoria for kids
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Who were Victoria's parents?
Victoria was the only child of Prince Edward (Duke of Kent) and Princess Victoria Mary Louisa of Saxe-Coburg-Saalfeld.
Prince Edward (1767-1820) was the fourth son of King George lll.
Find out more about Victoria's family tree.
Did you know?
Both Queen Elizabeth, the Queen today, and her consort (as her husband is known), the Duke of Edinburgh, are great-great-grandchildren of Queen Victoria.
When was Queen Victoria born?
Queen Victoria was born on the 24 May in 1819.
Her father died eight months after she was born.
Where was Queen Victoria born?
Victoria was born at Kensington Palace, London.
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What name was Victoria christened as?
Victoria was christened 'Alexandrina Victoria'. However, from birth she was formally addressed as Her Royal Highness Princess Victoria of Kent.
Did you know?
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When did Victoria become Queen?
Queen Victoria came to the throne when she was only 18 years of age on June 20, 1837. Her coronation was a year later on 28 June 1838.
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Who did Queen Victoria marry?
At the age of 21, Victoria married her cousin, Albert of Saxe-Coburg Gotha, a German Prince. They married on the 10th February 1840 at the Chapel Royal in St. James's Palace.
Victoria had nine children, 40 grand-children and 37 great-grandchildren, scattered all over Europe. Most of Queen Victoria's children married into other royal families of Europe.
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How long exactly did Queen Victoria reign?
Queen Victoria reigned for exactly sixty-three years, seven months, and two days (June 20, 1837 - January 22, 1901). Queen Victoria is our longest ever serving monarch.
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How old was Victoria when she inherited the throne?
She inherited the throne at the age of eighteen, upon the death of her uncle William IV who had no legitimate children (children born to married parents).
Why did Queen Victoria wear black?
Her husband Albert died in 1861 at the young age of 42. She mourned his death for almost 10 years. For the rest of her reign she wore black.
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Where did Queen Victoria live?
Queen Victoria had many homes. She lived in Buckingham Palace, Windsor Castle, Osborne House (Isle of Wight) and Balmoral Castle.
Queen Victoria was the first monarch to live in Buckingham Palace.
Did you know?
Victoria was known as the "Grandmother of Europe" because many of her children and grandchildren married into the royal families of other European countries.
What hobbies did Queen Victoria have?
Queen Victoria loved singing and she enjoyed painting and drawing. She loved going to the opera.
How did Britain change whilst Victoria was Queen?
Whilst Victoria was Queen there was a tremendous change in the lives of British people:
Britain became the most powerful country in the world, with the largest empire that had ever existed, ruling a quarter of the world's population.
The number of people living in Britain more than doubled, causing a huge demand for food, clothes and housing.
Factories and machines were built to meet this demand and new towns grew up, changing the landscape and the ways people lived and worked.
Railways, originally built to transport goods, meant people could travel easily around the country for the first time.
Queen Victoria survived seven assassination attempts
When did Queen Victoria die?
Queen Victoria died on 22 January, 1901 at Osborne House on the Isle of Wight. She was 81.
Queen Victoria was survived by 6 children, 40 grandchildren and 37 great-grandchildren, including four future sovereigns of England: Edward VII, George V, Edward VIII and George VI.
Where is Queen Victoria buried?
She is buried in a mausoleum at Frogmore, Windsor.
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Who became the next King or Queen after Victoria?
Queen Victoria was succeeded by her eldest son, Albert Edward, Prince of Wales. He became King Edward VII.
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Who was said to have laid his cloak over a puddle for Queen Elizabeth I? | 2. Sir Walter Raleigh's Cloak - 10 Historical Misconceptions | HowStuffWorks
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Sir Walter Raleigh's Cloak
The story goes that Sir Walter Raleigh laid his cloak over a mud puddle to keep Queen Elizabeth I from getting her feet wet. Raleigh did catch the queen's attention in 1581 when he urged England to conquer Ireland. The queen rewarded him with extensive landholdings in England and Ireland, knighted him in 1584, and named him captain of the queen's guard two years later.
However, an illicit affair with one of the queen's maids of honor in 1592 did him in. He was imprisoned in the Tower of London and ultimately beheaded for treachery. The story of the cloak and the mud puddle probably originated with historian Thomas Fuller, who was known for embellishing facts.
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The 1955 film ‘Love is a Many Splendored Thing’ is set in which city? | Possessive (BoyxBoy) - [4] - Your What?! - Page 2 - Wattpad
Possessive (BoyxBoy)
Romance
After Aidan Caverly witnesses a horrid crime take part, by an equally as horrid killer, his life is flipped upside down. Instead of being in fear of this, in fact, serial killer, he finds himself getting lured into his ways. The matter doesn't get a...
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"If you don't get out you'll be late," he said, looking frustrated with me now.
Why the hell aren't I moving?
"Aiden, get out!" he growled. I flinched back but still refused to move.
I looked out my side of the window and saw a few people crowding the front gates now, watching and waiting for me to get out of the car. I knew they were curious what I was doing with him but not curious enough to ask me personally.
I looked to the right and saw a very angry looking Reagan standing there, with his equally as angry crew.
Oh heck no, there's no way in Hell I am getting out of this car now. With the stare down they were giving me I knew they would probably beat me to a pulp when Kieran was gone.
I looked back over to Kieran, only to see he was looking over at where my previous gaze had lingered. If looks could kill...
"C'mon, I'll walk you into the school," he said, getting out of the drivers seat.
I unbuckled myself and before I got the chance to open the car door Kieran was already standing there, with it wide open for me. I hesitated but grabbed my school bag; exiting the car.
I walked along side Kieran and we both entered the school, have the student body casting their gazes on the two of us. It's like they all knew something about him that I didn't, with the way they were looking at him.
We were now standing at my locker and I looked around with unease. Kieran bend down so his lips were on my ear, I shivered at the contact.
"Listen, if those fuckers decide to have a go at you just call me. You have my number, don't hesitate," he whispered then stood up straight again, leaving the school building. He even gave some of the other students heated stares on his way out.
My freaking hero.
He just saved me from a potential, and possible future beatings, I say that deserves a round of applause.
I could just kiss him! But I won't, mainly because I couldn't reach his face even if I had a bar stole under me and a pair of pumps on. He was just the tall.
I would just have to make sure to thank him when he picked me up after school.
Mrs. McMurphy was droning on and on about so American hero but I was only half listening. I was too eager to get out of this forsaken classroom and into the comforts of Kieran's presences. Sad, I know, but he had saved me today. Reagan was going to beat on me today, even after Kieran had left.
I had actually thought he would beat the living out of me but he didn't, he actually did something even more unexpected. He just gave me a dark look and walked away.
Reagan hadn't done anything to me, I had a peace full day at school and it was all because if Kieran. He was the reason for my peace of mind today and I was extremely grateful to him.
I just hoped he was not in the same mood he was in this morning when picking me up. That was a side of him I preferred not to see if him but I knew that was only wishful thinking. Kieran, I think, is easily tempered and there is no way of calming him when he was in one of those moods.
This morning I had actually thought he would drag me out of his car if I didn't get out, but he did not do that. I was really happy about that actually. I did not want him to be ill mannered when I was with him. He was the only one, now, that I could actually tolerate.
I glanced at the clock that was hanging on the wall, 10 more minutes and I would be freed from this Hell hole. Until tomorrow anyways. Then I would have to come back and endure another day of people's awkward stares, their constant gossiping - which was no doubt about me and Kieran -, and boring lessons that I would have to review by myself since this teachers were not making any sense about anything.
Seriously, she needed to get her facts straight about half the stuff she was teaching.
She was actually spouting some load of bullshit about how Sir Walter Raleigh laid his cloak over a mud puddle to keep Queen Elizabeth the first from getting her feet wet and how it was to catch her attention. Raleigh did catch the queen's attention, though, in 1581 when he urged England to conquer Ireland. The queen rewarded him with extensive landholdings in England and Ireland, knighted him, and naming him captain of the queen's guard two years after that.
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Which couturier designed Queen Elizabeth II’s wedding dress? | The Young Queen Elizabeth - Royal Gowns From The 1950s | Edelweiss Patterns Blog
The Young Queen Elizabeth
Posted by Edelweiss Patterns on June 6, 2012
This weekend as the world celebrated 60 years of Queen Elizabeth’s reign, we’ve had a wonderful chance to look back at how faithfully she and Prince Phillip have served the Commonwealth for the last six decades. Bright and chipper as ever, the Queen stills wears incredibly fashionable suits and hats, and insists that her umbrellas match each outfit. Her strikingly gorgeous white hair is styled in a curly coiffure reminiscent of the 1950s, and she is probably the only member of the Royal Family who sports bright red lipstick for every outing and event. So since we’re all in the “Royal” mood this week, I wanted to show some of my favorite pictures from her younger years and pass along a few things I learned about her wardrobe while studying in England.
The quintessential "princess" gown!
It has been said that Princess Elizabeth was rather conservative when it came to clothing choices, and while she was decidedly fashionable and chic she was certainly not a show-off. In the 1950s her evening gowns were always elaborately beaded and embroidered, but designed with a modest cut to befit a queen. A vast majority of her state banquet gowns were subdued hues of blue or cream, though on one grand occasion her childhood governess convinced her to wear red. This former nanny also recalled that in her teenage years she started making much more of a fuss about her appearance whenever Phillip arrived for a banquet or dance, though it wasn’t until her twenty-first birthday that their engagement was officially announced.
The newly engaged couple had known each other for eight years before they could finally get married.
Princess Elizabeth first saw Phillip when she was thirteen years of age, and was determined to marry only him ever since. Eight years later, she was finally planning the royal wedding she had dreamed of but had to be careful of extravagance due to the post-war rationing. Norman Hartnell designed this sumptuous silk wedding gown with embroidered flower motifs, which is now on display at Buckingham Palace for the Diamond Jubilee exhibit.
Doesn't she look like a fairytale princess?
Here are a few fun facts about Elizabeth’s wedding gown:
Princess Elizabeth may have been royalty, but she still had to adhere to ration regulations. So since her ration books alone would never have supplied the money for a royal wedding dress, dozens of other engaged girls from around the country sent her their wedding dress coupons from their own ration books. (In the end, the government did designate some financial support for the expense, but I think it was such a touching gesture from these brides-to-be!)
Norman Hartnell assigned the task of actually sewing the dress to one head seamstress and her three young assistants.
The girl who had to sew all the buttonholes down the back had never done buttonholes before! So after a crash-course in buttonholing she feverishly perfected the hand stitch on scraps on fabric before slicing into the actual dress. (She later explained that the dress had already been embroidered by this time, so if she had made a mistake it would have been catastrophic!)
Princess Elizabeth’s wedding dress had a total of 10,000 seed pearls embroidered in flower motifs! Norman Hartnell was unable to find such a great quantity in England, so one of his assistants flew to the United States in search of the precious beads. Upon arriving in London/Heathrow’s customs line, he was closely questioned as to what he was bringing back to the country. After declaring “Ten thousand seed pearls for Princess Elizabeth’s wedding dress,” he had to pay tax on the huge quantity of pearls before he was allowed to pass through customs!
Princess Elizabeth arriving at Buckingham Palace after her wedding. What a sweet looking girl!
The wedding itself was a glorious affair. Those who watched William & Catherine’s royal wedding would recognize all the same sights and locations – Elizabeth and Phillip were married in the same majestic cathedral, took the exact same route by horse-drawn carriage back to Buckingham, and appeared on the same balcony with other members of the royal family to greet the crowd of well-wishers below.
A rare color photograph of the royal couple.
Shortly after their wedding the Prince and Princess took an official royal tour of Canada, where every detail of Elizabeth’s wardrobe was reported by the media. Her hats were carefully planned by the commissioned designers so that “at all times her face could be seen by the public, and her headwear would not obstruct their view”.
Quite the hat, don't you think?
Princess-Turned-Queen
When Elizabeth arrived in London upon hearing of her father’s untimely death, she was wearing a full-skirted 1950s dress that was cut a couple of inches below the knee. This length of skirt had been quite common for her daywear wardrobe for the last decade, but apparently her mother did not approve of that length on someone who was queen. “Your skirt is much too short!” she scolded. But reporters noted that the next day (and for years following) the Queen appeared in public in the exact same sort of style. As close as Elizabeth and her mother remained, her fashion choices were apparently not to be influenced by her dear mama’ any longer. However, all her shorter day dresses were carefully weighted at the hems so that she wouldn’t have to fear if a stiff breeze came along!
Queen Elizabeth preparing to see a group of debutantes be presented in court.
Queen Elizabeth’s Formal Fashions
By the time Queen Elizabeth began her royal Commonwealth Tour in 1953, she had become known for a very regal fashion look – fitted bodices with beading and embroidery, enormously pouffed skirts, subtle colors, majestic silk fabrics, and a multitude of royal tiaras. It has been said that “What Elizabeth Wore” each day was at least as much anticipated as the current “Catherine Middleton” fashion craze ever was. While the Duchess of Cambridge wears toothpick-like dresses in her pre-children years, Queen Elizabeth had already given birth to two babies by the time she ascended the throne! Moreover, some of her most fashionable photographs were taken in her thirties after she’d had all four children, and still managed to keep up a perfect 1950s figure. In this sense she is quite a heroine to me, as someone who can have lots of children and still be beautiful is greatly to be admired.
Queen Elizabeth always looked resplendent for her royal banquets and parties.
So while these dresses would look much prettier if we had good photographs of them on her, I will have to make do with showing some of them on their current mannequins:
Look at those adorable pink bows!
Unlike the majority of Her Majesty’s 1950s gowns, this dress was designed by Hardy Amies. It was specially planned for the Queen’s banquet in Halifax, and so was incorporated with embroideries of mayflowers (the official symbol of Nova Scotia). The fabric itself was a bluish grey silk organza, accented by pink duchesses satin in the back. I am told that there was also a corresponding stole of the same design for the occasion.
A gold lame and lace ball gown.
This photo doesn’t quite do the gown justice, but this is one of my favorites from Queen Elizabeth’s royal tour in the 50s. Not much is known about this gown, except for the fact that it was a Hartnell creation and was first worn in Australia. The inner layer is gold lame’, with re-embroidered lace over the top.
Incredible beading!
This Hartnell design is really the perfect example of how his gowns for the Queen were styled. Cream duchesse satin was probably the most common material he used for her 1950s dresses, and the beading is what sets his designs apart.
A stunning white and green gown for the Canadian Tour.
This gown is one of my favorites! White silk is highly embellished with beads, embroidery, and emerald green velvet to reflect an all-over maple leaf design. The Queen liked to incorporate local emblems for whichever country she was visiting, resulting in some very stunning outfits. This one, made with Canada specially in mind, is now on loan in a Ottawa musuem during 2012.
Queen Elizabeth and Prince Phillip on their first official Commonwealth Tour.
One of two yellow “wattle” dresses which Elizabeth wore. It was a beautiful butter yellow color, and there is a famous painting of her wearing this very gown. Wattle is the national flower of Australia, so Her Majesty chose this creation for a state banquet in Sydney.
A rare pencil-skirt dress worn by the Queen.
Back home in Britain, the young Queen continued to wow the country with her magnificent apparel. No matter what the occasion, she wore an elegant dress, very fine makeup, and her inseperable high heel pumps.
The Queen giving a television address.
A romantic lace evening gown.
Her very bearing was so regal that it would be difficult to imagine her as anything else! With her long neck, dark wavy hair, full lips, thick eyebrows and decidedly elegant nose, she personified everyone’s image of the perfect young monarch.
And wherever she went, it was obvious that this fine lady was made to be Queen. From formal banquets to garden parties and charity work, Queen Elizabeth’s face shone with a radiant smile and cheerful countenance. And it is with great gratitude in our hearts that we congragulate her on sixty years of outstanding service to her country.
God save the Queen!
Wonderful dresses, the gold lame and lace ball gown is my favorite dress
Sarah said,
I love Queen Elizabeth!
Every one of those dresses are beautiful!
But my two favorites are the 2nd one from the top and the 2nd one from the bottom!
I wish they were in color!
Such an interesting read! Great post and I learned a few things about Queen Elizabeth II that I did not know before!
Sandra said,
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Actress Meg Ryan married which actor on 14th February 1991? | Norman Hartnell
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History
Sir Norman Hartnell combined flamboyant flair with the dignity and assurance of traditional British style. The designer who famously quipped, “I despise simplicity. It is the negation of all that is beautiful” was known for his opulent yet elegant designs, lavishly adorned embroidery, and use of intricate details. His repertoire of clients included Hollywood starlets, socialites, princesses and queens, all of whom were drawn to the glamour and palatial pomp exuded by his designs.
Hartnell began his career in fashion by designing costumes for the legendary Cambridge University Footlights Dramatic Club. After leaving Cambridge without a degree, he set up his eponymous label in 1923 on Bruton Street in Mayfair. Although best known as a couturier and official dressmaker to the Queen, Hartnell produced a range of collections over the course of his lifetime, including bridal wear, perfume, shoes, furs, menswear, jewellery and ready-to-wear.
His most famous commissions included his designs for Queen Elizabeth’s wedding dress in 1947, and his highly celebrated Coronation gown 6 years later. The Coronation gown, which was hand embroidered with 10,000 seed pearls and thousands of white crystal beads, all meticulously arranged to render emblems of the Commonwealth, is widely regarded today as a centerpiece in the history of ceremonial dress. The resplendent gown will be on display at Buckingham Palace this June as part of the Queen’s Diamond Jubilee celebrations.
The Queen Mother knighted Hartnell in 1977 for his services to the Royal Household. He became known as ‘The First Fashion Knight’, and was one of only four British designers to ever have been knighted; Norman Hartnell, Hardy Amies, Paul Smith and Vivienne Westwood.
Couture & Wedding
No other designer in the history of British Couture captivated London society the way Norman Hartnell did. Hartnell had a remarkable ability to create expressive designs, which both enhanced the individuality of the wearer, and sparked the imagination of the viewer.
Contemporaries such as Chanel and Christian Dior regarded him as a design inspiration. The British couturier was also the favourite designer of stage and screen stars Vivien Leigh and Marlene Dietrich, who were drawn to his Bruton Street salon.
Hartnell’s love for spectacle also found expression in his opulent wedding dresses. He was praised for his ability to create ethereal and romantic gowns which elevated character and body type. Brides from both sides of the Atlantic clamoured to have their gowns created by the designer.
It was not uncommon for the House of Hartnell to design for the entire bridal retinue. This dazzling panoply included dresses for the bridesmaids, the mother of the bride, the honeymoon wardrobe and trousseau. On occasion Hartnell would also dress the Groom’s family.
When the Duke and Duchess of Gloucester married in 1935, Hartnell designed both the Duchesses’ pearl pink satin wedding dress, and the dresses for her bridesmaids, Princess Elizabeth and Princess Margaret. This marked the beginning of his long and illustrious relationship with the Royal Family.
Hartnell was instrumental in helping the Queen Mother craft a sense of romanticism in her style. She became such an avid fan of Hartnell that she insisted he design bridal gowns for both her daughters, Princess Elizabeth in 1947, and Princess Margaret in 1960. Hartnell claimed that his ivory silk, crystal and seed pearl embroidered gown for Princess Elizabeth was “the most beautiful dress” he had made to date. The 13- foot-long star-patterned train was inspired by Botticelli’s Primavera, and captured the imagination of a stricken post-war Britain in search of escapism.
Menswear
The Norman Hartnell Menswear collections were striking. Suits with clean, sharp lines and glamorous evening wear using the latest in fabrics, colours and styles. The name, popular with both Licensees and their clientele, is synonymous with a strength and elegance that comes from the heart of what Norman Hartnell wanted to achieve as a designer.
His strength of cut and line is shown in this striking example from the late sixties - Hartnell was responsible for bringing back the double breasted jacket in the late sixties; his styles were the direct precursor to many of today’s styles.
Homeware
Norman Hartnell also had a passion for interior design. He transformed his Windsor Forest country home, Lovel Dene, into a Regency period-inspired sanctuary. The décor was extravagant, awash with rich floral displays, velvet upholstery, mirrored tables, crystal chandeliers and tasselled carpets.
Today, Hartnell Home embodies this spirit of stately refinement. The collection covers the entire spectrum of home products including bathroom, bedroom, tabletop and living room sets. Inspired by Hartnell’s colour palette, his illustrations and original embroidery, Hartnell Home is a contemporary range which pays homage to its regal heritage. Each product is infused with its own story, and is crafted with the greatest commitment to quality.
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What is the name of the 17th Century monk who it is believed was the inventor of champagne? | Champagne: France, History of Champagne, Dom Perignon | Into Wine
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Champagne: France, History of Champagne, Dom Perignon
Champagne has launched thousands of ships, toasted billions of weddings and special occasions, flutes attended countless parties, and shared untold special moments between two people. Champagne is the wine of celebration. No other wine is so associated with joy and festivity. Its meaning and appeal are universal. Champagne makes the young sages and the old young again.
Champagne has exported its techniques around the world. Sparkling wines are made the world over, but here we will explore the sparkling wines from the north of France called Champagne.
Pronunciation Guide
Côte des Blancs [coat deh blahn]
Dosage [doh-SAHJ]
Montagne de Reims [mohn-tahn-yuh duh rem]
Vallée de la Marne [val-ay duh lah marn]
The History of Champagne
Champagne was a region long before it was a sparkling wine. The region lies at a crossroads of northern Europe – the river valleys leading south to the Mediterranean and north to Paris, the English Channel and Western Germany – and thus has been the setting of many dramatic events in the history of the French nation. As a convenient access point, it has been for hundreds of years, the chosen path of many invaders including Attila the Hun. The Hundred Years' War and the Thirty Years' War brought repeated destruction to the region as armies marched back and forth across its landscape. By the 17th century, the city of Reims has seen destruction seven times and Epernay no less than twenty-five times.
But crossroads also bring trade. Champagne gained importance in its own right, during the middle ages as a center of European trade. The medieval counts of C
hampagne were wise enough to encourage commerce and strong enough to protect the traveling merchants. They created the then famous, Fairs of Champagne. Though these fairs were mainly about cloth, they were of obvious benefit for the wines of Champagne as it gave them easy exposure and access to important wine markets.
Champagne also benefited when the cathedral at Reims was chosen in 987 AD, as the coronation site for the French king Hugh Capet and establishing Reims as the spiritual capital of medieval France. In fact, thirty-seven kings of France were crowned there between 816 and 1825. The monasteries in Champagne with the economic assistance of the crown, were to make wine production a serious venture until the French Revolution in 1789.
Before the mid-1600's there was no Champagne as we think of it. For centuries the wines were still wines and were held in high regard by the nobility of Europe. But the cool climate of the region and its effect on the wine making process was to play an important part in changing all of that.
We owe a lot to Dom Pérignon as any inventor owes those who have come before him. He is not however the inventor of champagne as is often thought. Pierre Pérignon was a Benedictine monk who, in 1688, was appointed treasurer at the Abby of Hautvillers. The Abby is located near Epernay. Included in Dom Pérignon's duties was the management of the cellars and wine making. The bubbles in the wine are a natural process arising from Champagne's cold climate and short growing season. Of necessity, the grapes are picked late in the year. This doesn't leave enough time for the yeasts present on the grape skins to convert the sugar in the pressed grape juice into alcohol before the cold winter temperatures put a temporary stop to the fermentation process. With the coming of Spring's warmer temperatures, the fermentation is again underway, but this time in the bottle. The refermentation creates carbon-dioxide which now becomes trapped in the bottle, thereby creating the sparkle.
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For Dom Pérignon and his contemporaries, sparkling wine was not the desired end product. It was a sign of poor wine making. He spent a great deal of time trying to prevent the bubbles, the unstableness of this "mad wine," and the creation of a decidedly white wine the court would prefer to red burgundy. He was not able to prevent the bubbles, but he did develop the art of blending. He not only blended different grapes, but the juice from the same grape grown in different vineyards. Not only did he develop a method to press the black grapes to yield a white juice, he improved clarification techniques to produce a brighter wine than any that had been produced before. To help prevent the exploding bottle problem, he began to use the stronger bottles developed by the English and closing them with Spanish cork instead of the wood and oil-soaked hemp stoppers then in use. Dom Pérignon died in 1715, but in his 47 years as the cellar master at the Abby of Hautvillers, he laid down the basic principles still used in making Champagne today.
Although sparkling Champagne was only about 10% of the region's output in the 18th century, it was enjoyed increasingly as the wine of English and French royalty and the lubricant of preference at aristocratic gatherings. Its popularity continued to grow until, in the 1800's, the sparkling wine industry was well established.
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In an episode of the television show ‘The Simpsons’, who does Lisa give a Valentine card to with a picture of a train saying ‘I Choo Choo Choose You’? | Hautvillers: The cradle of champagne - Champagne Joseph Desruets, Hautvillers, France
Hautvillers: The cradle of champagne
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Champagne Desruets / Hautvillers: Cradle of Champagne
It is called « Hautvillers » from « Haut » (meaning « high » in English). It is high in name, and high it is. Here the thick foliage of the trees crowns the area. On its many hills grows an ocean of grape-bearing vines, the juice of which will shine through coupes as radiantly as the pearls it contains. At the foot of the hills, the majestic Marne river embellishes the site.
Dom Almanne, a Monk at Hautvillers during the 9th Century.
Hautvillers: a terroir worth Discovering…
A quaint village steeped in history, Hautvillers, cradle of Champagne, is renowned for the quality of its soil and its black grapes. Take a stroll through the village and discover its many boutiques, its typical houses representative of the local architecture, and its narrow streets…
Enrolled to the UNESCO World Heritage since July 2015, the village is proud to show how valuable its hills, its wine cellars and its original architecture are. Desruets House supported this project
Origins of the village
The origins of Hautvillers date back to the 7th century when the abbey was founded on the hillsides above the valley. The legend has it that Saint-Nivard was once coming back from Epernay with his disciple, Berchaire. After crossing the river, he decided that he deserved a rest and lay his head on Berchaire’s knees. Nivard started crying, so his disciple asked what was causing his tears. He explained that he was crying over the ruins of his monastery. Berchaire then saw a dove flying in circles above the forrest, before it eventually landed on a beech tree. The bird’s flight was interpreted as a divine sign for where the old stone building should be erected.
The monk Dom Pérignon
Hautvillers is well-known thanks to a monk called Dom Pérignon, who was equally famous and mysterious, and who used to live there. Dom Pérignon’s name is associated with the exploitation of the vines and the production of wines that contributed to the wealth of the monastery in the 17th century. More than a century later, due to sketchy sources and the lack of written evidence from the man himself, a legend developped around him as the inventor of champagne. After stopping up flasks of white wine with airtight corks made of bees’ wax, the tale goes that he thus caused a second fermentation to take place due to sugar flowing out. That was how the effervescence and the bubbles that are peculiar to the wines of Champange were allegedly born. The true genius of the monk resided in his ability to assemble the best grapes from different varieties of vines. His science, which is still admired today, is what put the abbey’s wines on royal tables and built their reputation for excellence.
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The phrase ‘Sweets to the sweet’ is from which Shakespeare play? | Sweets to the sweet - eNotes Shakespeare Quotes
Sweets to the sweet
[Scattering flowers] Sweets to the sweet, farewell!
I hop'd thou shouldst have been my Hamlet's wife:
I thought thy bride-bed to have deck'd, sweet maid,
And not have strew'd thy grave.
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When Hamlet's mother, the queen, delivers "Sweets to the sweet," she's not bearing a hostess gift or offering candy to her date. The queen's "sweets" are funeral bouquets scattered in the grave of Ophelia, Hamlet's former flame.
The prince, who has just finished addressing the skull of Yorick [see ALAS, POOR YORICK ], stumbles upon the funeral, ignorant that Ophelia has likely committed suicide. The murder of her father had driven Ophelia mad; Hamlet was the murderer, and the queen a witness. This is all bad enough. But the queen's elegiac nostalgia for her son's courtship of this deceased "sweet" is all the more disturbing in light of Hamlet's somewhat over-arduous attachment to his mother.
It's therefore ironic that "sweets to the sweet" has become a corny quotation for those special romantic moments. How effective the line proves depends on how vividly one's "sweet" is likely to recall the graveyard scene in Hamlet . You might, however, find these bons mots most winning when offered with a willow branch and a whiff of charm to a soon-to-be-insignificant other.
| Hamlet |
On which date is St Valentine’s Day traditionally celebrated? | Hamlet - Wikiquote
Hamlet
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world .
The Tragedy of Hamlet, Prince of Denmark is a revenge tragedy by William Shakespeare , and is one of his most well-known and oft-quoted plays. It is uncertain exactly when it was written, but scholars tend to place its composition between 1600 and the summer of 1602.
Contents
I'll speak to it though Hell itself should gape
And bid me hold my peace .
You come most carefully upon your hour.
Francisco, scene i
Our sometime sister, now our Queen.
Claudius, scene ii
Claudius: ...But now, my cousin Hamlet, and my son —
Hamlet: A little more than kin, and less than kind.
Claudius: How is it that the clouds still hang on you?
Hamlet: Not so my lord; I am too much i' the sun.
scene ii
Seems, madam! Nay, it is; I know not "seems."
Hamlet, scene ii
O, that this too too solid flesh would melt,
Thaw, and resolve itself into a dew.
Hamlet, scene ii
Note: "Solid" is the word found in the First Folio edition of the plays (1623). Earlier versions (the First and Second Quartos), had used the word "sallied." In some later editions, the word was "sullied."
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world.
Hamlet, scene ii
Frailty, thy name is woman!
Hamlet, scene ii
But break, my heart, for I must hold my tongue.
Hamlet, scene ii
Thrift, thrift, Horatio! The funeral bak'd meats
Did coldly furnish forth the marriage tables.
Hamlet, scene ii
A countenance more in sorrow than in anger.
Horatio, scene ii
I'll speak to it though Hell itself should gape
And bid me hold my peace.
Hamlet, scene ii
For Hamlet, and the trifling of his favours,
Hold it a fashion and a toy in blood;
A violet in the youth of primy nature,
Forward, not permanent, sweet, not lasting,
The perfume and suppliance of a minute —
No more.
Do not, as some ungracious pastors do,
Show me the steep and thorny way to heaven,
Whiles, like a puff'd and reckless libertine,
Himself the primrose path of dalliance treads.
And recks not his own rede.
Ophelia, scene iii
Be thou familiar, but by no means vulgar.
Polonius, scene iii
Give every man thy ear, but few thy voice;
Take each man's censure, but reserve thy judgment.
Polonius, scene iii
Costly thy habit as thy purse can buy,
But not express'd in fancy; rich, not gaudy;
For the apparel oft proclaims the man.
Polonius, scene iii
Neither a borrower nor a lender be:
For loan oft loses both itself and friend.
Polonius, scene iii
This above all — to thine own self be true;
And it must follow, as the night the day,
Thou canst not then be false to any man.
Polonius, scene iii
But to my mind, — though I am native here
And to the manner born, — it is a custom
More honour'd in the breach than the observance.
Hamlet, scene iv
Why, what should be the fear?
I do not set my life at a pin's fee,
And for my soul, what can it do to that,
Being a thing immortal as itself?
Hamlet, scene iv
Something is rotten in the state of Denmark.
Marcellus, scene iv
My hour is almost come
When I to sulphrous and tormenting flames
Must render up myself.
Murder most foul, as in the best it is;
But this most foul, strange, and unnatural.
Ghost, scene v
The serpent that did sting thy father's life
Now wears his crown.
Cut off even in the blossoms of my sin.
Ghost, scene v
O horrible, O horrible, most horrible!
Ghost, scene v
And each particular hair to stand on end,
Like quills upon the fretful porpentine.
Ghost, scene v
Variant: Most modern publications modernize this phrase to "Like quills upon the fretful porcupine."
O most pernicious woman!
O, villain, villain, smiling, damned villain!
My tables, — meet it is I set it down,
That one may smile, and smile, and be a villain.
Hamlet, scene v
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.
Hamlet, scene v
How strange or odd soe'er I bear myself —
As I perchance hereafter shall think meet
To put an antic disposition on.
Hamlet, scene v
The time is out of joint; O cursed spite,
That ever I was born to set it right!
Hamlet, scene v
Wherein I'll catch the conscience of the king.
Therefore, since brevity is the soul of wit,
And tediousness the limbs and outward flourishes,
I will be brief.
More matter with less art.
Gertrude, scene ii.
That he is mad, 'tis true; 'tis true 'tis pity;
And pity 'tis 'tis true: a foolish figure;
But farewell it, for I will use no art.
Polonius, scene ii
Doubt thou the stars are fire;
Doubt that the sun doth move;
Doubt truth to be a liar;
But never doubt I love.
Hamlet, from a letter read by Polonius, scene ii
Polonius: Do you know me, my lord?
Hamlet: Excellent well; you're a fishmonger.
Polonius: Not I, my lord.
Hamlet Then I would you were so honest a man.
Polonius: Honest, my lord!
Hamlet: Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand.
Polonius: That's very true, my lord.
Hamlet: [Reads] For if the sun breed maggots in a dead dog, being a god kissing carrion, — Have you a daughter?
Polonius: I have, my lord.
Hamlet: Let her not walk i' the sun: conception is a blessing: but not as your daughter may conceive; — friend, look to 't.
Polonius: [Aside] How say you by that? Still harping on my daughter: — yet he knew me not at first; he said I was a fishmonger: he is far gone, far gone: and truly in my youth I suffered much extremity for love; very near this.
scene ii
Polonius: What do you read, my lord?
Hamlet: Words, words, words.
scene ii
Polonius: [Aside] Though this be madness, yet there is method in 't. — Will you walk out of the air, my lord?
Hamlet: Into my grave.
scene ii
Polonius: My honored lord, I will most humbly take my leave of you.
Hamlet: You cannot, sir, take from me anything that I will more willingly part withal — except my life — except my life — except my life.
scene ii
Hamlet: My excellent good friends! How dost thou Guildenstern? Ah, Rosencrantz! Good lads, how do you both?
Rosencrantz: As indifferent as children of the earth.
Guildenstern: Happy in that we are not overhappy; on Fortune's cap we are not the very button.
Hamlet: Nor the soles of her shoe?
Rosencrantz: Neither, my lord.
Hamlet: Then you live about her waist, or in the middle of her favours?
Guildenstern: Faith, her privates we.
Hamlet: In the secret parts of Fortune? O, most true! She is a strumpet. What's the news?
Rosencrantz: None, my lord, but that the world's grown honest.
Hamlet: Then is doomsday near.
scene ii
There is nothing either good or bad, but thinking makes it so.
Hamlet, scene ii
I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams.
Hamlet, scene ii
Beggar that I am, I am even poor in thanks.
Hamlet, scene ii
I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises, and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory. This most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me then a foul and pestilent congregation of vapours. What a piece of work is a man! How noble in reason! how infinite in faculty! in form, in moving, how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust? man delights not me; no, nor woman neither, though, by your smiling, you seem to say so.
Hamlet, scene ii
Use every man after his desert, and who should 'scape whipping?
Hamlet, scene ii
O! what a rogue and peasant slave am I!
Hamlet, scene ii
What's Hecuba to him, or he to Hecuba,
That he should weep for her?
Hamlet, scene ii
That I, the son of a dear father murdered,
Prompted to my revenge by heaven and hell,
Must like a whore unpack my heart with words,
and fall a-cursing like a very drab
Hamlet, scene ii
The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
Hamlet, scene ii
Be all my sins remembered.
Get thee to a nunnery: why wouldst thou be a breeder of sinners?
We are oft to blame in this, —
'Tis too much prov'd, — that with devotion's visage,
And pious action, we do sugar o'er
The devil himself.
To be, or not to be, — that is the question: —
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? — To die, to sleep, —
No more; and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to, — 'tis a consummation
Devoutly to be wish'd. To die, to sleep; —
To sleep, perchance to dream: — ay, there's the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of despis'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? who would these fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death, —
The undiscover'd country, from whose bourn
No traveller returns, — puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know naught of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought;
And enterprises of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action.
Hamlet, scene i
The fair Ophelia! — Nymph, in thy orisons
Be all my sins remember'd.
Hamlet, scene i
Get thee to a nunnery: why wouldst thou be a breeder of sinners? I am myself indifferent honest; but yet I could accuse me of such things that it were better my mother had not borne me. I am very proud, revengeful, ambitious; with more offences at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves all; believe none of us.
Hamlet, scene i
Rich gifts wax poor when givers prove unkind.
Ophelia, scene i
I say, we will have no more marriages: those that are married already, — all but one, — shall live; the rest shall keep as they are.
Hamlet, scene i
O! what a noble mind is here o'erthrown!
Ophelia, scene i
To have seen what I have seen, see what I see!
Ophelia, scene i
Madness in great ones must not unwatched go.
Claudius, scene i
Gertrude: Come hither, my dear Hamlet, sit by me.
Hamlet: No, good mother, here's metal more attractive. [Hamlet takes a place near Ophelia.]
scene ii
Hamlet: Lady, shall I lie in your lap?
Ophelia: No, my lord.
Hamlet: I mean, my head upon your lap?
Ophelia: Ay, my lord.
Hamlet: Do you think I meant country matters?
scene ii
So long? Nay, then, let the devil wear black, for I'll have a suit of sables. Oh heavens! die two months ago, and not forgotten yet? Then there's hope a great man's memory may outlive his life half a year.
Hamlet, scene ii
The lady doth protest too much, methinks.
Gertrude, scene ii
Why, look you now, how unworthy a thing you make of me. You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass; and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.
Hamlet, scene ii
Hamlet: Do you see yonder cloud that's almost in shape of a camel?
Polonius: By th' Mass, and 'tis like a camel, indeed.
Hamlet: Methinks it is like a weasel.
Polonius: It is backed like a weasel.
Hamlet: Or like a whale.
Polonius: Very like a whale.
scene ii
Tis now the very witching time of night,
When churchyards yawn and hell itself breathes out
Contagion to this world: now could I drink hot blood,
And do such bitter business, as the day
Would quake to look on.
Hamlet, scene ii
Let me be cruel, not unnatural;
I will speak daggers to her, but use none.
Hamlet, scene ii
O! my offence is rank, it smells to heaven.
Claudius, scene iii
What if this cursed hand
Were thicker than itself with brother's blood, —
Is there not rain enough in the sweet heavens
To wash it white as snow?
Claudius, scene iii
Now might I do it pat, now he is praying;
And now I'll do 't: and so he goes to heaven;
And so am I reveng'd.
Hamlet, scene iii
My words fly up, my thoughts remain below;
Words without thoughts never to heaven go.
Claudius, scene iii
Hamlet: How now! a rat? Dead, for a ducat, dead!
Polonius: Oh, I am slain!
scene iv
Thou wretched, rash, intruding fool, farewell!
I took thee for thy better.
Hamlet, scene iv
In the rank sweat of an enseamed bed,
Stew'd in corruption, honeying and making love
Over the nasty sty.
I must be cruel, only to be kind: Thus bad begins and worse remains behind.
Hamlet, scene iv
Be thou assur'd, if words be made of breath,
And breath of life, I have no life to breathe
What thou hast said to me.
Gertrude, scene iv
Good-night, ladies; good-night, sweet ladies; good-night, good-night.
So, haply, slander —
Whose whisper o'er the world's diameter,
As level as the cannon to his blank,
Transports his poisoned shot — may miss our name
And hit the woundless air. — O, come away!
My soul is full of discord and dismay.
Claudius, scene i
Rosencrantz: I understand you not, my lord.
Hamlet: I am glad of it: a knavish speech sleeps in a foolish ear.
Rosencrantz: My lord, you must tell us where the body is, and go with us to the king.
Hamlet: The body is with the king, but the king is not with the body. The king is a thing —
Guildenstern: A thing, my lord?
Hamlet: Of nothing.
scene ii
Hamlet: A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm.
Claudius: What dost thou mean by this?
Hamlet: Nothing but to show you how a king may go a progress through the guts of a beggar.
scene iii
Claudius: Where is Polonius?
Hamlet: In heaven; send thither to see. If your messenger find him not there, seek him i' the other place yourself. But, indeed, if you find him not within this month, you shall nose him as you go up the stairs into the lobby.
scene iii
How all occasions do inform against me,
And spur my dull revenge!
Hamlet, scene iv
O! from this time forth,
My thoughts be bloody, or be nothing worth!
Hamlet, scene iv
We know what we are, but know not what we may be.
Ophelia, scene v
Good-night, ladies; good-night, sweet ladies; good-night, good-night.
Ophelia, scene v
When sorrows come, they come not single spies,
But in battalions.
I'm lost in it, my lord. But let him come;
It warms the very sickness in my heart,
That I shall live and tell him to his teeth,
'Thus diest thou.'
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears.
Laertes, scene vii
What is the reason that you use me thus?
I lov'd you ever: but it is no matter.
Let Hercules himself do what he may,
The cat will mew, and dog will have his day.
Hamlet, scene i
There's a divinity that shapes our ends,
Rough-hew them how we will.
Hamlet, scene ii
We defy augury; there's a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all.
Hamlet, scene ii
The potent poison quite o'er-crows my spirit:
I cannot live to hear the news from England;
But I do prophesy the election lights
On Fortinbras: he has my dying voice;
So tell him, with the occurrents, more and less,
Which have solicited. The rest is silence.
Hamlet, scene ii; variant, from the First Folio: The rest is silence. O, o, o, o. [Dies]
If thou didst ever hold me in thy heart,
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,
To tell my story.
Now cracks a noble heart. Good-night, sweet prince;
And flights of angels sing thee to thy rest.
Horatio, scene ii
Bear Hamlet, like a soldier, to the stage.
Fortinbras, scene ii
Go, bid the soldiers shoot.
Fortinbras, scene ii
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What is Arnold Scwarzeneggar’s profession in the 2002 film ‘Collateral Damage’? | Collateral Damage (2002) - IMDb
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After his family is killed by a terrorist act, a firefighter goes in search of the one responsible.
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Edit
Storyline
Firefighter Gordon Brewer is plunged into the complex and dangerous world of international terrorism after he loses his wife and child in a bombing credited to Claudio "The Wolf" Perrini. Frustrated with the official investigation and haunted by the thought that the man responsible for murdering his family might never be brought to justice, Brewer takes matters into his own hands and tracks his quarry ultimately to Colombia. Written by Jason
The Act Itself Wasn't Personal...HIS VENGEANCE WILL BE [UK tag-line] See more »
Genres:
Rated R for violence and some language | See all certifications »
Parents Guide:
8 February 2002 (USA) See more »
Also Known As:
$15,058,432 (USA) (8 February 2002)
Gross:
Did You Know?
Trivia
An early draft of this film's screenplay set the action in Libya and involved the Gordon Brewer character tracking down the Arab terrorists who killed his family. Andrew Davis changed the story's setting (and terrorists) to Colombia. See more »
Goofs
When Selena is looking at potential terrorist attack sites on a flat screen computer monitor, a Department of Justice sticker appears at the top right corner of the monitor, then disappears. See more »
Quotes
[referring to Gordon as Armstrong's replacement]
Felix : It's like ordering a pizza. You ask for Canadian Bacon you end up with a German sausage.
Sindrome de caim (Bang Bang-Long)
Written and Performed by DJ Jamaika
Courtesy of Warner Music Brazil Ltd
By Arrangement with Warner Special Products
Entertaining, As Always, Especially With Francesca Neri
7 July 2006 | by ccthemovieman-1
(United States) – See all my reviews
Yes, another typical Arnold Schwarnegger film which translates to (a) interesting all the way; (b) very violent; (c) very far-fetched. Here, Arnold is just a plain old fireman but he turns into superhero, doing things only Superman or Batman could accomplish....but it's still fun to watch.
After seeing his wife and kid blown up by Columbian terrorists, Arnold goes after the latter, traveling to the jungles of that South American country and taking them on! In the end, he's in Washington trying to diffuse another terrorist plot. He's amazing. What CAN'T this guy do? Yes, it's ludicrous....but it's not meant to be taken seriously, folks! It's just entertainment for fans of action movies, nothing more.
There is a nice twist at the end of this story and it involves a very intriguing-looking woman, Francesco Neri. I just love that woman's face: very sexy, especially for someone her age. She's also in "Hannibal" but I think the rest of her films are Italian. I would like to see more of her work.
There are also some short appearances by two always-entertaining actors, John Turturro and John Leguizimo. Scharwarznegger's action films usually have a fair amount of tongue-in-cheek humor and those two actors help along those lines in this film.
Elias Koteas plays the too-gung-ho FBI guy. Hollywood just will not portray an FBI, CIA, DEA, or any government agent in a positive manner. That would offend their liberal peers in the movie business, so Koteas plays the lawman you can't trust in this movie. In fact, they make it so you don't know if you can trust anyone in the government, which also is typical Hollywood fare.
Don't believe the national critics, however, if they panned this film. It's two hours of good escapist fare.
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How many double letter squares are on a standard Scrabble board? | Collateral Damage by Andrew Davis |Andrew Davis, Arnold Schwarzenegger, Elias Koteas, Francesca Neri | 883929077670 | DVD | Barnes & Noble®
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Overview
This action-adventure, that features a terrorist plot from The Fugitive (1993), saw its October 2001 release date moved back four months as a result of real-life terrorist attacks on the United States. Arnold Schwarzenegger stars as Gordon Brewer, a Los Angeles firefighter who witnesses the deaths of his wife and child, innocent victims of a terrorist attack on a motorcade carrying Colombian dignitaries. Responsibility for the deadly explosion belongs to Claudio "The Wolf" Perrini (Cliff Curtis), a terrorist and rebel in Colombia's decade-long civil war. When times passes with no suspect being brought to justice, Brewer rejects the advice of FBI agent Peter Brandt (Elias Koteas) and travels to the jungles of Colombia to find and take revenge upon his family's murderer himself. Encountering a complex web of death squads, right-wing military officials, guerrillas, terrorists and drug-lords, Brewer is aided in his dangerous quest by an unlikely ally, the beautiful Selena Perrini (Francesca Neri), his quarry's wife. Collateral Damage (2002) co-stars John Leguizamo and John Turturro.
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Editorial Reviews
Barnes & Noble - Ed Hulse
Completed before September 11th but given added resonance by the events of that tragic day, Collateral Damage pits a Los Angeles firefighter (action megastar Arnold Schwarzenegger ) against a multinational terrorist, with predictably explosive results. In this thriller directed by Andrew Davis ( The Fugitive ) with his characteristic panache, a Colombian terrorist known as "El Lobo" (the Wolf) takes out an enemy with a bomb at an L.A. office building -- just as Gordon Brewer (Schwarzenegger) is arriving to meet his wife and young son at a nearby café. When his family perishes before his eyes and his government gives him the runaround, Brewer decides to go on a little Wolf hunt -- shrugging off the warnings of a duplicitous federal agent ( Elias Koteas ) whose own Wolf quest is a somewhat more complex matter. Davis then treats us to a mini-remake of Apocalypse Now , painstakingly depicting Brewer’s arduous trip upriver through Panama to the terrorists’ hidden camp. At age 55, Arnold isn’t quite as vigorous or indestructible as he once seemed, and the director works his star’s real-life limitations into the film’s numerous hand-to-hand confrontations. Action sequences are still teeth-rattling, in the best Schwarzenegger tradition, and the pulse-pounding finale provides a suitably incendiary demise for the bad guys. Wildly improbable yet viscerally satisfying, Collateral Damage won’t disappoint Arnold’s loyal fans. Davis supplies a commentary on the DVD, which also includes an HBO "First Look" program, a newly shot documentary entitled "The Hero in a New Era," and deleted scenes.
All Movie Guide - Karl Williams
Andrew Davis certainly knows how to craft an action sequence and there's one right up front during the opening credits of this Arnold Schwarzenegger vehicle that indicates the director's talent for visual storytelling. It's a building fire from which an elderly victim must be rescued, and in post-terrorist attack America, the sight of firefighters risking their lives to save others is a moment that will either leave one choked up or cheering. Sadly, the film oddly deflates after that, reminding us all that Davis has followed up his nifty The Fugitive (1993) with well-mounted dross such as Steal Big, Steal Little (1995) and Chain Reaction (1996). This film was release-delayed in the wake of the Twin Towers attack, its firefighter hero and terrorist plot considered too painfully close to home, but it won't remind anybody of September 11th, it will make them think they've been transported back to the 1980s, when audiences liked the fact that Schwarzenegger, Sylvester Stallone, and Bruce Willis flexed their arms a lot more than their acting muscles. What is amazing about this revenge fantasy is how relevant it isn't; it's the retro, white man's retribution of Death Wish (1974), gussied up with a veneer of modern geopolitics, but it can't hide the fact that it's the same old Arnold, mealy-mouthed Teutonic accent fully intact, that unspooled in such so-bad-it's-good, high-octane entertainments as Commando (1985) and Raw Deal (1986). Except that it truly isn't the same world as it was in the escapist, saber-rattling '80s, and the whole spectacle just feels phonier, emptier, and dumber than ever before. For one thing, the lead's wife and child don't share the screen long enough to actually become characters, muting his sense of loss and serving only as cynical catalysts for carnage. Real life certainly did intrude on the potential success of Collateral Damage (2002), but in the opposite manner of what the filmmakers feared. Their movie leaves an audience feeling not more than it should, but a whole lot less.
Chicago Sun-Times - Roger Ebert
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About this poet
George Gordon Byron was born on January 22, 1788, in Aberdeen, Scotland, and inherited his family's English title at the age of ten, becoming Baron Byron of Rochdale. Abandoned by his father at an early age and resentful of his mother, who he blamed for his being born with a deformed foot, Byron isolated himself during his youth and was deeply unhappy. Though he was the heir to an idyllic estate, the property was run down and his family had no assets with which to care for it. As a teenager, Byron discovered that he was attracted to men as well as women, which made him all the more remote and secretive.
He studied at Aberdeen Grammar School and then Trinity College in Cambridge. During this time Byron collected and published his first volumes of poetry. The first, published anonymously and titled Fugitive Pieces, was printed in 1806 and contained a miscellany of poems, some of which were written when Byron was only fourteen. As a whole, the collection was considered obscene, in part because it ridiculed specific teachers by name, and in part because it contained frank, erotic verses. At the request of a friend, Byron recalled and burned all but four copies of the book, then immediately began compiling a revised version—though it was not published during his lifetime. The next year, however, Byron published his second collection, Hours of Idleness, which contained many of his early poems, as well as significant additions, including poems addressed to John Edelston, a younger boy whom Byron had befriended and deeply loved.
By Byron's twentieth birthday, he faced overwhelming debt. Though his second collection received an initially favorable response, a disturbingly negative review was printed in January of 1808, followed by even more scathing criticism a few months later. His response was a satire, English Bards and Scotch Reviewers, which received mixed attention. Publicly humiliated and with nowhere else to turn, Byron set out on a tour of the Mediterranean, traveling with a friend to Portugal, Spain, Albania, Turkey, and finally Athens. Enjoying his new-found sexual freedom, Byron decided to stay in Greece after his friend returned to England, studying the language and working on a poem loosely based on his adventures. Inspired by the culture and climate around him, he later wrote to his sister, "If I am a poet ... the air of Greece has made me one."
Byron returned to England in the summer of 1811 having completed the opening cantos of Childe Harold's Pilgrimage, a poem which tells the story of a world-weary young man looking for meaning in the world. When the first two cantos were published in March of 1812, the expensive first printing sold out in three days. Byron reportedly said, "I awoke one morning and found myself famous."
His fame, however, was among the aristocratic intellectual class, at a time when only cultivated people read and discussed literature. The significant rise in a middle-class reading public, and with it the dominance of the novel, was still a few years away. At 24, Byron was invited to the homes of the most prestigious families and received hundreds of fan letters, many of them asking for the remaining cantos of his great poem—which eventually appeared in 1818.
An outspoken politician in the House of Lords, Byron used his popularity for public good, speaking in favor of workers' rights and social reform. He also continued to publish romantic tales in verse. His personal life, however, remained rocky. He was married and divorced, his wife Anne Isabella Milbanke having accused him of everything from incest to sodomy. A number of love affairs also followed, including one with Claire Clairmont, the poet Percy Bysshe Shelley <’s sister-in-law. By 1816, Byron was afraid for his life, warned that a crowd might lynch him if he were seen in public.
Forced to flee England, Byron settled in Italy and began writing his masterpiece, Don Juan, an epic-satire novel-in-verse loosely based on a legendary hero. He also spent much of his time engaged in the Greek fight for independence and planned to join a battle against a Turkish-held fortress when he fell ill, becoming increasingly sick with persistent colds and fevers.
When he died on April 19, 1824, at the age of 36, Don Juan was yet to be finished, though 17 cantos had been written. A memoir, which also hadn't been published, was burned by Byron's friends who were either afraid of being implicated in scandal or protective of his reputation.
Today, Byron's Don Juan is considered one of the greatest long poems in English written since John Milton’ s Paradise Lost. The Byronic hero, characterized by passion, talent, and rebellion, pervades Byron's work and greatly influenced the work of later Romantic poets .
| Lord Byron |
What must a referee count to when a professional wrestler is pinned? | 6th Baron Byron - 'Epitaph to a Dog' (1808)
6th Baron Byron
are deposited the Remains of one
who possessed Beauty without Vanity,
Strength without Insolence,
and all the virtues of Man without his Vices.
This praise, which would be unmeaning Flattery
if inscribed over human Ashes,
is but a just tribute to the Memory of
BOATSWAIN, a DOG,
who was born in Newfoundland May 1803
and died at Newstead Nov. 18, 1808.
A Landseer Newfoundland dog, the same breed as Byron's Boatswain
When some proud Son of Man returns to Earth,
Unknown by Glory, but upheld by Birth,
The sculptor’s art exhausts the pomp of woe,
And storied urns record who rests below.
When all is done, upon the Tomb is seen,
Not what he was, but what he should have been.
But the poor Dog, in life the firmest friend,
The first to welcome, foremost to defend,
Whose honest heart is still his Master’s own,
Who labours, fights, lives, breathes for him alone,
Unhonoured falls, unnoticed all his worth,
Denied in heaven the Soul he held on earth –
While man, vain insect! hopes to be forgiven,
And claims himself a sole exclusive heaven.
Oh man! thou feeble tenant of an hour,
Debased by slavery, or corrupt by power –
Who knows thee well must quit thee with disgust,
Degraded mass of animated dust!
Thy love is lust, thy friendship all a cheat,
Thy tongue hypocrisy, thy words deceit!
By nature vile, ennobled but by name,
Each kindred brute might bid thee blush for shame.
Ye, who perchance behold this simple urn,
Pass on – it honors none you wish to mourn.
To mark a friend’s remains these stones arise;
I never knew but one – and here he lies.
Byron's 'Epitaph to a Dog'
Byron's memorial poem "Epitaph to a Dog" was written in 1808, following the death of his Newfoundland dog, named Boatswain. The dog had contracted rabies, and the poem was written to eulogize the dog, with Byron planning to use the last two lines as the inscription on the dogs tomb. The entire poem was eventually used to inscribe the dog's memorial, which was placed at Byron's estate at Newstead Abbey.
The poem as inscribed at the tomb of Boatswain
Analysis
Byron was a man exceptionally aware of the human capacity for betrayal, vanity and malice, himself falling prey to these vices as a regular habit. It is not hard to see how, recognizing this about himself and--perhaps to a fault--humankind in general, that he would so perceive and admire the steadfast and seemingly selfless nature of a companion dog.
The tone of the poem alternates between lauding the virtues of the fallen dog and railing against the inadequacies and evils of men. This is one of the few pieces I have read that, discussing a beloved animal, refuses to anthropomorphize the animal at all. This is the point of the piece, really, to set and contrast the dearly departed companion from cruel and inconsistent man.
For my part, I find the emotions of the poem moving, and the vulnerability displayed in its writing an interesting facet of the author's character, especially in light of the cavalier manner that Byron was know to treat other humans, in his relationships with them. As a devoted pet-keeper myself, the subject speaks to feelings I have held, as well, and I find the piece easy to empathize with.
| i don't know |
Free Byrd is a tribute band to which US band? | FREE BYRD | tribute-band.com - tribute band directory for tribute bands
FREE BYRD
Shinelle Reid " Hawkins "
Back Up Singer
FREE BYRD is an authentic 10 piece Classic Skynyrd Tribute band and we put on a concert style show. Our goal is to showcase it in venues across North America and the world.
FREE BYRD is unique in the fact that most of our band members resemble & sound like the 1977 line up," Scary in Fact "
FREE BYRD is Canada's only authentic Lynyrd Skynyrd tribute band and we are based in Calgary, AB. We derived our inspiration from our love of classic Lynyrd Skynyrd as well as the current Skynyrd line-up and their new God and Guns album.
FREE BYRD is new in the last year and has come together in amazing time. Our players each have well over 20 years experience and are working with each other as though they have played together for years.
We highly respect the musical maturity of Lynyrd Skynyrd’s brand of Southern Rock. We are very excited to be able to make the live version of this music more accessible in Canada and across the globe.Book us for the experience of walking back into time, that will last a life time.
| Lynyrd Skynyrd |
Which 2009 film was a sequel to the 2006 film ‘The Da Vinci Code’? | Home | About | News | Calendar | Photo Gallery | Contact Us | Links | FAQ
Freebird is a tribute to Lynyrd Skynyrd replicating some of the best songs that Skynyrd played. The music of the 70's is relived in the spirit of Freebird. Southern style at its best is portrayed to make you feel like you are at a live Lynyrd Skynyrd concert all the way from the opening riffs in "MCA" to the slide guitar in "Freebird". "Sweet Home Alabama" and "I Know A Little" bring out the sweet sounds of the piano. The vocals and keyboard show true talent in "Tuesday's Gone". The rhythm is felt throughout in "That Smell" and "Call Me The Breeze". This is a concert you don't want to miss. It is perfect for outdoor events and large concert settings. It's a show no rebel should miss.
For booking information please contact:
| i don't know |
‘Staying Alive’ represents which Bingo number? | Bingo Number Names History And Meanings Part 3: Calls 46 - 90 - Bingo History - Playing Bingo
48. Four dozen
49. Rise and Shine, PC 49, Copper, Nick-Nick.
‘PC 49’ is taken from the popular radio show that was broadcast by the BBC from 1947 to 1953: ‘Incidents in the career of Police Constable Archibald Berkeley-Willoughby’. This call, unlike the call for 22, ‘PC Parker’ has evolved over time to become ‘Copper’, and later to borrow the working class comedian Jim Davidson’s catch phrase ‘Nick Nick’ (c.1977).
50. Blind fifty.
Bull’s Eye (on a dart board).
51. The Highland Div[ision], Tweak of the Thumb, I Love My Mum.
The 51st Highland Division was a first line division of the territorial force, formed in 1908. They saw continuous front-line action during the First World War. [ 1 ] The other two calls here are rhymes.
52. The Lowland Div[ision], Danny La Rue, Weeks of the Year.
The 52nd were a Territorial Army division and saw action in the first and second world wars. Danny La Rue became famous in the early 1960s as a glamorous drag artist and entertainer, especially on the BBC television programme ‘The Good Old Days’.
53. The Welsh Div[ision], Stuck in the Tree.
The 53rd were a Territorial Army division and saw action in the First and Second World Wars.
54. Clean the Floor.
A simple rhyme.
55. All the fives, Snakes Alive.
Snakes Alive was a phrase used in American comic strips of the inter-war and immediate post-war era, including in Little Orphan Annie.
56. Five and Six.
57. Heinz Varieties, All the Beans, Heinz.
Heinz canned products have been available in Britain throughout the twentieth century. The ‘Heinz 57 Varieties’ slogan was first used in 1896. The origin of the slogan was an advertisement for ‘21 styles of shoes’. Henry John Heinz thought he could adopt a similar slogan but that his own products were varieties. The number 57 does not relate to the number of products made by the company, which was greater than 57 even in 1896, but rather to the significance of the 5 and 7 to Henry Heinz and his wife. [ 2 ]
58. Make them Wait.
A simple rhyme.
59. The Brighton Line.
This call also survives, although seemingly only in the south of England. It was heard in Folkestone and Margate during July 2002. The call has Royal Navy origins: The LBSG fare from Portsmouth to London was 5/9.
60. Blind sixty, Three Score.
61. Baker’s Bun.
A simple rhyme.
62. Turn of the Screw, Tickety-boo, To Waterloo.
‘To Waterloo’ is a Royal Navy call; the LSW fare from Portsmouth to London was 6/2. Tickety-boo is army slang for something being satisfactory, and was first recorded in 1939. [ 3 ] ‘Turn of the Screw’ was a popular novella first published in 1898.
63. Tickle Me.
A simple rhyme.
64. Red Raw, When I’m Sixty-Four, The Beatles Number.
Red Raw is one of the many rhyming calls with no particular origin; the other two calls have origins in the 1960s, with the song ‘When I’m Sixty-Four’ released by The Beatles in 1967.
65. Old Age Pension, Stop Work.
The Contributory Pensions Act (1925) introduced a 10s per week pension for manual workers and those earning up to £250 per year.
66. Clickety-click, All the sixes, Clickety Click
This is onomatopoeic – sounding like sixty six and has become shorthand for bingo, and was used in the famous Monty Python sketch that parodied ideas of Britishness. In the sketch Russian and Chinese characters famously confused cricket with the clickety-click used in bingo; the characters assumed that all the British played both cricket and bingo; the joke lies in the failure to understand the class distinctions that ran through the various games of cricket, bridge and bingo.
67. Made in Heaven.
A simple rhyme.
68. Saving Grace.
This could be linked to the hymn Amazing Grace: it seems unlikely to be linked to the novel of that title as it was published in 1981 and was not a huge popular success. Although the novel was adapted as a film and had some success it does not seem the most likely source for the call which appears in sources from the 1950s.
69. Whichever way you look at it (see number six), Meal for Two, Your place or mine?
‘Meal for Two’ appears to refer to the introduction of Chinese takeaway meals in Britain, where orders were often placed simply using the numbers on the menu boards. ‘Your place or mine’ has sexual connotations. ‘Whichever way you look at it’ refers to the fact that the numbers appear the same both ways up.
70. Three Score and Ten.
A numerical call, a score is 20, so 3 score and 10 = 70.
71. Bang on a Drum.
A simple rhyme.
72. Par for the Course.
A surprisingly middle-class entrant into the calls, referring to the game of golf; although of course in popular idiom the phase is used in response to ‘how are you?’ to mean that you are ‘OK’ and it may have moved into bingo from this route rather than from golf.
73. Queen Bee.
A simple rhyme.
75. Strive & Strive, Big Daddy, On the Skive.
Big Daddy was a professional wrestler, (Shirley Crabtree 1930-1997) who had a popular following amongst women as well as men; however, the link to the number 75 is not clear. However, the call might also come from the states where the numbers used are 1-75, rather than 1-90 as in the UK, making 75 the highest number, although in the States this number is more commonly called Granddaddy of Bingo. The other calls for this number are simple rhymes.
76. Was she worth it? Was she? Trombones.
‘Was she worth it?’ This call again relates to pre-decimal coinage and is still in use. The phrase has been reputed as having one of two meanings; either the cost of a good night out with a girl (cinema, fish and chip supper and bed and breakfast) or the cost of a marriage licence.
77. Sunset Strip, All the sevens.
‘77 Sunset Strip’ was an American detective show, made between 1958 and 1964 by Warner Brothers. It was broadcast in the UK in the early 1960s as prime time entertainment on ATV, following ‘Saturday Night at the London Palladium’ in 1962 and 1963.
78. Heaven’s Gate.
Another call linked to rail travel, express trains would go ‘straight on through’ smaller stations.
83. Time for Tea.
84. Seven Dozen
85. Staying Alive.
This was a hit song for the Bee Gees (1977), from the film Saturday Night Fever.
86. Between the Sticks.
This phrase is borrowed from football terminology for goalkeepers.
87. Torquay in Devon.
A simple rhyme.
88. Two Fat Ladies, Connaught Rangers, All the Eights.
The Connaught Rangers are the 88th Regiment of Foot, while ‘Two Fat Ladies’ is a visual pun, borrowed from bingo for a popular BBC television-cooking programme featuring Clarissa Dickson Wright and Jennifer Paterson first broadcast in 1997.
89. Nearly There.
90. Top of the house, As Far as We Go, End of the Line.
The significance of the railways in the lives of the player, both in the military and civilians after the war is clear. Five calls use railway terms, or in the case of ‘As far as we go', bus and rail.
Conclusions.
Although calls have now largely disappeared, especially from commercial cash bingo, even the modern, automated game still starts with the traditional, ‘Eyes Down’; a signal for silence to descend over the players, while games run at amusement arcades and for charity often make use of the traditional calls, considering them to be central to providing a traditional game of bingo. Despite the declining use of bingo calls, started by the birth of commercial bingo and the push towards a faster, more mechanised game, what emerges is a story of a language that has evolved over time to reflect popular culture, and that has kept many calls dating back to the British origins of the game, as a gambling activity of the military or a seaside and fairground amusement. The oldest surviving calls date back to the Edwardian music hall and the stars, songs and catchphrases most popular with the working classes, including Vesta Tilly (thirty - Burlington Bertie, c1900) the comedian Charles Austin (forty-nine - PC Parker c1910) and sentimental ballads such as ‘Sweet Sixteen’ (c1898), but recorded many times before the Second World War, were fertile sources of language transfer. The calls collected in this research included many military references, especially to the regimental nicknames of regiments that fought in both World Wars, as well as calls that relate to the cost of train travel between London and Plymouth, references to Naval personnel going on leave. Military games shared a common language with civilian games to a large extent, with the military calls that relate to regiments long since amalgamated still used in games played in ex-servicemen’s clubs. Other calls still in use link closely to pre-decimal coinage. For example seventy-six has the call ‘Was she worth it?’ This is attributed either to the cost of a marriage licence, or a night out followed by bed and breakfast.
It is certainly the case that creativity in the use of language is enhanced rather than dimmed by bingo calls, yet they also serve another purpose. By the memorability of the phrases, through the use of techniques such as ellipsis and concision, the lexicography of bingo demonstrates that what researchers describe as the restricted language code of the working classes is a code that allows for cultural transmission across generations. The thinking public do not generally consider that bingo is a game worthy of serious consideration, yet the language of bingo, the phrases and terminology, have become popular clichés, entering the consciousness of the thinking public in a way that much that represents working class culture has not.
| 85 |
In a standard game of chess, how many pawns does each player start with? | Bingo Number Names History And Meanings Part 3: Calls 46 - 90 - Bingo History - Playing Bingo
48. Four dozen
49. Rise and Shine, PC 49, Copper, Nick-Nick.
‘PC 49’ is taken from the popular radio show that was broadcast by the BBC from 1947 to 1953: ‘Incidents in the career of Police Constable Archibald Berkeley-Willoughby’. This call, unlike the call for 22, ‘PC Parker’ has evolved over time to become ‘Copper’, and later to borrow the working class comedian Jim Davidson’s catch phrase ‘Nick Nick’ (c.1977).
50. Blind fifty.
Bull’s Eye (on a dart board).
51. The Highland Div[ision], Tweak of the Thumb, I Love My Mum.
The 51st Highland Division was a first line division of the territorial force, formed in 1908. They saw continuous front-line action during the First World War. [ 1 ] The other two calls here are rhymes.
52. The Lowland Div[ision], Danny La Rue, Weeks of the Year.
The 52nd were a Territorial Army division and saw action in the first and second world wars. Danny La Rue became famous in the early 1960s as a glamorous drag artist and entertainer, especially on the BBC television programme ‘The Good Old Days’.
53. The Welsh Div[ision], Stuck in the Tree.
The 53rd were a Territorial Army division and saw action in the First and Second World Wars.
54. Clean the Floor.
A simple rhyme.
55. All the fives, Snakes Alive.
Snakes Alive was a phrase used in American comic strips of the inter-war and immediate post-war era, including in Little Orphan Annie.
56. Five and Six.
57. Heinz Varieties, All the Beans, Heinz.
Heinz canned products have been available in Britain throughout the twentieth century. The ‘Heinz 57 Varieties’ slogan was first used in 1896. The origin of the slogan was an advertisement for ‘21 styles of shoes’. Henry John Heinz thought he could adopt a similar slogan but that his own products were varieties. The number 57 does not relate to the number of products made by the company, which was greater than 57 even in 1896, but rather to the significance of the 5 and 7 to Henry Heinz and his wife. [ 2 ]
58. Make them Wait.
A simple rhyme.
59. The Brighton Line.
This call also survives, although seemingly only in the south of England. It was heard in Folkestone and Margate during July 2002. The call has Royal Navy origins: The LBSG fare from Portsmouth to London was 5/9.
60. Blind sixty, Three Score.
61. Baker’s Bun.
A simple rhyme.
62. Turn of the Screw, Tickety-boo, To Waterloo.
‘To Waterloo’ is a Royal Navy call; the LSW fare from Portsmouth to London was 6/2. Tickety-boo is army slang for something being satisfactory, and was first recorded in 1939. [ 3 ] ‘Turn of the Screw’ was a popular novella first published in 1898.
63. Tickle Me.
A simple rhyme.
64. Red Raw, When I’m Sixty-Four, The Beatles Number.
Red Raw is one of the many rhyming calls with no particular origin; the other two calls have origins in the 1960s, with the song ‘When I’m Sixty-Four’ released by The Beatles in 1967.
65. Old Age Pension, Stop Work.
The Contributory Pensions Act (1925) introduced a 10s per week pension for manual workers and those earning up to £250 per year.
66. Clickety-click, All the sixes, Clickety Click
This is onomatopoeic – sounding like sixty six and has become shorthand for bingo, and was used in the famous Monty Python sketch that parodied ideas of Britishness. In the sketch Russian and Chinese characters famously confused cricket with the clickety-click used in bingo; the characters assumed that all the British played both cricket and bingo; the joke lies in the failure to understand the class distinctions that ran through the various games of cricket, bridge and bingo.
67. Made in Heaven.
A simple rhyme.
68. Saving Grace.
This could be linked to the hymn Amazing Grace: it seems unlikely to be linked to the novel of that title as it was published in 1981 and was not a huge popular success. Although the novel was adapted as a film and had some success it does not seem the most likely source for the call which appears in sources from the 1950s.
69. Whichever way you look at it (see number six), Meal for Two, Your place or mine?
‘Meal for Two’ appears to refer to the introduction of Chinese takeaway meals in Britain, where orders were often placed simply using the numbers on the menu boards. ‘Your place or mine’ has sexual connotations. ‘Whichever way you look at it’ refers to the fact that the numbers appear the same both ways up.
70. Three Score and Ten.
A numerical call, a score is 20, so 3 score and 10 = 70.
71. Bang on a Drum.
A simple rhyme.
72. Par for the Course.
A surprisingly middle-class entrant into the calls, referring to the game of golf; although of course in popular idiom the phase is used in response to ‘how are you?’ to mean that you are ‘OK’ and it may have moved into bingo from this route rather than from golf.
73. Queen Bee.
A simple rhyme.
75. Strive & Strive, Big Daddy, On the Skive.
Big Daddy was a professional wrestler, (Shirley Crabtree 1930-1997) who had a popular following amongst women as well as men; however, the link to the number 75 is not clear. However, the call might also come from the states where the numbers used are 1-75, rather than 1-90 as in the UK, making 75 the highest number, although in the States this number is more commonly called Granddaddy of Bingo. The other calls for this number are simple rhymes.
76. Was she worth it? Was she? Trombones.
‘Was she worth it?’ This call again relates to pre-decimal coinage and is still in use. The phrase has been reputed as having one of two meanings; either the cost of a good night out with a girl (cinema, fish and chip supper and bed and breakfast) or the cost of a marriage licence.
77. Sunset Strip, All the sevens.
‘77 Sunset Strip’ was an American detective show, made between 1958 and 1964 by Warner Brothers. It was broadcast in the UK in the early 1960s as prime time entertainment on ATV, following ‘Saturday Night at the London Palladium’ in 1962 and 1963.
78. Heaven’s Gate.
Another call linked to rail travel, express trains would go ‘straight on through’ smaller stations.
83. Time for Tea.
84. Seven Dozen
85. Staying Alive.
This was a hit song for the Bee Gees (1977), from the film Saturday Night Fever.
86. Between the Sticks.
This phrase is borrowed from football terminology for goalkeepers.
87. Torquay in Devon.
A simple rhyme.
88. Two Fat Ladies, Connaught Rangers, All the Eights.
The Connaught Rangers are the 88th Regiment of Foot, while ‘Two Fat Ladies’ is a visual pun, borrowed from bingo for a popular BBC television-cooking programme featuring Clarissa Dickson Wright and Jennifer Paterson first broadcast in 1997.
89. Nearly There.
90. Top of the house, As Far as We Go, End of the Line.
The significance of the railways in the lives of the player, both in the military and civilians after the war is clear. Five calls use railway terms, or in the case of ‘As far as we go', bus and rail.
Conclusions.
Although calls have now largely disappeared, especially from commercial cash bingo, even the modern, automated game still starts with the traditional, ‘Eyes Down’; a signal for silence to descend over the players, while games run at amusement arcades and for charity often make use of the traditional calls, considering them to be central to providing a traditional game of bingo. Despite the declining use of bingo calls, started by the birth of commercial bingo and the push towards a faster, more mechanised game, what emerges is a story of a language that has evolved over time to reflect popular culture, and that has kept many calls dating back to the British origins of the game, as a gambling activity of the military or a seaside and fairground amusement. The oldest surviving calls date back to the Edwardian music hall and the stars, songs and catchphrases most popular with the working classes, including Vesta Tilly (thirty - Burlington Bertie, c1900) the comedian Charles Austin (forty-nine - PC Parker c1910) and sentimental ballads such as ‘Sweet Sixteen’ (c1898), but recorded many times before the Second World War, were fertile sources of language transfer. The calls collected in this research included many military references, especially to the regimental nicknames of regiments that fought in both World Wars, as well as calls that relate to the cost of train travel between London and Plymouth, references to Naval personnel going on leave. Military games shared a common language with civilian games to a large extent, with the military calls that relate to regiments long since amalgamated still used in games played in ex-servicemen’s clubs. Other calls still in use link closely to pre-decimal coinage. For example seventy-six has the call ‘Was she worth it?’ This is attributed either to the cost of a marriage licence, or a night out followed by bed and breakfast.
It is certainly the case that creativity in the use of language is enhanced rather than dimmed by bingo calls, yet they also serve another purpose. By the memorability of the phrases, through the use of techniques such as ellipsis and concision, the lexicography of bingo demonstrates that what researchers describe as the restricted language code of the working classes is a code that allows for cultural transmission across generations. The thinking public do not generally consider that bingo is a game worthy of serious consideration, yet the language of bingo, the phrases and terminology, have become popular clichés, entering the consciousness of the thinking public in a way that much that represents working class culture has not.
| i don't know |
Which two colours make up the Arab League flag? | Fllags of the Middle East
( the Hejaz , Palestine , Syria , Iraq , Lebanon , Egypt , Iran , Yemen )
Description of the flag
The official description of the flag of Jordan is that it symbolizes the Kingdom's roots in the Great Arab Revolt of 1916, as it is adapted from the revolt banner. The black, white and green bands represent the Arab Abbasid, Umayyad and Fatimid dynasties respectively, while the crimson triangle joining the bands represents the Hashemite dynasty. The seven-pointed Islamic star set in the centre of the crimson triangle represents the unity of Arab peoples in Jordan.
As a part of the Turkish Ottoman Empire at the beginning of the 20th century, Jordan was one of several aspirant nations which adopted the Pan-Arab colours of black, red, white and green, all expressive of Arab nationalism; the green colour has additional symbolism, in that it is traditionally associated with Islam and its followers. In 1921 the green and white bands were transposed from their positions on the flag which had been used by the independence movement in the 1918 revolt against the Turks. In 1928 the official version of the flag saw the addition of a seven-pointed white star to the red triangle in the hoist. This has been interpreted as representing the first seven verses of the Koran, the basis of the Islamic religion, and the star is what distinguishes the Jordanian flag from that used by the Palestinian Arabs.
The Royal Standard of Jordan
Jordan's royal standard is quite unique, it has a small national flag in the centre, on a white oval, only the star in the triangle is replaced by an arched crown. The field is made up of rays in the state colours, black in each corner (like a St Andrew's cross) then white, green, white, red, white, repeats.
The royal coat of arms
"The crown symbolizes the system of monarchy. The sash upon which the crown is placed symbolizes the Hashemite throne. Its scarlet colour represents sacrifice, while the white inner background symbolizes purity. The two flags are the flags of the Great Arab Revolt. The eagle in the centre of the coat of arms symbolizes power, might and loftiness. The eagle is perched on the globe, and his wings touch the two flags of the Great Arab Revolt. The blue colour of the globe symbolizes the spread of Islam across the world.
The bronze shield in front of the globe represents the defence of truth and right in the world. The spears, swords, bows and arrows are traditional Arab weapons. Below the shield to the left are three branches of wheat, and to the right is a palm branch. Stretching down from between the wheat and palm branches is the highest Jordanian medal, the decorative order of al-Nahda. Above the al-Nahda medal are three phrases inscribed on a golden ribbon. In the middle: King of the Hashemite Kingdom of Jordan. To the right: Al-Hussein bin Talal bin Aoun (Aoun, one of the Hashemite patriarchs, was great great-grandfather of Sherif Hussein)."
History of the national flag of Jordan - the flag of the Hejaz
The flag is evolved from the flag of the Arab Revolt, sometimes called the flag of the Hejaz. Sherif Hussein designed this as the flag of the Arab Revolt on June 1916. The Palestinian people raised it as the flag of the Arab National movement in 1917. In 1947 the Arab Ba'ath Party interpreted the flag as a symbol of the liberation and unity of the Arab nation. The Palestinian people readopted the flag at the Palestinian conference in Gaza in 1948 and the flag was recognized by the Arab League as the flag of the Palestinian people. It was further endorsed by the PLO, the representative of the Palestinians, at the Palestinian conference in Jerusalem in 1964.
In 1921 or thereabouts the white and green were swapped, making it like the modern Palestinian flag, which is directly derived from it. After the fall of Hejaz the colours were used by Hussein's sons Abdulla (emir of Transjordan) and Faisal (king of Iraq). Later on they became known as the Pan-Arab colours.
I give the official explanation below, but I have also heard them described as symbolizing "green for the Faith, white for the peace which we yearn for, black for the land we hold, and red for the courage with which we will defend all of these".
Origin of the Pan-Arab Colours
Red :
The Khawarij were the first Islamic group to emerge after the assassination of Caliph Othman III, forming the first republican party in the early days of Islam. Their symbol was the red flag. Arab tribes who participated in the conquest of North Africa and Andalusia carried the red flag, which became the symbol of the Islamic rulers of Andalusia (756-1355).
In modern times, red symbolizes the Ashrafs [ie. Sharifians] of the Hejaz and the Hashemites, descendants of the Prophet.
Green: The Fatimid Dynasty (909-1171), North Africa
The Fatimid Dynasty was founded in Morocco by Abdullah Al-Mahdi, and went on rule all of North Africa. They took green as their colour, to symbolize their allegiance to Ali, the Prophet's cousin, who was once wrapped in a green coverlet in place of the Prophet in order to thwart an assassination attempt.
White: The Umayyad Dynasty (661-750), Damascus
The Umayyads ruled for ninety years, taking white as their symbolic colour as a reminder of the Prophet's first battle at Badr, and to distinguish themselves from the Abbasids, by using white, rather than black, as their colour of mourning. Mu'awia Ibn Abi Sufian (661-750), founder of the Umayyad state, proclaimed himself Caliph of Jerusalem.
Black: The Prophet Mohammad (570-632)
In the seventh century, with the rise of Islam and subsequent liberation of Mecca, two flags - one white, one black - were carried. On the white flag was written, "There is no god but God (Allah) and Mohammad is the Prophet of God."
In pre-Islamic times, the black flag was a sign of revenge. It was the colour of the headdress worn when leading troops into battle. Both black and white flags were placed in the mosque during Friday prayers.
The Abbasid Dynasty (750-1258), ruling from Baghdad, took black as a symbol of mourning for the assassination of relatives of the Prophet and in remembrance of the Battle of Karbala.
(Source: Evolution of the Arab Flag, by Mahdi Abdul Hadi, Amman, February 1986)
The flag of Sherif Hussein of Hejaz, was a conscious union of the old Islamic dynasties, plus the red of Sharifian clan. The red also came to symbolise revolt against the Turks. Hussein's sons became kings of Jordan, Syria, and Iraq, hence the minor differentiations in the Sharifian flag. Hussein's original intent was for his flag to be identical in those 3 countries with the addition of one star for Jordan-Palestine, two stars for Iraq, and three stars for Syria. The Jordanian one is the only that has survived, and the Palestinians use the same flag without the star as a tie to their original territorial integrity (Palestine and Transjordan were split in 1923) to clarify that a Jewish homeland did not apply to the latter. In 1961 Kuwait switched from its red Gulf flag to a Sharifian variant.
The Hashemite revolt was the Arab world's first embrace of European-style nationalism, but it was largely unsuccessful, mostly due to lack of Western support. The Arab-speaking areas of the old Ottoman empire were mostly divided up between France and England, though the British did install Hashemite princes as local rulers in the areas they controlled. Even in the Hejaz, the Hashemites were driven out by the Wahabi Saudi dynasty, which, then as now, was less concerned with Arab nationalism than in its doctrine of religious fundamentalism. Nevertheless the flag was remembered as associated with Arab nationalism, even if the Hashemite dynasty was not.
The flag of Palestine
The Palestinian flag represents all Palestinian Arab aspirations regardless of party. It belongs to the Arab Revolt grouping of Arab flags and is a deliberate copy of the Jordanian flag (minus the star), which presumably represents the historical link to 1920-23 when Palestine and Transjordan were one territory. The flag was adopted in 1964 at the creation of the PNC and PLO. It was definitely in use by 1974 when the Arab League declared the PLO the sole representative of all Palestinians and the UN granted the PLO observer status.
The flag of Iraq
The Iraqi flag is also based on the flag of the Hejaz and the Pan Arab colours. The flag was adopted 31 July 1963. The takbir ["Allah Akbar" - "God is great"] in Arabic script in green was added during the Gulf War, 13 January 1991.
The hoist of the Iraqi flag should be at the viewer's right, as is the case for Saudi Arabia, another flag featuring Arabic writings (which read from right to left).
The flag of Lebanon
According to the constitutional law of 7 December 1943, the three colours of the flag should be red, white and green. The tree is the cedar traditionally connected with Lebanon. In the 18th century the Maronite Christians used a white flag with the cedar tree, with reference to the Bible (Ps 92:12, 'the righteous flourish like the palm tree, and grow like a cedar in Lebanon'). Later, when Lebanon was under French mandate, the French tricolour was used with a cedar tree in the middle. There is a reference in W. Smith's 1980 book to the colours: 'The red and white colours are those associated, respectively, with the Kayssites and Yemenites, opposing clans that divided Lebanese society between 634 and 1711.'
The flag of Egypt
The first national flag of modern Egypt was established by a Royal Decree in 1923 when Egypt gained conditional independence from Great Britain in 1922. The colour was green with a white crescent and three stars in the middle.
In 1958, a Presidential Decree established a new flag for the United Arab Republic which comprised a merger of Syria and Egypt. The new flag had three colours: red, white with 2 green stars and black. The flag was rectangular in shape and the width was one-third of its length.
In 1972, the Law was amended to change the flag. The stars were removed from the flag and replaced by a golden hawk and later in 1984, the hawk was replaced by a golden eagle, or the eagle of Salah ad Din, the Ayubbid Sultan who ruled Egypt and Syria in the 12th Century, and who is better known in the west as Saladin of the Crusades.
The flag of Iran
The colours of the Iranian flag are traditional, probably dating from at least the 18th century and they can be interpreted as representing the Islamic religion (green), peace (white), and courage (red). The were first designed in tricolour form in 1907. The flag's centrepiece formerly comprised a lion with a sword standing before a rising sun, with a crown above, but all traditional flags and banners were abolished after the abdication of the shah in 1979. Note that this flag is flown "right to left" ie with the flagpole on the right.
The flag of Yemen
The present flag and coat of arms were adopted 22 May 1990. Yemen was formed on 22 May 1990 by the union of North Yemen and South Yemen.
This page is very largely based on the information given on "FOTW Flags Of The World website at http://www.crwflags.com/fotw/flags/ I hope you don't mind my using it here!
| Green-and-white hummingbird |
Which English football club is nicknamed ‘The Tractor Boys’? | Fllags of the Middle East
( the Hejaz , Palestine , Syria , Iraq , Lebanon , Egypt , Iran , Yemen )
Description of the flag
The official description of the flag of Jordan is that it symbolizes the Kingdom's roots in the Great Arab Revolt of 1916, as it is adapted from the revolt banner. The black, white and green bands represent the Arab Abbasid, Umayyad and Fatimid dynasties respectively, while the crimson triangle joining the bands represents the Hashemite dynasty. The seven-pointed Islamic star set in the centre of the crimson triangle represents the unity of Arab peoples in Jordan.
As a part of the Turkish Ottoman Empire at the beginning of the 20th century, Jordan was one of several aspirant nations which adopted the Pan-Arab colours of black, red, white and green, all expressive of Arab nationalism; the green colour has additional symbolism, in that it is traditionally associated with Islam and its followers. In 1921 the green and white bands were transposed from their positions on the flag which had been used by the independence movement in the 1918 revolt against the Turks. In 1928 the official version of the flag saw the addition of a seven-pointed white star to the red triangle in the hoist. This has been interpreted as representing the first seven verses of the Koran, the basis of the Islamic religion, and the star is what distinguishes the Jordanian flag from that used by the Palestinian Arabs.
The Royal Standard of Jordan
Jordan's royal standard is quite unique, it has a small national flag in the centre, on a white oval, only the star in the triangle is replaced by an arched crown. The field is made up of rays in the state colours, black in each corner (like a St Andrew's cross) then white, green, white, red, white, repeats.
The royal coat of arms
"The crown symbolizes the system of monarchy. The sash upon which the crown is placed symbolizes the Hashemite throne. Its scarlet colour represents sacrifice, while the white inner background symbolizes purity. The two flags are the flags of the Great Arab Revolt. The eagle in the centre of the coat of arms symbolizes power, might and loftiness. The eagle is perched on the globe, and his wings touch the two flags of the Great Arab Revolt. The blue colour of the globe symbolizes the spread of Islam across the world.
The bronze shield in front of the globe represents the defence of truth and right in the world. The spears, swords, bows and arrows are traditional Arab weapons. Below the shield to the left are three branches of wheat, and to the right is a palm branch. Stretching down from between the wheat and palm branches is the highest Jordanian medal, the decorative order of al-Nahda. Above the al-Nahda medal are three phrases inscribed on a golden ribbon. In the middle: King of the Hashemite Kingdom of Jordan. To the right: Al-Hussein bin Talal bin Aoun (Aoun, one of the Hashemite patriarchs, was great great-grandfather of Sherif Hussein)."
History of the national flag of Jordan - the flag of the Hejaz
The flag is evolved from the flag of the Arab Revolt, sometimes called the flag of the Hejaz. Sherif Hussein designed this as the flag of the Arab Revolt on June 1916. The Palestinian people raised it as the flag of the Arab National movement in 1917. In 1947 the Arab Ba'ath Party interpreted the flag as a symbol of the liberation and unity of the Arab nation. The Palestinian people readopted the flag at the Palestinian conference in Gaza in 1948 and the flag was recognized by the Arab League as the flag of the Palestinian people. It was further endorsed by the PLO, the representative of the Palestinians, at the Palestinian conference in Jerusalem in 1964.
In 1921 or thereabouts the white and green were swapped, making it like the modern Palestinian flag, which is directly derived from it. After the fall of Hejaz the colours were used by Hussein's sons Abdulla (emir of Transjordan) and Faisal (king of Iraq). Later on they became known as the Pan-Arab colours.
I give the official explanation below, but I have also heard them described as symbolizing "green for the Faith, white for the peace which we yearn for, black for the land we hold, and red for the courage with which we will defend all of these".
Origin of the Pan-Arab Colours
Red :
The Khawarij were the first Islamic group to emerge after the assassination of Caliph Othman III, forming the first republican party in the early days of Islam. Their symbol was the red flag. Arab tribes who participated in the conquest of North Africa and Andalusia carried the red flag, which became the symbol of the Islamic rulers of Andalusia (756-1355).
In modern times, red symbolizes the Ashrafs [ie. Sharifians] of the Hejaz and the Hashemites, descendants of the Prophet.
Green: The Fatimid Dynasty (909-1171), North Africa
The Fatimid Dynasty was founded in Morocco by Abdullah Al-Mahdi, and went on rule all of North Africa. They took green as their colour, to symbolize their allegiance to Ali, the Prophet's cousin, who was once wrapped in a green coverlet in place of the Prophet in order to thwart an assassination attempt.
White: The Umayyad Dynasty (661-750), Damascus
The Umayyads ruled for ninety years, taking white as their symbolic colour as a reminder of the Prophet's first battle at Badr, and to distinguish themselves from the Abbasids, by using white, rather than black, as their colour of mourning. Mu'awia Ibn Abi Sufian (661-750), founder of the Umayyad state, proclaimed himself Caliph of Jerusalem.
Black: The Prophet Mohammad (570-632)
In the seventh century, with the rise of Islam and subsequent liberation of Mecca, two flags - one white, one black - were carried. On the white flag was written, "There is no god but God (Allah) and Mohammad is the Prophet of God."
In pre-Islamic times, the black flag was a sign of revenge. It was the colour of the headdress worn when leading troops into battle. Both black and white flags were placed in the mosque during Friday prayers.
The Abbasid Dynasty (750-1258), ruling from Baghdad, took black as a symbol of mourning for the assassination of relatives of the Prophet and in remembrance of the Battle of Karbala.
(Source: Evolution of the Arab Flag, by Mahdi Abdul Hadi, Amman, February 1986)
The flag of Sherif Hussein of Hejaz, was a conscious union of the old Islamic dynasties, plus the red of Sharifian clan. The red also came to symbolise revolt against the Turks. Hussein's sons became kings of Jordan, Syria, and Iraq, hence the minor differentiations in the Sharifian flag. Hussein's original intent was for his flag to be identical in those 3 countries with the addition of one star for Jordan-Palestine, two stars for Iraq, and three stars for Syria. The Jordanian one is the only that has survived, and the Palestinians use the same flag without the star as a tie to their original territorial integrity (Palestine and Transjordan were split in 1923) to clarify that a Jewish homeland did not apply to the latter. In 1961 Kuwait switched from its red Gulf flag to a Sharifian variant.
The Hashemite revolt was the Arab world's first embrace of European-style nationalism, but it was largely unsuccessful, mostly due to lack of Western support. The Arab-speaking areas of the old Ottoman empire were mostly divided up between France and England, though the British did install Hashemite princes as local rulers in the areas they controlled. Even in the Hejaz, the Hashemites were driven out by the Wahabi Saudi dynasty, which, then as now, was less concerned with Arab nationalism than in its doctrine of religious fundamentalism. Nevertheless the flag was remembered as associated with Arab nationalism, even if the Hashemite dynasty was not.
The flag of Palestine
The Palestinian flag represents all Palestinian Arab aspirations regardless of party. It belongs to the Arab Revolt grouping of Arab flags and is a deliberate copy of the Jordanian flag (minus the star), which presumably represents the historical link to 1920-23 when Palestine and Transjordan were one territory. The flag was adopted in 1964 at the creation of the PNC and PLO. It was definitely in use by 1974 when the Arab League declared the PLO the sole representative of all Palestinians and the UN granted the PLO observer status.
The flag of Iraq
The Iraqi flag is also based on the flag of the Hejaz and the Pan Arab colours. The flag was adopted 31 July 1963. The takbir ["Allah Akbar" - "God is great"] in Arabic script in green was added during the Gulf War, 13 January 1991.
The hoist of the Iraqi flag should be at the viewer's right, as is the case for Saudi Arabia, another flag featuring Arabic writings (which read from right to left).
The flag of Lebanon
According to the constitutional law of 7 December 1943, the three colours of the flag should be red, white and green. The tree is the cedar traditionally connected with Lebanon. In the 18th century the Maronite Christians used a white flag with the cedar tree, with reference to the Bible (Ps 92:12, 'the righteous flourish like the palm tree, and grow like a cedar in Lebanon'). Later, when Lebanon was under French mandate, the French tricolour was used with a cedar tree in the middle. There is a reference in W. Smith's 1980 book to the colours: 'The red and white colours are those associated, respectively, with the Kayssites and Yemenites, opposing clans that divided Lebanese society between 634 and 1711.'
The flag of Egypt
The first national flag of modern Egypt was established by a Royal Decree in 1923 when Egypt gained conditional independence from Great Britain in 1922. The colour was green with a white crescent and three stars in the middle.
In 1958, a Presidential Decree established a new flag for the United Arab Republic which comprised a merger of Syria and Egypt. The new flag had three colours: red, white with 2 green stars and black. The flag was rectangular in shape and the width was one-third of its length.
In 1972, the Law was amended to change the flag. The stars were removed from the flag and replaced by a golden hawk and later in 1984, the hawk was replaced by a golden eagle, or the eagle of Salah ad Din, the Ayubbid Sultan who ruled Egypt and Syria in the 12th Century, and who is better known in the west as Saladin of the Crusades.
The flag of Iran
The colours of the Iranian flag are traditional, probably dating from at least the 18th century and they can be interpreted as representing the Islamic religion (green), peace (white), and courage (red). The were first designed in tricolour form in 1907. The flag's centrepiece formerly comprised a lion with a sword standing before a rising sun, with a crown above, but all traditional flags and banners were abolished after the abdication of the shah in 1979. Note that this flag is flown "right to left" ie with the flagpole on the right.
The flag of Yemen
The present flag and coat of arms were adopted 22 May 1990. Yemen was formed on 22 May 1990 by the union of North Yemen and South Yemen.
This page is very largely based on the information given on "FOTW Flags Of The World website at http://www.crwflags.com/fotw/flags/ I hope you don't mind my using it here!
| i don't know |
‘Fagus sylvatica’ is the Latin name for which tree? | Fagus sylvatica
Fagus sylvatica
Form
large shade tree
maturing at about 60' tall by 40' wide, although it can become much larger under favorable conditions
upright oval growth habit (for the species form, and many of the cultivars)
slow growth rate (becoming a medium growth rate by middle age)
Culture
full sun to partial sun (tolerant of partial shade to full shade in youth)
performs best in deep, rich, evenly moist, well-drained, slightly acidic soils, but is tolerant (although not especially happy) of neutral to alkaline pH soils, average soils, compacted soils, heat, and drought (once established)
species form is propagated by seeds, while the cultivars are usually propagated by grafting onto seedling rootstock
Beech Family, with few disease or pest problems of significance; European Beech adapts much better than American Beech (Fagus grandifolia) to moderate urban stresses, but still struggles with urban stresses (heat, drought, poor soils, and soil compaction), performing best in areas with cool Summers and good, moist soils
abundantly available in ball and burlap form, including many cultivars
many specimens are allowed to branch low to the ground, due to their exquisite foliage and graceful horizontal to upswept branching
European Beech is somewhat sensitive to being transplanted in Autumn, and care should be taken to amend the soil, fertilize, water thoroughly, mulch adequately, and avoid Winter salt spray, to enhance survival chances during the first Winter
Foliage
the species form and several cultivars are medium to dark green and shiny, but several foliage-color variants exist (mostly purple or variegated)
alternate, ovate to elliptical, entire to crenate along the margins, often with an undulating margin, and short-petioled; some cultivars are cutleaf or deeply crenate
fall color for the species form is chartreuse, golden, or yellow-brown
Flowers
separate staminate (male) and pistillate (female) inflorescences occur on the same tree (monoecious), flowering in late April and early May, ornamentally insignificant and partially obscured by the expanding foliage
Fruits
three-sided pointed nuts, with one to three nuts per fruit, are exposed as the external bristly husk splits open in September and October
nuts are quickly devoured by squirrels and larger birds
Twigs
somewhat thin olive-brown twigs, with prominently long, pointed, tan Winter buds
twigs and branchlets often lie more or less within the plane of the branch, for an overall layered branching effect, with the horizontal lower branches having upswept twigs and buds at their extremities
Trunk
usually single-trunked, with the bark being very thin and smooth, medium to light gray, and quite ornamental in Winter (especially if limbed up in youth to yield a scarless smooth trunk)
the straight trunk of the species form eventually loses its central leader to several upright branches in the upper one-half of the mature canopy
trunk exhibits a graceful basal flare with age to the shallow root system
ID Summary
a species with several cultivars exhibiting variation in growth habit (upright oval versus columnar versus pendulous) and foliage color (green versus purple versus variegated)
in general, foliage is alternate, ovate, wavy-margined, and entire or subtley crenate, on short petioles
trunks (with basal flare to the shallow root system) have smooth, gray, ornamental bark, while Winter buds are tan and very elongated, on stems that lie within the plane of the branch, for layered branching
small, husky and prickly fruits dehisce in Autumn to reveal small, three-sided, pointed nuts that are consumed by wildlife
Function
specimen, shade, focal point, or wildlife attraction tree
although rarely seen, this tree can be planted in a row and pruned into tall hedge form, being especially attractive if one of the purple-leaved cultivars is used
Texture
medium-textured in foliage and fine-textured when bare
thick density in foliage and when bare (except in youth, when the branching is sparse, very open, and often asymmetrical)
Assets
many cultivars are available for alternative foliage color, weeping or columnar habit, or cutleaf character
graceful or architecturally interesting branching, depending upon cultivar
smooth medium-gray ornamental bark
nuts attract wildlife in Autumn
dense shade at maturity
often awkwardly and sparsely branched when very young
turf may die out under the dense shade of mature trees
not especially urban tolerant
SELECTIONS
Alternates
large shade or specimen trees with alternative broadleaf foliage colors (Acer platanoides 'Crimson King', 'Crimson Sentry', 'Drummondi', etc., Liriodendron tulipifera 'Aureo-marginatum' or 'Majestic Beauty'; other species of trees exist with this trait, but they are often weakly growing)
Variants
many more cultivars exist than are listed below, some of which combine two or more ornamental traits (for example, weeping purple-foliaged forms, fastigiate golden-foliaged forms, and dwarf weeping purple-foliaged forms all exist, but are not listed)
Fagus sylvatica 'Asplenifolia' - Fernleaf European Beech - deeply incised, almost fern-like cutleaf foliage, yielding a very fine-textured specimen tree, definitely underutilized in modern landscapes
Fagus sylvatica 'Dawyckii' - Dawyck European Beech - a twisting columnar to fastigiate form, yielding an extremely narrow upright focal point, to 80' tall by 10' wide
Fagus sylvatica 'Pendula' - Weeping European Beech - quickly losing its central leader, the branches continuously arch or hang downward to yield a spreading and pendulous specimen whose branch tips may reach all the way to the ground
Fagus sylvatica 'Riversii' - Rivers European Beech - representative of the dark purpleleaf forms, holding this color for most of the Summer, but eventually becoming dark bronzed
Fagus sylvatica 'Tricolor' - Tricolor European Beech - variegated foliage emerges very dark bronzed with a lavender margin, then turns to dark green with a pink margin during the Summer, maturing to light gray-green with a cream margin in early Autumn, and finally becoming somewhat golden in fall color; also known as Roseo-marginata' or 'Purpurea Tricolor'
| Beech |
What is the name of fictional character Dr Doolittle’s parrot? | The Tree Pages
Fruit
Fruit is a prickly husk, up to 2.5 cm (1") long, on a hairy stem.
Inside the husk are 2 to 3 triangular, edible nuts, each about 1.5 cm (5/8") long.
FASCINATING FACTS ABOUT Copper beech
The cultivar
This purple-leaved cultivar of European beech is one of many that are prized for their ornamental landscape value. Copper beech has been cultivated in Europe for centuries.
Derivation of names
The genus name, Fagus, refers to beeches, from the Greek word fagein, meaning to eat, a reference to the tree's edible fruits. The species name, sylvaticacomes from the Latin word sylva, for forest. The varietal name 'Purpurea' describes this tree's purple leaves.
Related species
Though easily distinguished in summer by its purple foliage, this and other cultivars of European beech is sometimes confused with American beech beech (Fagus grandifolia). The leaves of European beech and its cultivars have 5 to 9 pairs of veins, compared with the 9 to 14 pairs of veins in American beech. In winter, European beeches can be distinguished from American beech by their rougher bark and stout forked trunks.
Copper beech IN TORONTO
Copper beech's place in Toronto's urban forest
Because of its large size copper beech is a rare street tree, but is more common in parks, cemeteries, and golf courses. There is a large, impressive specimen (see photo above) growing next to the chapel at St. James' Cemetery & Crematorium that was planted by the Prince of Wales (later King Edward VIII) on his visit to Canada in 1919.
Landscape value and potential for home planting
Cooper beech's low-hanging branches and shallow spreading roots make it a poor choice for small residential lots. It is better suited to park-like settings with ample space where its shape and foliage create a colourful spectacle.
Copper beech grows best in moist, well-drained acidic soils.
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Which gemstone is known as ‘The Bishop’s Stone’? | Amethyst meaning
nice colors
Amethyst Gemstone meaning
Crystalline quartz in shades of purple, lilac or mauve is called amethyst, a stone traditionally worn to guard against drunkeness and to instill a sober mind. The word amethyst comes from the Greek meaning "without drunkenness" and amethyst is believed to protect one from poison.
Power Stone
It is used as a dream stone and to help insomnia. Put an amethyst under your pillow to bring about pleasant dreams, or rub it across your forehead to offer relief from a headache.
Protection Stone
Ancient Egyptians used the amethyst guard against guilty and fearful feelings. It has been worn as protection from self-deception, as well as a protection against witchcraft. The amethyst has long been used to open the spiritual and psychic centers, making it one of the power stones. It is also used as a meditation aid when worn as a necklace.
Wisdom Stone
The amethyst is known as the Bishop's Stone and is still worn by Catholic Bishops. The amethyst symbolizes piety, humility, sincerity and spiritual wisdom. It is thought the amethyst is the perfect stone to symbolize The Age of Aquarius.
Healing properties of Amethyst
Amethyst is a gemstone often worn by healers, as it has the power to focus energy. A healer will usually wear several pieces of jewelry with amethysts set in silver, especially an amethyst necklace. The person to be healed will have an Amethyst to hold while the healing is being done. The healer will place another piece of Amethyst on the area of the body in need of healing, the heart or lungs usually.
Amethyst is used for problems in the blood and in breathing problems. Amethyst crystal clusters are used to keep the air and life force in the home clean and positive.
Amethyst clusters, points or several tumbled Amethysts placed in a window that receives sun most of the day are very beneficial to use in healing and to heal negativity in the home. Place Amethyst clusters, points or several tumbled Amethysts in moonlight and everyone in the home will be feeling calmer. Using an Amethyst as a meditation focus will increase the positive spiritual feelings. Amethyst helps overcome fears and cravings. It also helps relieve headaches.
| Amethyst |
Which professional American bodybuilder, born in 1938, was known by the nickname ‘The Legend’? | Gemstones of the Bible
Gemstones of the Bible
Gemstone Articles
Gemstones of the Bible:
Throughout history, in every civilization, gemstones have been highly prized and sought after. The Bible makes numerous references to jewels and precious stones. Here are some of the gemstones mentioned in the bible with their history and meaning.
Amber:
Symbol: The presence and glory of God in judgement, purification and sanctification
Amber is an organic material made up of fossilized natural resigns and it ranges in color from golden yellow to orange-brown. The ancient greek term for Amber was elektron, a word referring to the sun. Amber is known to create electrical charge when rubbed, and out word �electricity� derives from the ancient Greek term for Amber.
In the mythology of ancient Greece, Amber was created when Phaeton, son of the sun god Helios, was struck and killed by lightening. The grief of his sisters was so great that it turned them into poplar trees, and their tears were transformed to droplets of Amber.
Many stones help us to connect with Light, but Amber brings us to Warmth. The energies of Amber are very solar, and they have the quality of creating a comfortable sense of warmth, health and well-being in the wearer. Amber carries the vibration of organic life, perhaps because it came from living trees, and that makes it feel very friendly and familiar to us.
Amber is recommended to be worn or carried by anyone recovering from illness or injury, because its warm and nurturing energies put us in touch with our own essential strength and security.
Symbol: The royal priesthood, kingship and majestic
Amethyst is a variety of quartz that is best know for it's rich, violet-purple hue.
From prebiblical times in ancient Mesopotamia through European Middle Ages, amethyst was highly valued and prized for its unique beauty. Early Greek and Roman societies placed high value on Amethyst, and it has long been viewed as a stone of royalty and was associated with pharaohs, emperors, kings and cardinals. Amethyst was mostly utilized in crowns, scepters, and the rings of bishops.
Amethyst is said to have been the ninth stone in the breastplate of the high priest of Israel, and one of the ten stones upon which the names of the tribes if Israel were engraved. Amethyst�s name comes from a Greek word meaning �not drunken,� and an ancient Greek myth explains its derivation: The god Bacchus, angry because of an insult, decreed that the first person he met would be eaten by his tigers. The unfortunate person happened to be Amethyst, on her way to worship at the shrine of Diana. When the tigers sprang, Diana transformed the girl into a clear transparent crystal. In remorse, Bacchus poured the juice of his grapes over the stone as an offering, thus giving then gem is beautiful purple color. The Greeks believed that Amethyst would prevent intoxication, calm anger and relieve frustrated passion.
Wear or carry Amethyst for spiritual protection, relieving anger and purification. Amethyst can also be an aid to giving up bad habits. It can be used to assist one in quitting smoking, drinking or drug use. It stimulates the crown chakra and is an aid to meditation, to still one�s thoughts and to clear one�s space of negative influences and attachments.
Symbol: Stability, brilliancy, virtuous and right standing with God
Diamond is a crystal of pure carbon with a hardness of 10 - the hardest of all substances.
Diamonds have long been valued for their magical properties, and Hindus over fifteen centuries ago believed the stones provided their owners with protection from evil spirits, fire, poison, snakes, illness and various dangers. In other cultures, Diamonds were believed to provide victory, courage, faithfulness, purity and enhancement of love.
Diamond encourages one to perceive how life�s trial and lessons can be put to positive use. It lends strength in high-pressure situations and enables one to respond to stressful experiences with grace. Diamonds can be worn anywhere on the body and will affect the entire energy system and auric field.
Emerald:
Symbol: Glories of God and His saints, fresh, flourishing, essence of life, growth, integrity, new life, increase and prosperity
Emeralds are the valuable and highly prized grassy-green variety of beryl. Emeralds were well known among the people of the Bible lands. One of the earliest known source of emerald were mines located near the Red Sea in Egypt. There is evidence that these mines were in operation as early as 1650 BC (the time that the Hebrew people would have been in Egypt). Later these mines became known as Cleopatra�s Mines, who was quite fond of emeralds and was reported to wear them to enhance her beauty. Emeralds were engraved with her likeness and given as gifts to her guests. The word emerald comes from the Greek word smaragdos by way of the French word for emerald esmeralde and simply means �green gemstone.� The emerald (Gr. smaragdos) is the fourth stone of the New Jerusalem.
In ancient Rome, Emerald was viewed as a symbol of fertility and was associated with the goddess Venus. Christian legends speak of Emerald as the stone of resurrection. Other lore has maintained that Emerald cures a variety of diseases, assuages fear, improves memory, enhances persuasiveness, brings joy and even bestows the gift of prophecy. Ancient alchemy speaks of a sacred �Emerald Tablet� upon which was inscribed the recipe for transformation and enlightenment.
Emerald is used by healers to help heal the heart. The power of the Emerald is highest at the full moon.
Some cultures thought the emerald would heal any disease of the eye. The emerald would be placed in a container of water overnight and the water would be poured on the eyes the next day.
Emerald is a stone of great harmony, wisdom and love. Giving your lover an Emerald will bring the lover closer if the giver's motives are pure love. The Emerald can be a bridge between 2 people. The Emerald vibrates with love.
Jasper:
Symbol: Glory of God, spendor, brightness, magnificence and beauty
Jasper is an opaque variety of chalcedony (quartz). It is most commonly red due to the presence of iron, but can also be found in yellow, brown and green.
Jasper comes from the Greek word iaspis which is a derivation of the Hebrew word yashepheh coming from a root word meaning �to polish�. In fact, one of the characteristics of jasper is that it is able to take a high polish and was used in ancient times as mantles, pillars, vases, and other interior decorations. Jasper is named as the 12th stone in Aaron�s breastpiece. Scholars think that the yashepheh here actually refers to a green form of Jasper - which was very rare, and highly prized. Jasper (iaspis) is mentioned in several places in Revelation, most noted being the 6th foundation stone of the New Jerusalem.
There are many different kinds of Jasper including: Red Jasper, Rainforest Jasper, Rainbow Jasper, Ocean Jasper, Yellow Jasper, etc. Each has its own metaphysical attributes. Please check out these links to find the one that suits you.
Pearl:
Symbol: God's truth, God's people formed through suffering, to endure, and a costly experience. Greek term for pearl "margaret" meaning lovely gem.
The pearl holds the distinction of being the only gem that is formed within a living organism. A pearl is made when an irritant, such as a grain of sand, finds its way into the soft tissue of the oyster. To protect itself, the oyster begins to cover the irritant with sheets of nacre. Nacre is the smooth lining material that these mollusks produce that covers the insides of their shells. Layer upon layer of nacre is applied to the irritant, producing, over a period of 1 - 3 years (or more), one pearl.
Pearls were considered among the most precious stones in the ancient world. In the Roman empire at the time of Christ pearls became quite the rage. Julius Caesar, who had a particular love for pearls, paid the equivalent of $1,000,000 for a single pearl. This gives significance to Jesus� story about the �pearl of great price.� For many centuries the pearl was known as the �Margarite� from the Greek word for pearl, margarites, which is the name of the oyster that produces the pearl found in the Persian Gulf and Red Sea, margaritafera vulgaris. It was not until the King James Version of the Bible that the term pearl was used.
In classical Rome, only persons above a certain rank were allowed to wear pearl jewelry. The Latin word for pearl literally means "unique", attesting to the fact that no two pearls are identical.
In the Americas, both the Incas and Aztecs prized pearls for their beauty and magical powers. Spanish explorers of the New World found the natives in possession of rich pearl fisheries. For many years, the New World was best known in European cities like Seville and Cadiz as the land where pearls came from.
Pearls stimulate spiritual transformation, promotes prosperity and success, encloses you with an aura of calm and beauty and eases emotional stress.
Ruby:
Symbol: preciousness, of great value, costly glories, wisdom, and prized treasure
Rubies are the red gem variety of the mineral corundum. Rubies get their red color from traces of chromium. All other colors of corundum are called sapphire. Rubies are the among the hardest of the gemstones with only the diamond being harder. Called �king of the gems� in some ancient cultures, rubies are considered the rarest and most precious gemstone in the world. They are generally not as large as some of the other gemstones. While sapphire, diamond and emerald gems weighing hundreds of carats exist, high quality rubies of even 20 carats are rare. The price of a gem-quality ruby will far exceed the price of a diamond of the same size.
Rubies did not come into use until the Roman Empire around 300 BC. There are several places in the Old Testament where ruby is the term used in the translation of various stones.
Ancient legend in Burma held that inserting a Ruby into one�s flesh would make one invulnerable. In European lore during the Middle Ages, Ruby was believed to convey good health, resolve disagreements and remove negative thoughts. It was long revered as a stone of royalty, and the Chinese Emperor Kublai Khan was said the have offered an entire city in exchange for a huge Ruby.
Rubies vibrate with an enthusiasm for life, instilling an openhearted willingness to make whatever leaps of faith are required to move forward. If one feels stuck in any sort of rut - in career, in relationships, or in one�s spiritual path - Ruby can provide the energy to get things moving.
Sapphire:
Symbol: beauty, hardness, natural excellence, the flower Hyacinth
Revered as a stone of royalty, Sapphire was believed to keep kings safe from harm or envy. It was also purported to protect one from dishonesty, fraud, terror, poverty, and even stupidity and ill temper. The three crossed lines in Star Sapphire have been said to represent hope, faith and destiny, and in German lore it was considered a stone of victory.
The term �Sapphire� appears many times in the Bible, however, the stone we associate with sapphire today was not known in Bible lands until the Roman Empire (300 BC). Initially they were considered forms of jacinth. The sapphiros of the Bible is described by historian Elder Pliny as "refulgent with spots like gold. It is also of an azure color...the best kind being that which comes from Media. In no case, however, is this stone transparent." These characteristics describe more accurately the lapis lazuli, and not the sapphire of today.
Although people most often think of Sapphire as dark blue, it is found in a diversity of colors, including many shades of blue, violet, pink, white, green, black, yellow and orange and each have some energies in common, but also have their individual vibration signatures.
Topaz:
Symbol: beauty, worthiness, precious gem and seasonable
The Topaz of today is a mineral that is composed of aluminum, silicon, oxygen, and fluorine. It occurs in many colors, including deep golden-orange, yellow, brownish-yellow, pink, red, and various shades of blue. It may also be colorless.
In the Middle Ages in Europe, Topaz was believed to enhance mental powers and prevent insanity. It was also said to improve poor vision, promote favor with kings and civil authorities, increase wisdom and soothe anger.
The name Topaz may derive from Topazos, a word meaning �to seek,� which was also the name of an obscure difficult to locate island in the Red Sea. However, the gemstone found on that island is actually Peridot. Thus the term topaz in the Bible actually refers to the Peridot. However when Pliny (the natural historian during the time when the book of Revelation was written) describes the Chrysolite (Gr. chrusolithos), he describes today�s topaz. The term chrusolithos literally means � gold stone� and very likely refers to the golden topaz of today. Both the topaz and Chrysolite (today called Peridot) are stones in the foundation of the New Jerusalem.
The other possible derivation of the gemstone�s name is the Sanskrit word tapaz, which means �fire�. Topaz was used in ancient Egypt and Rome and in the jewelry of eighteenth century French and Spain royalty.
I hope the above gives you more insight and understanding of the history of the stones mentioned in the bible.
| i don't know |
Every month which has a Friday 13th begins on which day of the week? | 2015 has three Friday the 13ths. What are the odds? | Human World | EarthSky
2015 has three Friday the 13ths. What are the odds?
By Bruce McClure in Human World | Science Wire | November 13, 2015
November 13, 2015 presents the third of three Friday the 13ths in 2015. Here’s the story behind 2015’s trio of Friday the 13ths.
Scared of Friday the 13th? An irrational fear of this date is called friggatriskaidekaphobia (Frigga is the Norse goddess for whom Friday is named). Image via Kelli Marshall
November 13, 2015 is a Friday, ushering in Act III of this year’s epic Friday the 13th trilogy. We had a Friday the 13th in February and March. To cap things off, we’ll have a Friday the 13th in November, exactly 39 weeks (3 x 13 weeks) after Friday, February 13, 2015!
Not that we at EarthSky suffer from friggatriskaidekaphobia – an irrational fear of Friday the 13th – but, gosh darn, it’s Friday the 13th three times over in 2015. What’s more, last year’s lone Friday the 13th on June 13, 2014, occurred exactly 39 weeks (3 x 13 weeks) before the Friday the 13th in March 2015. Also, next year’s lone Friday the 13th on May 13, 2016, will happen exactly 26 weeks (2 x 13 weeks) after the Friday the 13th in November 2015. Follow the links below to learn more about why some people fear this day and about 2015’s three Friday the 13ths.
Can three Friday the 13ths occur in a leap year?
The Friday the 13th slasher-movie franchise helped keep this day maintain its notoriety. Image via Wikimedia Commons
Gioachino Rossini, a 19th century Italian composer. Folklorists say there's no written evidence that Friday the 13th was considered unlucky before the 19th century. The earliest known documented reference in English appears to be in Henry Sutherland Edwards' 1869 biography of Rossini.
Scary coincidence or super unlucky? Neither. It’s just a quirk of our calendar, as you’ll see if you keep reading.
The fact is that, according to folklorists, there’s no written evidence that Friday the 13th was considered unlucky before the 19th century. The earliest known documented reference in English appears to be in Henry Sutherland Edwards’ 1869 biography of Gioachino Rossini. His portrait is on this page. He doesn’t look scary.
Friday has always gotten a bad rap. In the Middle Ages, people would not marry – or set out on a journey – on a Friday.
There are also some links between Christianity and an ill association with either Fridays or the number 13. Jesus was said to be crucified on a Friday. Seating 13 people at a table was seen as bad luck because Judas Iscariot, the disciple who betrayed Jesus, is said to have been the 13th guest at the Last Supper. Meanwhile, our word for Friday comes from Frigga, an ancient Scandinavian fertility and love goddess. Christians called Frigga a witch and Friday the witches’ Sabbath.
In modern times, the slasher-movie franchise Friday the 13th has helped keep friggatriskaidekaphobia alive.
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In 2015, blame Thursday. The year 2015 started on a Thursday. Whenever a common year of 365 days starts on a Thursday, it’s inevitable that the months of February, March and November will start on a Sunday. And any month starting on a Sunday always has a Friday the 13th.
Of course, February has exactly four weeks in a non-leap year. So, for that reason, the days of the week have to match up with the same dates in both February and March during any common year. In any year, the days of the week always fall on the same dates in both March and November. In short, because the year 2015 started on a Thursday, that means February, March and November all have to start on a Sunday and all must have a Friday the 13th.
The February-March-November Friday the 13th trilogy repeats … More often than you might imagine! The last February-March-November Friday the 13th year happened six years ago, in 2009, for the first time in the 21st century (2001-2100). It will next happen eleven years from now, in 2026. After that, the following February-March-November Friday the 13th year will happen eleven years after 2026, in the year 2037.
A grand total of eleven February-March-November Friday the 13th years takes place in the 21st century (2001-2100):
2009, 2015, 2026, 2037, 2043, 2054, 2065, 2071, 2082, 2093 and 2099
Because the Gregorian calendar has a 400-year cycle, we also know the February-March-November Friday the 13th years will repeat exactly 400 years later in the 25th century (2401-2500):
2409, 2415, 2426, 2437, 2443, 2454, 2465, 2471, 2482, 2493 and 2499
Calendar for 2015
Calendar for 2015, courtesy of timeanddate.com
The rhyme and reason of the Friday the 13th cycle. Yes, it does make sense. Within the 21st century (2001-2100), note that the February-March-November Friday the 13th years repeat in 28-year cycles (going crosswise):
2009, 2037, 2065, 2093
2015, 2043, 2071, 2099
2026, 2054, 2082
Because the Gregorian calendar suppresses the leap year in 2100, the cycle is perturbed, meaning that all eleven February-March-November Friday the 13th years in the 22nd century (2101-2200) come four years earlier than in the 21st century:
2105, 2111, 2122, 2133, 2139, 2150, 2161, 2167, 2178, 2189 and 2195.
However, within the 22nd century (2101-2200), these Friday the 13th years also repeat in cycles of 28 years.
2105, 2133, 2161, 2189
And again in the 24th century (2301-2400):
2303, 2331, 2359, 2387
2314, 2342, 2370, 2398
2325, 2353, 2381
Friday-the-13th-year repetitions within 28-year cycle. Some of you, who might not yet be dazed by calendar numerology, may wonder if some formula governs how a given Friday the 13th year repeats within the 28-year cycle. The answer is a definite yes. Keep in mind that this particular February-March-November Friday the 13th year can only happen in a common year of 365 days, and when January 1 falls on a Thursday.
Therefore, if this threefold Friday the 13th year comes one year after a leap year, the days again match up with the dates in 6, 17 and 28 years afterward. Take the year 2009, for example, which comes one year after a leap year:
2009, 2015, 2026, 2037
However, if this triple Friday the 13th year falls two years after a leap year, the days and dates realign in 11, 17 and 28 years. Take the year 2026, which takes place two years after a leap year:
2026, 2037, 2043, 2054
Finally, if this trio of Friday the 13ths happens three years after a leap year, the days recur with the same dates in 11, 22 and 28 years. The year 2015 happens three years after a leap year:
2015, 2026, 2037, 2043
It appears as though cycles of 372 and 400 years prevail over the long course of centuries. Take the year 2015, for instance:
2015 + 372 = 2387
2015 + 400 = 2415
The 372-year period is known as the Gregoriana eclipse cycle, which we elaborate about in our post: How often does a solar eclipse happen on the March equinox? .
Can three Friday the 13ths occur in a leap year?
Yes, a leap year can harbor three Friday the 13ths (January 13 – April 13 – July 13) if the leap year starts on a Sunday, which last happened in 2012. However, given that this particular Friday the 13th year happens in a leap year, and a leap year only, it recurs only in periods of 28 years. So the last January-April-July Friday the 13th year happened in 1984, and will next happen in 2040.
If a common year starts on a Thursday, there are three Friday the 13ths; and if a leap year begins on a Sunday, there are three Friday the 13ths. These are the two scenarios whereby three Friday the 13ths can occur in single calendar year.
Bottom line: From what we have been able to gather, the 400-year cycle displayed by Gregorian calendar features 59 years with three Friday the 13ths, consisting of 44 common years (February – March – November Friday the 13ths) and 15 leap years (January – April – July Friday the 13ths).
| Sunday |
What do the French ‘Appellation d’Origine Controlee’ laws regulate? | The Jewish Month - Jewish Calendar
Jewish Calendar
The Jewish Year
The Lunar Cycle
The Jewish calendar is based on lunar cycles. 1 Towards the beginning of the moon’s cycle, it appears as a thin crescent. That is the signal for a new Jewish month. The moon grows until it is full, the middle of the month, and then it begins to wane until it cannot be seen. It remains invisible for approximately two days 2 —and then the thin crescent reappears, and the cycle begins again.
The entire cycle takes approximately 29½ days. 3 Since a month needs to consist of complete days, a month is sometimes twenty-nine days long (such a month is known as chaser, “missing”), and sometimes thirty (malei, “full”).
Knowing exactly when the month begins has always been important in Jewish practice, because the Torah schedules the Jewish festivals according to the days of the month.
The first day of the month, as well as the thirtieth day of a malei month, is called Rosh Chodesh , the “Head of the Month,” and has semi-festive status. See Why is Rosh Chodesh sometimes one day and sometimes two?
The Jewish Months
Nissan is the first month on the Jewish calendar. Before the Jews left Egypt, on the first day of the month of Nissan, G‑d told Moses and Aaron: “This chodesh (new moon, or month) shall be to you the head of months.” 4 Thus the peculiarity of the Jewish calendar: the year begins on Rosh Hashanah, the first day of the month of Tishrei (the anniversary of the creation of Adam and Eve), but Tishrei is not the first month. Rosh Hashanah is actually referred to in the Torah as “the first day of the seventh month.” 5
The Jewish Months and their Special Dates
Jewish Month
Purim
Sanctifying the Month
“The L‑rd spoke to Moses and to Aaron in the land of Egypt, saying, ‘This chodesh shall be to you the head of months.’” ( Exodus 12:1 –2)
From the wording of this verse, “shall be to you,” the sages deduced that the responsibility of pinpointing and consecrating the chodesh, the crescent new moon, was entrusted to the leaders of our nation, the Sanhedrin, the rabbinical supreme court of every generation.
Originally, there was no fixed calendar. There was no way to determine in advance the exact day of a coming holiday or bar mitzvah, because there was no way to determine in advance when the month would begin. Each month anew, the Sanhedrin would determine whether the month would be 29 or 30 days long—depending on when the following month’s new moon was first sighted—and would sanctify the new month.
Nowadays
In the 4th century CE, the sage Hillel II foresaw the disbandment of the Sanhedrin, and understood that we would no longer be able to follow a Sanhedrin-based calendar. So Hillel and his rabbinical court established the perpetual calendar which is followed today.
According to this calendar, every month of the year, except for three, has a set number of days:
Nissan—30
Shevat—30
Adar—29 (in leap years, Adar I has 30 days)
Regarding the variable months of Kislev and Cheshvan, there are three options: 1) Both can be 29 days (the year is chaser), 2) both are 30 (the year is malei), or 3) Cheshvan is 29 and Kislev is 30 (the year is k’sidran, meaning these two months follow the alternating pattern of the rest of the months). Hillel also established the rules that are used to determine whether a year is chaser, malei, or k’sidran.
The rules of the perpetual calendar also ensure that the first day of Rosh Hashanah will never take place on Sunday, Wednesday or Friday. 6
When Hillel established the perpetual calendar, he sanctified every Rosh Chodesh until Moshiach will come and reestablish the Sanhedrin.
The Sanhedrin Sanctification
The following is a brief description of the procedure the Sanhedrin followed in days of yore to determine the date of the onset of a new month.
On the 30th day of every month, 7 the Sanhedrin would “open for business” in a large courtyard in Jerusalem called Beit Ya’azek. Witnesses who claimed to have seen the new moon on the previous night would come to give their testimony and be cross-examined. 8
The members of the Sanhedrin were well schooled in astronomy. They knew exactly when the new moon would have appeared, and where it would have been visible. Nevertheless, the sanctification of the moon depends on the crescent new moon actually being seen by two witnesses. The word “this” (in the above-quoted verse, “This month shall be to you . . .”) implies something that is actually seen.
The rabbis of the Sanhedrin would question the witnesses in the order of their arrival. They knew what the proper responses to their questions ought to be, and were thus quickly able to identify fraudulent claims. Starting with the elder of each pair, they would ask: 9 “Tell us how you saw the moon:
In which direction was it in relation to the sun? 10
Was it to the north or south?
How high in the sky did the moon appear to be?
In which direction were the crescent’s tips facing?
How wide was it?”
After they had finished questioning the first witness, they would bring in his partner and question him in similar fashion. If the two accounts corroborated, the evidence was accepted. 11
That day, the thirtieth day, was now declared Rosh Chodesh of the new month. The head of the Sanhedrin would proclaim: “Mekudash!” (“Sanctified!”) and everyone would respond, “Mekudash! Mekudash!” The previous month was now retroactively determined to have had only twenty-nine days.
Publicizing the New Month
The following night (the second night of the month), huge bonfires were lit on designated mountaintops. Lookouts stationed on other mountaintops would see that a fire had been lit, and would light their own fires. This chain of communication led all the way to Babylonia, so that even very distant communities knew that the day beforehand had been declared Rosh Chodesh.
Eventually, the Sadducees 12 started lighting fires on the wrong days in order to manipulate the calendar. To prevent this confusion, the fire-on-mountaintop method of communication was discontinued, and instead messengers were dispatched to Babylonia and all other far-flung Jewish settlements. This took a lot longer, a delay which had (and still has) halachic implications with regards to observance of the second day of holidays in the Diaspora. (See Why are holidays celebrated an extra day in the Diaspora? )
The 30-Day Month
If no witnesses came on the thirtieth day—either because the moon had not been “reborn” yet, or because it was not visible—then the next day, the thirty-first day, was automatically declared Rosh Chodesh, retroactively rendering the previous month a malei month. 13
Members of the Sanhedrin would go to a highly visible location, where they would partake in a celebratory meal to signify the new month. No fires were lit that night. The new month is always either on the 30th or 31st day; if they hadn’t lit fires the night before, it was understood that the new month started on the 31st day.
For the spiritual spin on lunar time, see these following links:
| i don't know |
A malophile loves which fruit? | The browning of apples - Materials Today
The apple story
15 September 2015 | David Bradley
Earlier this year, the US Department of Agriculture (USDA) approved genetically modified apples - "Arctic Grannies" - that do not express at high levels the enzyme PPO when they are sliced open and so, purportedly do not turn brown, these Grannies stay whiter than white or greener than green, depending on your perspective.
Now, our dog is a malophile, loves apples. Well actually, she is a yellow Labrador retriever and will eat almost anything. This week, however, when our backs are turned she has taken to plucking the low-hanging fruit from the apple tree in our garden. My wife caught the little malophile red-pawed and harvested for the humans in the family the few apples that were left. She then proceeded to juice them and, not surprisingly, the liquor took on the familiar brown hue of apple exposed to the air and having undergone enzymatic browning through the action of that aforementioned enzyme PPO (polyphenol oxidase).
It's not an attractive color, so, on a whim and with a little chemical savvy she added some ascorbic acid (vitamin C) along with the sugar to the pan in which she was simmering the brew. The addition of the vitamin C visually reversed the browning and the pan carried on gently bubbling with fifty shades of green...not even a hint of beige to be seen. As a lowly chemist, I'd always assumed that the oxidative and enzymatic degradation of apples to that brown color was an irreversible biochemical process. Obviously, you can use lemon or lime juice to stave it off (ascorbic, anti-scurvy, acid, you see?) but once it has gone over to the brown side, I'd assumed (in fact, we both assumed) that that was it.
A quick web search gave a few vague hints. A research paper from the journal HortScience entitled " Enzymatic Browning, Polyphenol Oxidase Activity, and Polyphenols in Four Apple Cultivars: Dynamics during Fruit Development " from a team at the University of Santa Catarina in Brazil who had this to say:
"Enzymatic browning is one of the most important reactions that occur in fruits and vegetables, usually resulting in negative effects on color, taste, flavor, and nutritional value. The reaction is a consequence of phenolic compounds' oxidation by polyphenol oxidase (PPO), which triggers the generation of dark pigments. This is particularly relevant for apples, which are rich in polyphenols and highly susceptible to enzymatic browning."
As plant secondary metabolites, phenolic compounds produce colors, astringency, flavor, and have nutritional qualities in fruits and vegetables. Now, I should have known, and maybe I did in my chemical youth, that these compounds are perhaps acting as indicators of oxidation state and thus, as with many other indicator compounds will exist in equilibrium and thus oscillate between colors (or colorless states) depending on the concentrations of other chemicals (acids, alkalis) present in the mix. But, I wasn't sure. Further web searching revealed that various people who put sliced apple in their kids' school lunchboxes discovered that a sprinkling of vitamin C protected the slices from browning, and at least one "soccer mom" discovered that she could reverse the browning, even after the fruity snack had been ignored in the lunchbox for a whole day...making it fine for eating as an enforced, after-school snack for "Junior"...
There are countless web pages with tips for malophiles with the knowledge to keep their beloved fruit of life from turning brown. And, of course you could opt for those GM apples that apparently never turn brown, once the regulators and the market perish the thought of leaving them on the shelf, as it were.
David Bradley blogs at Sciencebase Science Blog and tweets @sciencebase, he is author of the bestselling science book "Deceived Wisdom".
| Apple |
Which actor played the title role in the 1968 film ‘Bullitt’? | Armadillo Reticence: Bird's Grandiloquent Dictionary
Tuesday, January 10, 2006
Bird's Grandiloquent Dictionary
For those who, like myself, have a particular affection for obscure, unusual and interesting words, Bird's Grandiloquent Dictionary provides a trove of oddities just waiting to be let loose.
Lest Bird's site vanish, a back-conversion of the more recent PDF version appears below.
(This of course raises copyright concerns, and apparently Bird has already had a problem with someone failing to acknowledge and so has attached this copyright notice :
NOTE: Due to a few inconsiderate people who have copied this dictionary and claimed ownership (including one site owner who has repeatedly denied doing so even though his pages list my e-mail address as well) I have been forced to add this copyright page. Please read it if you intend to use any of this material.
1. You may copy and use specific definitions from this dictionary, and link to this site without asking permission.
2. The entire site may be copied for non-profit use, provided that credit is given to the original author and a link to the original site is included in any material published on the internet. (And it would be kind if you let me know about it)
3. If asked about the Grandiloquent dictionary, you will NOT claim to have written yourself.
I am sorry to have to add a page like this. I have met a lot of people who enjoy the dictionary and are quite willing to share information and credit. This page is only directed at those few who for some unknown reason like to claim credit for work they did not do.
)
Like other such dictionaries that I've encountered before, I suggest that this one's definitions be taken with a grain of salt (e.g. a ceilidh is a little more than "An evening of musical entertainment"; having been to one, in full highland attire, I can tell you that the American Heritage Dictionary's " An Irish or Scottish social gathering with traditional music, dancing, and storytelling" is a little closer to the mark, not that I recall any storytelling that particular evening) and that rather it be used as a source of inspiration for unusual words.
c 2003, C.S. Bird and Associates
First published in electronic form in December 1998.
First published in paperback in June 1999.
No part of this book may be reproduced in any form, including but not
limited to electronic copies and photocopies, without the express written
consent of the authors or any agent chosen by the authors.
A
abacinate - To blind by putting a hot copper basin near someone's eyes
ab cedarian - A person who teaches the alphabet
ab derian - given to incessant or idiotic laughter
ab ecedarian - A person who is learning the alphabet
abligurition - Excessive spending on food and drink
ablutophobia - A fear of bathing
acarophobia - 1.A fear of insects
acarophobia - 2.A fear of mites
acarophobia - 3. A fear of small things, especially bugs
acathasia - The habit of sitting down
accipitrine - having a nose like a hawk's beak
accubation - The practice of eating or drinking while lying down
accubitus - Sharing a bed for sleeping only
acerb ophobia - See acerophobia
acerophobia - The fear of sourness
achluophobia - A fear of darkness or of the night
acouasm - A buzzing or a ringing of the ears
acousticophobia - A fear of noise
acro cephalic - Having a pointy head
acronycal - Occurring at sunset
acronyx - An ingrown fingernail or toenail
adelphep othia - An incestuous desire for one's sister
adelphirexia - An incestuous desire for one's nephew
adelphithymia - An incestuous desire for one's niece
adho cracy - Rulership by committees and task forces
adoxography - Skilled writing about an unimportant sub ject
aelurophobia - See ailurophobia
aeolist - A pompous windy bore who pretends to have inspiration
1
aeromancy - Divination using the air
aerophobia - 1. A fear of air
aerophobia - 2. A fear of flying
aflunters - In a messy or disordered state
aforcing - Adding rice or grains to a dish to serve more people
agap etae - early church women who lived with celibate men
agatho cacological - Composed of both good and evil
agelast - A person who never laughs
agenhina - A guest at an inn, who is considered to be one of the family
agerasia - The state of looking younger than one really is
agiotage - Speculation in the stock market
aglet - The plastic or metal tip on the end of shoelaces
agoraphobia - A fear of open places
agraffe - The wire that holds the cork in a bottle of champagne
agrizo ophobia - A fear of wild animals
agro of - flat on your face
agyiophobia - The fear of streets or crossing the street
ai - A South American three toed sloth
aichmophobia - A fear of pointed or sharp ob jects
aichmorhab dophobia - A fear of being beaten with a pointed stick
aichurophobia - The fear of being touched by a pointed ob ject
ailuromancy - Divination by studying a cat's jump
ailurophobia - A fear of cats
alb ophobia - The fear of white people
albuminuriaphobia - A fear of kidney disease
alectromantia - A process in which a rooster is asked a question, and then
a single grain is placed on each letter of the alphabet and the order of his
eating determined the answer
alektorophobia - A fear of chickens
aleuromancy - Divination using flour
algerining - Prowling around with the intent to commit burglary
algology - The study of seaweed or marine algae
algophobia - A fear of pain
alienilo quent - Speaking discursively or straying from one's point
alliaceous - Smelling like garlic or onions
alliumphobia - A fear of garlic
3
allo doxaphobia - A fear of other people's opinions
allotheism - The worship of strange gods
alop eciaphobia - A fear of going bald
alop ecist - A person who claims to prevent baldness
alphamegamia - The marriage between a young woman and an older man
alphitomancy - Divination using barley meal
altero centric - Someone whose life revolves around other people
altilo quent - Speaking pompously or in a high flown manner
altitonant - Thundering from above or on high
altophobia - A fear of heights or high places
alychiphobia - The fear of failure
alytarch - A referee, or person who enforces game rules
amathophobia - A fear of dust
amaut - A fur lined hood on the back of a women's parka, usually used for
carrying an infant.
amaxophobia - A fear of riding in automobiles
amb eer - The spittle produced when chewing tobacco
ambiguphobia - A fear of being misunderstood
ambulomancy - Divination by walking
ambulophobia - The fear of walking
amentia - temporary insanity or a dazed trance
amomaxiaphobia - A fear of making love in an automobile
ampherotokous - Having both male and female offspring
amphigory - A poem that seems profound but is really complete nonsense
amphigory - A seemingly profound poem which is actually nonsense
amrita - A drink which bestows immortality in Hindu mythology
amychophobia - A fear of being scratched
anablep ophobia - A fear of looking at high places
anacardic - Pertaining to a cashew nut
anadipsia - excessive thirst
anasarkas - *A condition in which a person is so swollen that they appear
to have no muscles
andro cracy - A government consisting of men
androlepsia - A kidnapping by a foreign government for political gain
androphobia - A fear of men
anemophobia - The fear of wind
angelo cracy - Rulership by angels
anginophobia - A fear of choking or suffocating
4
anililagnia - An attraction to older women
anklyosis - The stiffness of immobility of a joint
ankylophobia - A fear of joint immobility
ano egenetic - Not producing new work or original knowledge
anonymuncle - A petty anonymous writer
anopisthographic - Having writing only upon one side
anserine - Like a goose
anthophobia - A fear of flowers
anthracomancy - Divination using burning coals
anthrophobia - The fear of people
anthrop oglot - Any animal, such as a parrot, which is capable of copying
human speech
anthrop olatry - Worship of a human as thought they were a god
anthrop omancy - Magic or divination using people, or foretelling the
future using the entrails of a sacrificed person
anthrop opathy - Ascribing human feelings or traits to God or to the gods
anthrop ophobia - See anthrophobia
anthrop oscopy - The art of determining personality or character from
physical features
anthrop otheism - The belief that gods began as humans and are human
in nature
antiscian - A person who lives on the other of the world from you
antlophobia - A fear of floods or flooding
anuptaphobia - The fear of staying unmarried
anxiolytic - Serving to reduce tension or stress
apanthropia - A fear of people
ap eirophobia - A fear of infinity
aphephobia - The fear of touching or being touched
apikoros - A Jewish person who does not follow Jewish law
apiophobia - A fear of bees
ap o calo cyntosis - The act of being turned into a pumpkin
ap o catastasis - The belief that all people will be saved by God
ap o dyopsis - The act of mentally undressing someone
ap otheosis - The elevation of a mortal to deity
apricate - To spend time basking in the sunshine
aproneer - A merchant or shopkeeper
aprosexia - The inability to concentrate
5
aptronym - An appropriate name for someone or something
aquaphobia - The fear of water
arachibutyrophagia - The act of eating peanut butter
arachibutyrophillia - The love of peanut butter
arachibutyrophobia - Fear of peanut butter
arachnivorous - Eating spiders
arachnophobia - The fear of spiders
arctophilist - A collector of teddy bears
arietate - To strike with a battering ram or to butt like a ram
aristology - The science of dining
aristophren - A person possesing a superior intellect
arithmophobia - A fear of numbers
armomancy - Divination involving the shoulder blades of animals
arrhenophobia - A fear of male offspring
arrhenotokous - Having only male offspring
arsle - To move backwards or to retreat rapidly
ascian - A person who has no shadow
asp ergillum - A device for sprinkling holy water, usually a perforated
sphere
asp ersorium - A basin for holy water
assanka - The number ten to the sixty-third power
astereognosis - The loss of the ability to recognize shapes by touch
asthenic - Being lean and frail
asthenophobia - The fear of weakness
astragalomancy - Divination using dice
astrap ophobia - The fear of thunder and lightning
astrophobia - The fear of stars
ataxiophobia - A fear of disorder
atelophobia - A fear of defects or imperfections
atephobia - A fear of rivers
atychiphobia - A fear of failure
aubade - A love song which is sung at dawn
augury - Divination using bird's flight
aulophobia - A fear of flutes
aureate - Pertaining to the fancy or flowery words used by poets
aurophobia - A fear of gold
austromancy - Divination using the wind
auto deist - One who believes they are a god
6
auto didact - A person who has taught themselves
auto dysomophobia - A fear of one's own body odour
autohagiographer - A person who speaks or writes in a smug way about
their life and accomplishments
autolatry - The worship of one's self
autology - The study of oneself
automysophobia - A fear of being dirty
autotheist - One who worships themselves
autotonsorialist - A person who cuts their own hair
autovoxiphillia - Love of one's own voice
aval - Pertaining to grand parents
avenage - Oats paid to a landlord when the tenant could not pay the rent
avenage - Oats that were paid to landlords in lieu of rent by the poor
avering - When a poor person removes all of their clothing to increase
sympathy while begging
averruncator - A long stick with shears for cutting high branches
aviatophobia - A fear of flying
B
bacillophobia - A fear of germs
baffound - To stun or perplex
bailiwick - The region in which a sheriff has legal powers
baize - The green cloth used on billiard tables and other gaming tables
balatron - A babbling buffoon
baldric - A belt worn over the shoulder and chest used to hold a sword
ballistophobia - A fear of being shot, or of guns and missles
balnearii - People who steal clothing for public baths
balnearil - The people who stole clothing from a public bath in ancient
Rome
barathrum - A person who eats like they were a bottomless pit
barleychild - A baby born less than six months after marriage
barophobia - A fear of gravity
barophobia - Fear of gravity
basiphobia - The fear of walking
basistasiphobia - The fear of standing and walking
basophobia - See basiphobia
basorexia - An overwhelming desire to neck or kiss
bataphobia - A fear of heights or high places
bathophobia - A fear of depth
bathysidero dromophobia - Fear of subways
batophobia - A fear of tall buildings
batrachoid - Like a frog
batrachophagous - One who eats frogs
batrachophobia - A fear of frogs or toads
battology - Tiresome and repetitive talking
b dellophobia - A fear of leeches
b eaze - To dry in the sun
7
b egrumpled - To be very unhappy or displeased
b eldam - A foul old woman
b elomancy - Fortunetelling through the use of arrows
b elonephobia - A fear of pins and needles
bibliomancy - Divination using books or Bible passages
bibliophobia - A fear of books
bibliop olist - One who deals in rare books
bibliothecary - A person who collects and maintains books
bicorne - The hat with two points worn by Napolean
biometeorology - The study of how the weather affects people
bitheism - Believing in two gods
blandilo quent - Speaking in a flattering or ingratiating way
blatherskite - An obnoxious braggart
blattero on - A person who will not stop talking
blattoid - Like a cockroach
blellum - an idle boring chatterer
blennophobia - A fear of slime
blepharon - A person with huge eyebrows
blepharospasm - A form of constant winking
bletcherous - Pertaining to something poorly designed or disgusting in
design
blo dder - To flow with a gurgling sound from a small aperture
blowsab ella - A red faced wench
b oanthropy - The delusion that one is an ox
b ogyphobia - A fear of goblins
b ombilate - To loudly hum or buzz continuously
b onnyclabb er - Milk which has become thick due to being sour
b orb orygmus - The rumbling sound of gas passing through the intestine
b otanomancy - Divination using plants
b otanophobia - A fear of plants
b oucan - A naturally occuring bed of burning coals
b ourdon - The bass drone of a bagpipe or of the low pitched notes on a
pipe organ
b oustrophedon - A form of writing which alternates left to right / right
to left, also used to describe some forms of typesetting.
b owdlerize - To purge literature of all possibly offensive or morally impure
material
brachiation - The act of swinging through the trees, such as performed by
9
brachistichrone - The path between two points along which a particle
travels for the shortest time
brachycephalic - Having a head that is broad
breem - Pertaining to a female pig who wants to mate
breve - The small curve above a vowel which symbolizes a short sound
brevilo quent - Speaking briefly about a sub ject
brevirostrate - Having a short nose
brimb orion - Something which is useless or nonsensical
bromatology - A discourse on food
bromidrosiphobia - A fear of body odour or sweat
bronteum - A device used in theater or movies to create thunder
brontide - The low rumbling of distant thunder
brontomancy - Divination by or magic involving thunder
brontophobia - The fear of thunder
brump - To collect branches which have fallen off of trees
bruxomania - The compulsive grinding of one's teeth
bubulcitate - To heard cattle or to wail like a cow
buccula - A double chin
buffarilla - An extremely ugly young woman
bufoniform - Like a toad
burghb ote - Donations made to repair a castle, or to build a castle
burladero - The wooden barrier in a bullring used for protection
butyraceous - Resembling butter
byrthynsak - 1. The theft of a calf or a sheep
byrthynsak - 2. Stealing as much as one can carry
10
cacestogenous - Caused by a poor home life
cacestogenous - Caused by an unfavourable home life
cachinnation - Loud or hysterical laughter
caco daemonomania - Posessed by the devil
caco ethes - A bad habit or insatiable urge
cacogen - An antisocial person
cacohydrophobia - The fear of sewer water
cacophonophilist - One who loves harsh sounds
cacosp ectamania - The obsession of staring at something which is repul-
sive
cagophilist - A collector of keys
cainophobia - A fear of anything new
cainotophobia - See cainophobia
caitiff - A despicable or cowardly person
calamistration - The act of curling hair
callet - A drab untidy woman
calligyniaphobia - The fear of beautiful women
callipygian - Having a beautiful rear end
callipygous - Having a beautiful rear end
callithumpian - The sounds of a big parade, usually accompanied by horns
and noise makers
calypso - A fashion in which women tie a knot in their shirt and exposes
her waist
camelopard - A mythical beast with a camel father and a leopard as a
mother.
cameralistics - The science of managing public finances
campanology - The study of bells or of bell ringing
11
cancatervate - To heap up into a pile
cantabank - A second rate singer
cap ernoited - Slightly intoxicated or tipsy
capnomancy - Divination by smoke
carapace - The shell of an animal such as a turtle or armadillo
carcinomatophobia - See carcinophobia
carcinophobia - A fear of cancer
carfumish - To dissipate a foul smell
carker - A mischievieous child or brat
carnophobia - A fear of meat
carphologia - See floccillation
cartomancy - Magic using cards or prophecy using cards
cartomaniac - A collector of maps
caryatid - A female sculpture which is used as a pillar
casuist - A sophist who insists on debating the smallest details
catagelophobia - A fear of ridicule
cataglottism - The act of sticking out one's tongue while kissing
catap edamania - The obsession with jumping from high places
catap edaphobia - A fear of jumping from a high (or low) place
cathartic - Something which is used to clean one's bowels
cathisophobia - A fear of sitting
catholicon - A remedy for all ailments, or a miracle cure-all
catholicum - A medicine which can cure everything
catoptomancy - Divination using a mirror or several mirrors
catoptromancy - Divination based on how a face appears when viewed in
a mirror underwater
catoptrophobia - A fear of mirrors
causeuse - A sofa built for two people
ceilidh - 1. A private conversation or visit
ceilidh - 2. An evening of musical entertainment
celation - The act of hiding a pregnancy
celibataire - A bachelor
cenacle - The large room in which the last supper took place
cenatory - Pertaining to dinner or supper
ceneromancy - Divination using ashes
cephalalgic - Any form of headache remedy
13
cephaleonomancy - Telling the future by examining the boiled head of an
ass
cephalomancy - Divination by boiling a head, usually that of a donkey
ceraunomancy - Divination by or magic using thunderbolts
cercopithecan - Pertaining to monkeys
cerebropathophobia - A fear of going insane because of a disease
chaetophobia - A fear of hair
chafferer - A vendor who enjoys talking while making a sale
chalcenterous - Having bowels of brass
chankings - Pieces of food which are rejected from what is chewed. (spat
out)
charette - an intensive effort to complete something before the deadline
Chargoggagoggmanchauggagoggchaubunagungamaugg - A Native
American lake name meaning "you fish on your side, I fish on my side an no
one fishes in the middle"
charientism - An artfully veiled insult
chavish - The sound of many birds chirping together, or many people chat-
ting at once
cheilopro clitic - Being attracted to a person's lips
cheimaphobia - A fear of coldness or being cold
cheimatophobia - See cheimaphobia
cherophobia - A fear of merriment
chiliad - A period of one thousand years
chiliasm - The doctrine that Christ will return and reign for a thousand
years
chilihedron - A solid with 1000 equal sides
chionophobia - A fear of snow
chiro cracy - The state of being ruled by force (literally by a strong hand)
chirognomy - See chiromancy
chirogymnast - A device used to exercise only the fingers, especially for
pianists
chiromancy - Foretelling the future by studying a person's hand
chirotonsor - An alternate title for a barber
chirotony - A vote which is taken by a show of hands
cholangio cholecysto choledo chectomy - The surgical removal of the hep-
atic duct, common duct, and gall bladder
choregus - The financial backer in ancient Greece, usually of a play
14
chorophobia - A fear of dancing
chorophobia - Fear of dancing
chrematistic - Pertaining to business or the pursuit of wealth
chrematophobia - A fear of money
chrematophobia - The fear of wealth
chrestomathic - Devoted to academic pursuits or to learning in general
chrisom - A child who dies before being baptised
chromatophobia - See chromophobia
chromophobia - A fear of colours
chromoto cracy - A government dominated by one race
chronomancy - Divining the best time for certain events
chronophobia - The fear of time
chryselephantine - Made of or decorated with gold and ivory
chryso cracy - Rulership by the wealthy (literally a government by gold)
chrysology - The study of production and value of precious metals
chrysophobia - A fear of gold
cib ophobia - A fear of food
cingulomania - A desire to hold someone in your arms
circumlo cution - An overly complicated means of expression
clapp erclaw - To berate or scold, or the person doing the scolding
clapp erdudgeon - A beggar whose parents were beggars
clawscrunt - An old tree used as a scratching post, usually by cattle
cleidomancy - Divination using a key
cleisiophobia - A fear of enclosed spaces
clepsammia - An "hourglass" which measures a period of time other than
an hour
cleptobiosis - The act of plundering food
cleptophobia - The fear of thieves or of becoming a thief
cleromancy - Divination involving dice
climacophobia - The fear of falling downstairs
clinomania - An excessive desire to remain in bed
clinophobia - A fear of going to bed
clithrophobia - A fear of enclosed spaces
cloffin - To sit idly by a fire
cnidophobia - A fear of insect stings
cnidosiphobia - A fear of itching
co ckalorum - A person who thinks they are bigger than they are
co enesthesis - An awareness of one's body and overall health
15
collieshangie - An uproar or a quarrel
colp orteur - A book peddler, particularly religious books
colp osinquanonia - Estimating a woman's beauty based on her chest
comestion - A devouring by fire
comiconomenclaturist - One who collects funny names
comprachico - A person who buys and sells children after deforming them
comprivigni - The relation of a child to its step-siblings
conchologist - A collector of shells
conchomancy - Divination using shells
concilliabule - A secret meeting of people who are hatching a plot
concionative - Pertaining to public speaking
conskite - To cause a foul smell, particularly when afraid
conventicle - A secret or unlawful religious assembly
coprophagan - A beetle that lives in dung
coprophagous - One who eats excrement
coprophobia - A fear of excrement
coprostasiphobia - A fear of constipation
coriaceous - Leatherlike, particularly pertaining to skin
coriaceous - To be tough and leathery, (such as over tanned skin)
corsned - A medieval trial in which the accused had to swallow consecrated
bread
cosherer - Someone who eats at the expense of others, especially relatives
cosmolatry - The worship of nature
cosmop oietic - An adjective referring to world creating
costermonger - A seller of fruits, vegetables, and other food, especially
from a street cart
cotquean - A man who does what is traditionally women's work
couther - To comfort by giving refreshments and warmth
crambazzle - A worn out old man
crantara - A burnt piece of wood dipped in blood and taken from clan to
clan as a signal
crapulent - Illness caused by overeating
cremnophobia - A fear of cliffs or precipices
cremnophobia - A fear of precipices
creophagous - Pertaining to something or someone which eats meat
crepitation - The crackling and popping sound accompanying a wood fire
crepuscle - The fading light at the end of the day, also known as twilight
16
cretaceous - Chalky or grayish white
cribble - To push something through a sieve
crithomancy - Divination by spreading flour or dough over a sacrificed
animal
criticasters - Third rate mean spirited critics
cromnyomancy - Magic or divination using an onion
cro o dle - Too coo like a dove
cro osle - A low whimper, such as produced by infants
crose - To whine empathetically with someone who is in pain
crosier - The ceremonial staff of bishops or abbots
crotaline - Resembling a rattlesnake
cruciverbalist - Someone who loves doing crossword puzzles
crurophilous - Pertaining to one who likes legs
cryophobia - A fear of ice or frost
cryptarchy - A government which is run secretly
cucurbitaceous - resembling a cucumber or a squash
culacino - The mark left on the table by a moist glass
culch - Rubbage and refuse of every form
culliage - The right of a lord to spend the first night with his sub jects new
bride
cullion - A rude, mean-spirited person
cultrivorous - Pertaining to actual or illusory knife swallowing
cummo ck - A staff with a crooked end on it
cunctip otent - Being all powerfull, or omnipotent
curglaff - The shock felt when entering cold water
curpin - A bird's back end
cyesolagnia - Being attracted to pregnant women
cymophobia - The fear of waves
cynanthropy - The delusion that one is a dog
cyno cephalous - Having the face or head of a dog
cynophobia - A fear of dogs
cyprianophobia - The fear of prostitutes
cypridophobia - The fear of prostitutes
cypripareuniaphile - A person who loves prostitutes
cytology - The study of cells or the interaction of cells
czarevna - The proper title for the daughter of a czar
D
dactyliology - The study of finger rings
dactylion - The tip of the middle finger
dactylonomy - Counting using one's fingers
daedalian - Ingenious and cunningly designed
davering - Walking or moving in a dazed manner
deasil - To move in a clockwise direction
decidophobia - A fear of making decisions
decollate - To remove someone's head, or to decapitate someone
decubitis - One's position or posture while sleeping
defalcation - Misappropriation of funds by the person or group entrusted
with them
defecalgesiophobia - A fear of defecation
defenestrate - To throw out of a window
deiparous - Giving birth to a god or a goddess
deipnophobia - A fear of dinner conversation
deipnosophy - Learned conversation conducted while dining
deisidaimonia - The fear of supernatural powers
deltiologist - A collector of picture postcards
dementophobia - A fear of insanity or going insane
demitoilet - A style of elaborate but not formal dress
demiurge - The creator of a world, whether real or mythical
demono cracy - Rulership by demons
demonomancy - Divination by demons
demonophobia - A fear of demons
demophobia - A fear of crowds or people
dendranthrop ology - A discipline which studies the theory that man came
from trees
dendro chronology - The study of growth rings in logs to determine cli-
17
dendrology - The study of trees
dendrophillia - The love of trees
dendrophobia - The fear of trees
dentilo quent - Pertaining to someone who talks through their teeth
deoppilate - To remove an obstruction
deorsumversion - A turning down
deosculation - The act of kissing
dephlegmate - To distill something, such as alcohol
dephlogisticate - To make something fireproof
dermatoglyphics - The study of skin patterns, such as finger prints
dermatopathophobia - A fear of skin diseases
dermatophobia - A fear of skin
deuterogamist - A widow who chooses to remarry
dextrophobia - A fear of the right or things to the right
dextrosinistral - A left handed person who is trained to use their right
hand
dghaisa - A small boat used in Malta, similar to a gondola
dharna - A method of collecting a debt in which the person who is owed
money sits on the debtors doorstep until payment is made, or the debtor
starves to death
diab olarchy - Rulership by the devil
diacritics - The marks used in dictionaries to symbolize pronounciation
diamerismapygian - one with flattened buttocks
diamerismapygianitis - inflamation from flattening of the buttocks usu-
ally caused by long periods of sitting
didaskaleinophobia - A fear of school
didine - Resembling a dodo bird
dikephobia - A fear of justice
dinmont - A castrated ram between one and two years old
dinophobia - A fear of dizziness
diophysitic - Having two separate personalities
diplasiasmus - The incorrect doubling of a letter when spelling a word
dipp oldism - The act of beating or whipping school children
dipsomanophobia - A fear of drinking alcohol
dipsophobia - A fear of drinking alcohol
discophoran - Like a jellyfish
dishabillophobia - The fear of undressing or undressing in front of some-
19
dithyramb - A hymn or poem to honor Bacchus
ditokous - Producing twins
diurnation - To sleep during the day
divigate - To stray, as in the opposite of navigate
divitiphobia - The fear of wealth
do ctilo quent - Talking about a sub ject which you have studied and know
a lot about
dolabriform - Shaped like the head of an ax
doles - The two short grips on the handle of a scythe
dolicho cephalic - Having a head that is longer than it is wide
dolichprosopic - Having an unusually long face
dolorifuge - Something that cures grief
domatologist - A professional housekeeper
domatophobia - A fear of houses or being stuck in a house
dommerer - A beggar who fakes being deaf and mute
dompteuse - A woman who trains animals
doraphobia - A fear of fur or animal skins
dorso dynia - A pain in the back
dowfart - A stupid dull person
doytin - To walk about stupidly
drap etomania - An overwhelming urge to run away from home
dratchell - A slovenly, lazy woman
dringle - Somebody who likes to waste time
drintling - The clucking noise made by turkeys
dririmancy - Divination by dripping blood
drizzen - A mounful wail, usualy by a lazy person forced to work
dromophobia - The fear of streets or crossing the street
droud - An oafish woman
dudman - A scarecrow made of old cloths
duffifie - The practice of laying a bottle on its side for a long time to get
out the last drops
dulocracy - A government formed of privileged slaves
dunnage - 1. The loose stuffing used to keep cargo from getting wet or
from moving
dunnage - 2. The material placed in boxes to protect the contents from
damage
dunnage - 3. Any form of luggage or baggage
20
dwale - To wander about deliriously
dwizzen - To shrivel up like old fruit, especially applied to old people
dysania - The state of having a rough time waking up in the morning
dysepulotic - Not healing quickly or easily
dysesthesia - An impairment of the senses, especially the sense of touch
dysmorphophobia - A fear of being deformed
dysnomy - The creation of flawed laws which cause more problems
dysphoria - An unwell feeling
dysteleogist - One who believes in the purposeless of nature
dystopia - A society in which the conditions or horrid and people miserable.
Also the opposite of utopia
dystychiphobia - A fear of accidents
dyvors - People or businesses who have gone bankrupt or are disreputable
E
earrent - The damage or removal of an ear in lieu of payment on a debt or
rent
eccedentesiast - A person who fakes a smile, such as on television
ecclesiarchy - Rulership by the church
ecclesio clastic - Disruptive or destructive to the church
ecclesiolatry - Excessive devotion to one's church
ecclesiophobia - A fear of churches
ecdysiophile - A person who likes to visit strip joints or watch people strip
echinoproctous - Having a spiny or prickly rump (like a pocupine)
ecophobia - A fear of one's home
ectomorphic - Being slender and thin
edacious - voracious and devouring
efter - A thief who robs theater patrons during a show
eidolism - The belief in ghosts and spirits
eisegesis - A faulty interpretation of a text caused by reading in one's own
ideas
eisoptrophobia - A fear of mirrors
electrophobia - A fear of electricity
eleutherophillist - Someone who advocates free love
eleutherophobia - A fear of freedom
elurophobia - A fear of cats
emacity - An urge to buy or to spend money
emetophobia - The fear of vomiting
empleomania - An insatiable urge to hold public office
emunction - The act of removing obstructions from or cleaning bodily
passages (such as picking ones nose)
encephalasthenia - A form of mental distress caused by emotional stress
endomorphic - Being short but powerful
21
enetophobia - A fear of pins and needles
engastration - The act of stuffing one bird into another
enigmatology - The study and construction of puzzles
enissophobia - See enosiophobia
enneagon - A figure which has nine angles
eno chlophobia - A fear of crowds
enoptromancy - Divination using a mirror
enoptrophobia - A fear of mirrors
enosiophobia - The fear that one has commited an unpardonable sin
entheate - Divinely inspired or possessed by a god
entomophobia - A fear of insects
entredentolignumologist - One who collects toothpick boxes
eosophobia - A fear of the dawn
ephemeromorph - Any form of life too low to be classified as animal or
vegetable
epincion - A victory song or anthem
episcopicide - The act of killing a bishop
epistaxiophobia - A fear of nose bleeds
ep onym - A name that has become a word
equinophobia - A fear of horses
eremikophobia - A fear of sand or deserts
eremology - The study of deserts
eremophobia - A fear of being alone
eremophobia - The fear of stillness
ereuthrophobia - See Erythrophobia
ergasophobia - The fear of work
ergophobia - The fear of work
eroteme - The symbol used in writing known as a question mark
erotographophobia - The fear of writing love letters
erythrophobia - A fear of blushing
escutcheon - A decorative metal plates around doorknobs or locks
estafette - A courier who rides on a horse
estiferous - Pertaining to something which produces heat
estivation - To go away somewhere for the summer
estrapade - A horse's attempt to remove their rider
ethno cracy - Rulership by a specific race
ethnometho dology - The study of social customs and rules
ethnomusicology - The study of folk music
23
eudemonics - The study or the science of happiness
eunomy - The enactment of good laws that help people
euonym - A good name
euphobia - A fear of good news
eupsychics - Good education or teaching
eutectic - Easily melted or fused, especially at low temperatures
exclaustration - The act of leaving or being expelled from a religious
retreat
exennium - A gift given at New Years
eximious - Choice, select or excellent
exophagy - The tradition among cannibals that they may not eat one from
their own tribe
explaterate - To talk continuosly without stop
exsibilation - The collective hisses of a disapproving audience
exsufflicate - Something which is silly or triffling
extisp ex - A person who predicts the future using entrails
extispicy - Divination using entrails
famulus - An assistant to a scholar or magician
farctate - The state of being stuffed with food (overeating)
fashimite - Someone who is a slave to fashion
favillous - Resembling ashes
feaque - A dirty, lazy man
feazings - The frayed and unraveled ends of a rope
febriphobia - A fear of fever
felinophobia - A fear of cats
felly - The outer wooden rim of a wheel
feriae - Days in the ancient roman culture in which all people, including
slaves, got a holiday
feriation - Taking time off of one's work to relax or to travel
ferrule - 1.The metal tip on an umbrella
ferrule - 2. The threaded knob that holds a lampshade in place
ferrule - 3. A protective metal cap on the end of a cane or a tool handle
festinate - To walk fast or to move rapidly
fettler - A person skilled at repairing tools or machinery
fewterer - A keeper of dogs or manager of a kennel
fibriophobia - See febriphobia
fideism - Reliance upon one's religion instead or reason for beliefs and
truths
fidimplicitary - A person who has implicit faith
filiopietistic - The practice of worshipping one's ancestors
filip endulous - Being suspended by a single thread
filip endulous - Suspended by a single thread
fimicoloud - Living in a dung heap
fissilingual - Having a forked tongue
fittie-lan - The near horse of the hindmost pair pulling a plough
25
flavescent - Yellowish or turning yellow
fletcherize - To chew each piece of food at least thirty times
flexilo quent - Pertaining to someone who speaks ambiguously
flo ccillation - The delirious picking at bedclothes by a sick person
flo ccinaucinihilipilification - The categorizing of something that is useless
or trivial
fluctisonant - Having the sound of rolling waves
flyndrig - An impudent or deceiving woman
fomentation - The application of warm substances to diseased parts
fo of - To howl and whine like a wounded dog
formication - The sensation of bugs crawling over one's body
fossick - To search for gold in abandoned claims or to rummage around for
anything valuable
franion - A pleasure seeker or hedonist
fremescence - The grumbling sound of an unhappy mob of people
friendorphobia - A fear of forgetting a password
frisson - A shudder of excitement that courses through the body
fritinancy - The chirping or croaking sound of insects
frustling - The shaking and showing of feathers by birds, or the strutting
around of someone with fancy clothing
frustraneous - unprofitable and completely useless
fruzz - To rub hair the wrong way, as when petting a dog from tail to head
fucoid - Resembling sea weed
fulmination - A loud and violent explosion, either literally or figuratively
fumifugist - Something or someone which expels smoke
funambulist - A tight rope walker
fungy - A type of deep dish blueberry pie
funkify - To run away in fear
furfuraceous - Covered with scales or dandruff flakes
furr-ahin - The hindmost horse on the right pulling a plough
fuscoferuginous - Having a dark rusty colour
fustilug - A fat, clumsy, lazy, filthy slob
fyerk - To flick away using one's finger and thumb
fysigunkus - A person who lacks curiosity
G
gab erlunzie - A wandering beggar or a harmless hobo
galea - A headache which covers the entire head
galeanthropy - The delusion that one is a cat
galeophobia - A fear of cats
galeophobia - A fear of sharks
galligantus - A tall and awkward person
gambrinous - Being full of beer
gametophobia - See gamophobia
gamomania - An urge to make extravagant wedding proposals
gamophobia - A fear of marriage
gargalesthesia - The sensation caused by tickling
gastromancy - Divination using a crystal ball
gatophobia - See galeophobia
gaum - To stare vacantly or handle in a clumsy manner
geck - An expression of scorn or contempt
gelophobia - A fear of laughter
geloscopy - Divination involving laughter
genethliacon - A poem which is written for someone's birthday
genethliacon - A poem written for someone's birthday
geniophobia - A fear of chins
genuphobia - A fear of knees
geophagy - The act of eating dirt or clay
gephyrophobia - the fear of crossing bridges.
gerasophobia - A fear of old age or of growing old
geronto comium - An institution designed to take care of the elderly
geronto cracry - A government of old people (often the old boys network)
gerontophillia - The love of the elderly
gerontophobia - A fear of old age or of growing old
27
geumaphobia - The fear of taste
geumatophobia - See geumaphobia
gigantomachize - To be at war with one's superiors
gigantomachy - A war between giants
gigmania - The smug obsession with attaining middle class respectability
girouettism - Altering one's opinions to match public trends
gliriform - Resembling a rodent
glossophobia - The fear of speaking, especially in public
gork - A patient with unknown ailment. (Short for God only really knows)
gormandizer - One who eats to excess
graminivorous - Eating grass
grammaticaster - A person who is pedantic regarding proper grammar
grandgousier - One who will eat as much as possible of anything
grapholagnia - The urge to stare at obscene pictures
graphophobia - The fear of writing or of the written word
graptomancy - Divination using hand writing
gressible - Able to walk
griffonage - Illegible or sloppy hand writing
grimthorp e - To badly remodel a building ignoring its character or history
grinagog - a person with a big stupid grin
groak - To stare at someone who is eating in hopes of getting food
gub ernator - A powerful man in government
gub ernatrix - A powerful woman in government
gudgeons - The slots on a hinge which hold the pin in place
guidfather - Another name for one's father in law
guttersnip e - A member of the lowest class in society or a street person
gymnogynomania - The urge to spy on people when they are undressing
gymnophobia - A fear of nudity
gymnophoria - The sensation that someone is mentally undressing you
gynarchy - Rulership by women
gyneco cracy - A government consisting of women
gynephobia - The fear of women
gyno cracy - See gynecocracry
gynonudomania - The urge to rip off a woman's clothing
gynophobia - See gynephobia
gynotikolob omassophilia - A proclivity for nibbling on women's earlobes
gyromancy - Divination involving walking in a circle until you fall down
gyrovague - A monk who begs and sponges off of other monks
H
hadeharia - The practice of constantly using the word "Hell" in speaking
hagiarchy - A government of saints
hagio cracy - Rulership by saints
hagiolatry - The worship of saints
haingle - To amble along in a feeble and listless manner
ha jj - A pilgrimage to Mecca
halidom - Anything considered holy or sacred
haliography - A description of the sea
halomancy - Divination or magic using salt
hamartiologist - An expert on the sub ject of sin
hamartithia - Being likely to make a mistake
hamartophobia - A fear of sin or of sinning
hamiform - Shaped like a hook
hamirostrate - Having a hooked beak
haphephobia - See aphephobia
hapto dysphoria - A unpleasent feeling caused by handling any fuzzy sur-
face
harengiform - Shaped like a herring
harpactophage - A predator which feeds on insects
harpaxophobia - The fear of thieves or of becoming a thief
harridan - A disreputable and violent woman
harusp ex - A person who predicts the future using entrails
haruspication - Divination using entrails
hasenpfeffer - A well seasoned rabbit stew
havelo ck - The cloth that hangs from the back of a hat to protect the
wearer's neck
hawsehole - The hole on a ship through which the anchor is lowered
heautontimorumenos - A form of masochism
heautontimorumenos - A masochist
heb ephobia - The fear of young people
heb esphalmology - The study of juvenile deliquency
hecatomb - A religious sacrifice of 100 animals, or any mass slaughter
hecatomp edon - Any building which is either 100 feet long or wide
hederaceous - Pertaining to ivy
hederate - To decorate with ivy
hednon - A present given to someone at their wedding
hedonophobia - A fear of pleasure
heliolater - A sun worshipper
heliophobia - The fear of the Sun
heliotropism - The tendency of plants to turn towards the sun
Hellenologophobia - A fear of Greek terms or complex terminology
hellenomania - The obsession with using either foreign or obscure wording
helminthophobia - The fear of becoming infested with worms
helminthous - Infested with intestinal worms
hemaphobia - See Hematophobia
hematophagous - One who drinks blood
hematophobia - A fear of blood or the sight of blood
hemeralopia - Only being able to see at night
hemeraphonia - Able to speak only at night
hemophobia - See Hematophobia
heresyphobia - A fear of heresy
hermeneutics - Interpretations of the Bible
herp etiform - Resembling a reptile
herp etophobia - A fear of reptiles
heteropraxy - Pertaining to people who do not follow the teachings of their
religion
hib ernicism - An Irish trait or custom
hiero cracy - Rulership by the church or by church officials
hierofastidia - A dislike of all holy ob jects
hieromachy - A war between members of the clergy
hieromancy - Divination using entrails
hierophobia - A fear of the clergy or of holy people
hieroscopy - Divination using entrails
higgler - A salesperson who insists on a certain price
hippanthropy - The delusion that one is a horse
hipp ob osca - A blood sucking fly
hipp omancy - Divination by horses, or by the neighing of horses
hipp ophobia - A fear of horses
hipp op otomonstrosesquip edalian - Pertaining to extremely long words
hirci - Armpit hair
hircine - Resembling or smelling like a goat
hirrient - A heavy trilling sound, such as a cat purring
hirsutophilia - An attraction to hairy men
hirsutophilia - Being attracted to hairy men
hirudinoid - Like a leech
hisbid - Having stubbly or being unshaven
ho dophobia - The fear of travelling
homichlophobia - A fear of fog
homilophobia - A fear of sermons
hominist - One who advocates equal rights for men
honorificabilitudinitatibus - With honorableness (a nonsense word from
medieval literature)
hordarian - The treasurer of a monastery or someone who controls a lot of
money
hormephobia - A fear of shock
horology - The science of measuring time or making time pieces
horripilate - To get goose bumps
howdah - The riding seat on the back of an elephant
hoxter - The inside pocket on a suit or coat
humicubate - To lie still, as in some forms of prayer
humuhumunukunukuapuaa - A small Hawaiian fish
hyalophobia - A fear of glass
hydragyophobia - A fear of mercurial medicines
hydromancy - Divination by water of magic involving water
hydrophobia - The fear of water
hydrophob ophobia - A fear of rabies
hydrophob ophobia - The fear of hydrophobia
hyetophobia - A fear of rain
hygrophobia - A fear of dampness
hygrophobia - A fear of liquids
hylephobia - A fear of epilepsy
32
hylephobia - A fear of materialism
hylophobia - A fear of forests
hylotheism - The belief that god and the universe are the same thing
hylozoism - The belief that matter has life and that life is a property of
matter
hyp engyophobia - A fear of responsibility
hyp erhedonia - Excessive pleasure caused by boring tasks
hyp ermnesia - Having an exceptional memmory
hyp erprosexia - Excessive attention to something
hyp erthemalgesia - An increased sensitivity to heat
hypnomancy - Divination by hypnosis
hypnophobia - A fear of sleeping
hypnop ompic - the fuzzy state between being awake and asleep
hyp obulia - Trouble making up one's mind
hyp ophobia - A fear of not being afraid
hyp osmia - A disorder in which one has no sense of smell
hypselotimophobia - A fear of high prices
hypsiphobia - A fear of heights or high places
I
iatrapistia - A lack of faith in the medical system
iatrogenic - Pertaining to medical problems caused by a doctor's treatment
iatrophobia - A fear of going to the doctor
ichnography - A map or floor plan which is drawn to scale
ichnology - The study of fossilized footprints
ichnomancy - Divination using footprints
ichor - The blood of a god
ichthyomancy - Divination or magic involving fish
icker - A single ear of corn
iconomancy - Divination using icons
icthyophobia - A fear of fish
idolomancy - Divination using idols
ignip otent - Having control of or power over fire
illeism - The practice of referring to oneself as "he" or "she", or by one's
name
illyngophobia - The fear of vertigo
imbriferous - rain carrying, such as clouds
imp ecunious - Having little or no money
imp ecunious - Having no cash or money
inanilo quent - Speaking foolishly or saying silly things
incicurable - Being untamable
incunabula - A book which was printed before 1500 AD, in the dawn of
publishing
infracaninophile - One who supports or defends the underdog
inlapidate - To petrify an ob ject
interamnian - Being between rivers
interfenestration - 1. The space between two windows
interfenestration - 2. The art of placing windows
33
intrapreneur - A company employee who is not bound by rules or policies
and who is free to refine products
iophobia - A fear of poison or being poisoned
iophobia - A fear of rust
ipsedixitism - The practice of dogmatic assertion
irenology - The study of peace
iso cracy - A government in which everyone has equal power
isopterophobia - The fear of termites
itaiitai - A diseases caused by cadmium entering the body
izles - Any sparks or embers which rise from a chimney
J
jactancy - The act of boasting or bragging
jactitate - To toss and turn or to toss back and forth
jaculiferous - Having a spine resembling a row of darts
jarble - To smear with grime and mud
jauk - To dally or to trifle, or to be slow in performing tasks
jecoral - Pertaining to the liver
jeeter - A rude, uncouth slob
jejunator - A person who fasts
jentacular - Pertaining to breakfast
jeofail - A costly mistake made by a lawyer , usually in court
jerque - To search for smuggled items
jo okerie - Trickery or the act of swindling
jo ola - A suspension bridge built out of ropes
jowfair - An event which does not occur after much planning, such as a
wedding with no groom
jowter - A person who sells fish
jubate - Fringed with a mane of long hair
jumentous - Smelling like horse urine
junta - All the people who are involved in some form of political intrique
35
kaffiyeh - The cloth head gear worn by many palestinians
kainophobia - See cainophobia
kakidrosiphobia - A fear of body odour or sweat
kakistocracy - Rulership by the worst leader
kakorrhaphiophobia - A fear of failure
kalling - Fortunetelling based on what variety of cabbage a blindfolded per-
son picks
kalogram - A monogram which uses the persons full name
kalology - The study of beauty
kalopsia - The delusion that things are more beautiful than they really are
kamalayka - A shirt made of seal guts
kantele - A five stringed harp from Finland
karao - The marriage of a widow to her brother-in-law
katagelophobia - See catagelophobia
kathenotheism - The belief that there are multiple gods with a single
leader
keb - An ewe which has aborted its lamb
kebbie - A Scottish walking stick or cudgel
keedug - A raincoat made out of an old sack
keelivine - A pencil which uses lead
kenophobia - The fear of open spaces
kepi - The hat worn by members of the french foreign legion
keraunophobia - The fear of thunderbolts (lightning or thunder and light-
ning)
kerdomeletia - An excessive desire for material wealth
37
38
kerf - The initial cut made in a piece of wood that is used to guide the saw
blade
kevel - To paw the ground and toss one's head like a bull
kinesipathy - The practice of treating illness with exercise
kinesophobia - A fear of motion or movement
kirkbuzzer - One who robs churches
kiyo o dle - A mangy, worthless dog
kleb enleib en - A pathological reluctance to stop talking about a given
sub ject
kleb enleib en - The reluctance to stop talking about a certain sub ject
knissomancy - Divination using burning incense
koimetrophobia - A fear of cemeteries
koinoniphobia - A fear of a room full of people
koniophobia - A fear of dust
kop ophobia - A fear of being mentally or physically exhausted
korophilia - Being attracted to young men or boys
kosmokrator - The ruler of the world
krobylos - A tuft of hair on top of one's head
krukolibidinous - The act of staring at someone's crotch
kurveyor - A travelling merchant who sells dry goods from a cart
kymatology - The study of waves
kymophobia - See cymophobia
kyphophobia - The fear of stooping
kyphorrhinos - Having a nose with a bump in it
kyphotic - Hump-backed
lab eorphilist - A collector of beer bottles
labrose - Having large or thick lips
lachanophobia - The fear of vegetables
lachanophobia - The fear of vegetables
laliophobia - See lalophobia
lalo chezia - The use of foul or abusive language to relieve stress or ease
pain
lalophobia - The fear of speaking
lanigerous - Wool bearing or covered with fine hair
Lao dicean - Being lax in one's religious beliefs or indifferent to religion
lapidate - To stone a person to death
lapidicolous - Living under rocks
larging - The wasteful spending of money received through an inheritance,
loan, or gift
latitudinarian - A person who tolerates all religions or beliefs
latrate - To bark like a dog
latrinalia - Using words that are fit for a restroom wall
latrinology - The study of writings on restroom walls
latro cination - Highway robbery or overcharging people
lavacultophilia - A desire to stare at someone in a bathing suit
leister - A three pronged, barbed spear used for catching fish
lepidophobia - A fear of butterflies
leptorrhinian - having a long narrow nose
lestobiosis - The act of pilfering food
lethologica - The inability to recall a precise word for something
leukophobia - The fear of the color white
levirate - The marriage of a woman to her husbands brother
levophobia - A fear of the left side or things to the left
39
lexiconophilist - A collector of dictionaries and word books
lexiphanicism - Showing off by using words
ligyrophobia - A fear of loud noises
lilapsophobia - A fear or hurricanes, cyclones, or tornadoes
limacine - Like a slug
limicolous - Living in mud or slime
limnology - The study of fresh water, such as lakes or ponds
limnophobia - A fear of lakes
linonophobia - The fear of string
lirp - To snap one's fingers
lithomancy - Divination by stones
litigaphobia - A fear of being sued or of lawsuits
loganamnosis - The obsession with recalling a certain word
logastellus - A person whose love of words is greater than their knowledge
of words
logo cracy - Rulership by words
logo daedaly - Verbal trickery or legerdemain
logogogue - A person who leads others in the use of words or by the use
of words
logographer - A person who writes speeches or chronicles historical events
logomachist - A person who engages in a war of words
logomachize - To engage in a war of words
logomachy - A war of words or a battle about words
logomancy - Divination by words or by speech
logomaniac - A person obsessed with words
logomaniac - A person who is crazy about words
logophile - A person who loves words
logophobia - The fear of words
logorrhea - Excessive talking (or verbal diarrhea)
loho ck - Medicine which is administered by licking it
longanimity - The ability to suffer patiently
longiloquent - Extremely long-winded
- A goulash composed of all the leftovers from the meals of the leftovers from
the meals of the last two weeks
lorgnette - A pair of glasses mounted on a handle
loup e - The small magnifying glass used by jewellers
lubb erland - A mythical paradise reserved for those who are lazy
41
lucubrator - A person who studies during the night
lustration - Ceremonial purefication performed before entering a holy place
lychnobite - A person who works at night and sleeps during the day
lygerastia - The condition of one who is only amorous when the lights are
out
lygophobia - A fear of darkness or of the night
lyp othymia - Profound melancholy
lysistrataphobia - The fear that women will subvert men and take over
the world
lyssophobia - 1.A fear of going insane
lyssophobia - 2. A fear of rabies
42
machiaphobia - The fear of war
mackabroin - A hideous old woman
macrobian - Describes any organism which has a long life
macrologist - A boring conversationalist, usually met at parties
macromancy - Divination by studying the largest ob ject in the area
macron - The horizontal line above a vowel to symbolize a long sound
maculate - To stain or make impure
maculomancy - Divination by spots
magnilo quent - Speaking pompously or in a high flown manner
maieusiophobia - See maieuticophobia
maieuticophobia - A fear of childbirth
malacissation - The process of making something soft and pliable
malaco dermous - Soft skinned
malaxophobia - A fear of love play, especially in women
maledicent - One who is addicted to abusive speech
maledictaphobia - Fear of bad words
malophile - One who loves apples
malversation - corruption and misconduct among public officials
mammothrept - A child who is raised and spoiled by their grandmother
manducable - Edible or soft enough to chew
margaritomancy - Divination using pearls
mariticide - The murder of a husband by his wife
marito desp otism - Tyrranical rulership of a woman by her husband
maritorious - Excessively devoted to one's husband
martext - A blundering preacher who stumbles through a sermon
mastigophobia - The fear of whipping or being whipped
mataeotechny - An unprofitable art or science
mathemancy - Divination using mathematics
matronolagnia - An attraction to older women, especially women who
have children
matutolyp ea - Getting up on the wrong side of the bed
meaco ck - A meak man who dotes on his wife, or is henpecked
mechanophobia - A fear of machinery
meconomancy - Divination by sleep or magic using sleep
megalophobia - A fear of large things
megamalophile - 1. One who really loves apples
megamalophile - 2. One who love the Big Apple
melissophobia - A fear of bees
melittology - The study of bees
mellilo quent - Pertaining to a smooth talker or a con artist (literally honey-
tongued)
melolagnia - Amorous feeling inspired by music
melophobia - A fear of music
mendacilo quent - Able to tell artful or skilled lies
mentimutation - The act of changing one's mind
merdivorous - One who eats excrement
merdurinous - Composed of urine and dung
merinthophobia - A fear of being tied and bound
merito cracy - Rulership by the most skilled leader
meso cracy - Government formed from the middle class
mesomorphic - Being big-boned and muscular
metallophobia - A fear of metals
metapneustic - Having one's respiratory organs in one's butt
meteoromancy - Divination using meteors
meteorophobia - A fear of meteors
metop omancy - Divination using a person's forehead
metro cracry - A government formed of mothers
metrophobia - A fear of poetry
metrophobia - A hatred or fear of poetry
metutials - A small, irritating chore which must be performed before other
work can commence
microlip et - Someone who gets upset about trivial things
micromancy - Divination by studying the smallest ob ject in the area
microphobia - A fear of small things
mimp - To speak in a prissy manner, usually with pursed lips
45
minimifidian - Having virtually no faith, almost faithless
misandronist - A person who believes men are the source of all problems
misap o dysis - The fear of being undressed or seen undressed
misarchist - One who hates any form of authority
miso capnist - One who hates the smell of tobacco smoke
miso do ctakleidist - Someone who hates practicing the piano
misogamist - One who hates marriage
misologist - A hater of knowledge and enlightenment
misomaniac - A person who hates everything
misomath - A hater of math or science
misoneist - A hater of things which are new
misop edist - One who detests children
misop olemiac - A hater of war and strife
misoscopist - A person who hates to look
misosophist - One who hates all wisdom or learning
misotramontanist - One who hates "whatever is beyond the mountain"
(the unknown)
misotyrannist - One who hates tyranny
misoxene - One who hates strangers
misoxeny - The dislike of strangers
miter - The tall pointed hat worn by bishops and abbots
mnemophobia - A fear of memories
molendinaceous - Like a windmill
molysomophobia - A fear of contamination
momiology - The study of mummies
monandry - The practice of having a single husband at a time
monogenism - The belief that all humans are descended from two people
monomath - Someone who knows all about a single sub ject and nothing
else
monopathophobia - A fear of a specific disease
monophobia - The fear of a single thing
morologist - A boring fools who speaks nonsense
moromancy - A foolish divination
mucopurulent - Composed entirely of mucus and pus
muleta - The red cape used by matadors
multilo quent - Always talking or simply talking too much
multisonous - Composed of many different sounds
46
multivious - Having multiple possible paths
muriphobia - A fear of mice or rats
museology - The science of museum curatorship, including the collection
and care of antiques
musophobia - A fear of mice or rats
mutchkin - An English pint
myctophobia - A fear of darkness or of the night
myomancy - Foretelling the future using the movement of mice
myriadigamous - Pertaining to someone who is willing to marry all kinds
of people
myrmecology - The study of ants
myrmecophobia - A fear of ants
myrmidon - A devoted servant or disciple who follows commands without
question
mysophobia - 1. A fear of contamination
mysophobia - 2. The fear of uncleanliness
mystacial - Resembling a mustache
mytacism - The incorrect or excessive use of the letter M
mythomane - Someone who is prone to lie or believe in lies
myxophobia - A fear of slime
N
nanophilia - An attraction to short people
naology - The study of holy buildings such as churches
napiform - Turnip shaped
naprapathy - The process of massaging ligaments to cure illness
narcoklepto cracy - Rulership by drug dealers with ties to politicians and
the military
narcomancy - Divination by sleep or magic using sleep
nasicornous - Having a horn on one's nose, such as a rhinoceros
nassology - The science of stuffing animals for display, also called taxidermy
natalitious - Pertaining to someone's birthday
natatorium - An indoor swimming pool
naufragous - Causing shipwrecks
navicular - Resembling a boat, or boat shaped
neanilagnia - An attraction to teenagers
neanimorphism - Looking younger than one actually is
nearomatria - Being a young mother
nebulaphobia - A fear of clouds or of fog
nebulo chaotic - A state of being hazy and confused
necrologist - A person who writes obituaries or eulogies
necromancy - Divination using black magic or the dead
necromimesis - Feigning death or the delusion that one is dead
necrophobia - A fear of corpses
necrop oliphobia - A fear of cemeteries
necrop onent - The person who temporarily runs a household following a
death in the family
necyomancy - Divination involving summoning the devil
nelip ot - Someone who is walking without shoes
47
nelophobia - A fear of glass
neo cracy - Rulership by inexperienced people
neopharmaphobia - A fear of new medicines or drugs
neophillia - The love of novelty
neophobia - A fear of anything that is new
neossology - The study of young birds
neoteinia - A state of prolonged immaturity
neoteinic - Pertaining to a prolonged adolescence
nep enthe - A potion which causes one to forget their troubles
nepheligenous - Producing clouds of smoke from tobacco
nephelophobia - See nephophobia
nephophobia - A fear of clouds
nepiomania - The desire of a woman to have a child
nep otal - Pertaining to a nephew
nesiote - Living upon an island
neuromancer - One who tells the future by reading a person's neurons
nexum - A form of loan (in ancient Rome) in which the creditor could
enslave and flog the debtor if he failed to make a payment
nicitate - To close and open the eyelids rapidly, as in a blink
nidificate - To build a nest
nidor - The aroma of cooked food, particularly meat
nidorosity - Belching with the taste of undigested meat
nikhedonia - The pleasure caused by anticipating good fortune or success
nippitatum - Exceptionaly strong beer
no ctivagant - To roam about at night or to wander around while asleep
no ctivagant - To rove or wander at night
no ematachograph - A device used for measuring reaction times
nomancy - See onomancy
nomatophobia - A fear of names
nomiatrist - A lawyer whose specialty is medical law
nomographer - A person who writes laws
no ology - The study of intuition and comprehension
nosism - The practive of referring to oneself as "we"
noso comephrenia - A depression caused by any extended stay in the
hospital
noso comology - The study of hospital management
nosomaniaphobia - A fear of suffering from an imaginary disease
49
nosophobia - A fear of becoming ill
nostology - The study of senility
nostomania - Overwhelming homesickness
nostophobia - A fear of returning home
novercal - Pertaining to a stepmother
novercaphobia - The fear of one's stepmother
noyade - A mass drowning
nucamentaceous - Pertaining to a nut
nuciverous - Nut eating
nucleomitophobia - A fear of atomic energy or nuclear weapons
nudiustertian - Pertaining to the day before yesterday
nullibiety - The state of being nowhere
nullipara - A woman with no children
numerophobia - A fear of numbers
numismatist - A coin collector
nummamorous - Pertaining to someone who spends all of their time trying
to make money
nundinal - Pertaining to a marketplace or a fair
nutation - The involuntary nodding of one's head
nychthemeron - A period of 24-hours
nyctalopia - night blindness or the inability to see in low light
nycterent - A hunter who hunts at night
nyctophobia - A fear of darkness or night
50
obambulate - To walk around or casually wander
ob dormition - The feeling one gets when a limb "falls asleep"
ob esophobia - The fear of gaining weight
obliviscence - Forgetfulness
obmutescent - Preferring to have silence or to avoid noise
obnubilate - 1.To cloud or to obscure
obnubilate - 2.To be clouded and obscure
obsolagnium - The lack of sexual desire that accompanies old age
obstipation - Extreme form of constipation
o chlo chracy - A government formed by the mob
o chlophobia - A fear of crowds
o chophobia - A fear of riding in automobiles
o ctan - Something which happens every eight days
o culoplania - Letting one's eyes wander while assessing someone's charm
o dontalgia - A tooth ache
o dontomancy - Divination using teeth
o dontophobia - The fear of teeth
o dynophobia - A fear of pain
o enomancy - Divination by wine
o enophlygia - The state of being drunk
o enophobia - The fear of wine
oikology - The science of house keeping
oikomania - mental disorder caused by an abusive home
oikonisus - The desire to start a family
oikophobia - A fear of one's home
oinomancy - See oenomancy
oinophobia - The fear of wine
olecranon - The bony tip of the elbow
51
olfactphobia - A fear of odors
oligarchy - A government controlled by a few people
oligophagous - One who eats only a few kinds of food
oligophrenic - being mentally deficient or having a small brain
oligotokous - Referring to a creature that lays four or less eggs
ombibulus - Someone who drinks everything
ombrometer - A device used for measuring rainfall
ombrophilous - Capable of withstanding long periods of rain
ombrophobia - A fear of rain
ombrosalgia - Aches and pains felt when it rains
ommatophobia - A fear of eyes
omniana - Bits and pieces of various information
omnierudite - One who is educated in all sub jects, or who possesses uni-
versal knowledge
omnilo quent - One who can talk about any and all sub jects
omophagist - A person who eats raw flesh
omoplatoscopy - Divination involving a shoulder blade which has been
charred or cracked from a fire
omphacine - Pertaining to fruit which is not ripe
omphalomancy - Foretelling the future by counting the knots in a baby's
umbilical cord
omphalophobia - Fear of belly buttons
omphalopsychite - One who contemplates their naval
onamatophobia - A fear of names
oneiro critic - One who interprets dreams
oneiromancy - Divination by dreams, or interpreting dreams
oneirophobia - A fear of dreams
onimancy - Divination using fingernails
oniomania - An uncontrollable urge to buy something
onomancy - Divination using a name or the letters in a name
ontology - The study of the nature of being
onychomancy - Divination using fingernails
onychophagy - The habit of biting one's fingernails
o ologist - A collector of bird's eggs
o omancy - Divination or magic using eggs
ophidiophobia - A fear of snakes
ophiomancy - Divination by snakes or serpents
ophiophagous - One who eats snakes
53
ophiophagy - The eating of snakes
ophiophobia - See ophidiophobia
ophthalmophobia - The fear that one is being stared at
opsablepsia - The inability to look someone in the eye while speaking
opsimath - One who acquires knowledge late in life
opsimathiphobia - A fear of learning something too late
opsimatria - The bearing of children late in a woman's life
opsipatria - The fathering of a child by an elderly man
opsiproligery - The ability to still have children late in life
opsomaniac - One who loves a certain kind of food, bordering on madness
opsophagy - The eating of delicacies
optophobia - A fear of opening one's eyes
orant - A religious figure of a praying woman
orcheotomy - See Ochidectomy
orchidectomy - Another word for castration
ornithomancy - Divination using birds' flight and cries
ornithophobia - A fear of birds
ornithoscelidaphilia - A love of dinosaurs
ornithoscelidaphobia - A fear of dinosaurs
orology - The study of mountains
orthophobia - A fear of correctness
orthopter - A flying machine which uses flapping wings
orthp olitiphobia - A fear of political correctness
orthpraxy - Pertaining to people who strictly follow the teachings of their
religion
oryctomancy - Divination by studying excavated ob jects
oryzivorous - Pertaining to eating rice
osculant - Pertaining to a close embrace or long kiss
osculaphobia - A fear of kissing
osmidrosiphobia - A fear of body odour or sweat
osmology - The study of odors
osmophilia - The love of various smells
osmophobia - A fear of odors
osphresiophobia - A fear of odors
ossomancy - Divination using bones
ostraconophobia - A fear of shellfish
ostreophobia - A fear of shellfish, especially oysters
54
otolaryngologist - A doctor who specializes in treating ear, nose and throat
problems.
otology - The study of the ear and its disorders
oubliette - A dungeon whose only entrance is in the ceiling
ouranomancy - See uranomancy
outfangtheft - The right under law of a lord to persecute a vassal caught
outside of his jurisdiction
oxter - To walk arm in arm
oxyacanthous - Having sharp thorns or spikes
oxyesthesia - Being extremely sensitive to touch
oxygeusia - Being sensitive to taste
oxyosphresia - An extreme sensitivity to smells
oxythymous - Pertaining to someone who is quick to anger
ozostomia - The state of having bad breath
P
paedarchy - Rulership by a child or several children
paedo cracy - A government formed of children
pagophagia - 1. The eating of ice
pagophagia - 2. A folk remedy of eating a bowl of ice daily to offset iron
deficiency
pagophobia - A fear of ice or frost
paleography - The study of ancient writings
paleozo ology - The study of prehistoric animals
pancratic - Accomplished in many forms or sport or game or having a
mastery over numerous sub jects
pandiculation - Stretching and yawning before going to bed or after wak-
ing up
panpygoptosis - A pathological condition in which the thighs are sup-
pressed and the buttocks starts at the back of ones knees
pantagamy - Married to everyone
pantaphobia - A fear of lack of fear
pantomancer - One who sees omens in every event
pantophobia - A fear of everything
papaphobia - A fear of the pope or the papacy
paparchy - Rulership by the pope
papyro cracy - Rulership by paperwork or by the press
papyrophobia - A fear of paper
parab olanus - A monk who treat contagious diseases
paralian - A person who lives near the sea
paralip ophobia - A fear of responsibility
paramnesia - A disorder in which one remembers events that never hap-
pened
paranymph - The best man or bridesmaid at a wedding
55
parapraxis - A lapse of memory or a slip of the tongue, usually revealing
a hidden thought
parasitophobia - A fear of parasites
paraskevidekatriaphobia - The fear of Friday the 13th
parateresiomania - The obsession with being a voyeur
parergon - A second job or an additional source of money from extra work
parisologist - A person who uses ambiguous language or evasive writing
parorexia - The craving for strange or indigestible foods
parosmia - A disorder which causes one to smell things that are not real
parousiamania - An obsession with the return of Christ
parrhesiastic - Able to speak freely
parsonarchy - A government formed by priests
partheniad - A poem which honors a virgin
parthenolagnia - The desire to make love to virgins
parthenolatry - worship of a virgin or virgins
parthenophobia - The fear of virgins
pasilaly - Any universal language
passalorynchite - A member of an old Christian sect in which members
had to take a vow of silence
passulation - The act of drying up and turning into a raisin
pataphysics - The science of imaginary solutions or of nonsensical philos-
ophy
patavinity - The use of local slang or expressions when writing
pathenophillia - The love of virgins
pathenophobia - The fear of virgins
pathophobia - A fear of disease
patroiophobia - A fear of hereditary diseases
paucilo quent - Using as few words as possible when speaking
paxophobia - A fear of peace
p eccatiphobia - A fear of sin or of sinning
p eckerwo o d - A southern term for poor anglo-saxon protestants
p ecunious - Having a lot of money
p edantro cracy - Rulership by pedants or pedagogs
p ediatricophobia - A fear of having to take care of children
p ediculophobia - A fear of lice
p ediophobia - 1. A fear of children
p ediophobia - 2. A fear of dolls
p edipulate - To operate with one's feet
57
p edotrophy - The art of raising children properly
p egomancy - Fortunetelling using the bubbles in a fountain
p eladophobia - A fear of people who are bald
p elargic - Resembling a stork
p elology - The study of therapeutic uses of mud
p eniaphobia - A fear of poverty
p enotherapy - Controlling prostitutes in order to eliminate the spread of
disease
p enphobia - The fear of writing or of the written word
p entap op emptic - One who is divorced five times
p entheraphobia - Fear of Mother in Law
p erendinate - To delay until the day of tomorrow or to delay indefinitely
p erfuncturate - To perform some task in a careless or listless manner
p eriblebsis - The wild look which accompanies delirium
p ericlitate - To put at risk or in danger
p eripatetic - walking about, usually while studying
p eriphrastic - Pertaining to circumlocution or to one who is wordy
p erissop edics - The special branch of pediatric dealing with gifted children
p eristerophilist - One who collects pigeons
p eristerophily - The art of training pidgeons
p eristerophobia - A fear of pigeons
p erno ctation - The act of staying up all night doing work or attending a
party
p erno ctator - A person who studies through the night
p ervulgate - To publish something
p essomancy - Divination using stones or rocks
phagomania - Insatiable hunger
phagophobia - A fear of eating or swallowing
phalacrophobia - A fear of going bald
phalacrophobia - Fear of going bald
phanerolagniast - A psychologist who studies human lust
phaneromania - The compulsive habit of picking at scabs or growths
pharmacophobia - A fear of medicine or drugs
pharology - The study of lighthouses or similar signalling devices
phasmophobia - A fear of ghosts
phengophobia - The fear of the Sun or of sunlight
phigerophobia - See pnigophobia
philalethist - A lover of the truth
58
philandrist - One who loves men
philatelist - A stamp collector
philemaphobia - A fear of kissing
philematology - The study of kissing
philematophobia - See philemaphobia
phillumenist - A collector of matchbooks or matchboxes
philo calist - A lover of beauty
philo comal - Pertaining to hair care
philo cubist - A lover of games involving dice
philo desp ot - One who loves tyranny
philo dox - Someone who loves their own opinions
philogeant - One who loves everything on the Earth
philographer - A collector of autographs
philogynist - One who loves women
philologist - One who loves literature and languages
philomath - One who loves math and the sciences
philomythist - A person who loves mythology
philoneist - One who is obsessed with trends or fads
philonoist - Someone who is seeking knowledge
philophobia - A fear of love or of falling in love
philop olemicist - A person who loves to argue or debate
philoprogeneity - The love of your children
philosophaster - A person who pretends to know more than they do to
impress others
philosophobia - A fear of philosophy or philosophers
philosophunculist - A person who pretends to know more than they do
to impress others
philoxenist - A person who loves to entertain strangers
philtrum - The groove in the middle of one's upper lip
phob ologophobia - The fear of words about fears
phob ophobia - A fear of being afraid
phonophobia - 1. The fear of sound
phonophobia - 2. The fear of speaking to an audience
photoaugiaphobia - A fear of glaring lights or being in the spot light
photophobia - A fear of light
phrenology - The study of how the shape of one's skull determines char-
59
phronemophobia - The fear of thinking
phrontifugic - helping to escape from one's thoughts
phrontistery - A place for study or for contemplation
phthiriophobia - A fear of lice
phthirophagous - One who eats lice
phthisiophobia - The fear of tuberculosis
phylactery - One of two small black leather boxes which contain biblical
verses of Jewish law
phyllomancy - Magic using leaves or foretelling one's future from leaves
physiognomancy - Divination using a person's face
physitheism - Giving physical form to a deity
physitism - The worship of nature
phytivorous - Pertaining to vegetable - eating
pica - A craving for an inedible substance (such as chalk or paint chips)
Pickelhaub e - The spiked helmet worn by german or prussian soldiers be-
fore World War I
pilcrow - The symbol used by editors to indicate a new paragraph
pillion - A seat for a second person on a motorcycle or on a horse
pillion - The second seat on a motorcycle or on a saddle
pilosism - Excessive hairiness
pilpul - A subtle debate between rabbincal scholars over the details of the
Talmud
pintle - The pin that holds a hinge together
piobalreachd - A dirge played on the Highland bagpipes
piscatology - The science of fishing
pismirism - The saving of every bit of money, such as hoarding pennies
placophobia - The fear of tombstones
plangent - A deep, reverberating sound such as heavy bells ringing or thun-
der
plangonologist - A collector of dolls
planilo quent - Talking plainly about some sub ject
planomania - The urge to roam
plastron - The padded jacket worn while fencing
platyopic - having a broad flat nose
pleionosis - The habit of exagerating one's own importance
plenilo quent - Always talking or full of speech
plenilune - The time of the full moon
60
plousio cracy - A government consisting of the wealthy and the elite
plumassier - Someone who makes or sells feathers used in ornaments
plutarchy - A government formed by the wealthy and elite
pluto cracy - Rulership by the wealthy or elite
pluto crat - A member of the wealthy ruling class
plutolatry - The worship of wealth
plutomania - An obsession with money
pluviophobia - A fear of rain
pneumatophobia - A fear of air
pneumonoultramicroscopicsilicovolcano coniosis - A miner's lung dis-
ease caused by inhaling silicate dust
pnigophobia - A fear of choking
p o doscaph - A boat propelled by bicycle treadles
p ogonophobia - A fear of beards
p oikilothermal - Cold blooded
p oinephobia - A fear of punishment
p olemology - The study of war
p oliticaster - Second rate politician or incompetent leader
p oliticophobia - A fear of politicians
p ollarchy - Rulership by the mob
p oltophagy - To chew food until it is the consistency of porridge
p olyandry - Marriage to several men
p olyap op emptic - Having been divorced numerous times
p olygyny - Marriage to several women
p olylogize - To talk excessively
p olylo quent - One who can talk about numerous sub jects
p olymath - A person of superior and wide ranging knowledge
p olyphage - Someone who eats many kinds of foods
p olyphloisb oian - Making a lot of noise or a loud racket
p olyphobia - A fear of many things
p olytheism - The belief that there are many gods
p omology - The study of how fruit grows
p onerologist - One who expounds on the evils of nature
p onophobia - The fear of overworking
p orphyrophobia - A fear of the color purple
p osology - The area of medicine dealing with dosages
p osthetomist - A person who performs circumcisions
61
p otamophobia - A fear of rivers
p otophobia - A fear of drinking alcohol
p oulaine - Pointy toed shoes such as worn by jesters
preantep enultimate - Fourth from last
precibal - Before dinner
prelapsarian - Pertaining to the time before the biblical fall
presbycusis - The loss of hearing due to old age
presbyopia - The loss of sight due to old age
prescient - Having foresight or knowledge of what will happen.
preterist - One who believes that the prophecies preceeding the Apocalypse
have been fulfilled
preterition - The doctrine that God has decided who to save and passes
over everyone else
preterplup erfect - More than perfect
prob oscidiform - having a nose like an elephant's trunk
procrescophobia - The fear of gaining weight
proficuous - advantageous and useful
prognathous - Having a jaw which extends past the rest of one's face
propinquiphobia - A fear of being too close
prosophobia - A fear of progress
prosop ography - The description of a person's appearance
prosop olepsy - The acceptance of people based on the appearance
prosop olethy - The inability to remember a face
psaphonic - Preoccupied with plotting your ascent to wealth and renown
psellism - An indistinct pronounciation, such as produced by a lisp or by
stammering
psellismophobia - The fear of stuttering
psephology - The study of political elections
psephomancy - Divination by drawing marked stones from a container
pseudandry - The use of a masculine pseudonym by a woman
pseudauto chiria - A murder which is made to look like a suicide
pseudepigraphous - Signed with a false signature
pseudoantidisestablishmentarianism - The false support of the idea
that a government should not support the church
pseudogyny - The use of a feminine pseudonym by a man
pseudomancy - A false or fake divination
pseudophonia - See pseudautochiria
pseudorhombicub o ctahedron - A solid which has twenty-six faces
62
psilanthropism - The belief that Jesus was not a God, but a man
psilanthropy - The belief that Jesus was a mere mortal
psithurism - The sound of the wind rustling the leaves
psithurism - The sound of wind in trees or rustling leaves
psychomancy - Divination by talking to the dead
psychophobia - A fear of the mind
psychrophobia - A fear of cold
pteridology - The study of ferns
pteronophobia - A fear of feathers
pterylology - The study of feather arrangements on birds
ptocho cracy - A government formed of the poor
puellaphillist - One who loves girls
pulicose - Infested with fleas
pygalgia - A pain in the butt
pyknic - Being stocky and round
pyosis - The formation of pus or the process through which pus is formed
pyrexiophobia - A fear of fever
pyrgology - The study of towers
pyriform - Shaped like a pear
pyrography - The art of writing on wood or decorating wood by burning
it
pyromancy - Divination using fire or magic involving fire
pyrophobia - A fear of fire
pyrrhonist - A skeptic who accepts nothing at face value
pysmatic - Always asking questions or inquiring
pythogenic - Coming from garbage
pyx - The container which holds the wafer used in Holy Communion
Q
qasida - A form of arabic poetry
qiviut - The soft undercoat on a musk ox, often used in making coats
quadragenerian - A person who is 40 years old, or between 40 and 50
quadrel - A square stone or tile
quadrifid - To be cut into four pieces
quadrigamist - Someone who either has been married four times or who
is married to four people
quadriliteral - Pertaining to a word which has four letters
quadrumane - A four handed animal, such as a monkey or ape
quaestuary - Seeking money or trying to make money
qualtagh - The first person you see after leaving your house
quartan - Something which occurs every four days
quasihemidemisemiquaver - According to British musical notation, a
128th note
quatrayle - One's great great great grandfather
quean - 1. A whore or prostitute
quean - 2. A young, unmarried woman
quercine - Pertaining to an oak tree
quiddler - A person who hangs around wasting time at work and making
conversation with people who are working
quidnunc - A person who always wants to know what is going on
quincunx - A set of five ob jects arranged with one at each corner of a
square, and the fifth in the center
quinquagesimal - Consisting of fifty days
quinquepartite - Having five parts
quisquilian - Consisting of trash and rubbish
quo dlib ertarian - A pedantic person who engages in elaborate arguments
about minor things
quo dlib et - A subtle debate over a theological point by Christians
quoin - An external angle in a wall or building
quomo do cunquize - To make money by any means possible
quotidian - Occuring every day
radiophobia - The fear of radiation
raith - A quarter of a year
rampasture - A room in which several unmarried men reside, usually in a
boarding house or inn
rasorial - Scratching the ground in search of food
reasty - Something which is covered in rust or has a rusty taste to it
recrudescence - The reappearance of a disease or illness after being cured
rectalgia - A pain in the ass
rectigrade - Moving in a straight line
rectiphobia - A fear of being corrected
rectirostal - Describing a bird (or other animal) with a straight beak
rectopathic - One who is easy to hurt emotionally
recumb entibus - A knockout punch, either verbal or physical
recuse - To excuse a judge from their duties
redactophobia - A fear of editing or of editors
redhibition - The cancellation of a sale due to the product being defective
redubb er - A person who steals cloths and resells them
reest - To smoke or cure either meat or fish
refrangible - Capable of being refracted
regiphobia - A fear of a king or kings
rehibition - The act of taking back defective products
remip ed - Having legs or arms which act like oars - especially referring to
insects
remontado - A person who lives in the forest or mountains and avoid
civilization
remplissage - The padding of literary works or of musical works
renidification - The act of rebuilding one's nest
resipiscent - To learn from experience or have one's sanity restored
65
resistentialism - The spiteful behaviour of inanimate ob jects
rhab domancy - Divination using a stick or rod, such as dowsing for water
rhab dophobia - A fear of magic
rhab dophobia - A fear of sticks or rods, or of being beaten with them
rhab dophobia - The fear of being beaten with a stick
rhadamanthine - Being completely fair and incorruptible
rhapso domancy - The art of predicting the future using poetry
rhinophonia - An extreme nasal sound in one's voice
rhombicosido decahedron - An Archimedean solid composed of sixty two
faces
rhytiphobia - Fear of getting wrinkles
rhytiscopia - an obsession with one's facial wrinkles
rixatrix - A nasty old women, usually with a tendency to natter and scold
roil - To make muddy by stirring or to disturb sediment
roorback - An ugly rumor of fabricated news story created to discredit a
political opponent
rosacea - A condition in which a person has a large red nose
rouleau - A cylinder of coins rolled in paper
rub edinous - Reddish colored
ruderal - Growing in a garbage dump
rugulose - Having small wrinkles
rumb elow - 1. A song or refrain sung by sailors while rowing a boat
rumb elow - 2. A common whore
rumb elow - 3. A type of carriage
runcation - The act of weeding
rup estrian - Made out of rocks
rupicoline - Living among or growing on rocks
rup ophobia - A fear of dirt
rurigenous - One who has been born in the country
rustication - Taking a trip to the countryside
S
sabbulonarium - A gravel pit, or money paid to someone who digs gravel
salutatorian - The second best student in a graduating class, whose job it
is to give an introductory speech
sanctilo quent - Speaking of something which is holy or sacred
sanguinivorous - A blood sucker
sanguivorous - One who drinks blood
sap onaceous - 1. Being soapy or slippery
sap onaceous - 2. Being very nice and ingratiating
saprogenic - Causing rot and decay
saprophagous - One who eats dead or decaying animals
saprophilous - Living in rotting waste
saprostomous - Having bad breath
saraad - A fine levied by ancient Welsh courts which were paid in cattle
sarcle - To dig up weeds
sarcophagic - Pertaining to something which eats flesh
sarculation - Weeding using a rake
sardanapalian - Being luxuriously effeminate like the Byron hero Sardana-
palus
sarmassophobia - A fear of love play, especially in women
sartorial - Pertaining to tailors
sarwan - A person who rides and guides a camel
satanophany - Possession by the devil
satrap ess - An official who acts like a petty tyrant
saturnalian - Wild and unrestrained, usually referring to a riotous party
saulie - A person who is hired to mourn
saxatile - Pertaining to rocks
saxify - To turn to stone or rock
scacchic - Pertaining to the game of chess, or to chess pieces
67
scaldabanco - A preacher who delivers a fiery sermon
scapulimancy - Divination involving a shoulder blade which has been
charred or cracked from a fire
scarp ology - The science of determining characteristic traits by examining
a persons shoes
scatology - The study of excrement
scatomancy - Magic or divination using excrement
scatophagous - One who eats excrement
scatophobia - A fear of excrement
scelerophobia - A fear of evil men, such as burglars or muggers
schadenfreude - Taking pleasure in the misfortunes of others
schematomancy - Divination using the appearance of people
schizo carp - The winged seed pod of maple trees
scho enobatist - A tight rope walker
scholaptitude - A natural ability to perform scholarly achievements
schwa - The inverted e used to symbolized a relaxed vowel sound which is
neither short nor long
sciamachy - Fighting with a shadow or an imaginary opponent
sciamachy - To fight with a shadow, or shadow boxing
sciaphobia - A fear of shadows
sciap o dous - Having huge feet
scintillation - The twinkling of stars or small bursts of light
sciolist - A person who pretends to be an intellectual but is not
sciomancy - Divination by talking to the dead
sciophobia - See sciaphobia
scoleciphobia - The fear of worms
scolecophagous - One who eats worms
scolionophobia - A fear of school
scop olagnia - The pleasure gained by a voyeur
scotch - A block of wood or a brick used under vehicle wheels to prevent
rolling
scotomaphobia - A fear of scotoma, (having spots before your eyes)
scotophobia - A fear of darkness or of the night
scriptophobia - The fear of writing or of the written word
scutiferous - 1. Carrying a shield or armor
scutiferous - 2. Being covered in scales like a reptile
sebaceous - Oozing slime or grease
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secundogeniture - 1. Being the second born son
secundogeniture - 2. Any property inherited by the second son
selachostomous - Shark - mouthed
selacophobia - A fear of sharks
selaphobia - A fear of flashing lights or strobe lights
seleno centric - One whose life revolves around the moon (a "space cadet")
selenography - The science of geography of the moon
selenomancy - Divination using the moon
selenophobia - A fear of the moon
self-agglandize - To make oneself more attractive by artificial means
senectitude - Old age
sepicolous - Living in a bush or hedges
septemplicate - One of seven exact copies
septimanarian - A monk who is given a week of duties to perform
septophobia - A fear of decay or decaying matter
sermo cination - A speaker answering their own questions
sesquialteral - Having a ratrio of one to one and a half
sgiomlaireached - The habit of dropping in at mealtimes
sgriob - The itchiness of the upper lip just before taking a sip of whiskey
shaconian - A person who believes Francis Bacon wrote Shakespeare's
works
shakos - The hat usually worn by members of a marching band
shapka - The fur covered, brimless hat worn by many Russians in the winter
shistaceous - slate colored or livid, especially pertaining to skin
shoat - A worthless young fellow, originally a young hog
shuro cracy - A government based on consensus
sialagogue - Anything which promotes salivation
sialoquent - Spraying saliva when speaking
sidero dromophobia - Fear of railroads or trains
sideromancy - 1 Foretelling the future by studying the stars
sideromancy - 2. Divination using straw burned on hot metal
siderophobia - The fear of stars
siffilate - To talk in a whisper
siffleur - A professional whistler
sigillate - To cover with official stamps and seals
silential - Performed in silence or pertaining to silence
silentium - A place in which silence is enforced
simphobia - The fear of speaking straight forwardly and in simple terms
70
sinistrophobia - A fear of the left side or things on the left side
sitiophobia - A fear of food
skiaphobia - See sciaphobia
skirl - A piercing sound such as produced by the high notes of a bagpipe
sko okum - First rate or the best (from Chinook jargon)
skoptsy - The act of self castration
slavo cracy - A government formed of slave owners
sloken - To quench one's thirst
sloyd - Skilled work (usually manufacturing) which requires dexterous use
of tools
slubb erdegullion - A boorish slob
smaragdine - Pertaining to emeralds
smatchet - A small nasty person or a nasty child
smellfungus - A person who finds faults with everything
snarf - 1. To fall asleep with your clothes on
snarf - 2. The act of laughing while drinking and expelling the fluid through
one's nose
snath - The long bent handle on a scythe
snead - The long bent handle of a scythe
snipsnapsnorum - A type of card game
snoach - To speak through the nose
snollygosters - Sleazy politicians or lawyers
sno od - The fleshy appendage on the beak of a male turkey
snup - To buy something of value which some ignorant person has discarded
or sold cheap
snurl - To turn up one's nose in scorn
snurt - To expel mucus when sneezing
snuzzle - To poke around with one's nose, as dogs do
so ceraphobia - A fear of parents in law
so ciophobia - The fear of society or friendship
so dality - An association or organized group
solfeggio - A singing exercise using the syllable do,re,mi,fa,so,la,ti
solivagant - Wandering all alone
solleret - A metallic pointy toed shoe worn by knights
somatology - The science of using a person's physical features to determine
their personality
somnifugous - Something which drives away sleep
somnilo quent - Speaking in one's sleep
71
sophist - A person who uses deceptive reasoning to win debates
sophophobia - 1. A fear of knowledge or wisdom
sophophobia - 2. A fear of learning
sophrosyne - The quality of wise moderation or discreet good sense
sorbile - Drinkable
soro cide - The killing of one's own sister
sororate - The marriage of a man to his wife's sister
soterial - Pertaining to salvation
soteriology - The doctrine the salvation can only be granted by Christ
spaneria - A place with few or no men
spanogyny - A place with few or no women
sparge - To moisten by sprinkling with water
spargefaction - The moistening of something by sprinkling it with water
spartle - To flounder and flail about
spasmatomancy - Divination using convulsions or twitching of one's limbs
spatilomancy - Divination using animal droppings
spatulamancy - Divination involving the shoulder blades of animals
sp ecto cloacaphobia - The fear of one's eyeglasses falling in the sewer
sp ectroheliokinematograph - A special camera used to film the Sun
sp ectrophobia - A fear of mirrors
sphallolalia - Flirtatious talk that leads nowhere
spheksophobia - The fear of wasps
spheromancy - Divination using a crystal sphere
sphragistics - The science and history of seals and stamps
sphygmomanometer - The device used to measure blood pressure
spiculate - To sharpen to a point
spilikins - The wooden pegs used in the game of cribbage
spindrift - The ocean spray which is blown by the wind
splanchnology - The study of the internal organs of humans
sp o dogenous - Pertaining to being in the presence of waste
sp o domancy - Divination using ashes
sprag - A block of wood or a brick used under vehicle wheels to prevent
rolling
squamulose - covered with very small scales, as in snakes
squirearchy - Rulership by the landed gentry
stagiary - A student of law
stagnicolous - Living in stagnant water
72
stalko - A poor man who pretends he is rich
stasibasiphobia - The fear of standing and walking
stasiphobia - The fear of standing (for fear of falling)
staurolatry - Worship of the cross or Christ on a cross
staurophobia - A fear of crucifxes
steatopygic - Having a fat behind
stellionate - The unauthorized sale of a piece of property
stenophobia - A fear of narrow places
stentorian - Pertaining to very loud and resonant sounds
stentorophonic - Having a loud, powerful voice or making a loud sound
stercoricolous - Living in dung
sterculius - A God who rules over feces and dung
stereognosis - Deducing the weight of an ob ject by handling it
sternutation - The sound of a sneeze or the act of sneezing
sternutatory - Something which causes sneezing
sterquilinous - Pertaining to a dung heap
stertorous - Having a deep raspy sound produced by an obstructed air
passage
stichomancy - Divination using random lines from a book or the Bible
stigmeology - The art of proper punctuation
storiology - The study of folklore and legends
stratephrenia - A neurosis caused by serving in the military
strato cracy - A government formed of the military
stridulation - The shrill sound produced by crickets and other insects
strikhedonia - The pleasure of being able to say to hell with it
strump eto cracy - A government formed of prostitutes
struthious - Like an ostrich
stultilo quent - Speaking senselessly or babbling idiotically
stygiophobia - A fear of hell
suavilo quent - Speaking in a sophisticated manner
suggilated - Badly beaten black and blue
suoid - Like a hog
sup ernaculum - To drink to the last drop
supp edaneum - The block of wood supporting the feet of a crucified person
surfeitigo - The sudden feeling of being stuffed by food, friends, or invita-
tions
suriphobia - A fear of mice or rats
sutler - A person who follows the army in order to sell provisions to the
73
swarf - The metallic dust that accumulates after sharpening or grinding
metal
swinophobia - A fear of pigs or swine
sycomancy - Divination using figs
symmetrophobia - The fear of symmetry
symp osiarch - A master of ceremonies
syndyasmia - The proper term for an open marriage in which either part-
ner may live with other people
syngenesophobia - A fear of relatives
74
tachophobia - The fear of speed
tachydidactic - Being taught rapidly or teaching quickly
tachydidaxy - Rapid teaching or instruction
tachygraphy - Short hand or stenography
tachyphagia - Fast eating
tachyphrasia - The act of talking very fast
taeniophobia - See teniophobia
talaria - Winged shoes, such as worn by Hermes
taligrade - Walking on the outer edge of one's foot
tallith - The traditional prayer shawl worn by Jewish men
tam-o-shanter - The beret worn by Scottish higland pipers
tanquam - A person with enough education to attend college
taphephillia - The love of funerals
taphephobia - 1.A fear of graves
taphephobia - 2. Fear of being buried alive
tapinophobia - A fear of small things
tarantism - an urge to overcome melancholy by dancing
tartarology - The study of the underworld or doctrine pertaining to Hell
tath - Either cattle manure or the grass that grows in dung
tatterdemalion - An unkempt person who wears rags
taurophobia - A fear of bulls
technocracy - Rulership by technicians or experts
technophobia - The fear of technology
tegestologist - A collector of beer mugs and beer coasters
teleophobia - A fear of religious ceremonies
telmatology - The study of swamps and bogs
temerity - A form of extreme boldness
teniophobia - The fear of tapeworms
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teratophobia - A fear of deformed people
teratophobia - A fear of monsters or of having a deformed child
terebration - A pain that feels as though a drill is boring through some
body part
termagant - A violent, brawling woman
tessaraglot - A person who is capable of speaking in four languages
textophobia - A fear of certain fabrics
thaasophobia - A fear of sitting
thalassophobia - A fear of the sea or an ocean
thanatophobia - A fear of death
thanatopsis - The contemplation of death
thaumatology - The study of miracles
theandric - Pertaining to a person who is both a human and a god
theanthropism - The belief in the union of the divine and human
theanthropist - One who believes that gods can take human forms
theanthrop os - A person who is worshipped as a god
theanthropy - The belief in the union of the divine and human
thearchy - Rulership by a god or gods
thelyotokous - Having only female offspring
theo christic - anointed by God
theo cracy - Government formed by the church or by a representative of
God
theo crasy - The worship of different gods
theo demo cracy - A democracy which is controlled by divine powers
theogamy - A marriage between gods
theoktony - The death of God or of gods
theologaster - A religious charlatan
theologicophobia - The fear of theology
theologoumenon - Individual opinion on God or divinity
theomachy - A war between gods or a war against gods
theomancy - Using gods or oracles to foretell the future
theomania - A madness in which one claims to be a god or represent God
on some mission
theomastix - A divine scourge of mortals or a disaster sent by God
theomicrist - A person who mocks God or divinity
theomorphic - Resembling a god or having godlike qualities
theonomy - Rulership by God or a government formed by God
theophagy - The eating of a god (such as in the Christian communion)
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theophany - The manifestation of a deity on Earth
theophilanthropist - A person who loves both God and mankind
theophobia - A fear of Gods or the wrath of God
theophobia - The fear of God
theopneusty - Divine inspiration, especially one that enables someone to
reveal divine truths
therianthropic - Combining human and animal forms, such as the centaur
theriolater - A person who worships animals
theriolatry - The worship of animals as gods
theriomancy - Divination using animals or their movement
thermophobia - A fear of heat
thixophobia - The fear of touching or being touched
thole - A pin in the gunwhale of a boat to hold an oar
threpterophilia - An attraction to female nurses
thriob oly - Divination using stones or rocks
thrip - To snap one's fingers
thurible - The incense holder used in religious ceremonies
thurification - The burning of incense
thygatrilagnia - An incestuous desire for one's daughter
tibialo concupiscent - Having a lascivious interest in watching a women
put on stockings
timbromaniac - An avid stamp collector
timmynoggy - A device the saves time and labor
timocracy - A government of honorable people
tirocinium - A soldier's first battle
tocology - The study of obstetrics or midwifery
tocophobia - A fear of childbirth
toggy - A long beaverskin coat popular among northern fur traders
tolutilo quent - Pertaining to a smooth talker
tomalley - A type of lobster liver that turns green when heated
tomecide - The act of murdering or destroying a book
tomentose - Covered with thick tangled hair
tomophobia - The fear of surgery
tonitruone - A device used in theater or movies to create thunder
tonitruous - Reverberating with the sound of thunder
tonitruphobia - The fear of thunder
top omancy - Divination using the shape of the land
top onymics - The study of place names
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top ophobia - 1.A fear of performing
top ophobia - 2. A fear of a particular place
torschlusspanik - The fear of young women that they will not be married
until they are to old to have children
tortfeaser - A wrongdoer
toxiphobia - A fear of poison or being poisoned
traumatophobia - A fear of injury
tregetour - A street magician or juggler
tremophobia - The fear of trembling
trichinophobia - The fear of trichinosis
trichology - The science of hair and hair diseases
trichopathophobia - A fear of hair disease
trichophobia - A fear of hair
trichotillomania - Tearing out one's hair
tricorne - A hat with three points such as was worn by american revolu-
tionaries
triskaidekaphobia - A fear of the number thirteen
tritavia - The great grandmother of one's great grandmother
tritavus - The great grandfather of one's great grandfather
tritheism - Believing in three gods, such as the Trinity
triturate - To crush into a fine powder
tro chilidist - A person who studies hummingbirds
tro chomancy - Divination by studying wheel tracks
trop o clastics - The science of breaking habits
trop ophobia - A fear of changes or making changes
trullization - The act of laying on plaster with a trowel
truttaceous - Resembling a trout
trypanophobia - A fear of injections or inoculations
tsiology - The study of tea, or a dissertation on tea
tubicination - The sound made by someone blowing a horn
turistaphobia - The fear of contaminated water
turistaphobia - The fear of travelling
tychop otamic - Pertaining to something which lives in fresh water
tycolosis - Accident prevention
tyg - A seventeenth century mug having twelve handles
typhlology - The study of blindness
typp - The number of thousands of yards of yarn which weighs one pound
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tyrannophobia - The fear of tyrants
tyromancy - Divination or magic using cheese
tyrophagia - The act of eating cheese
tyrophillia - The love of cheese
tyrophobia - The fear of cheese
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ulotrichous - Having very wooly hair
ultimogeniture - Inheritance by the youngest son
ultracrepidarian - One who speaks or offers opinions in sub jects they know
nothing about
ultracrepidarianism - The act or habit of talking constantly about sub-
jects of which you know little or nothing
ultroneous - Pertaining to a witness who testifies voluntarily
unasinous - being equally stupid or assinine
undecillion - A large number - a one followed by either 36 or 66 zeroes.
undigenous - Created or generated by water
undinism - The trait of having erotic thoughts when viewing or thinking
of water
unigravida - A woman's first pregnancy
uranomancy - Divination by consulting the heavens
uranomania - The delusion that one is of Heavenly descent
uranophobia - A fear of heaven
urbicolous - Living in the city
uredinology - The study of rust
uredinology - The study of rust
uredophobia - See urticariaphobia
urimancy - Magic or fortunetelling using urine
urophobia - The fear of urinating
urticariaphobia - A fear of itching
urticate - 1. To beat with a whip
urticate - 2. To sting with nettles
ustulate - Scorched or discolored from prolonged exposure to heat
usufruct - The right to use another's property, with the condition that the
81
utlesse - An escape from prison
uvate - Grape jam or jelly
uxoricide - The murder of a wife by her husband
uxorious - Excessively devoted to one's husband
uxoro desp otic - Tyrranical rulership by one's wife
V
vaccinophobia - The fear of vaccinations
valetudinarian - A person who is obsessed with some ailment
valgus - Being bow-legged
vanilo quent - Speaking only of oneself or speaking egotistically
vapulate - To beat with a whip
vastation - To purify something by using fire, or to purify a soul by cre-
mation
vaticide - The murder of a prophet
vauntie - Being proud or in high spirits
veneniferous - Transferring or bearing poison
ventrip otent - Having a fat belly, or being a glutton
venustaphobia - The fear of beautiful women
verbigerate - To continually repeat a word or phrase, usually unconciously
verbivore - A person who devours words
verb ophobia - The fear of words
verilo quent - Speaking nothing but the truth
vermiform - Like a worm
vermiphobia - The fear of worms
vernalagnia - A romantic mood brought on by Spring. Also known as
Spring Fever
vernorexia - A romantic mood inspired by Spring
vesp ertillian - Resembling a bat
vesp ertine - Happening in the evening
vespine - Resembling a wasp
vesthibitionism - The flirtatious display of undergarments by a woman
vestiphobia - A fear of clothing
vexillologist - A collector of flags
vexillology - The study of flags
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viaticum - 1.Money and supplies given to someone going on a journey
viaticum - 2. The Holy Communion given to a dying person
vibratiunculation - A slight shudder or vibration
vibrissae - The sensitive whiskers of a cat
viciniphobia - A fear of neighbors or a neighborhood
vigesimation - The act of killing every twentieth person
vilip end - To verbally belittle someone
viraginity - The masculine qualities of some women
virgivitiphobia - A fear of being raped
virgulate - Shaped like a rod
virvestitism - A preference of some women to wear mens clothing
vitricophobia - The fear of one's stepfather
vittate - Resembling a ribbon
voidee - A last minute snack
volower - A person who performs baptisms
voraginous - Pertaining to something which devours everything
W
waggoner - A collection or book of nautical maps
wanweird - An unhappy fate
wapp erjawed - Having a crooked jaw
warison - A musical note used to signal the start of an attack
wegotism - The excessive use of 'we' in writing, particulary in newspaper
editorials
wheeple - A poor attempt at whistling
whiddin - To be running like a hare
wimple - The traditional headress of nuns
winx - To bray like a jackass
wittol - A man who meakly accepts his wife's adultery
witzchoura - A woman's cloak with large sleeves. Primarily worn in the
early nineteenth century
witzelsucht - A feebly attempt at humor
wlatsome - Describing something which is loathed
wommacky - Shaking and weak while recovering from illness or surgery
wuntee - A lonely old buffalo bull
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xanthipp e - An ill tempered woman. (Also Socrates' wife)
xantho chroid - Blond haired and blue eyed person with fair white skin
xanthous - Yellow colored
xenarthral - Resembling a sloth, anteater, or armadillo
xeniatrophobia - A fear of going to strange or foreign doctors
xenium - A present given to a guest
xenob ombulate - To be malingering
xeno do chiophobia - A fear of foreign hotels
xeno do chium - A home for the disabled and for the friendless
xenomancy - Divination by using the first stranger to be found
xenonoso comiophobia - A fear of pick pockets, especially foreign ones
xerophagy - A diet of bread and water
xerophilous - Drought loving, particularly pertaining to plants
xerophobia - A fear of dryness or dry places
xertz - To gulp down quickly and greedily
ximelolagnia - The desire to look a women who cross their legs
ximelolagnia - The urge to stare at women who are sitting with their legs
crossed
xylology - The study of wood or of the structure of wood
xylomancy - Divination using a piece of wood or magic using wood
xylophage - One who eats wood
xylophagous - Describing someone who eats wood
xylophobia - A fear of forests or of woods
xylop olist - One who sells wood products
xyresic - Being as sharp as a razor
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zarf - A special sleeve for a coffee cup or a beer can
zeitgeist - The general culture, education, and morals of a given era
zelophobia - A fear of jealousy or intense emotion
zenzizenzizenzic - A number raised to the eighth power
zills - The finger cymbals worn by belly dancers
zizith - The fringes at the corners of a tallith
zoanthropy - The delusion that one is an animal
zob - A worthless person
zo onosis - Any disease that can be passed from animals to humans
zo ophobia - A fear of animals
zori - A form of sandals with a leather strap over the instep and a leather
strip between the hallux and second toe
zucchetto - A skull cap worn by Roman Catholic clerics
zygo dactyl - Having two toes pointing forward and two backwards
zymology - The study of fermentation
zythepsary - A brewery
| i don't know |
Professor Philip Brainard, Wilson Croft and Martha George are all characters in which Disney film? | Wilson Croft | Disney Wiki | Fandom powered by Wikia
Professor Wilson Croft is one of the main antagonists of the 1997 film Flubber . The other being Chester Hoenicker. He is established as a long-time rival of the protagonist, Professor Philip Brainard , and often profited by stealing his ideas.
Role in the film
When introduced, Wilson is very blunt in his approach and declares his intent to not only continue stealing from Brainard, but also takes his fiancée, Dr. Sara Jean Reynolds , from him and make her his own (in effect, this means stealing even more from Brainard than he already has).
This character article is a stub . You can help Disney Wiki by expanding it .
| Flubber |
The Brockton Blockbuster was the nickname of which American boxer? | Flubber Plot and Cast | Movies.com
DVD
FULL SYNOPSIS
Although "flub" is defined as "to make a mess of," the word "flubber" is a contraction from "flying rubber." In this remake of the 1961 comedy-fantasy The Absent Minded Professor, Robin Williams takes on the role created by Fred MacMurray and later executed by Harry Anderson on television, while the 1961 film's Flubber with anti-gravity properties has now been digitally reincarnated as a translucent green, pulsating, bouncing blob that loves to dance the mambo. Absent-minded college professor Philip Brainard (Williams), employed at a near-bankrupt university, creates the formula for Flubber, yet he can't remember to show up for his own wedding to university-President Sara Jean Reynolds (Marcia Gay Harden). His rival, Wilson Croft (Christopher McDonald), plots to steal Sara and the Flubber from Brainard. Rich, corrupt businessman Chester Hoenicker (Raymond Barry) tries to force Brainard to pass his failing son Bennett (Wil Wheaton), but he soon takes an interest in Flubber after hearing about it from his flunkies (Clancy Brown, Ted Levine). After using Flubber to fly over clouds in his 1963 T-Bird, Brainard realizes Flubber can also improve the performance of the school's pathetic basketball team. Jodi Benson is the voice of Weebo, Brainard's talking, flying household robot, with a video display of Disney clips at odd moments. Many gags are embellishments from the 1961 film, with John Hughes (John Hughes) rewriting the original Bill Walsh screenplay (based on Samuel Taylor's short story, "A Situation of Gravity"). Though Walsh died in 1975, he received posthumous credit for this script. Filming began October 8,1996 in San Francisco. ~ Bhob Stewart, Rovi
Release date:March 10, 1998
| i don't know |
Hu Jintao became President of which country in 2003? | Hu Jintao
Hu Jintao
Hu Jintao was elected president of the People's Republic of China on March 15, 2003.
He is now general secretary of the CPC Central Committee, president of the People's Republic of China, chairman of the Central Military Commission.
Hu Jintao, a native of Jixi, Anhui Province, was born in December 1942. He joined the Communist Party of China (CPC) in April 1964 and began to work in July 1965 after he graduated from the Water Conservancy Engineering Department of Tsinghua University, where he had a major in the study of hub hydropower stations. He is an engineer.
Hu began to work at the grassroots in west China's Gansu Province in 1968 and stayed there until 1982 when he became a member of the Secretariat of the Communist Youth League of China Central Committee and president of the All-China Youth Federation.
Beginning in 1985, he was appointed, successively, secretary of the CPC Guizhou Provincial Committee and of the CPC Tibet Autonomous Regional Committee.
In 1992, 49-year-old Hu was elected member of the Standing Committee of the Political Bureau of the CPC Central Committee at the First Plenum of the 14th CPC Central Committee, which was then widely considered as an important step the CPC had taken toward generational transition of the central leadership.
From 1993 to the end of 2002, Hu was concurrently president of the Party School of the CPC Central Committee, which has been the training base for senior CPC cadres and backbones of theoretical studies over the past 70 years.
In September 1997, Hu was re-elected member of the Standing Committee of the Political Bureau of the CPC Central Committee at the First Plenum of the 15th CPC Central Committee.
Hu became vice-president of China in March 1998 and vice-chairman of the Central Military Commission in September 1999.
In November 2002, Hu was elected general secretary of the CPC Central Committee at the 16th National Congress of the CPC.
In March 2003, He was elected president of China at the First Session of the 10th National People's Congress, the top legislature of the country.
Hu and his wife Liu Yongqing were schoolmates at Qinghua University. The couple have a son and a daughter, who are also graduates of Qinghua University.
1959-1964: Student at the Water Conservancy Engineering Department of Tsinghua University.
1964-1965: Postgraduate and political instructor at the Water Conservancy Engineering Department of Tsinghua University.
1965-1968: Participated in R&D at the Water Conservancy Engineering Department of Tsinghua University and served as political instructor before the start of the "cultural revolution."
1968-1969: Worked with the housing construction team of Liujia Gorge Engineering Bureau, Ministry of Water Conservancy.
1969-1974: Technician and secretary of No. 813 Sub-Bureau, Fourth Engineering Bureau, Ministry of Water Conservancy and deputy-secretary of the general Party branch of the sub-bureau's head office.
1974-1975: Secretary of the Gansu Provincial Construction Committee (GPCC).
1975-1980: Deputy director of the design management division, GPCC.
1980-1982: Vice chairman of GPCC and secretary of the Gansu Provincial Committee of the Communist Youth League (Sept.1982-Dec.1982).
1982-1984: Secretary of the Secretariat of the Central Committee of the Communist Youth League of China, chairman of the All-China Youth Federation.
1984-1985: First secretary, Secretariat of the Central Committee of the Communist Youth League of China.
1985-1988: Secretary of the Guizhou Provincial Party Committee.
1988-1992: Secretary of the Party Committee of Tibet Autonomous Region.
1992-1993: Member of the Standing Committee of the Political Bureau of the CPC Central Committee, and member of the Secretariat of the CPC Central Committee.
1993-1998: Member of the Standing Committee of the Political Bureau of the CPC Central Committee, member of the Secretariat of the CPC Central Committee, president of the Party School of the CPC Central Committee.
1998-1999: Member of the Standing Committee of the Political Bureau of the CPC Central Committee, member of the Secretariat of the CPC Central Committee, vice president of the People's Republic of China, president of the Party School of the CPC Central Committee.
1999-2002: Member of the Standing Committee of the Political Bureau of the CPC Central Committee, member of the Secretariat of the CPC Central Committee, vice chairman of the CPC Central Military Commission, vice president of the People's Republic of China, vice chairman of the Central Military Commission of the People's Republic of China, president of the Party School of the CPC Central Committee.
2002-March 2003: General secretary of the CPC Central Committee, vice chairman of the Central Military Commission, and vice president of the People's Republic of China.
He was an alternate member, member of the 12th CPC Central Committee, member of the 13th, 14th and 15th CPC Central Committees and is a member of the 16th CPC Central Committee. He was a member of the Political Bureau and its Standing Committee, and member of the Secretariat of the 14th and 15th CPC Central Committees and is a member of the Political Bureau and of its Standing Committee, and general secretary of the 16th CPC Central Committee. He was made an additional vice chairman of the CPC Central Military Commission at the Fourth Plenary Session of the 15th CPC Central Committee. He was a member of the Standing Committee of the 6th National Committee of the Chinese People's Political Consultative Conference (CPPCC).
He succeeded Jiang Zemin as chairman of the CPC Central Military Commission at the Fourth Plenum of the 16th CPC Central Committee, which ended in Beijing Sept 19, 2004.
| China |
What does Nature require five of, Custom require seven of, Laziness take nine of and Wickedness take eleven of? | Bush, China's Hu Jintao Discuss North Korea, SARS, Taiwan | IIP Digital
Bush, China's Hu Jintao Discuss North Korea, SARS, Taiwan
White House background briefing in Evian-les-Bains June 1
President Bush and Chinese President Hu Jintao discussed North Korean nuclear developments, terrorism, severe acute respiratory syndrome (SARS), and Taiwan in June 1 talks in Evian-les-Bains, France, during the G-8 Summit. Hu was among the non-G-8 leaders invited to the meeting.
A senior Bush administration official speaking on background following the Bush/Hu meeting said the U.S. president "reiterated his vision of a candid, constructive, and cooperative relationship" between the United States and China and issued an invitation for the Chinese president to visit Washington "as soon as he can make it; hopefully, perhaps in late 2003 or early 2004."
On North Korea nuclear weapons development, the official said, Bush "reiterated his strong desire for a peaceful diplomatic resolution of this issue, working with the concerned countries, including not only China, but of course, our good Northeast Asia allies, Japan and South Korea. He also specifically thanked China for hosting the trilateral [U.S.-North Korea-China] talks in Beijing in April, and he underscored that we continue to believe that China's cooperation will play a key role in the peaceful resolution of this issue."
The official said the Chinese "made it clear that they think it's urgent to get North Korea back to the table." Bush said, according to the official, "that he wanted to make clear that our policy is not changing on the question of bilateral talks versus multilateral talks. We don't think we have enough influence by ourselves to change North Korean behavior. Therefore, we firmly believe that we need to go in in a group and let the North Koreans know that their nuclear program is not an issue just for the United States, but is an issue for all of the countries in their region."
The official reported that "The Chinese said that the North Koreans are saying that there has to be some sort of bilateral contact as the price for a multilateral meeting. And they were conveying that to us."
The official reported that "[B]asically the president said there is no change in our stance of we have to have multilateral talks if this is to move forward. Within those multilateral talks, if the North Koreans look us in the eye on one corner of the table and say things directly to us, we're going to listen, obviously, and we will do the same thing back to them."
The president welcomed China's cooperation in the war on terrorism, in particular China's "willingness to sign with us an agreement on the container security initiative, which should be happening in the coming weeks," the official said.
On the issue of SARS, the official said, "President Bush once again expressed condolences to the families and friends of the SARS victims in China, and he specifically praised Hu's leadership in addressing this problem. He also discussed U.S. government contributions to China's efforts to eradicate SARS, and he specifically praised President Hu's willingness to become transparent on the issue of SARS."
On Taiwan, the president "repeated our policy of a one-China policy based on the three communiques, the Taiwan Relations Act, no support for Taiwan independence," the official said.
"The President also said, however, within that context, if necessary, we will help Taiwan to the extent possible defend itself. We will, as we say in the Taiwan Relations Act, provide necessary defensive weapons," the official added.
Following is a transcript of the briefing, as released by the White House:
THE WHITE HOUSE
Office of the Press Secretary
(Evian-les-Bains, France)
BACKGROUND PRESS BRIEFING BY A SENIOR ADMINISTRATION OFFICIAL
ON THE PRESIDENT'S MEETING WITH CHINESE PRESIDENT HU
International Filing Center
Evian-les-Bains, France
MR. MCCORMACK: Good evening, everybody. We have a senior administration official here tonight to brief you and give you a readout on President Bush's meeting with Chinese President Hu, and to take some of your questions about that meeting. So I'll turn it over to our senior administration official.
SENIOR ADMINISTRATION OFFICIAL: President Bush and President Hu had their third meeting, but the first since President Hu became President, today. The two Presidents discussed a wide range of international and bilateral issues, and discussed their joint desire to promote cooperation between our two countries around the world.
President Bush reiterated his vision of a candid, constructive, and cooperative relationship between the two countries. He also issued an invitation to President Hu to visit Washington as soon as he can make it; hopefully, perhaps in late 2003 or early 2004. President Hu thanked him for the invitation, suggested that the two sides would be able to work it out at their mutual convenience, and the two sides both said that they look forward to continuing and accelerating high-level visits between our two countries.
As you would all expect, the two discussed the situation in North Korea. This was, in effect, the President's third in a round of consultations with the key countries on the North Korea issue. As you remember, he met with President Roh the second week of May in Washington. He then met with Prime Minister Koizumi at Crawford last week. And now he has met with President Hu.
President Bush reiterated his strong desire for a peaceful diplomatic resolution of this issue, working with the concerned countries, including not only China, but of course, our good Northeast Asia allies, Japan and South Korea. He also specifically thanked China for hosting the trilateral talks in Beijing in April, and he underscored that we continue to believe that China's cooperation will play a key role in the peaceful resolution of this issue.
On the issue of SARS, President Bush once again expressed condolences to the families and friends of the SARS victims in China, and he specifically praised Hu's President Hu's leadership in addressing this problem. He also discussed U.S. government contributions to China's efforts to eradicate SARS, and he specifically praised President Hu's willingness to become transparent on the issue of SARS.
On the war on terrorism, the two Presidents exchanged views. The President welcomed China's willingness to sign with us an agreement on the container security initiative, which should be happening in the coming weeks.
Finally, on north excuse me north proliferation nonproliferation, President Bush stressed how important bilateral cooperation will be if we are to get this scourge under control. The two sides expressed interest in continuing to work together to face this problem.
That's my brief readout, and I would take any questions that you may have.
Q: Yes, did the President bring up the issue of Chinese assistance to Iran in its missile program? If so, did they discuss the sanctions that have been imposed on NORINCO and what was President Hu's response?
SENIOR ADMINISTRATION OFFICIAL: There was no specific mention of the NORINCO sanctions. The President did bring up his concerns about Iran, stating very clearly that Iran's pursuit of nuclear weapons presents a grave threat that China and the U.S. have to work together to address.
Q: That was on the nuclear side. What about the missiles?
SENIOR ADMINISTRATION OFFICIAL: It was more on the nuclear, but it was basically the concept that Iran is a problem that we have to address, given its current policies. Those policies have to change.
Q: Was there any response from President Hu on that?
SENIOR ADMINISTRATION OFFICIAL: Not much, really.
Q: Two things on North Korea and the discussion. First, the Chinese have indicated in recent days that they thought it was perfectly good to just get the same group together again, China, North Korea, the U.S. -- well, of course the U.S. is trying to get South Korea and Japan into it. They did discuss the configuration of the talks, the timing of the talks? And secondly, was there any discussion of what role China would play, if any, in any ultimate economic sanctions on North Korea?
SENIOR ADMINISTRATION OFFICIAL: The conversation did not go as far as economic sanctions. There was a little bit of back and forth on the question of possible formats. As I said, we ended with both sides agreeing that we have to work together on this, and with the -- both sides also acknowledging that the Japanese and South Koreans have a key role to play.
Q: Can you tell us a little more about this back-and-forth?
SENIOR ADMINISTRATION OFFICIAL: Back-and-forth. Basically, the Chinese did tell us that the North Koreans are pushing for a bilateral conversation. They acknowledge that that is not only not likely, but also not productive. They did hope that in a multilateral format we would exchange views with the North Koreans.
Q: How much pressure did the President put on the Chinese in general to just take a more aggressive stand with North Korea? You didn't get specifically the sanctions. Did you at least discuss the overall approach and the need to turn up the heat? And how did the Chinese react if you did talk about it?
SENIOR ADMINISTRATION OFFICIAL: Well, the push was that we cannot let this drift too long. The question, though, is how do we address that effectively. The Chinese made it clear that they think it's urgent to get North Korea back to the table, and we agree with that. We've got to look at how we deal with the North Koreans. We have to finish our -- we have finished our consultations, initially. Now we have to go back to our Japanese and South Korean allies and talk about the way forward.
Again, the emphasis was, as I said, we've got to resolve this diplomatically, peacefully, but from our perspective, of course, there has to be a little bit of encouragement to get the North Koreans back to the table.
Q: When you said the Chinese said that it's unlikely and not productive to have a bilateral meeting, have they said that to the North Koreans, as well?
SENIOR ADMINISTRATION OFFICIAL: What they say to the North Koreans is, look, you're going to have to find a way to meet; you cannot just hold out and say you're only going to meet in a bilateral setting. There is a little bit of to-and-fro here on this issue. I mean, the North Koreans are digging in, saying that they want bilateral talks. The Chinese are saying, look, that's not going to happen. What can we do? Can you express your concerns to the Americans in a multilateral format.
Q: Two questions. One is, a senior administration official today said, we've been working on the issue of trying to get the Chinese to improve their export control rules so that they actually have something to sanction companies with. Can you just elaborate on exactly what you're talking about in terms of U.S.-Chinese cooperation on that? And the second question is, did the President raise Tibet, Falun Gong, or what Secretary Powell has recently described as alarming developments on the human rights front?
SENIOR ADMINISTRATION OFFICIAL: The -- excuse me. I forgot your first question. It's been a long day.
Q: Sorry. The first one is about the attempt to improve export controls with the Chinese?
SENIOR ADMINISTRATION OFFICIAL: When we about working together with the Chinese on proliferation issues, our understanding -- and I think the Chinese understand this, too is that there has to be an effective system in place and that it has to be implemented effectively.
The Chinese argue that they have put a system in place. In fact, that was what President Hu said to President Bush, that we have put in an effective system, or we have put in a comprehensive system, was the word he used, to address our proliferation concerns. We, of course, want to see a little bit better implementation, and that was why you saw the sanctions.
Now, I won't say that those were the words of the President, but that's what the President was implying when he was saying that we have to fight proliferation together. It means that we both have to be effective in implementing our respective controls on proliferation. He acknowledged that even U.S. companies engage in some degree of proliferation around the world.
Q: And on Tibet?
SENIOR ADMINISTRATION OFFICIAL: Oh, on Tibet. Excuse me. My aging memory here. I'll be honest with you. The issue didn't come up directly because we have been raising it with the Chinese already. We have raised our concerns both in Beijing and in Washington.
Q: Did the issue of how much influence China actually has over North Korea come up? In the past, the Chinese have suggested that they don't have as much influence as they might have had in the past.
SENIOR ADMINISTRATION OFFICIAL: The President believes and continues to say to the Chinese that we think you have a lot of influence over North Korea and probably in many ways more than the U.S. has. He said that again today, and President Hu did not respond one way or the other.
Q: You said it was critical -- that China and the U.S. agreed that it was critical to get the parties back to the table as soon as possible. There's a Japanese paper reporting today that there may be a meeting in Kuala Lumpur at the end of the month. Is there any talk of a meeting as soon as this month?
SENIOR ADMINISTRATION OFFICIAL: No, because we haven't really finished yet. I mean, like I said earlier, we've done a preliminary round of consultations at the presidential level with the three leaders who are concerned. Now we're going to go back to our Northeast Asian allies and make sure that we agree on a way ahead.
Q: It sounds like the way ahead is, what, another meeting?
SENIOR ADMINISTRATION OFFICIAL: Perhaps. And we haven't come to that conclusion, is what I'm saying. If you ask me; probably. But we do have to consult with the South Koreans and Japanese before we move forward.
Q: You said that the Chinese President made clear that the North Koreans do want bilateral discussions. Did he say that basically anything beyond that at this point is definitely off the table, or did you talk about moving forward and, in fact, perhaps specifically about what meetings -- in the future?
SENIOR ADMINISTRATION OFFICIAL: The President said that he wanted to make clear that our policy is not changing on the question of bilateral talks versus multilateral talks. We don't think we have enough influence by ourselves to change North Korean behavior. Therefore, we firmly believe that we need to go in in a group and let the North Koreans know that their nuclear program is not an issue just for the United States, but is an issue for all of the countries in their region. And he made that very clear to the Chinese.
The Chinese, like I said, were saying, well, can there be some sort of bilateral contact within a multilateral format. The President said, look, in a multilateral format, sure, the North Koreans can look us in the eyes and say something. But it's got to be within a multilateral format.
Q: Did the Chinese President ask President Bush if it would be possible for a bilateral --
SENIOR ADMINISTRATION OFFICIAL: He said -- no, he didn't ask for a bilateral meeting. The Chinese have given up on that, and the Chinese acknowledge that that probably isn't the most effective way.
Q: -- bilateral --
SENIOR ADMINISTRATION OFFICIAL: Yes, bilateral contacts were the way they were putting it.
Q: The Chinese have expressed concerns about unilateral actions outside of the U.N. Did that issue come up all? Did the President offer them any assurances about commitments to the U.N.?
SENIOR ADMINISTRATION OFFICIAL: No, no specific talk about the U.N. In fact, the one mention of the U.N. was when the Chinese said that they had worked with us on the Iraq issue in the U.N. in the past, and they looked forward to cooperating in the reconstruction of Iraq in the future.
Q: Could I ask one more on Iran? Did the President mention at all the impending IAEA report?
SENIOR ADMINISTRATION OFFICIAL: No, that did not come up at all.
Q: And can I ask you one atmospherics question? In the past, with Jiang Zemin, these things were fairly tightly scripted, there wasn't a conversational sense. Was it the same? Were their atmospherics at all different? Was Hu more conversational at all?
SENIOR ADMINISTRATION OFFICIAL: I'm not going to compare this one with the past one. But I think the atmospherics were actually pretty good. There was a little bit more give-and-take than you traditionally get. And I think the President believes that -- and he said this to President Hu -- that he thinks Hu is doing a good job trying to take the reins under difficult conditions. The SARS epidemic has made the transition in China fairly complicated. The President understands that and thinks Hu is probably doing a pretty job at it.
Q: Can I clarify two points? You mentioned bilateral contacts. Can you tell me exactly what you meant by that? Is that what the Chinese said the North Koreans are saying? Or what -- I don't want to blow up the context of that.
SENIOR ADMINISTRATION OFFICIAL: Yes, let me be as clear as I can. The Chinese said that the North Koreans are saying that there has to be some sort of bilateral contact as the price for a multilateral meeting. And they were conveying that to us.
Q: And did we have a reaction to that?
SENIOR ADMINISTRATION OFFICIAL: It was just what I just said, that basically the President said there is no change in our stance of we have to have multilateral talks if this is to move forward. Within those multilateral talks, if the North Koreans look us in the eye on one corner of the table and say things directly to us, we're going to listen, obviously, and we will do the same thing back to them.
Q: So you might do bilateral contacts in order to pave the way for a multilateral --
SENIOR ADMINISTRATION OFFICIAL: No, no, let me be clear. It's got to be a multilateral meeting. We're not going to pull aside. We're not going to go into a separate room. We're not going to say, please, North Korea, you come and talk -- spill to us without the Chinese listening in on what's going on here.
Q: One last clarification. What if anything did he ask of Russia when it comes to the question of North Korea?
SENIOR ADMINISTRATION OFFICIAL: No mention of Russia at all in the North Korea context.
Q: But were you in the Russia the Putin-Bush meeting?
SENIOR ADMINISTRATION OFFICIAL: Oh, no I wasn't. Sorry.
Q: Quick clarification. Were the Chinese simply conveying this North Korean request, or did they also indicate that they would endorse it or in any way favor the North Korean position?
SENIOR ADMINISTRATION OFFICIAL: They were, in effect, conveying it and asking us to consider it. That was the word they use.
Q: They asked you to consider it.
SENIOR ADMINISTRATION OFFICIAL: Yes, as a possible way forward.
Q: In your mind, is this a move a change in the North Korean position then? The North Koreans have in the past said it had to be bilateral. What you heard today was a change in the North Korean position? And similarly, when the President says, sure, in a multilateral format the North Koreans can look us in the eyes, sounds very much like what Secretary Armitage said in Congress that was not so welcome at the White House months ago.
SENIOR ADMINISTRATION OFFICIAL: In terms of the North Koreans, yes, they've moved -- they have moved a little bit. They were, as you recall, about two months ago saying that the only type of talks that would be possible would be bilateral talks. And now they've gone beyond that.
In terms of, is this a change for the President? No, he has said this in the past, that basically it has to be multilateral talks. And I want you to concentrate on that. We haven't changed; it has to be multilateral talks. And all he's saying in response to can there be bilateral contacts, he's asking, well, what does that mean? If it means the North Koreans sitting at a table with two or three or four other parties, look us in the eye and say what's on their mind, if you want to consider that a bilateral contact, then, sure, that will happen.
Q: That's exactly what Rich said in his testimony, and you'll recall people came back and said this could undercut the concept of a multilateral meeting.
SENIOR ADMINISTRATION OFFICIAL: No, no -- I'm not exactly familiar with what Rich said. I remember it caused a little bit of a stir at the time. But I will say that we, all along, have been saying that it's got to be multilateral. And that's really what I want you concentrating on. It's not whether we speak first to the Chinese, then to the Japanese or South Koreans if they're there, or maybe even to the North Koreans sitting across the table. It's the fact that you have to have the parties around a table, and it's not just going to be us talking to the North Koreans. And I hope we're all clear on that. Have I made that clear? Okay.
Q: Did they push at all? President Bush said that that was -- bilateral contacts were not acceptable, that multilateral talks had to be the way. Did he push back at all and try to convince him at all, or just accepted it?
SENIOR ADMINISTRATION OFFICIAL: They accepted it, and I think just the assurance that we'd be willing to listen to North Korean concerns, sitting around a table of four or five other parties -- the Chinese did not push back on that concept.
Q: Did the Chinese leader emphasize peaceful solution of North Korea issues in specific words?
SENIOR ADMINISTRATION OFFICIAL: Did he stress peaceful resolution?
Q: Yes.
SENIOR ADMINISTRATION OFFICIAL: Oh, absolutely, yes. Both sides did. I mean, we have that common area where we totally agree that we need a peaceful diplomatic resolution and that we have to be working together.
Q: Could you clarify, was it the Chinese who proposed bilateral contacts within a multilateral format, or the North Koreans who advanced --
SENIOR ADMINISTRATION OFFICIAL: Yes, we're covering the same ground here, I've said that already. Yes, it was the Chinese conveying the North Korean desire there.
Q: The North Koreans are now, in effect, proposing --
SENIOR ADMINISTRATION OFFICIAL: Yes.
No questions on Taiwan? You guys asleep? (Laughter.)
Q: What about Taiwan?
SENIOR ADMINISTRATION OFFICIAL: Okay. Glad somebody is awake out there. Which meant I forgot to include it in my opening remarks. On Taiwan, the President repeated our policy of a one-China policy based on the three communiques, the Taiwan Relations Act, no support for Taiwan independence. The Chinese basically accepted that, and said, okay, that's positive. They did say that they have concerns about forces on Taiwan moving towards independence. The President said, we don't support independence.
The President also said, however, within that context, if necessary, we will help Taiwan to the extent possible defend itself. We will, as we say in the Taiwan Relations Act, provide necessary defensive weapons.
Q: Thanks.
SENIOR ADMINISTRATION OFFICIAL: I'm out of here. See you.
(Distributed by the Bureau of International Information Programs, U.S. Department of State. Web site: http://usinfo.state.gov)
Keywords:
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Which US President is depicted on a $2 bank note? | Six Kinds of United States Paper Currency
Six Kinds of United States Paper Currency
On 10 July 1929 the United States replaced its large size currency, like the Series 1923 Silver Certificate One Dollar bill above (click on the image for the reverse design), with small size notes, like the corresponding Series 1928 note following:
The purpose of this change was simply to save some money on paper, but the timing inadvertently signified a new era in United States money. When the change was made there were no less than six kinds of United States paper currency, but only three months later the stock market crash ushered in the era of the Great Depression, during which three of those kinds of currency would disappear. Thirty years later, two of the remaining kinds of currency would also disappear, leaving only one.
The six kinds of currency in 1929, colored coded with the colors of their seals and serial numbers, and with the denominations they were issued in series 1928 and 1929 (though not always in those years themselves), were:
United States Notes (Series 1928: $1 $2 $5) Go!
Gold Certificates (Series 1928: $10 $20 $50 $100 $500 $1000 $5000 $10,000) Go!
National Bank Notes (Series 1929: $5 $10 $20 $50 $100) Go!
Silver Certificates (Series 1928: $1) Go!
Federal Reserve Bank Notes (Series 1929: $5 $10 $20 $50 $100) Go!
Federal Reserve Notes (Series 1928: $5 $10 $20 $50 $100 $500 $1000 $5000 $10,000) Go!
The three kinds of currency that remained after the Depression were:
United States Notes (Series 1953: $2 $5) Go!
Silver Certificates (Series 1953: $5 $10 -- Series 1957: $1) Go!
Federal Reserve Notes (Series 1950: $5 $10 $20 $50 $100) Go!
And all that remained by 1970 were:
Federal Reserve Notes (Series 1969: $1 $5 $10 $20 $50 $100 -- Series 1976: $2) Go!
.
The origin and nature of these kinds of currency will be considered below. Although the color of the seals and serial numbers on Gold Certificates was yellow, here orange is used for greater contrast. The reverse of large note Gold Certificates had actually been orange, "goldbacks" as opposed to "greenbacks"; but small note Gold Certificates were made "greenbacks" also. (That was reversed with series 1934 Gold Certificates, which again had orange reverses, but those notes never circulated to the public).
That was part of a process to unify the design of all the currency. The variety of large note design gave way to common elements and a common look for the small notes. This changed little over the years, until a radically redesigned $100 bill was introduced in the 1990's, inaugurating a gradual change in all the currency for security reasons. United States currency had never featured anti-counterfeiting devices like watermarked paper and security threads, which had appeared in foreign money decades earlier.
All the small notes featured a portrait of Washington for the $1 note, Jefferson for $2, Lincoln for $5, Hamilton for $10, Jackson for $20, Grant for $50, Franklin for $100, McKinley for $500, Cleveland for $1000, Madison for $5000, and Chase for the $10,000. When one series of $100,000 notes was issued (1934 Gold Certificates), Wilson was put on them. Although these portraits are often called "dead presidents," three of them, Hamilton, Franklin, and Chase, were never Presidents. Large notes had featured many more portraits, including Martha Washington, William Tecumseh Sherman, John Marshall, James Monroe, the Sioux Indian Takokainyanka, Samuel F.B. Morse, and many others.
Salmon P. Chase, on the $10,000 bill, was an old Abolitionist lawyer and politician (from the pre-Republican Liberty Party). As it happened, he was appointed by Abraham Lincoln to be Secretary of the Treasury and was responsible both for the introduction of federal paper money during the Civil War and for the motto "In God We Trust," which was introduced on the coinage at that time (but which did not appear on currency until 1957). In 1864 Chase was appointed Chief Justice of the United States Supreme Court, and in that capacity he ruled that the "Legal Tender" United States Notes had unconstitutionally voided private gold obligations previously contracted (Hepburn v. Griswold, 1870). Later his decision was reversed (Knox v. Lee and Parker v. Davis, 1871) with the help of politically reliable justices appointed by President Grant, opening the way for future use of fiat paper money and the wholesale voiding of private and public gold obligations by the New Deal court (Norman v. Baltimore & Ohio Railroad Co., Nortz v. United States, and Perry v. United States, 1935).
The largest collection of $10,000 bills, 100 (Series 1934) to make for a total value of $1,000,000, used to be on display at Binion's Horseshoe Casino in Las Vegas, Nevada [one note shown right] -- probably not the kind of place that Salmon P. Chase would have approved of. The collection, however, was sold (January 2000) and has now (June 2000) been broken up for individual sale. This sad outcome seems to be the result of deaths and financial disputes in the Binion family.
The reverses of small notes remained much the same, until the recent complete overhawl of the designs. The reverse of the $1 bill was changed in 1935, as discussed under "Silver Certificates" below. The reverse of the $20 was changed after Harry Truman remodeled the White House. The subsequent image shows the "Truman Balcony," with more trees and adjoining structures, in contrast to the original . Now, in 1998, the redesigned $20 (series 1996) shows the front of the White House, rather than the back, on the reverse . The new 1999 $5 reverse still shows the Lincoln Memorial, as before . The new 1999 $10 reverse has a different perspective on the Treasury Building than the old one . Indeed, the full face view seems rather too similar to the new view of the White House, and the charm of the vintage automobile is lost. The reverses of large notes, again, showed a lot more variety, especially in the reproduction of the great paintings of American history such as still hang in the Rotunda of the United States Capitol. The painting of the signing of the Declaration of Independence, by John Trumbull, which was introduced on the reverse of the "Bicentennial" $2 Federal Reserve Note in 1976, was originally on the reverse of the $100 "first charter period" (i.e. banks chartered between 1863 and 1882) National Bank Note.
The Series 1928 notes were signed by
Secretary of the Treasury Andrew W. Mellon (1855-1937), one of the great men of American History. Often called the greatest Secretary of the Treasury since Alexander Hamilton, for reducing the United States war debt from World War I and cutting income taxes, which had soared during the War, Mellon has nevertheless often been smeared and belittled since then for his tax program, even though the next Presidents to favor and carry out similar tax cuts were Democrats John F. Kennedy and Lyndon B. Johnson.
Mellon has been accused of moving the tax burden from the rich to the middle class, of practicing "soak the poor" taxation, and of justifying all this with "trickle down economics," i.e. the poor will get the crumbs from the tables of the rich. These accusations are equal parts lies and either confused or overtly anti-capitalist economic myths. They are lies because the high tax rates of World War I had motivated the "rich" to hold down their incomes and escape the highest brackets, actually reducing tax revenues. Mellon's recommendation, which reduced tax rates for everyone, and reduced them to almost nothing for the poor (in 1929 those with incomes under $10,000, a large sum in those days, carried only 1.3% of the tax burden), ended up increasing revenues from the highest tax brackets, as the rich paid more as smaller percentages of higher incomes. As Thomas Sowell has recently reminded us [November 30, 2010], in 1920 those in the highest income brackets paid 30% of all taxes but by 1929 they paid 65% of all taxes, after "tax cuts for the rich." After the same effect was seen when President Johnson cut taxes, economist Arthur Laffer explicitly formulated the theory of the "Laffer Curve" in the 70's, that lower tax rates can produce higher revenue. This was then implemented again by President Reagan, to the same effect, though leftists continued to think that they would get even more revenue just by raising the rates again. The political slogan of disparaging "trickle down economics" was based, of course, on the false notion that prosperity comes from money that is taxed or seized by government and distributed by political largess (which is the true "trickle down economics" -- crumbs from the table of the political classes), rather than by private capital investment which increases productivity and production. It is the same error we see in the continuing failure to understand Say's Law .
One peculiarity of the small note series is that until 1976 the only $2 bill issued was a United States Note. These turned up occasionally when I was a child in the 1950's. There was also a $1 United States Note in 1928, but this was discontinued and is now very rare. All $1 bills until 1963 were Silver Certificates, but there were no $2 Silver Certificates. Why so little use was made of the $2 denomination is a little mysterious. Part of the problem may have been the peculiar reputation that $2 bills had gotten. They were thought of either as bad luck or as the proper tender for houses of prostitution, neither of which made them appealing for most people. The attempt to revive the $2 bill in 1976 is discussed below under "Federal Reserve Notes."
Issuing any notes larger than $100 was discontinued during World War II because of fears of German counterfeiting. With the development of other financial instruments, and now wire transfers, there is now felt to be no need for larger notes -- though, when a 1995 $100 bill is only worth about $22 in 1967 dollars, it has been suggested that a $500 bill (1967 $111) might be appropriate. Another consideration, however, is that the Police State tactics used for the War on Drugs include eliminating any money that can be used anonymously. If cash could be entirely replaced, Drug Warriors figure, the drug trade would not survive: People could not put drug purchases on their MasterCards. This strategy means that the United States government will adopt no measure to make the use of cash easier, like $500 bills.
Until 1963 all United States currency stated that its value was "Payable to the Bearer on Demand," which reflected the circumstance that real money was originally considered to be gold or silver coin, not a paper document -- with the qualification that in 1873 silver was essentially demonitized when the Gold Standard was adopted. In 1963, however, when Silver Certificates were discontinued and the first $1 Federal Reserve Note and the last $2 and $5 United States Notes were issued, the ancient formula was deleted from the new series. A year later the last silver was eliminated from United States coins -- except for Kennedy half dollars, which were reduced to .400 clad silver in 1965, with silver only eliminated in 1970. Thus paper and tokens became United States money. This entire process, starting with the New Deal, or perhaps even the Civil War, and culminating in 1963/1970, was unconstitutional. Article I, Section 10, Paragraph 1 of the United States Constitution says, "No State shall...make any Thing but gold and silver Coin a Tender in Payment of Debts." So the question is, if the States can't do it, this must mean that the Federal Government can. No... The Tenth Amendment says, "The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people." The Constitution, as it happens, does not "delegate" the power to "make any Thing but gold and silver Coin a Tender in Payment of Debts" to the Federal Government. Therefore, government at no level has the power to make anything but gold and silver coin tender in payment of debts. James Madison himself called paper money a "wicked scheme." It is, when its purpose is to inflate debts and license fiscal irresponsibility by government (the greatest debtor). That is the kind of government we now have.
In 2012, Congressman Ron Paul ran for President and publicly made the argument that fiat paper money was unconstitutional. Unfortunately, his argument, which followed the text of the Constitution as in the paragraph above, would also make the Gold Standard, which Paul supports, unconstitutional. The Constutition clearly regards "gold and silver coin" as money. Changing that, as in 1873, would require a Constitutional Amendment.
Personally, I don't think that there is anything wrong with fiat paper currency. It is actually a good idea, to avoid deflation. The Bank of England handled a fractional reserve currency rather well for more than two centuries. Bank of England notes were "as good as gold" (until the Bank was nationalized by the Labour Government in 1946). I am not a gold bug. However, the way fiat money was introduced in the United States was dishonest and fraudulent. The Civil War notes may have been "necessary" as a War measure, but when one deception and misuse piles on another, the result is something entirely unrecognizable. This is now the case with American government, whose present form is something which no Founding Father would own or accept. The result of this, as the Founders would have predicted, is corruption on a vast scale, when politicians are more than willing to use "the full faith and credit of the United States" to buy votes, and voters actually expect unlimited free "benefits" from Federal largess. Verily, we have our reward -- a peonage about which Jefferson would have said, "This is not the government we fought for."
Largely because of Ron Paul, there is now considerable discussion about the Gold Standard. It would certainly be better than the practice we have now, even if, as I say, the Gold Standard is actually not the best thing. Unlike Ron Paul, I also think that a Central Bank, like the Federal Reserve, is not a bad idea. But one thing to remember is that the Bank of England, when it was an exemplar to the world, was privately owned. Many of the troubles with the Federal Reserve over the years have been the result of its bureaucratic unaccountability ("irresponsible" in older usage) and its vulnerability to political influence and control. None of that is good. Yet it is still rarely noted that the willingness of the Fed in the Depression to allow enough banks to fail to collapse the economy is already the best illustration of its lack of responsibility to the banking system. At the same time, the political will in 2008 to bail out businesses far beyond the core of the banking system was after the manner, thanks to political influence again, of a grievous over-correction. This was done despite more than a decade of evidence from the "zombie" corporations of Japan, bankrupt companies propped up by the government, that it is best that failures in the larger economy should be allowed to fail. We see again the political direction tends to never get it right. As Jefferson presciently said, "Were we directed from Washington when to sow, and when to reap, we should soon want bread."
United States Notes
1966
United States Notes
United States Notes were the first permanent kind of federal paper money, the original "greenbacks." Previously, what the Treasury had issued in wartime were bonds and interest bearing notes. These were also issued during the Civil War, but then the innovation was introduced of Legal Tender Notes that paid no interest but were intended for "all debts public and private, except duties on imports and interest on the public debt" -- the purest kind of fiat paper money. To this was wide objection on the grounds that the Constitution granted the federal government the power "to coin Money, regulate the Value thereof...," which implied that "Money" was coinage and could not simply be replaced by a paper obligation, however appropriate the latter might be for instruments of federal borrowing. As noted above, this issue was fought out in the Supreme Court, ultimately to the advantage of the federal government. However, after the Civil War, Congress had no intention of relying on paper money. That would have been unacceptable in international trade and finance in that day and age of the ascendant Gold Standard -- when Britain and the Bank of England set the standard for sound coinage and sound currency. Also, the evils always associated with paper money had already manifested themselves in a price inflation. This was all the more evident at the time in that gold coinage had not been withdrawn or demonetized but continued to circulate at a premium alongside the greenbacks. So people could see day to day that gold dollars were more valuable than paper dollars.
Congress therefore determined to withdraw the paper currency. This, however, helped produce a deflation, which hurt debtors, especially politically powerful farmers. The Greenback Party thus promoted more paper money, to inflate debts, not less. This political agitation stopped the actual withdrawal of the greenbacks, but the rapid growth of the United States economy nevertheless continued the deflation (see " Say's Law "). By 1878 greenbacks were trading at par with gold dollars, and the United States government "resumed specie payments," i.e. began to honor all its gold obligations and would "pay the bearer on demand" gold dollars. United States Notes were then frozen at a total value of $346,681,016. This permanently ended the power of the Treasury to directly create new fiat paper money.
Over time, United States Notes became an increasingly minor part of United States currency, and the large notes conservatively reflected designs of Civil War currency, as can still be seen in the Series 1917 $1 [ reverse ] and $2 [ reverse ]. By 1910, U.S. Notes only accounted for a tenth of all currency, and by 1960 for only a hundreth. Thus, this form of currency came to be considered a nuisance. In 1966 it was decided to discontinue current issues ($2 in 1966 and $5 in 1968) and to simply concentrate on satisfying the law of 1878 with a new $100 note issue. Few of these, however, made their way to the public. The Treasury adopted the practice of moving notes into a certain room where they were regarded de jure as being in circulation. By the 1990's, when U.S. Notes would count for less than a thousandth of U.S. currency, it was considered about time to end this farcical, dishonest procedure, and Congress finally eliminated the statutory requirement that the Treasury issue them.
The 1966 $100 United States Note has the distinction of having introduced a new seal for the Treasury of the United States, which has been used on all subsequent notes. The old seal (left) had said "THESAUR. AMER. SEPTENT. SIGIL.," a Latin abbreviation for "Seal of the Treasury of North America," while the new seal (right) simply says, "The Department of the Treasury."
Gold Certificates
1934
Gold Certificates
Gold Certificates were first issued in 1863, perhaps to reassure people that the United States Government did not intend to replace all U.S. money with greenbacks. The distinctive orange reverse marked them as different in kind. A "Certificate" signified that the notes were backed by 100% reserves of gold coins, for which they could be redeemed on demand. This was the hardest of hard money short of gold coin itself, since for other currencies the Treasury would never maintain more than a fractional gold reserve. The $10 large note of series 1922 showed Michael Hillegas on the obverse [& orange reverse ]. Hillegas, the Treasurer of the United States under the Articles of Confederation (1775-1789), was such an obscure historical figure, then as now, that he was identified in small print under his name ("First Treasurer of the U.S.").
In small notes, the orange reverse of Gold Certificates was abandoned. This might be seen as a portent of the future; for once the Depression started, and the widespread failure of banks, as the Federal Reverse System refused to support their liquidity, led to a massive deflation, gold came under attack, as it had in the previous century, as the culprit. The refrain that there "wasn't enough money" was heard again, and Congress decided to give President Roosevelt the power to call in all the gold coinage, "regulate the Value therefore," and create more money. The Gold Reserve Act of 1933 thus required that all gold coins and gold certificates be surrendered to the Treasury. This was at first said to be a temporary measure, as would have been consistent with age old practices of recoinage, but then it became permanent. Americans were soon forbidden to hold gold (or gold certificates) as a store of wealth, though amusement (e.g. jewelry) was allowed. This appalling, tyrannical, and unconstitutional (as discussed above) measure was allowed as "necessary" under the "necessary and proper" clause, though all it accomplished was to turn Fort Knox into the tomb for a grotesquely Mediaeval or Pharaonic hoard of useless metal.
The Series 1934 gold certificates, consequently, were not a public issue. They were only intended to circulate among Federal Reserve Banks and therefore read, "Payable to the Bearer on Demand as Authorized by Law" -- and the restored orange back would never see the light of day. Like contemporaneous Silver Certificates, the 1934 Gold Certificates also now specified payment "in gold" rather than "in gold coin," so that the value of the dollar could be easily repegged. Indeed, for some time Franklin Roosevelt would reset the price of gold at whim almost daily -- though eventually the value settled at 35$ a troy ounce and remained there from the 1930's to the 1970's.
It became legal to hold gold certificates on April 24, 1964. The obligation, of course, to "pay the bearer on demand" in "gold coin" would not be honored. By the 1970's Americans could again freely own and trade gold, but this was probably allowed only because President Nixon ceased redeeming U.S. dollars held by foreign governments for gold. The amount of U.S. Currency (Federal Reserve Notes at that point) had come to exceed what could be covered even by the reserves of Fort Knox; and, after all, the federal government still wanted to maintain its hoard.
National Bank Notes
National Bank Notes,
National Currency
National Bank Notes, or "National Currency," were established by the National Banking Act of 1863. This was in part a device to raise money for the federal government, since it required that National Banks that wished to issue banknotes deposit United States Securities with the Treasury as backing for the notes. This effectively multiplied the money with which such securities were purchased, turning the money itself over to the Treasury, for its purposes, but then enabling the banks to issue currency against it. The desire of the federal government to monopolize banknotes is evident in the tax that was subsequently levied on all banknotes issued by State banks. This effectively eliminated them -- and incidentally inaugurated the federal practice of pretending to (constitutionally) tax things when its real purpose was to (unconstitutionally) forbid them. This dishonest device was later extended to opium, marijuana, etc.; so that today there is a general impression that the federal government can forbid anything.
The other rationale for the National Banking Act was to "protect" the public from fraudulent and poorly managed banks, whose banknotes might become worthless. The device of "National Currency" did make the notes obligations of the Treasury, which meant they were good even if the banks failed; but why the solvency of the banks otherwise was thought to be a federal concern, when the States were perfectly capable of regulating their own banks, is a good question. Indeed, aside from the evident self-interest of the federal government in raising money for the Treasury during the Civil War, the principal motivation seems to have been a political debt that the Republican Party owed to its Whig and Federalist Party antecedents. Nevertheless, while the Federalists had always wanted, and for a time had, a real Central Bank (the Bank of the United States), nothing of the sort was politically possible in 1863. The National Banking Act therefore simply chartered individual National Banks, whose bona fides and solvency could be supervised by the Comptroller of the Currency.
Large size National Bank Notes had displayed wonderful design work and are still avidly collected, both because of that and because of their association with local banks, many of which still exist. Designs were uniform for each "charter period," i.e. for each 20 year period after which the Banking Act had to be renewed (a provision now replaced by perpetuities). A $20 note [ reverse ] from the "third charter period" shows Hugh McCulloch, the first Comptroller of the Currency (1863-1869), with real inkpen signatures of the President and Cashier of the First Marine Bank of Erie, Pennsylvania. Small size National Bank Notes, however, were a miserable affair, indistinguishable in most design elements from other small currency. Even the characteristic traditional practice of displacing portraits and vignettes so as to center the name of the bank on the face of the note was abandoned.
If the problem during the Great Depression had really been that there was "not enough money," then it would be surprising that National Bank Notes were suppressed in 1935 -- the bonds that had been issued to secure banknotes were all discontinued. If, however, it is understood that the political answer to the Great Depression was that only the federal government can be trusted with power over the economy, banking, and money, then the move is self-evident. That the Depression dragged on for another four or five years has never been taken as evidence against this inference -- as it has rarely been noticed for any other purpose in American politics.
Since National Bank Notes were not directly backed by gold, the obligation, like that of United States Notes, stated that they were not for the "payment of duties on imports or interest on the public debt."
Silver Certificates
1953
Silver Certificates
Silver Certificates were created by Act of Congress on February 28, 1878. This was a response to "Free Silver" agitation. If the partisans of inflation could not get paper currency, then retaining the monetary status of silver seemed like the next best choice. Putting the United States on the Gold Standard in 1873 (the "Crime of 1873") had set off the controversy. But while the United States was never formally off the Gold Standard, Congress did respond to Free Silver forces with various laws for the Treasury to purchase and coin silver (as dollars, on the 1837 weight). This continued for many years after 1878, though fatal blows were dealt against it in 1894 by Grover Cleveland , who was a hard money Democrat, and the defeat of William Jennings Bryan in 1896. While Bryan contended that ordinary people were being crucified on a "Cross of Gold," he ended up crucified on his own Cross of Silver.
Although cowboys (and later Las Vegas) may have liked silver dollars, heavy coins were never popular with most people. Silver Certificates therefore allowed the Treasury to mint its silver dollars, let them sit, and just issue paper instead. Silver Certificates originally were in denominations up to $1000; but after 1896, notes were kept to $10 and under. The Series 1896 $1, $2, and $5 Silver Certificates were the stunning and celebrated "Educational Series," featuring various allegorical designs, such as "History instructing youth" on the $1 [& reverse ]. These rare and valuable notes have probably the most elaborate designs (subsequently never repeated) of any United States currency.
Except for the rare 1928 $1 United States Note, all small $1 bills until 1963 were Silver Certificates. Starting in 1934, these simply said they were redeemable "in silver" instead of "in silver dollars"; and, strangely enough, they could be redeemed in silver (small bars) at the United States Treasury all the way until 1968 -- the last hard money activity of the United States government.
The major change in design that took place in the history of Silver Certificates was that the reverse of the 1928 $l bill was replaced in the Series 1935 notes with the familiar Great Seal of the United States design, though still without "In God We Trust," which only appears starting with Series 1957 .
Federal Reserve Bank Notes
Federal Reserve Bank Notes,
National Currency
Identical to National Banks Notes in form and function but issued by Federal Reserve Banks, these notes were retired in 1945.
This variety of notes was originally, as large notes, much more distinctive, sharing elements with the traditional design of National Bank Notes but unified in design with the new Federal Reserve Notes. Thus the Federal Reserve Bank Note $5 of Series 1914 simply displaced the portrait of Lincoln to the side from the contemporaneous Federal Reserve Note $5 and replaced it in the center, as in National Bank Notes, with the name of the bank. The reverses are identical, except that " National Currency, Federal Reserve Bank Note " replaces " Federal Reserve Note " and the obligations are different -- Federal Reserve Notes were redeemable in gold, while National Currency could not be used for duties on imports or payments on the public debt.
One of the most popular and valuable notes of all U.S. currency was the Series 1918 Federal Reserve Bank Note $2 . The reverse of this note displays the picture of a Battleship -- hence the "Battleship $2." For many years, it was not clear whether the ship was intended to be the battleship Texas, which survives on public display at the San Jacinto Battlefield outside Houston, Texas, or its sistership, the New York. Recently the Bureau of Printing and Engraving, however, announced that the ship was supposed to be the New York. Why it was necessary to wait more than 70 years to do this, especially when the announcement would then look like a political snub against Texas, is not clear. The companion Federal Reserve Bank Note $1 [ reverse ] is much more common.
The large Notes from the Federal Reserve Bank of New York will be seen to be signed by the Governor of that bank,
Benjamin Strong, who powerfully influenced the policy and actions of the entire Federal Reserve System, especially the Governors Committee on open market operations, which was responsible for the purchase of securities (the principal means of expanding the money supply), until his death in 1928.
Evaluation of Strong and his role reveals the division in Free Market economists between the Monetarists and the Austrians. For Milton Friedman , Benjamin Strong's policy of maintaining price levels in the 1920's, during which there was no deflation despite tremendous economic growth, and his willingness to maintain the liquidity of banks during Panics -- both tasks accomplished through the open market purchase of securities by the Federal Reserve -- was precisely the job, and a good one, that the System had been created to do. Thus, Friedman quotes Clarence A. Woolley, one of the directors of the New York Federal Reserve Bank in 1932, as remembering, "Governor Strong had said further that if this power were used in a big way, it would stop any panic which might confront us" [Friedman & Schwartz, A Monetary History of the United States, 1867-1960, Princeton, 1963, p. 412]. But by the time the banking crisis started in the Depression, the leadership of the Federal Reserve System had forgotten the purpose that Strong understood so well. They let the banks fail, to catastrophic consequences. Evidently Mr. Woolley did not have the power or influence to get done what he knew Governor Strong would have done.
On the other hand, Austrian School economists like Murray Rothbard have seen Benjamin Strong as a villain for expanding the money supply beyond its hard money base. Without that expansion, there could have been no credit collapse, no banking crisis, and the Depression would not have begun. This kind of criticism, however, is based on the ideas that (1) any kind of fractional reserve banking is fraudulent in the first place and (2) that inflation is not an overall rise in prices but any expansion of the money supply beyond a commodity base (specifically gold). These are both strange ideas. Fractional reserve banking cannot be "fraudulent" when there is nothing secret about it and when it is clear that people would have to pay for banks to hold their savings with 100% reserves, while banks will pay them for savings that can be (prudently) loaned to others. Similarly, redefining "inflation" not to refer to price levels ignores the importance of prices, especially the economic and political damage that deflation can cause -- as was caused by the 1865-1896 deflation and was avoided by the maintenance of prices in the 1920's [ note ]. As Friedman would agree, expanding the money supply too much does cause inflation, and this has been the evident policy of the Federal Reserve System for decades now, constituting a continuing regime of theft by the Federal Government; but the maintenance of price levels by monetary expansion is not inflation and it actually prevents the theft which results from the deflation of debts, which bankrupted many people and businesses in the 19th Century and at the beginning of the Depression. Thus, although Rothbard has a perfectly valid criticism of the irresponsibility of the Federal Reserve in maintaining a regime of constant inflation, what he would prefer instead is really a kind of utopianism that ignores both the good faith, contractual validity of fractional reserve banking and the real economic damage done by deflation.
The collapse of the home mortgage market in 2008-2009, engineered by the Federal Government through the coercion of banks to make risky loads and promoted by the irresponsibility of the Federally chartered semi-public corportations, Fannie Mae and Freddie Mac (which were protected by Democrat political supporters like Barney Frank), led libertarian radicals like Ron Paul to ignore all this and instead attack the Federal Reserve System. Something tells me that he might just have attacked the Federal Reserve anyway, mortgage collapse or not. Either way, it has not helped the situation. Congress now expects the Federal Reserve to do more than just back up the banks and maintain prices, and this is a mistake. But someone like Ron Paul is a Gold Bug and is against all central banks. He should consider how the Bank of England gave everyone the impression that Britain was made of money, from the War of the Spanish Succession to World War I.
Perhaps the most noteworthy thing about the small Federal Reserve Bank Notes is that there is absolutely nothing to distinguish them in any of the ways that the large notes were distinctive. Even the names of the banks seem printed in a perfunctory way; and the pre-printed "President," to show where the name of the president of the bank is to be printed, is simply blacked out with an overprinted bar, since Federal Reserve Banks had "governors," not "presidents"! Such a hideous device testifies to a sudden lack of interest in the aesthetics of the currency, or at least this particular currency -- or to an expectation that the type of currency will soon be retired, as it was.
Federal Reserve Notes, until 1981
$1
1934
Federal Reserve Notes
A new kind of currency was created by the Federal Reserve Act of December 23, 1913. This was in part a response to continuing political agitation for the creation of a Central Bank for the United States, but the more immediate prod came from the Banking Panic of 1907. The Aldrich-Vreeland Act of 1908 had expanded the securities that banks could use to secure their currency, but this was regarded as unsatisfactory for the long run -- especially when J.P. Morgan needed to step in and bail out the system with his own money. There did not seem to be good provision in the banking system to support the liquidity of banks during panics and runs. The banks themselves had survived the Panic by suspending cash payments and relying on checks and "clearing house certificates" in lieu of cash -- and even then still needed money from the Aldrich-Vreeland Act and Morgan. This had actually worked well enough, but the argument was made that it had been irregular, in fact illegal, and that something needed to be done about it.
So the United States got the Federal Reserve System. Since a Central Bank was still anathema, under the fading but still happy and adequate influence of Thomas Jefferson and Andrew Jackson , the Federal Reserve System was designed to be a decentralized organization of no less than twelve Federal Reserve Banks: Boston (1-A), New York (2-B), Philadelphia (3-C), Cleveland (4-D), Richmond (5-E), Atlanta (6-F), Chicago (7-G), St. Louis (8-H), Minneapolis (9-I), Kansas City (10-J), Dallas (11-K), and San Francisco (12-L). The names of the banks and their characteristic number or letter have always appeared on Federal Reserve Notes and Federal Reserve Bank Notes issued by them. This assignment clearly reflects the distribution of population and economic development in 1914. It has not been modified since.
The first Federal Reserve Notes, like the $5 , $10 , and $20 , were handsome and dignified, initiating design features that would become permanent in small notes. The allegorical reverses, never repeated, are reminiscent of the "Educational" Silver Certificates. The reverse of the $5 shows the landings of Columbus and the Pilgrims, the reverse of the $10 images of agriculture (no tractor yet) and industry, and the reverse of the $20 transportation, by land (i.e. railroad, with the auto and airplane as minor details) and sea (with the Statue of Liberty in the background). The reverse of the $50 was an allegorical figure of Panama, flanked by a liner and a battleship in each ocean. The $500, $5000, and $10,000 notes repeated historical paintings, by John Trumbull and others (which hang in the Rotunda of the United States Capitol), that had already appeared on first charter period National Bank Notes. The only such painting to subsequently reappear on Federal Reserve Notes was the Signing of the Declaration of Independence (by Trumbull), originally on the first charter period (series 1863 & 1875) $100 notes, on the Bicentennial $2 bill.
The significance of the multiple Federal Reserve Banks and the decentralized system, however, has declined. The system was made a lot more centralized in the 1930's, as part of the aforementioned conclusion that only the federal government can be trusted with power over the economy, banking, and money. The Depression at the time was seen as resulting from the misbehavior of "speculators" and loose practices by the financial and stock markets. However, it is now much clearer that one of the prime villains at the beginning of the Great Depression was the Federal Reserve System itself, whose mistakes had nothing to do with lack of power or centralization. Indeed, the System could have responded better if it had been even less, not more, centralized than it was. Nevertheless, centralization continues, and the new, redesigned Federal Reserve Notes no longer bear the seal of their bank of issue, though the bank is still indicated, without name, by the letter and number code. Compare the Series 1996 $50 Federal Reserve Note with the previous Series 1993 $50 Federal Reserve Note [ reverse ].
The original notion behind Federal Reserve Notes was to replace the "clearing house certificates" upon which banks had relied instead of cash during banking panics. Since Federal Reserve Notes were redeemable in gold (though perhaps only at the United States Treasury), they would have been just the kind of reassuring currency to supply to banks during a run. Since there was only a fractional reserve behind the Notes, however, the temptation would always be there to overextend them for political purposes. Although the Treasury had been unable to print money since 1878, it was now given an indirect ability to do so, whenever it could persuade the Federal Reserve to create money by buying United States securities itself, either directly from the Treasury or indirectly off the open market.
Nevertheless, things seemed to work well enough during the 1920's. The beginning of the System had coincided with a sharp inflation, so perhaps too much money had been abruptly pumped into the economy. But then during the Twenties, despite swift economic growth and confusing factors like large foreign lending and investment, a remarkable price stability was maintained. As long as the Federal Reserve System saw this as its goal, then it could well have aspired to a reputation like the Bank of England, whose notes were thought to be "as good as gold."
The problem is what happened during the Depression. Banking panics were nothing new -- that is what the Fed was created for. But when banking panics started (as unemployment abruptly jumped from 6% to 15% at the end of 1930), the Federal Reserve suddenly didn't trust banks enough to back them up. If the banks were insolvent, evidently, they must be allowed to fail. Unfortunately, so many banks were seen as insolvent and allowed to fail that it took the whole United States economy down with it. But the Federal Reserve could be proud of being financially solid itself! This served no purpose, however, beyond bureaucratic ass-covering.
This turns out to be a classic example of bureaucrats who do not have to pay the cost that results from their actions. The banks may fail, the economy may collapse, but they still have their jobs! Indeed, if the Depression could be blamed on "speculators," the bureaucrats could actually see their status, pay, and power increase! In 1907, it is obvious that the banks could work out their own salvation because they actually did not want to fail. Failed banks means bankers out of a job. Perhaps even bankers committing suicide. But among all the Depression stories about window leaps on Wall Street, there don't seem to be any about leaps from the nearby Federal Reserve Bank of New York.
Thus the Federal Reserve System has become the last thing that was supposed to be possible in America: A Central Bank. And a political football. The inflation of the 1970's never was blamed on the Federal Reserve expanding the money supply too quickly, even though the popular economic theory of the time, Neo-Keynesianism, held that inflation could cause prosperity. The System might have wanted to claim credit. But the strategy didn't work out very well, as unemployment increased with inflation. It has been more obvious recently that the lower inflation of the 1980's and 90's has been the result of restraint in money creation. On the other hand, President Clinton was appointing Keynesians to the Federal Reserve Board, and there are still complaints about "tight money." So the potential still existed for follies equivalent to the 1930's or 70's. Indeed, follies there are in the 2000's and so far in the 2010's. The Keynesians got to have their way again, with massive "stimulus" spending and money creation, beginning after the Democrats took Congress in 2006 but then really taking off when they also got the Presidency in 2008. The meager and miserable consequences of their waste and recklessness has taught little in the way of humility to the Keynesians, who continued advocating the same policies in 2013. Say's Law remains all but forgotten despite ever increasing evidence for it. The truth seems to be that politicians like Keynesianism because they just want to spend money, to buy votes, anyway. The reelection of Barack Obama in 2012 appears to vindicate their demagogic strategy; and they can even call it economic "success" when people begin to forget what a robust economy or full employment even feel like.
Until the new anti-counterfeiting designs that have now come in (the Series 1996 $100 Federal Reserve Note, obverse and reverse , the Series 1996 $50 Federal Reserve Note, obverse and reverse , the Series 1996 $20 Federal Reserve Note, obverse and reverse , the Series 1999 $10 Federal Reserve Note, obverse and reverse , and the Series 1999 $5 Federal Reserve Note, obverse and reverse ), the only major change in design of Federal Reserve Notes was on the "Bicentennial" $2 bill, introduced in 1976 and featuring a different reverse , showing the signing of the Declaration of Independence, from the traditional picture of Jefferson's home, Monticello . This new reverse still appears on the current, series 1995, notes. The introduction of the Bicentennial $2 bill was intended, with the Susan B. Anthony $1 coin, to accompany the phasing out of the $1 note. However, the $1 coins were not popular, and the public also seemed to maintain mixed feelings about the $2 bill. The $1 thus continues in its traditional role.
With new designs introduced now down to the $5 note, and with no plans to introduce new designs for the $2 or $1, another attempt may be made to phase out the $1 bill. A new brass $1 coin is now being introduced (misleadingly called the "golden coin" by the Treasury), with a handsome portrayal of Sacagawea, the Indian interpreter of Lewis and Clark. Unlikely to be confused with the quarter (as the Susan B. Anthony was), this design cleverly combines the politically correct themes of (1) a woman, (2) a Native American, and (3) an uncontroversial figure from American History. Despite these political considerations, the result is a handsome design. Whether this will be used as a pretext to launch another effort to replace the $1 bill has not yet become clear.
Late in 2002, it looked like the Sacagawea dollar is not catching on. Actually, I rather like them. But the only place I've been getting them is from the stamp machine at the post office (when it gives change at all, rather than eating all the money). Now I have begun to get Susan B. Anthony dollars from the machines as well. I don't like them; and if the Treasury really wants Sacagawea to make it, the way to do it is not to start slipping Susan B. Anthonys out with them. This makes it look like they still just want to unload all the old stuff that nobody wanted.
In 2007, the Sacagawea dollars are still being minted, are invisible to any circulation that passes through my hands, are still being mixed with Susan B. Anthonys at the post office, and receive no public promotion that might go with retiring paper dollars. At the same time, a new commemorative series of dollar coins featuring United States Presidents has been introduced. Although these are the same size, weight, and color as the Sacagawea dollars, so far it doesn't look like they are intended for circulation. But they should be, if the Treasury really wants to create public support for a dollar coin.
Bibliography
Paper Money of the United States, Robert Friedberg, The Coin and Currency Institute, Inc [102 Linwood Plaza, Fort Lee, NJ 07024], 10th Edition, 1978
Standard Handbook of Modern United States Paper Money, Chuck O'Donnell, Krause Publications [700 E. State St., Iola, WI 54990], 7th Edition, 1982
Monetary Policy in the United States, by Richard H. Timberlake, The University of Chicago Press , 1993
Money Mischief, Episodes in Monetary History, Milton Friedman , Harcourt Brace Jovanovich, 1992
A Monetary History of the United States, 1867-1960, Milton Friedman & Anna Jacobson Schwartz, Princeton University Press, 1963, 1990
Copyright (c) 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2007, 2009, 2010, 2012, 2013 Kelley L. Ross, Ph.D. All Rights Reserved
Six Kinds of United States Paper Currency, Note
In a newspaper column dated September 9, 2009, economist Walter Williams says, "Increases in money supply are what constitute inflation, and a general rise in prices is the symptom." I think that this is wrong.
A general rise in prices is what constitutes inflation. When Milton Friedman says, as quoted by Williams himself in the same column, that inflation "is always and everywhere a monetary phenomenon," this does mean that inflation is always caused by "increases in money supply." However, increases in the money supply are necessary but not sufficient conditions for inflation. In other words, inflation only happens when the money supply increases; but inflation does not always happen when the money supply increases.
Rothbard and Williams are thinking that the increases in themselves are inflation; but Friedman was aware of many cases historically when the money supply increased and prices fell (1865-1896) or stayed steady (the 1920's). The last decades of the 19th century saw a very severe deflation in the United States, with serious economic and political consequences, because the money supply did not increase fast enough to keep up with the growing economy. The money supply did increase, but it would be bizarre to call it an era of "inflation."
Rothbard, however, would not call that increase "inflation," or even the actual inflation of the first decade of the 20th century, because both were based on increases in the supply of gold, which to Rothbard, by definition, is money. On a real Gold Standard, Rothbard would not allow that either inflation or deflation would be possible, regardless of what is happening to prices. This is an idiosyncratic and fairly useless definition of money; and Friedman himself, with some sympathy for bimetalism (i.e. silver and gold for legal tender) and skepticism about the "crime of 1873," when the United States adopted the Gold Standard, would not countenance it on either moral, economic, or historical grounds. I suspect that Williams, however, is in Rothbard's camp.
| Thomas Jefferson |
Speleology is the scientific study or exploration of what? | U.S. Bureau of Engraving and Printing - $2 Note
$2 Note
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U.S. Department of the Treasury
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The first $2 notes (called United States Notes or "Legal Tenders") were issued by the federal government in 1862 and featured a portrait of the first Secretary of the Treasury, Alexander Hamilton (1789-1795).
The first use of Thomas Jefferson's portrait on $2 notes was on Series 1869 United States Notes. The same portrait has been used for all series of $2 United States Notes as well as for all $2 Federal Reserve notes.
Monticello, Thomas Jefferson's estate in Virginia, was first featured as the vignette on the back of the Series 1928 $2 United States Note.
In celebration of the United States' bicentennial, a $2 Federal Reserve note, Series 1976, was introduced. The new design maintained the portrait of Jefferson on the face but the back was changed from Monticello to a vignette of the signing of the Declaration of Independence. The most recent printing of the $2 note has the Series 2013 date. There are no plans to redesign the $2 note.
The vignette on the back of the current $2 Federal Reserve note features an engraving of John Trumbull's painting "Declaration of Independence." The original Trumbull painting portrayed 47 people, 42 of whom were signers of the Declaration (there were 56 total). However, because of a limited amount of space on the note, five of 47 men in the painting were not included in the engraving.
All U.S. currency remains legal tender, regardless of when it was issued.
This page contains links to Acrobat® PDF documents, which require the Adobe® Reader® plug-in to view.
| i don't know |
Actors Fred Astaire and Gene Kelly appeared together on screen for the first time in which 1946 film? | Fred Astaire - Biography - IMDb
Fred Astaire
Biography
Showing all 82 items
Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (3) | Trivia (46) | Personal Quotes (26)
Overview (4)
5' 9" (1.75 m)
Mini Bio (1)
Fred Astaire was born in Omaha, Nebraska, to Johanna (Geilus) and Fritz Austerlitz, a brewer. Fred entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele Astaire . After Adele retired to marry in 1932, Astaire headed to Hollywood. Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933). In the latter film, he began his highly successful partnership with Ginger Rogers , with whom he danced in 9 RKO pictures. During these years, he was also active in recording and radio. On film, Astaire later appeared opposite a number of partners through various studios. After a temporary retirement in 1945-7, during which he opened Fred Astaire Dance Studios, Astaire returned to film to star in more musicals through 1957. He subsequently performed a number of straight dramatic roles in film and TV.
- IMDb Mini Biography By: Diana Hamilton <[email protected]>
Spouse (2)
( 12 July 1933 - 13 September 1954) (her death) (2 children)
Trade Mark (3)
Often wore top hat and tails
His unique dancing
Ending an active dance sequence by calmly strolling off
Trivia (46)
Ranked #73 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997]
Following his death, he was interred at Oakwood Memorial Park in Chatsworth, California, where longtime dancing partner, Ginger Rogers , is located.
The evaluation of Astaire's first screen test: "Can't act. Can't sing. Balding. Can dance a little."
Astaire disguised his very large hands by curling his middle two fingers while dancing.
First met lifelong best friend Irving Berlin on the set of Top Hat (1935).
After Blue Skies (1946), New York's Paramount Theater generated a petition of 10,000 names to persuade him to come out of retirement.
Born at 9:16pm-CST
The only time he and Gene Kelly ever danced together on screen (other than the linking-segments in the 1976 compilation movie, That's Entertainment, Part II (1976)) was in one routine, titled "The Babbitt and the Bromide" in the 1946 movie Ziegfeld Follies (1945).
Appears on the cover of The Beatles ' "Sgt Pepper's Lonely Hearts Club Band" album.
He was one of the first Kennedy Center Honorees in 1978.
Don McLean 's song "Wonderful Baby" was written with Astaire in mind; Astaire reportedly loved the song, and recorded it for an album.
Made a cameo appearance in John Lennon and Yoko Ono 's film Imagine (1972), escorting Yoko through a doorway; after one successful take, he asked to try again, believing he could do a better job.
In 2000, the following album was released as a tribute to him: "Let Yourself Go: Celebrating Fred Astaire". All songs were performed by Stacey Kent .
He was voted the 19th Greatest Movie Star of all time by Entertainment Weekly.
His legs were insured for one million dollars.
Famously wore a necktie around his waist instead of a belt, an affectation he picked up from his friendship with actor Douglas Fairbanks but often mistakenly attributed to Astaire alone.
He was voted the 23rd Greatest Movie Star of All Time by Premiere magazine.
Named the #5 Greatest Actor on the 50 Greatest Screen Legends by the American Film Institute.
Born only 18 months after his sister Adele Astaire .
Is one of the many movie stars mentioned in Madonna 's song "Vogue"
He and Ginger Rogers appeared in 10 movies together: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), The Story of Vernon and Irene Castle (1939) and The Barkleys of Broadway (1949).
Although he spent most of his childhood touring on the vaudeville circuit, he would occasionally settle down with his family and their neighbors and friends, who were almost all families of Austrian immigrants.
Aside from starring in the film Funny Face (1957), he also starred in the original 1927 Broadway version of the George Gershwin and Ira Gershwin musical "Funny Face". Although he was the male lead in the show, he did not play the same character he does in the film, and the storyline of the original stage musical was entirely different from the one in the film. Both play and film used many of the same songs. The studio may have felt that the original plot of "Funny Face" could not be properly adapted into a movie as it was an "ensemble" musical with people dropping out and parts changing all the time. Apparently the studio bought the rights to the title just so they could use the song. The plot of this movie is actually that of the unsuccessful Broadway musical "Wedding Bells" by Leonard Gershe . His character in the film is based on photographer Richard Avedon , who in fact, set up most of the photography shown in the film. The soggy Paris weather played havoc with the shooting of the wedding dress dance scene. Both Astaire and Audrey Hepburn were continually slipping in the muddy and slippery grass.
While all music and songs were known to be dubbed (recorded before filming), his tap dancing was dubbed also. He "over-dubbed" his taps - recording them live as he danced to the previously recorded taps.
Wore his trademark top hat and tails in his very first movie appearance, Dancing Lady (1933).
Good friends with actress Carol Lynley .
Fred's father was born in Austria. Fred's paternal grandparents, Salomon Stefan Austerlitz and Lucie Hellerová, were Czech Jews who had converted to Catholicism. Fred's mother was born in Nebraska, to David Geilus and Wilhelmine Klaatke, Lutheran immigrants from Germany.
Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 36-38. New York: Charles Scribner's Sons, 1999.
Inducted into the International Tap Dance Hall of Fame in 2002 (inaugural class).
For Daddy Long Legs (1955), Leslie Caron told Fred that she wanted to create her own costumes for the film. Fred Astaire told her: "Okay, but no feathers, please", recalling the troubles he had with one of Ginger Rogers ' elaborate ostrich feathered gowns in a dance from Top Hat (1935). A feather broke loose from Ginger Rogers' dress and stubbornly floated in mid air around Astaire's face. The episode was recreated to hilarious effect in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer portrayed by Judy Garland .
Tony Martin , the husband of Metro-Goldwyn-Mayer star/dancer Cyd Charisse , said he could tell who she had been dancing with that day on the set. If she came home covered with bruises on her, it was the very physically-demanding Gene Kelly , if not it was the smooth and agile Fred Astaire .
Owned Blue Valley Ranch, a Thoroughbred horse breeding farm in the San Fernando Valley. He maintained a racing stable of four or five horses which competed at racetracks in California. His most famous racehorse was Triplicate, winner of the 1946 Hollywood Gold Cup.
Profiled in "American Classic Screen Interviews" (Scarecrow Press) (2010).
When Ginger Rogers received a Kennedy Center Honor in 1992, Robyn Smith , widow of Fred Astaire , withheld all rights to clips of Rogers' scenes with Astaire, demanding payment. The Kennedy Center refused and Rogers received her honor without the retrospective show.
Founder of Ava Records, named for his daughter, Ava Astaire-McKenzie .
Joining ASCAP in 1942, he collaborated with Johnny Mercer and Gladys Shelly . His popular song compositions include "I'm Building Up to an Awful Let-Down", "Blue Without You", "If Swing Goes, I Go Too", "Just Like Taking Candy from a Baby", "Just One More Dance, Madame", "I'll Never Let You Go", "Oh, My Achin' Back" and "Sweet Sorrow".
He was the very first name entered on IMDB (nm0000001).
Politically, Astaire was a conservative and a lifelong Republican Party supporter, though he never made his political views publicly known. Along with Bing Crosby , George Murphy , Ginger Rogers and others, he was a charter (founding) member of the Hollywood Republican Committee.
Universal Pictures offered Astaire the chance to direct the musical comedy Up in Central Park (1948), but he declined. William A. Seiter directed instead.
He was honored as Turner Classic Movies Star of the Month. [December 2013]
He was awarded a Star on the Hollywood Walk of Fame at 6756 Hollywood Boulevard in Hollywood, California on February 8, 1960.
Became a father for the first time at age 36 when his first wife Phyllis Potter gave birth to their son Fred Astaire Jr. on January 21, 1936.
Became a father for the second time at age 42 when his first wife Phyllis Potter gave birth to their daughter Ava Astaire-McKenzie on March 28, 1942.
Died 18 years to the day after his Easter Parade (1948) co-star, Judy Garland . Garland on June 22, 1969 and Astaire on June 22, 1987.
First wife Phyllis Potter (née Phyllis Livingston Baker) passed away from lung cancer at age 46 while Astaire was filming Daddy Long Legs (1955).
He was stepfather to Eliphalet IV (known as Peter), the son of his first wife, Phyllis, and her first husband, Eliphalet Nott Potter III.
Personal Quotes (26)
I have never had anything that I can remember in the business - and that includes all the movies and the stage shows and everything - that I didn't enjoy. I didn't like some of the small-time vaudeville, because we weren't going on and getting better. Aside from that, I didn't dislike anything.
[on modern movies] They tend to overdo the vulgarity. I'm not embarrassed by the language itself, but it's embarrassing to be listening to it, sitting next to perfect strangers.
Of course, [ Ginger Rogers ] was able to accomplish sex through dance. We told more through our movements instead of the big clinch. We did it all in the dance.
I had some ballet training but didn't like it. It was like a game to me.
People think I was born in top hat and tails.
The hardest job kids face today is learning good manners without seeing any.
It's nice that all the composers have said that nobody interprets a lyric like Fred Astaire. But when it comes to selling records I was never worth anything particularly except as a collector's item.
[on his screen partnership with Ginger Rogers ] Ginger was brilliantly effective. She made everything work for her. Actually, she made things very fine for the both of us and she deserves most of the credit for our success.
I suppose I made it look easy, but gee whiz, did I work and worry.
Dancing is a sweat job.
[to Jack Lemmon ] You're at a level where you can only afford one mistake. The higher up you go, the more mistakes you're allowed. Right at the top, if you make enough of them, it's considered to be your style.
I don't want to be the oldest performer in captivity... I don't want to look like a little old man dancing out there.
I have no desire to prove anything by it [dancing]. I never used it as an outlet or as a means of expressing myself. I just dance.
[on John Travolta in Saturday Night Fever (1977)] He's not a dancer. What he did in those dance scenes was very attractive but he is basically not a dancer. I was dancing like that years ago, you know. Disco is just jitterbug.
[on Ginger Rogers ] She may have faked a little, but we knew we had a good thing going.
[on tap dancer Eleanor Powell ] Eleanor was an out-and-out dancer. She danced like a man. She slammed the floor and did it great and that's fine and suddenly she's on her toes in the ballet sequence -- it did look kinda funny.
[on Rita Hayworth ] A great dancer but a different style to me.
[on Judy Garland ] She was just simply wonderful. She danced beautifully, learned beautifully. She was very adept at whatever she did. Really in fine form. We were all set to do another picture together, but she got sick and that was the end of that.
[on actress/dancer Leslie Caron ] A ballet dancer really, but technically good. I called her the sergeant major.
[on Gene Kelly ] You know, that Kelly, he's just terrific. That's all there is to it. He dances like crazy, he directs like crazy. I adore this guy. I really am crazy about his work.
(on dancing partner Cyd Charisse ) When you dance with her, you stay danced.
[on joining the cast of The Towering Inferno (1974)] It's a fun picture to make - all fire and water.
I'm just a hoofer with a spare set of tails.
All the girls I ever danced with thought they couldn't do it. So they always cried. All except Ginger. No, no, Ginger never cried.
Excuse me, I must say Ginger was certainly the one. You know, the most effective partner I had. Everyone knows. That was a whole other thing that we did...I just want to pay a tribute to Ginger because we did so many pictures together and believe me it was a value to have that girl...she had it. She was just great!
Ginger was brilliantly effective. She made everything work for her. Actually she made everything work very fine for both of us and she deserves most of the credit for our success.
See also
| Ziegfeld Follies |
John Alderton played teacher Bernard Hedges in which UK television series? | A formal brawl? - Gene Kelly, Creative Genius
Gene Kelly, Creative Genius
Calendar
I feel I should give the 'Fred V Gene' issue its own space, I have found so many articles and quotes recently on the subject. In reality there was
never any serious competition between the two Masters. They were very good friends, and often had to bear much nonsense concerning their so-called rivalry. They always insisted they were different as chalk and cheese, and Cyd Charisse, when asked who was the better partner, said it was like comparing apples with oranges. Diplomatic but true!!
I have transferred quotes about and by them, from other pages, and will add pics and new quotes as they come to light. They are also featured together in the section on That's Entertainment II on the Movies That We Know page. And Fred's appreciation of Gene can be read in the transcript of the AFI tribute on the No Contest page.
The first Guardian Lecture. British Film Institute, London May 20th 1980.
From Talking Film, Ed. Andrew Britton. A Guardian book. 1991.
The difference between myself and Fred is vast. There is no similarity in our styles except that we both wear trousers.
Gene...was the thunder to Fred Astaire's lightning
Astaire for athletic elegance, Kelly for elegant athleticism.
Paula Abdul, People magazine Feb. 1996
Men like Fred Astaire but women love Gene Kelly. He’s so handsome, so sexy and so self assured.
Astaire’s biographer, Satchel.
Astaire never appeared with bare chest, let alone bare arms or legs, as did Gene Kelly.
Greg Garrison. From Dean Martin Roasts DVD series
…The difference between watching Fred Astaire in a number – he’s brilliant, fast, precise, most precise performer I’ve ever known in my life…I was also fortunate enough to work with Gene Kelly. Gene Kelly had great moves, great dancer, but he had more of a feel for the room, he knew what he was doing.
“I’m built like a full-back. But Fred’s slim.”
“Fred’ style is intimate. I’m very jealous of that. When you get on a small screen like television,
Fred still looks great. I’m athletic, I work bigger.”
Fundamental patterns of orientation. JC Penney
The familiar figures of Fred Astaire and Gene Kelly provide a fine example of two very different movement styles. Fred Astaire embodies lightness with a sense of space and grace. It is as if he were suspended by invisible strings, weightless. Gene Kelly’s form is much more muscular; instead of taking off in flight, he seems to be ready to return to the ground. There is a sense of strength and weight about him, compared to Astaire’s airy style.
Los Angeles Times. April 23rd 1944
Last week he was working out new routines in MGM’s Ziegfeld Follies with Fred Astaire, for whom he has an admiration that amounts to veneration. “The average guy is just an imitator – a hoofer,” Kelly says. “But Fred -! The public can’t realise what he does with the lines of his body, the endless new and inventive steps, a bouncing ball, a cane or a piece of furniture. A hundred years from now they’ll still be studying Astaire – and marvelling!” Which is rather a nice tribute from a personality who is no slouch as a dancer himself.
Milwaukee Journal. May 7th 1944
When he starts talking about Fred Astaire, his low voice grows tense with enthusiasm. The Astaire dances are classics, Kelly continues, going into some detail. Decades hence, he believes, dancers will be studying the Astaire pictures as masterpieces.
Photoplay June 1944
Hollywood knows, but do you… that after Cover Girl Gene Kelly is hailed as the greatest dance sensation since Fred Astaire and Mr Astaire, cold to the press and aloof with the natives where Gene is warm and friendly, is looking slightly worried? He should.
Modern Screen. August 1944
Naturally, after showing his magic heels the way Kelly did in Cover Girl, they had to whip up one of those quick rivalry rumors between Gene and Fred Astaire. Hollywood has had to have a phoney feud of some kind since the days of Pola Negri and Gloria Swanson, and the Bing Crosby-Sinatra one was expiring for lack of legs to carry it along. Somebody asked Gene what he thought of Fred Astaire. (They’re good friends, by the way, and right this minute Gene is working out a routine with Fred for the Ziegfeld Follies.)
Gene spoke right up: “Fred Astaire? I think he’s a great artist. There’s a lot of things in his dancing I wish I had. And,” he added without a speck of false modesty, “I’ve got a lot of things Fred could use, too.” Just like that.
Theatre Arts 1945
If only two dancers - Fred Astaire and Gene Kelly – have made outstanding successes on the screen, it is not because theirs were the best or even the most persistent talents available…it is rather because these two have known best how to modify their talents to the peculiar demands of the medium...
Gene on Fred: His fine close style was perfect for the camera, and at the same time it was masculine enough to delight the spectators. He would slip into one of those small, wilting movements of his, neat and precise, and the cameraman would relax and the audience would smile and everybody would be happy.
Photoplay January 1946
Gene Kelly is probably the most accomplished dancer in show business today. Kelly himself would deny this heatedly however. He is convinced that any such distinction belongs to Fred Astaire.. He looked upon his chance to dance with Astaire in “The Zeigfeld Follies” as the most extravagant compliment ever paid him.
Movieland. Summer 1946
His modesty is a little overwhelming…He says he could work from noon until Judgment Day and not be able to touch Fred Astaire’s terpsichorean heights, although the Gene Kelly fan club would be happy to argue the point with him.
Los Angeles Times. March 30th 1947
Gene: Astaire was – is – the greatest of them all. He had a number in Blue Skies – Puttin’ On The Ritz – that got the feeling of a whole generation into it. All he did was walk around swinging his cane, but he brought tears to my eyes. It was something performers don’t have today, an accumulation of years – experience…He was really great. He was also American. You could watch him anywhere in the world and know he was American. That’s what I try to get into my stuff, too…
Evening Independent. March 21st 1947
Fred Astaire’s new dance studio in New York, honors all of screening partners. The names of Ginger Rogers, Rita Hayworth…Gene Kelly, George Murphy, Joan Crawford and Bing Crosby are all there. But the name of Lucille Bremer is conspicuous by its absence.
Silver Screen. April 1947
Gene wishes Fred Astaire would relent and do another picture, with one Gene Kelly.
“He has been my idol and ideal for a long time…I really wish we could do a feature length together. He’s tops.”
Screen Guide July 1947
Level-headed and down-to-earth, Kelly believes that Fred Astaire is without doubt the most accomplished dancer in the world today. Astaire himself, however, believes that he is past his peak and that Kelly will reign supreme in the field for at least another ten years.
Milwaukee Journal. 7th December 1947
Fred Astaire, by the way, tells me it isn’t true he stepped into Gene Kelly’s dances for Easter Parade. “I had to create my own…I have my style; Gene has his. I couldn’t ever do his.” I don’t care which does which – they’re both tops.
Movieland 1948
That Old Black Magic
You ask him about Fred Astaire. You think that perhaps there may be a little understandable jealousy there – the two greatest dancers in the world on the same lot. But Gene surprises you with sincere enthusiasm.
“Fred is a real inspiration to me,” says Gene. “He always was and he always will be. He’s a wonderful guy. I am personally so crazy about Fred and his work, that he can do no wrong. Furthermore, what a lot of people don’t know is that Fred doesn’t have to dance to be a success. He is the best light comedian in the business. No one can touch him.”
Screen Guide July 1948
When Fred Astaire’s comeback film, Easter Parade, hits the screen, the one-time champion among Hollywood steppers won’t find a clearcfield before him. Moviegoers will already have seen Gene Kelly in The Pirate. Electric dances like this one state a warning: On your toes, Fred! – if you want your title back.
Modern Screen 1948
Fred on taking Gene’s role in Easter Parade:
…I wanted to be in again – but not at the expense of another dancer, not to profit by another chap’s misfortune. Gene cleared that up with one of the nicest remarks I have ever heard in such circumstances. He said to a columnist, “Naturally I hated to break my ankle, but if it means seeing Astaire on the screen again, it’s worth it.”
There is a gentleman. There is also one of the finest dancers in America today….
Thank God, Gene’s injury will not mean the end of dancing for him. He broke the same ankle once before, in the same kind of accident, and his doctors tell him that it will heal in the same fashion. I say “Thank God” fervently, because I can think of no greater loss to the American stage and screen than if Gene Kelly should not dance again...
I shan’t soon forget the first time I saw him, in Cover Girl. When Gene did his Alter Ego number I realized that I was watching an artist. I grabbed my wife’s hand. “Look!” I said. “Look at that!” She maintained a loyal silence.
And when I saw his inspired cartoon sequence in Anchors Aweigh, I knew Gene’s technique was not only superb; he had imagination and a genius for producing.
It is one thing to dance flawlessly through a piece of music. It is another to take an idea, a mood, and interpret it in terms of rhythm and movement so that an audience discovers what that idea is without hearing a word or reading a line.
Gene’s ingenuity is boundless. There have been times when I have known in advance the interpretations Gene would be asked to invent in certain scripts, and I have asked myself, “How would I do that?” On a number of occasions I have had to admit to myself, “I don’t know.”
Then, when I see what he has created in the finished product, I am aware that I am watching, not my greatest rival—although he would be that if we were in competition—but a contemporary whom I regard with respect and admiration.
This is a calculated personal appraisal of Gene’s ability, and if it sounds like a back-patting spree I can’t help it. Just thank your lucky stars that he’ll be back with you in a few months, while I thank mine that I’m back where I belong, on a sound stage.
Picturegoer. July 9th 1949
…with less than a handful of films to his credit, Kelly has successfully challenged the greatest dancer of them…Before he came on the scene there were other dancers besides the inimitable Fred. But inevitably all came up for comparison with the old maestro, and they couldn’t stand the comparison…Then along came Kelly, unknown except for one hit on the New York stage…He crashed that barrier when he made Anchors Aweigh…Today, younger picturegoers in particular regard him as the screen’s number one male dancing star.
To them Astaire is more a tradition than a star.
Saturday Evening Post July 1950
“My own style is strong, wide, open, bravura, Fred’s is intimate, cool, easy…He always makes you feel you’re in the same
room with him. He can give an audience pleasure by just walking across a floor, and I envy him that ability…when he dances, he makes you feel that if you only had about four stiff drinks and a little training, you could do it too…half the charm of his dancing lies in his clever and imaginative use of props. I try to stay away from props and let my dancing do the job by itself.”
Daily Collegian. State College Pennsylvania. September 26th 1950
Fred Astaire may be more slick and sophisticated but he’s never been as original or entertaining….
Daily Express March 26th 1952
I'll tell you the difference between me and Fred Astaire. He is a performer and dancing means everything to him. If I stopped dancing I could carry on by working out dances and directing others.
Los Angeles Times. July 25th 1954. Hedda Hopper.
Gene: Fred Astaire and I are the only old song-and-dance men in town – in fact, we’re unique in the whole world. Even stage dancers don’t understand our problem; they don’t know how it feels to try to make a dance come alive with the camera’s eye on you and bored guys, who’ve seen you rehearse, watching. Fred and I get together to crab a little and talk a little. We chat like two men on a desert island…
L.A. Times. 1957
Fred Astaire, on his character Steve Canfield in Silk Stockings: Me? I play Gene Kelly…It’s a guy who produces, directs, sings and dances. Who else could it be but Kelly?
Gene. Theatre Arts. December 1958
Fred Astaire’s seemingly easy transfer from stage to film suggested that there was nothing to it…But Astaire was never forced to explore the special problems of the screen dancer; his style was so personal that anything he did was all right in terms of the motion picture. He is one of the blessed – everything he did just fits. I was not the Astaire type however.
TV Guide. October 31-November 6, 1959
Fred Astaire…walks like a man who isn’t quite sure in which direction he’s moving but is having a wonderful time getting there, and Gene Kelly…walks like a 47-year-old semi-retired athlete…
Woman Magazine. December 15th 1973
A Man and his Loving Memories
Gene Kelly glanced wistfully through the drawing-room window and pointed to the spot in the sunlit garden where the largest avocado tree in Hollywood used to bloom in glorious Technicolor. “I would show it off to Fred Astaire,” he said in his uniquely soft chalky voice, “because it used to spread out more each year and was bigger than any tree he ever had in his garden.”
The Ledger. June 25th 1974
Although nostalgic attention has been poured all over Fred Astaire in recent years, it was Gene Kelly who was the crown prince of the Hollywood musical during its golden era at MGM – not just in front of the camera but behind it as well.
St. Louis Post-Dispatch. July 1st 1974
Thank God I didn’t see Astaire until I was a fully grown man, and had my own style. By the time I met him he was already well established and I was stuck with whatever it is I’m stuck with. That way I didn’t get trapped into trying to dance like him, which physically I could never have done. No one has his cool, his elegance.
Fred Astaire, foreword to Thomas 1974
I think I know Gene pretty well. He has his easier, lighter moods and also his very serious moments, which are only natural with an artist’s temperament. …Kelly is a man of multiple talents...completely engulfed when at his work. Gene is also a devoted family man. My respect for him as a person and an artist is unbounded.
Photoplay Film Monthly. August 1976
Ken Ferguson. Why Fred and I rarely starred together.
Who persuaded Gene Kelly and Fred Astaire to dance again on the screen for the first time in almost thirty years? Answer…it was Gene himself.
Gene wanted to include in That’s Entertainment, Part 2, some new sequences showing these all-time great song-and-dance men re-capturing some of the joy they had given millions a couple of decades ago.
“I called Fred on the phone,” says Gene while talking to me in London. “Frankly I needed him. I simply said, ‘Fred, I need you!’ Told him what for and he started shouting ‘No, no! I don’t want to dance. I’m through with all that.’ So I said, ‘Let’s have a quiet drink together tonight and discuss it.’ So we met, and we talked, and eventually we did those scenes! And we loved doing them.”
The last time Gene and Fred danced in the same movie was way back in the mid-Forties when they did their “The Babbit and the Bromide” sequence in Ziegfeld Follies.
“Why did you never get together again to make another musical?” I asked him.
“Well, I really think it was a question of money,” he said with that familiar Gene Kelly smile. “Every once in a while somebody at the studio would say, ‘we’ve got to get those two fellas together.’
“Fred and I have very different styles but being immodest we think we have the expertise to adjust to each other. But I suspect, and I use the word ‘suspect’ advisedly, that the studio thought that if they could keep him working with someone in one picture and me with someone else in another then instead of making five million dollars they’d make ten million dollars!”
Shrewd thinking. MGM were no fools. A pity because we’ve been denied a great screen partnership all these years. Fred and Gene make a formidable team as their new dance scenes in That’s Entertainment Part 2 show.
Liberty Magazine. 1976
The differences in basic style explain why Kelly and Astaire, always the best of friends, have danced together only once before..
“I’m athletic, I work bigger. Fred’s style is intimate. I’m very jealous of that. When you get on a small screen on TV, Fred still looks great…I would love to put on white tie and tails and look as thin as Fred and glide smoothly but I’m built like a blocking tackle and I’d look like the iceman dressed up for the Saturday night dance.”
Los Angeles. Supplement. May 1976. Sally Davis
…There is a reverence when they speak of him, and it’s always “Mr. Astaire,” though Kelly is invariably “Gene” to everyone. Can the man Kelly calls “a national treasure” escape his awesome fate? He grimaces. “I’m not interested in being a symbol. I just don’t think like that.”…
A few days later, in his sunny flower-filled…farmhouse, Kelly is oozing enthusiasm from every pore. One of the results of the first That’s Entertainment was to remind everyone just how great Kelly’s contribution to the American musical had been. And he was grateful for it – and raring to go on the sequel. But he was also determined to have Astaire with him. “Don’t take Fred too seriously,” he warns. “It depends on when you get to him…
“He pretends to have forgotten all this. Don’t you believe it…He wanted to be in if everyone else was.”
The clincher was that Kelly and Astaire have known each other for years, and Fred trusted Gene not to give either of them a hard time. “Listen,” Kelly laughs, “believe me, neither of us killed ourselves. I got the trip to Paris for three days of good food and wine, and I only set up things for us I knew we could do. You wouldn’t expect two aging athletes to play the Super Bowl, would you?”
…The years, however, have been good to him...one of the nicest smiles in the business is still intact, and so is his dedication to the serious business of dance and dancers. If he’s gung-ho to Astaire’s ho-hum, his love of the art is the reason…”It’s a historical record we’re preserving here. Some of these obscure dance routines never get seen on TV, or if they are, they’re cut beyond recognition….
“You see, it’s not just nostalgia…It’s kids seeing all this for the first time. It’s delight in something new. They can’t go out and see joy and fantasy on the screen today – I wish they could.”
…”I was the working-class stiff who couldn’t even make it to the bourgeoisie. Fred was part of an older aristocratic European tradition.”
But for all his Common Man stance, It’s Kelly – not Astaire – who speaks perfect, unaccented French, quotes Proust and discusses dance with the expertise of a Balanchine.
Dance Magazine July 1976
Norma McLain Stoop
In studying Astaire’s characteristic mode of moving, I noticed that, even alone on the stage, he remains always a partner; his eyes seem to dart to an invisible presence with concern and assurance, his hands seem ready to turn, to catch, his body seems to complement another’s – or perhaps, the very air around him. Kelly, however, though he has performed many memorable stints as a partner, seems to me to be essentially a solo performer. His often virtuoso footwork superimposed upon his fecundity of concept, his startling ideas, proclaim a solo way of thought that carries over to his dynamic partnering. Kelly always projects the appealing yet poignant loneliness and responsibility of the batter springing to home-plate, the quarterback delivering the ball – the athlete whose team is behind him but who still has to perform his greatest feats alone.
Ethel Waters, speaking on the Mike Douglas show 1976
Fred is grace personified and so is my boy Gene. The personality of these two great men you can appreciate if you appreciate honesty, and artistry and a certain amount of humility. They love what they do and they do it with their heart and soul.
They associate Fred Astaire with the rich people. They associate me with the bums
American Film 1979. Gene:
Fred and I always disliked the fact that we were thought of as dancing similarly. We danced completely differently. His
style is intimate, mine’s broad. When we worked together, we always had to accommodate each other.
I always kid Fred…before he got his award at the American National Theater and Academy, I said, “Well, you see again you’re playing the rich fellow. Helen Hayes is going to come out and give you the award. If it were me, it would probably be Bette Midler. “
Jack Wintz. St. Anthony Messenger. Catholic magazine. August 1980
Well aware that Kelly is frequently asked to compare his dancing style with that of Fred Astaire, I nearly apologise for serving up that inevitable question.
“It’s an honest question,” Kelly replies graciously. “And Fred and I have discussed it for years. The only time we bridle over it is when some critic claims that Fred and I are look-alikes and have the same style.
“Fred’s style is more introverted, close, tight, while mine is wider and more open. I have often used a comparison that actually came from a dance critic who wrote that my style is more proletarian while Fred’s is aristocratic. During the Depression years, Fred was somehow the sole representative of American male dance. He was always in white tie and tails – even in the midst of the Depression. And that style suited him more than anyone I know.
“When I put on white tie and tails, for example, I look like the ice man who just dressed up for his son’s graduation! But Fred fits that style perfectly. And I think that every dancer admires and envies that.”
Secrets magazine. January 1981
Gene: Fred’s steps are smaller, more elegant. I do somersaults, throw my arms out and kick up a helluva lot more dust than old Fred. He went in for sophistication – top hat, white tie, the elegant cane & tails. Put me in a dress suit and I look like the ice man ready for the Saturday night dance.
St Petersburg Times. August 4th 1984
In contrast to Astaire’s polished elegance, Kelly would bound across the screen wearing his white socks and a short-sleeved shirt and tight pants that showed off the line of his muscular dancer’s body.
Pittsburgh Post Gazette. January 18th 1985
Leslie Caron: Both were great. Gene was more athletic. I did lifts with Gene. Fred was more nervous in a way, more exacting. He was very demanding about things. Both were perfectionists.
Times Daily March 15th 1986
“If they wanted someone to play Prince Charming or to wear evening clothes, they got Fred. I was always the blue-collar dancer, the guy with the rolled-up sleeves and the white socks.
Disney Magazine 1989. Gene:
Fred’s ballroom style of partnership was never mine. I never wanted to be part of a team. What I wanted was the role, and I think I brought girls like Leslie Caron, Vera Ellen and Cyd Charisse along by casting them in a role.
Irish America magazine December 1990
Gene: The only big thing that ever bothered Fred and myself was that a lot of people who didn't know much about
dancing would say, “Well, those fellows dance alike.” They liked both of us, you see, and they couldn't see that we were different. And that always annoyed Fred and me because our styles were so completely different. In fact, when we danced together we had to ameliorate our stuff so that it could work.
If you look at his pictures and mine, you'll see that he was always sleek and rich with a top hat, white tie, and tails, and I was the more common man in the street with a T-shirt. And that difference was reflected in the dances. And certainly in my political ideology, I was always a liberal Democrat, and I felt for the masses and I didn't want the dancing I did to be any kind of high class looking. And I say this, of course, with no sense at
all of derogation. I just wanted my style to look athletic and reflect the common man.
Entertainment Weekly Jan. 1992
Where Fred Astaire glided across shiny dance floors, Gene Kelly bounced. Where Fred tapped, Gene stomped. Where Fred was an airy continental concoction, Gene was an all-American jock – and his rise to stardom revitalised the movie musical.
Projections 4. Ed. John Boorman, Tom Luddy, David Thomson, Walter Donohue. 1995.
Graham Fuller, from an interview with Gene, 1994.
A far more complex figure than Fred Astaire, who danced without effort but always seemed remote and amused by the experience, Kelly danced sensually, ecstatically, because the music seemed to pump through him like blood, or Beaujolais, and yet self-consciously too.
Time Magazine February 1996
If Fred Astaire was white tie and tails, Gene Kelly was white socks and loafers – often enough with his cuffs casually rolled up so we could better appreciate the flash of his footwork. If the sinuous elegance of his great (and friendly) rival shone most brilliantly on the polished surface of a ballroom floor, Kelly’s robust athleticism seemed to rise most exuberantly from a gritty city sidewalk. Astaire put us in touch with our romantic ideals and with that perfection of manner the rest of us attain only in our more blissful daydreams. At his best, Kelly reminded us that, in reality, we are obliged to improvise our happiness with such rough materials as fall to hand.
Los Angeles Times. February 5th 1996. Charles Champlin
…Kelly made us all wish we could dance like Kelly. Astaire’s ballroom elegance was wonderful to watch, but was obviously beyond even the dreams of mere mortals. Kelly’s robust and freeform style seemed – but only seemed – to be within the realms of possibility.
Time Magazine March 2002
In the two men, oppositions abound. Fred was grace, Gene was energy. Fred was poise, Gene was power. Fred was
ethereal, Gene was earthy. Fred was the Continental, Gene was All-American. Fred was top-hat, white tie and tails, Gene was baseball cap, T-shirt and jeans…Fred would just materialise, a slim apparition who hardly noticed the impact he made…Gene came barrelling towards you, arms oustretched…Astaire danced on clouds…Kelly was grounded, seemingly welded to terra firma…
You could say Gene was a football player and Astaire, maybe, a tennis star of the Bill Tilden era. But who knew whether Astaire had biceps? Was there even a body inside those elegant clothes? If there was, it seemed relaxed. Kelly’s body was tense, like an Olympic skater planning the big jump and knowing how much was at stake, how much to be lost...
What is interesting about Kelly is that he wasn’t an imitation of Astaire. He wasn’t the '40s Fred. He was the anti-Astaire….
Their techniques were polar opposites…Fred had an ethereal buoyancy, the ability to walk on air, and dance on it, and not make a big deal of it. Gene had gravity. His power would burrow up from the floor, through his powerful thighs, up to his strong, sloping shoulders; and he’d hit those tap steps hard, nailing them, pounding them into the floor so hard they almost left permanent depression marks in the wood….Kelly could be imitated, and was, widely. Astaire and his finesse were inimitable; they could only be appreciated.
Which is precisely why Kelly is the more influential of the two. Astaire’s style had to die with him. Kelly’s persona, the ordinary Joe (yeah – Joe Genius), could be adapted by dozens, hundreds of young dancers…with that industry and application, young men could copy the standard Kelly
posture: torso erect, legs swerving as if jellified. That is the legacy of Kelly’s teenage tap dancing...
Another patch that Kelly had on Astaire: his movies were far superior as integrated works of popular art. Astaire’s prime-time vehicles with Ginger were pretty inane, except for the glorious tapping, and his directors added little but traffic management to the package Astaire brought. Kelly worked for better directors…but as co-director of two of his best films, he could take a measure of credit for their success, even as Astaire, who was ‘only’ the star and choreographer, could avoid blame for his films’ inadequacies…Fred, like his movies, was nowhere when not dancing…Astaire came truly alive only when he was in the dances. Kelly, a believer in artistic integration, gave just as much attention to ‘the rest of the movie.’ He acted-danced with the same concentrated energy that he danced-acted. Maybe he attended to Selznick’s advice after all...
Kelly and Astaire sang in movies as much as they danced. Both men showed the strain of natural dancers trying to hit the high notes in a form that didn’t automatically suit them. But Gene’s smoky tenor voice was more assured than Fred’s wispy tenor was. So why isn’t Kelly cherished as a singer? It could be that most of Fred’s tunes were written for him, whilst most of Kelly’s were oldies.
Frank Cullen with Florence Hackman and Donald McNeilly. Vaudeville Old And New. 2006
There will always be debate as to whether Gene Kelly or Fred Astaire were the better dancer…Fred was sophistication and grace. Gene was athletic and sexy. [I have to agree with the authors here!] Neither was in the same class as the great tap dancers, and both knew it. Astaire’s and Kelly’s genius…was in combining forms like tap, ballroom dance, ballet and jazz-dancing into character exposition and storytelling and making it work brilliantly for the movies.
Gene was a capable actor, like Fred Astaire, and both were better than most dancers. Gene did not play comedy well; Fred did. [Here I have to disagree with the authors]…
The one area in which Gene Kelly was superior to all other male dancers in the movies was as a romantic lead. [Here I have to agree with the authors!] The women in the audience might fantasize about dressing up and going out to a cosmopolitan supper club escorted by Fred Astaire and spending the evening dancing and dining with him, but they hoped that Gene Kelly was around to take them home. [Again I agree with the authors!]
Peter J. Levinson Puttin’ On The Ritz. 2009
Russ Tamblyn remarked, “I think Fred’s greatest contribution to musicals, to movies, and to dancers could be that he was heterosexual.” Richard Schickel, however, believes, “Gene Kelly was even more heterosexual.”…
Uan Rasey, one of the most respected trumpet players who ever lived, had a contrary impression of Astaire…"He was so reserved and icy. He would come in and work for five, six hours. He would acknowledge the band but that was about it…He was so into his desire to give a great performance…"
Rasey was effusive in praising Kelly’s outgoing work ethic, however. The well-remembered trumpet solo right after the beginning of the ballet in An American In Paris, played by Rasey, caused Kelly to come up and kiss him after the take. “He had us all come over to the set when he shot that great number,” he recalled...
One day, while rehearsing [That’s Entertainment II] with Fred and Gene, Saul Chaplin watched as Fred suggested to Gene, “Don’t you think we can do sixteen bars of dancing here?” “Both Gene and I were astonished and delighted,” Chaplin
said. “I just sat at the piano and stared straight ahead, hoping against hope that he wouldn’t change his mind. In the film there are three or four scenes where they danced, and it was at Fred’s suggestion.”…
Kelly choreographed and directed their various song-and-dance spots. Fred later reflected, “He’s a very hard worker, Gene. There was no monkeying around, like ‘That’s good enough for them.’ He was very diligent about being on time and working in between shots. I used to say, ‘Direct me! Go ahead and direct me.’ He is a damned good director…"
...“Gene and Fred had become very, very close in those years,” said Dan Melnick. “Gene would pick up Fred to have dinner because Fred had gotten very frail and didn’t like driving at night. Gene was devoted to him and certainly did everything to make the songs not only capable of Fred’s range, but also comfortable so that there was no strain. It was very sweet to see him almost at the seat of the master. He respected him because he knew he had led the way. He would lead him on like saying, ‘Fred, tell Dan about…”
...At the party following the premiere on May 9, 1976, the day before his seventy-seventh birthday, Fred blew out the candles on a huge cake.
“I was Fred’s seat partner at the Ziegfeld Theatre that night,” Marge Champion remembered. “What I was most impressed with was when Gene Kelly was on the screen and did something, Fred muttered to himself – I don’t think that he even thought that I heard him – but he was talking about how wonderful Gene was and how free and easy he was. When he came on the screen, he said things like ‘Why don’t you wipe that smile off your face.’ He was putting himself down in the most astonishing way.”
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What was the first name of US army officer Custer, who died at the Battle of the Little Bighorn in 1876? | Battle of Little Bighorn - Jun 25, 1876 - HISTORY.com
Battle of Little Bighorn
Publisher
A+E Networks
On this day in 1876, Native American forces led by Chiefs Crazy Horse and Sitting Bull defeat the U.S. Army troops of Lieutenant Colonel George Armstrong Custer in a bloody battle near southern Montana’s Little Bighorn River.
Crazy Horse and Sitting Bull, leaders of the Sioux tribe on the Great Plains, strongly resisted the mid-19th-century efforts of the U.S. government to confine their people to reservations. In 1875, after gold was discovered in South Dakota’s Black Hills, the U.S. Army ignored previous treaty agreements and invaded the region. This betrayal led many Sioux and Cheyenne tribesmen to leave their reservations and join Sitting Bull and Crazy Horse in Montana. By the late spring of 1876, more than 10,000 Native Americans had gathered in a camp along the Little Bighorn River–which they called the Greasy Grass–in defiance of a U.S. War Department order to return to their reservations or risk being attacked.
In mid-June, three columns of U.S. soldiers lined up against the camp and prepared to march. A force of 1,200 Native Americans turned back the first column on June 17. Five days later, General Alfred Terry ordered Custer’s 7th Cavalry to scout ahead for enemy troops. On the morning of June 25, Custer drew near the camp and decided to press on ahead rather than wait for reinforcements.
At mid-day, Custer’s 600 men entered the Little Bighorn Valley. Among the Native Americans, word quickly spread of the impending attack. The older Sitting Bull rallied the warriors and saw to the safety of the women and children, while Crazy Horse set off with a large force to meet the attackers head on. Despite Custer’s desperate attempts to regroup his men, they were quickly overwhelmed. Custer and some 200 men in his battalion were attacked by as many as 3,000 Native Americans; within an hour, Custer and every last one of his soldier were dead.
The Battle of Little Bighorn–also called Custer’s Last Stand–marked the most decisive Native American victory and the worst U.S. Army defeat in the long Plains Indian War. The gruesome fate of Custer and his men outraged many white Americans and confirmed their image of the Indians as wild and bloodthirsty. Meanwhile, the U.S. government increased its efforts to subdue the tribes. Within five years, almost all of the Sioux and Cheyenne would be confined to reservations.
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Who is the title character in the Shakespeare play ‘The Merchant of Venice’? | Little Bighorn Battlefield Monument--Places Reflecting America's Diverse Cultures Explore their Stories in the National Park System: A Discover Our Shared Heritage Travel Itinerary
Discover Our Shared Heritage Travel Itinerary
Places Reflecting America's Diverse Cultures
Explore their Stories in the National Park System
Little Bighorn Battlefield National Monument
Montana
Courtesy of the National Park Service
(Little Bighorn Battlefield National Monument)
Throughout the late 1800s, the collision of two very different and separate ways of life played out on the Great Plains across Montana, Wyoming, and the Dakotas. Though neither the first nor the last armed conflict, the June 1876 battle of the Lakota Sioux and Northern Cheyenne against the 7th Cavalry and other soldiers of the United States Army is one of the most remembered. Part of the larger Great Sioux War, the battle at Little Bighorn, also referred to as Custer’s Last Stand, was instrumental in ending the free movement of American Indians throughout the West. At Little Bighorn, the Lakota and Cheyenne and others thoroughly defeated the United States Army under the leadership of George Armstrong Custer, a United States Military Academy educated and highly successful Civil War leader. Despite this victory, the Plains Indians were forced onto reservations in the coming years. Until the 1990s, Custer Battlefield National Monument was the name of the Little Bighorn National Monument.
Today, visitors to Little Bighorn Battlefield will find a landscape very similar to the way it was when the battle occurred--from the hill where Custer and his men met their deaths, “Last Stand Hill,” to the site of further fighting to the southeast. Monuments to the US troops and the American Indian warriors document the struggle. At the Reno-Benteen Battlefield site, rifle pits and other trenches are visible. Throughout the park, low white markers approximate the sites where soldiers died. Red granite markers identify fallen American Indians on the field of battle. After the battle, popular outcry led to the creation of a National Cemetery near the battlefield to remember the troops killed there. This cemetery is the final resting place for soldiers from a number of conflicts, including Vietnam. Built for the cemetery, the Superintendent’s House houses some park facilities today.
In the summer of 1876 troops under George Custer were defeated by members of several American Indian tribes, including the Lakota and Cheyenne. After misinterpreting the actions of the warriors he was facing, Custer and some of his troops were killed on Last Stand Hill, pictured here. Custer�s grave is in the center of this photograph.
banspy on Flickr
Settlers moving from the east coast of the United States often came into contact with various American Indian tribes living in the West. To encourage and protect growing settlements in the West, the Federal Government negotiated treaties with local tribes with the goal of limiting the land on which the tribes could live to free land for settlers. The government negotiated a treaty in 1868, which established a reservation for the Lakota Sioux and Cheyenne peoples on the Plains. According to the treaty, this reservation was for the exclusive use of the Indians. Some bands of Lakota Sioux and Cheyenne did not want to be confined to a reservation and preferred to maintain a traditional, nomadic lifestyle. Under the leadership of Sitting Bull and Crazy Horse, two men who later became famous for their roles in fighting white settlement, these bands often lived and hunted well outside the established boundaries of the reservation.
White settlement in the area, and the West as a whole, increased following the Civil War. The discovery of gold in 1874 on the land promised to the Lakota Sioux and Cheyenne in the 1868 treaty suddenly brought thousands onto the reservation. This influx and settlers’ disregard for treaty lands and native ways of life heightened the tension on the Plains. An 1875 order by the Department of the Interior attempted to compel the nomadic bands to return to the reservation by the end of January 1876. When, for a variety of reasons, this order failed to make the bands living off the reservation return, the stage was set for the conflict at Little Bighorn.
A memorial to the American Indians who
died fighting the United States Army.
jshyun on Flickr
General Alfred Terry ordered Custer and the 7th Cavalry and other troops to strike at the nomadic bands of Lakota Sioux and Cheyenne in southeastern Montana. Positioned generally to the north, other US Army units were supposed to block their escape according to the plan. After sighting the Lakota and Cheyenne camp in the valley of the Little Bighorn River, Custer attacked on June 25, 1876, believing that the Indians were preparing to strike their camp. To better contain the scattering villagers, Custer divided his troops.
Custer misread the sightings, however. The villagers were not scattering, nor were they taking down their camp. Instead, many warriors were in the village and able to attack Custer’s troops. Two officers, Major Marcus Reno and Captain Frederick Benteen, defended a position preventing the annihilation of some parts of the regiment assigned to Custer. The site of this position is known as the Reno-Benteen Battlefield. All of Custer's men died in particularly bitter fighting on Last Stand Hill. The surviving Indian warriors disbanded. Sitting Bull went to Canada, though he returned to the United States in 1881 and surrendered to the government.
The War Department erected a monument to honor the 7th Cavalry, attached civilian personnel, and Indian scouts who died in the battle. The War Department also controlled access to the site and how the battle was interpreted. Finally in 1991, the U.S. Congress changed the name of the battlefield from Custer Battlefield National Monument to Little Bighorn National Monument and ordered the erection of a memorial to the American Indians who fought for their families, land, and culture. Some 100 American Indian men, women, and children also perished in the battle.
The National Cemetery located at Little Bighorn Battlefield National Monument.
BitHead on Flickr
A visitor center near Last Stand Hill offers exhibits and an orientation film on the battle, plus additional information on Custer, Sitting Bull, and the weaponry of the battle. Native culture displays and seasonal cultural demonstrations provide information on the Cheyenne and Lakota Sioux. Guided tours focusing on the battlefield are available at the visitor center as is a walking tour of the monuments. A tour road running between the Last Stand Hill portion of the park and the Reno-Benteen Battlefield has wayside exhibits. A cell phone based tour provides information on the battlefield areas and additional information. A self-guided tour is available for the National Cemetery.
Little Bighorn National Monument is in memory of the US Army's 7th Cavalry and the Lakota Sioux and Cheyenne who fought in one of the Indians’ last armed efforts to preserve their way of life. Though the Cheyenne, Lakota Sioux, and others who fought at Little Bighorn won, it was a Pyrrhic victory. Their victory caused the Army to pursue them across the Plains and ultimately marked the end of their nomadic culture and forced their confinement on reservations.
Plan your visit
Little Bighorn Battlefield National Monument, a unit of the National Park System, is located off Interstate 90 (Exit 510) on US 212 East in Crow Agency, MT. Click here for National Register of Historic Places registration file: text and photos . There is a fee to visit the park which maintains seasonal hours and is closed on Thanksgiving, Christmas, and New Year’s Day. For more information visit the National Park Service Little Bighorn Battlefield National Monument website or call 406-638-3217.
The Superintendent’s House at the battlefield has been documented by the National Park Service’s Historic American Buildings Survey .
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The city of Geneva is in which European country? | Welcome to Geneva - Ville de Genève - Site officiel
Welcome to Geneva
© Keystone
Known both as the «smallest of big cities», or the «city of peace», Geneva, among other things, is home to the European headquarters of UNO. The quayside of Lake Geneva, the parks, the old alleyways and smart boutiques are an invitation to a leisurely stroll.
Geneva is linked to Europe's capital cities by its international airport, motorways and railway network. It is the seat of a number of major multinationals, as well as the International Red Cross Committee.
International city
What is so special about Geneva for the Swiss and the rest of the world? The answer is that it has far greater international influence than any other city of 200'000 inhabitants. Today, Switzerland's second largest city is home to around twenty international organisations. The permanent missions of over 160 States represent their governments in the city's international conferences and organisations.
Geneva is a centre focused on the international economy. Whether private corporate or business, finance, in its widest sense, undeniably plays a major economic role in Geneva, which is a base for around a hundred foreign banks.
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What is the name of the futuristic nation in the 2012 film ‘The Hunger Games’? | Geneva Travel Guide and Tourist Information: Geneva, Switzerland
Geneva Tourist Information and Tourism
(Geneva, Switzerland)
Often referred to as Genève in French, the Swiss city of Geneva is the country's third-biggest city and offers a definite international flavour. The city enjoys a superb location next to Lake Geneva, which is known locally in Switzerland as Lac Léman and is where you will find the breathtaking Jet d'Eau fountain, which is actually the tallest fountain on the planet and often sprays a gentle mist towards onlookers, although if the wind changes, be prepared to get soaked.
Geneva is the official home of the European Headquarters of the United Nations, along with more than 200 other important international organisations. Overflowing with museums, Geneva is a true city of culture and features an extensive calendar of events and an exciting nightlife, particularly around the banks of the River Rhône.
The Office du Tourisme (Tourism Office) is located along the Rue du Mont-Blanc, close to the Main Post Office, and is where you will find the 'Genève info-jeunes' booklet, along with a range of other handy tourist information. A further outlet known as the Information de la Ville de Genève is situated on the Pont de la Machine, while for Internet access, pay a visit to the railway station next to the Place de Montbrillant, or the Internet cafe on the Rue des Alpes.
Geneva Tourist Information and Tourism: Top Sights
During the summer months, tourists will find themselves spending much of their time on the shores of Lake Geneva, particularly around the Cologny area, where an extremely popular beach is to be found. Alternatively, take a cruise along the River Rhône, head to the Quai de Mont Blanc onboard a miniature train, cool down at the enormous Aquaparc, or enjoy a musical performance in the elegant surroundings at the Bâtiment des Forces Motrices opera house. More information about Geneva Tourist Attractions .
A number of ancient castles, historic palaces and beautiful buildings all reside within Geneva and give the city a distinctive character. Located along the Cours St. Pierre, the St. Pierre Cathedral dates back to the 11th century and if you are prepared for a climb, take in the superb views at the very top of the tall north tower. The Palace of Nations is another important landmark in Geneva and is where the United Nations regularly meet. Also look out for the Maison Tavel, which is the city's oldest house and was constructed during the 14th century. More information about Geneva Landmarks .
Many quality museums are located within Geneva and impart an array on information upon their visitors. The Musée Ariana contains a collection of more than 15,000 glass and ceramic pieces and is actually a particularly impressive Italian Renaissance-style building. Other popular museums include the Musée d'Histoire Naturelle, where the natural history exhibits regularly attract over 300,000 visitors each year, and the Musée d'Ethnographie, home to some 100,000 objects from all over the world. Art lovers in Geneva should not overlook the Musée d'Art Moderne et Contemporain (MAMCO) or indeed the Musée d'Art et d'Histoire, where masterpieces by Cézanne and Renoir can be viewed and quietly appreciated. More information about Geneva Museums and Geneva Art Galleries .
Well placed for brief excursions into the Swiss Alps and even the French Alps, Geneva in close to a wealth of top tourist attractions. Summer hiking trails and winter sports are plentiful around La Givrine, while the city of Lausanne is also close by, where boat trips regularly depart from its Ouchy harbour. Being so near to the French border, even the city of Lyon is within reach of Geneva and located to the south-west. If you are lucky enough to plan a day trip to Lyon, make sure that you properly explore its beautiful Renaissance quarter and take a ride on the funicular railway to the Roman amphitheatre on the Fourvière Hill. More information about Geneva Attractions Nearby .
More Geneva Information / Fast Facts and Orientation
Country: Switzerland
Location: Romandy region, western Switzerland, next to Lake Geneva
Status: city
Area: approximately 6 square miles / 16 square kilometres
Population: approximately 200,000
Time zone: UTC / GMT +1
Country dialling code: +41
Average daily Geneva January temperature: 4°C / 39°F
Average daily Geneva July temperature: 25°C / 77°F
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Varig Airlines was the first airline founded in which South American country? | Varig Airlines (RG) : Find Varig Airlines Flights and Deals – CheapOair
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Founded way back in 1927, Varig (RG) was the flag carrier airline of Brazil based out of Sao Paulo, Brazil. It was Brazil’s leading airline during the period from 1965 to 1990 flying to destinations in Argentina, Chile, Brazil, Venezuela and Columbia. It had its hubs in São Paulo-Guarulhos and Rio de Janeiro-Galeão. A member of the Star Alliance, Varig floated a frequent flyer program called Smiles.
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Who was the only British Prime Minister to hold office during the reigns of three British monarchs? | Gol-Airlines | Book Our Flights Online & Save | Low-Fares, Offers & More
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A shoat, or shote, is the young of which animal? | Shoat - definition of shoat by The Free Dictionary
Shoat - definition of shoat by The Free Dictionary
http://www.thefreedictionary.com/shoat
Also found in: Thesaurus , Wikipedia .
shoat
A young pig just after weaning.
[Middle English shote, perhaps of Middle Low German origin.]
shoat
(Agriculture) a piglet that has recently been weaned
[C15: related to West Flemish schote]
shoat
sucking pig - an unweaned piglet
Translations
Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content .
Link to this page:
young mammal
References in classic literature ?
When he returned, the big, kindly man came with him, and in Martin's arms there squealed and wriggled a shoat.
Mark your calendar
It's near this northeastern corner of the shoat that dozens of skiffs sometimes congregate for morning bait catching chores, but bait can often also be found all along the shoal or scattered over the lush grass beds which are found on the south side.
The quest for a grand slam
In the name of the wanker, the sod and the holy shoat, I pronounce you bubble and squeak.
No reports about presence of terrorists, training of terrorism in seminaries: Education minister
Characteristics and titers of antibodies to leptospires of 25 seropositive wild boars, Berlin, fall/winter, 2005-06 Boar characteristics Sex ([dagger]) Age, y Place of death ([double dagger]) ([section]) M Adult 1 M Adult 1 F Adult 1 M Adult 1 M Yearling 1 M Adult 1 M Yearling 1 F Yearling 1 M Shoat 1 M Adult 2 F Shoat 2 F Yearling 3 F Adult 3 F Yearling 3 F Yearling 3 F Adult 3 F Adult 3 M Yearling 3 NK Yearling 4 F Shoat 4 F Adult 5 M Shoat 6 F Shoat 7 F Shoat 7 M Adult 7 Boar characteristics Leptospira spp.
| Pig |
Near the 18th green, on which British golf course is a deep depression called ‘The Valley of Sin’? | Shoat - definition of shoat by The Free Dictionary
Shoat - definition of shoat by The Free Dictionary
http://www.thefreedictionary.com/shoat
Also found in: Thesaurus , Wikipedia .
shoat
A young pig just after weaning.
[Middle English shote, perhaps of Middle Low German origin.]
shoat
(Agriculture) a piglet that has recently been weaned
[C15: related to West Flemish schote]
shoat
sucking pig - an unweaned piglet
Translations
Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content .
Link to this page:
young mammal
References in classic literature ?
When he returned, the big, kindly man came with him, and in Martin's arms there squealed and wriggled a shoat.
Mark your calendar
It's near this northeastern corner of the shoat that dozens of skiffs sometimes congregate for morning bait catching chores, but bait can often also be found all along the shoal or scattered over the lush grass beds which are found on the south side.
The quest for a grand slam
In the name of the wanker, the sod and the holy shoat, I pronounce you bubble and squeak.
No reports about presence of terrorists, training of terrorism in seminaries: Education minister
Characteristics and titers of antibodies to leptospires of 25 seropositive wild boars, Berlin, fall/winter, 2005-06 Boar characteristics Sex ([dagger]) Age, y Place of death ([double dagger]) ([section]) M Adult 1 M Adult 1 F Adult 1 M Adult 1 M Yearling 1 M Adult 1 M Yearling 1 F Yearling 1 M Shoat 1 M Adult 2 F Shoat 2 F Yearling 3 F Adult 3 F Yearling 3 F Yearling 3 F Adult 3 F Adult 3 M Yearling 3 NK Yearling 4 F Shoat 4 F Adult 5 M Shoat 6 F Shoat 7 F Shoat 7 M Adult 7 Boar characteristics Leptospira spp.
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Catherine Hogarth was the wife of which British novelist? | Catherine Dickens finds a 21st century ally in Lillian Nayder | Bates Magazine | Bates College
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Catherine Dickens finds a 21st century ally in Lillian Nayder
After 22 years of marriage and 10 children, Charles Dickens famously dumped his wife, Catherine Dickens, in 1858.
Wielding the power of his pen, he alleged that Catherine was mentally unbalanced and an unfit wife and mother; in truth, he wanted to take up with a younger woman, actress Ellen Ternan.
For years, critics and biographers took his word for it. Now, Professor of English Lillian Nayder has debunked the novelist’s unkind portrayal of his wife with her 2010 biography, The Other Dickens: A Life of Catherine Hogarth.
Professor of English Lillian Nayder, photographed by Phyllis Graber Jensen.
How did you get interested in Catherine Dickens?
It was curious to me that Catherine was always dismissed by critics, while Dickens’ side of the story was always accepted — even though there was plenty of evidence to suggest that he had fabricated tales about his wife. Critics just didn’t want to go there. Charles Dickens has shaped the language of her story — and he told a lot of lies about her.
Such as?
He wrote a letter that made its way into the New York Tribune, the so-called “Violated Letter,” in which he said that the “peculiarity of her character” had “thrown all the children” onto the care of Catherine’s sister Georgina, the Dickens family housekeeper. Untrue.
It’s a complicated family plot. Catherine’s sisters — Mary and Georgina — have always been portrayed as taking his side.
Dickens’ various claims to and about them have cheapened and obscured the relationships among all the sisters. After the 1858 separation, Georgina chose to stay in Charles Dickens’ household, so that’s always been a particularly gnarly issue. There was a third sister, Helen — Catherine’s close friend and ally — but she’s been ignored until now.
Why did Charles Dickens treat his wife that way?
He had some real explaining to do if he was going to force his wife out of the house. But he couldn’t admit publicly that it was because he was interested in a young woman the same age as one of his daughters. Divorce wasn’t an option because one had to show that adultery had been committed by the husband or the wife. Dickens didn’t want to go there. He was the novelist of hearth and home.
You looked at the couple’s sex life, too.
By knowing the time intervals between a woman’s deliveries and conceptions, we can use mathematical models to determine the sexual activity of a couple that isn’t using contraception. Critics have always claimed that Dickens, by 1850, had lost interest in his wife, but their sex life was as active in the early 1850s as it was in the early 1840s.
To give you one example, the 310-day interval between Catherine’s eighth delivery and her next conception in 1849 is about the same as the interval after her second delivery in 1838 and suggests four acts of intercourse per month.
What did you interpret from Charles’ practicing mesmerism, what we call hypnotism today?
He did mesmerize Catherine — initially in Pittsburgh during the 1842 American tour — but it didn’t have any therapeutic rationale because Catherine wasn’t ailing. I think he wanted to demonstrate that he could, in fact, control the very consciousness of his wife. In a similar way, Dickens has mesmerized generations of biographers. He’s a very powerful influence, and I’m trying to resist that.
So when Catherine wrote a cookbook, later critics dismissed it as bad food from an unstable fat woman?
The book mostly offers meal plans, or bills of fare, and Dickens biographers have used it against her, as more evidence of why the marriage “didn’t work out.” Her husband was seen as light and mercurial, and she was seen as this burdensome body weighing him down with macaroni and cheese.
Modern critics looking at Victorian meals are bound to be put off. The dishes have heft — fricassee chicken, fried potatoes, marrow pudding, macaroni and cheese, a lot of bacon, and Italian cream — but people didn’t eat everything that was presented to them at the table. There might be 10 dishes, but guests would pick and choose. Essentially, Catherine has been blamed for Victorian cooking, which has itself been misrepresented.
Just recently, Susan Rossi-Wilcox has read Catherine’s book in the context of Victorian cookery. What she shows is that Catherine was on the ball and used her ingredients well. She wasn’t some inept macaroni lover.
Was Catherine’s body compared to an ideal Victorian body type?
Victorians had a pretty clear sense of obesity. But the range of descriptions of Catherine shows that not everyone saw her and immediately thought, “that woman is fat!” Some thought she looked quite pleasant.
Most of the negative interpretations of her body reflect the way her marital history has been reinvented by critics, following Dickens’ lead. The criticism of how she looked wouldn’t have been launched had the marriage remained intact.
When did your students help test Catherine’s recipes?
During my Short Term several years ago called “Constructing Catherine Dickens.”
I’ll never forget the image of two students in my kitchen making orange fritters, which are battered and fried orange sections. The oil was splattering everywhere but the fritters tasted really good. Then again, fried anything tastes good.
What would Charles and Catherine’s story look like in today’s tabloid and social-media context?
There’s really no comparison because what’s considered appropriate in the situation of an injured wife has changed so drastically since the 1850s. Catherine made no public statement at all about her treatment by Dickens. Today, even Tiger Woods’ wife has had her interview with People magazine. Catherine always declined those opportunities.
| Charles Dickens |
Former Dutch Guiana is now known by what name? | Charles Dickens - Author - Biography.com
Charles Dickens
Charles Dickens was the well-loved and prolific British author of numerous works that are now considered classics.
IN THESE GROUPS
»
quotes
“The English are, as far as I know, the hardest worked people on whom the sun shines. Be content if in their wretched intervals of leisure they read for amusement and do no worse.”
“I write because I can't help it.”
“Literature cannot be too faithful to the people, cannot too ardently advocate the cause of their advancement, happiness and prosperity.”
“An author feels as if he were dismissing some portion of himself into the shadowy world, when a crowd of the creatures of his brain are going from him forever.”
“Nobody has done more harm in this single generation than everybody can mend in 10 generations.”
“If I were soured [on writing], I should still try to sweeten the lives and fancies of others; but I am not—not at all.”
“Well, the work is hard, the climate is hard, the life is hard: but so far the gain is enormous.”
“Who that has ever reflected on the enormous and vast amount of leave-taking there is in life can ever have doubted the existence of another?”
“I never knew what it was to feel disgust and contempt, till I traveled in America.”
“My great ambition is to live in the hearts and homes of home-loving people, and to be connected with the truth of the truthful English life.”
Charles Dickens
Charles Dickens - One Last Chance (TV-PG; 2:06) Novelist Charles Dickens set out on public speaking tours of his most beloved work to both the United States and Great Britain in need of money but cost him his health.
Synopsis
British novelist Charles Dickens was born on February 7, 1812, in Portsmouth, England. Over the course of his writing career, he wrote the beloved classic novels Oliver Twist, A Christmas Carol, Nicholas Nickleby, David Copperfield, A Tale of Two Cities and Great Expectations. On June 9, 1870, Dickens died of a stroke in Kent, England, leaving his final novel, The Mystery of Edwin Drood, unfinished.
Early Life
Famed British author Charles Dickens was born Charles John Huffam Dickens on February 7, 1812, in Portsmouth, on the southern coast of England. He was the second of eight children. His father, John Dickens, was a naval clerk who dreamed of striking it rich. Charles Dickens’ mother, Elizabeth Barrow, aspired to be a teacher and school director. Despite his parents’ best efforts, the family remained poor. Nevertheless, they were happy in the early days. In 1816, they moved to Chatham, Kent, where young Charles and his siblings were free to roam the countryside and explore the old castle at Rochester.
In 1822, the Dickens family moved to Camden Town, a poor neighborhood in London. By then the family’s financial situation had grown dire, as John Dickens had a dangerous habit of living beyond the family’s means. Eventually, John was sent to prison for debt in 1824, when Charles was just 12 years old.
Following his father’s imprisonment, Charles Dickens was forced to leave school to work at a boot-blacking factory alongside the River Thames. At the rundown, rodent-ridden factory, Dickens earned six shillings a week labeling pots of “blacking,” a substance used to clean fireplaces. It was the best he could do to help support his family. Looking back on the experience, Dickens saw it as the moment he said goodbye to his youthful innocence, stating that he wondered “how [he] could be so easily cast away at such a young age.” He felt abandoned and betrayed by the adults who were supposed to take care of him. These sentiments would later become a recurring theme in his writing.
Much to his relief, Dickens was permitted to go back to school when his father received a family inheritance and used it to pay off his debts. But when Dickens was 15, his education was pulled out from under him once again. In 1827, he had to drop out of school and work as an office boy to contribute to his family’s income. As it turned out, the job became an early launching point for his writing career.
Within a year of being hired, Dickens began freelance reporting at the law courts of London. Just a few years later, he was reporting for two major London newspapers. In 1833, he began submitting sketches to various magazines and newspapers under the pseudonym “Boz.” In 1836, his clippings were published in his first book, Sketches by Boz. Dickens’ first success caught the eye of Catherine Hogarth, whom he soon married. Catherine would grace Charles with a brood of 10 children before the couple separated in 1858.
Early Writing
In the same year that Sketches by Boz was released, Dickens started publishing The Posthumous Papers of the Pickwick Club. His series of sketches, originally written as captions for artist Robert Seymour’s humorous sports-themed illustrations, took the form of monthly serial installments. The Posthumous Papers of the Pickwick Club was wildly popular with readers. In fact, Dickens’ sketches were even more popular than the illustrations they were meant to accompany.
Around this time, Dickens had also become publisher of a magazine called Bentley’s Miscellany. In it he started publishing his first novel, Oliver Twist, which follows the life of an orphan living in the streets. The story was inspired by how Dickens felt as an impoverished child forced to get by on his wits and earn his own keep. Dickens continued showcasing Oliver Twist in the magazines he later edited, including Household Words and All the Year Round, the latter of which he founded. The novel was extremely well received in both England and America. Dedicated readers of Oliver Twist eagerly anticipated the next monthly installment.
Over the next few years, Dickens struggled to match the level of Oliver Twist’s success. From 1838 to 1841, he published The Life and Adventures of Nicholas Nickleby, The Old Curiosity Shop and Barnaby Rudge.
In 1842, Dickens and his wife, Kate, embarked on a five-month lecture tour of the United States. Upon their return, Dickens penned American Notes for General Circulation, a sarcastic travelogue criticizing American culture and materialism.
In 1843, Dickens wrote his novel The Life and Adventures of Martin Chuzzlewit, a story about a man’s struggle to survive on the ruthless American frontier. The book was published the following year.
Over the next couple of years, Dickens published two Christmas stories. One was the classic A Christmas Carol, which features the timeless protagonist Ebenezer Scrooge, a curmudgeonly old miser, who, with the help of a ghost, finds the Christmas spirit.
READ MORE: Charles Dickens: 5 Facts on the Author & Some Gruesome Truths About His Victorian England
Fame
During his first U.S. tour, in 1842, Dickens designated himself as what many have deemed the first modern celebrity. He spoke of his opposition to slavery and expressed his support for additional reform. His lectures, which began in Virginia and ended in Missouri, were so widely attended that ticket scalpers started gathering outside his events. Biographer J.B. Priestly wrote that during the tour, Dickens “had the greatest welcome that probably any visitor to America has ever had.”
“They flock around me as if I were an idol,” bragged Dickens, a known show-off. Although he enjoyed the attention at first, he eventually resented the invasion of privacy. He was also annoyed by what he viewed as Americans’ gregariousness and crude habits, as he later expressed in American Notes.
In light of his criticism of the American people during his first tour, Dickens launched a second U.S. tour, from 1867 to 1868, hoping to set things right with the public.
On his second tour, he made a charismatic speech promising to praise the United States in reprints of American Notes for General Circulation and The Life and Adventures of Martin Chuzzlewit.
His 76 readings earned him no less than $95,000, which, in the Victoria era, amounted to approximately $1.5 million in current U.S. dollars.
Back at home, Dickens had become so famous that people recognized him all over London as he strolled around the city collecting the observations that would serve as inspiration for his future work.
Later years
In 1845, after Dickens had toured the United States once, he spent a year in Italy writing Pictures from Italy. Over the next two years he published, in installments, his next novel, Dealings with the Firm of Dombey and Son. The novel’s main theme is how business tactics affect a family’s personal finances. It takes a dark view of England and was pivotal to Dickens’ body of work in that it set the tone for his other novels.
From 1849 to 1850, Dickens worked on David Copperfield, the first work of its kind; no one had ever written a novel that simply followed a character through his everyday life. In writing it, Dickens tapped into his own personal experiences, from his difficult childhood to his work as a journalist. Although David Copperfield is not considered Dickens’ best work, it was his personal favorite. It also helped define the public’s expectations of a Dickensian novel.
During the 1850s, Dickens suffered two devastating losses: the deaths of his daughter and father. He also separated from his wife during that decade, with Dickens slandering Kate publicly. He had also met a young actress named Ellen "Nelly" Ternan, with whom he had an intimate relationship. Sources differ on whether the two started seeing each other before or after Dickens' marital separation; it is also believed that he went to great lengths to erase any documentation alluding to Ternan's presence in his life.
His novels also began to express a darkened worldview. In Bleak House, published in installments from 1852 to 1853, he deals with the hypocrisy of British society. It was considered his most complex novel to date. Hard Times (published in 1854) takes place in an industrial town at the peak of economic expansion. In it, Dickens focuses on the shortcomings of employers as well as those who seek change. Also among Dickens’ darker novels is Little Dorrit, a fictional study of how human values come in conflict with the world’s brutality.
Coming out of his “dark novel” period, in 1859 Dickens published A Tale of Two Cities, a historical novel that takes place during the French Revolution. He published it in a periodical he founded, All the Year Round. His next novel, Great Expectations (1860-1861), focuses on the protagonist’s lifelong journey of moral development. It is widely considered his greatest literary accomplishment. A few years later, Dickens produced Our Mutual Friend, a novel that analyzes the psychological impact of wealth on London society.
Death
In 1865, Dickens was in a train accident and never fully recovered. Despite his fragile condition, he continued to tour until 1870. On June 9, 1870, Dickens had a stroke and, at age 58, died at Gad’s Hill Place, his country home in Kent, England. He was buried in Poet’s Corner at Westminster Abbey, with thousands of mourners gathering at the beloved author’s gravesite. Scottish satirical writer Thomas Carlyle described Dickens’ passing as “an event worldwide, a unique of talents suddenly extinct.” At the time of Dickens’ death, his final novel, The Mystery of Edwin Drood, was left unfinished.
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Nurse Ratched is a character in which 1975 film? | One Flew Over the Cuckoo's Nest (1975) - IMDb
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One Flew Over the Cuckoo's Nest ( 1975 )
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A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients.
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Title: One Flew Over the Cuckoo's Nest (1975)
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Won 5 Oscars. Another 30 wins & 13 nominations. See more awards »
Videos
A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims.
Director: Jonathan Demme
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Director: Stanley Kubrick
The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption.
Director: Quentin Tarantino
Henry Hill and his friends work their way up through the mob hierarchy.
Director: Martin Scorsese
Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him.
Director: Robert Zemeckis
The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.
Director: Francis Ford Coppola
Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his modus operandi.
Director: David Fincher
An insomniac office worker, looking for a way to change his life, crosses paths with a devil-may-care soap maker, forming an underground fight club that evolves into something much, much more.
Director: David Fincher
In German-occupied Poland during World War II, Oskar Schindler gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazi Germans.
Director: Steven Spielberg
A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend.
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Director: Luc Besson
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on the family crime syndicate.
Director: Francis Ford Coppola
Edit
Storyline
McMurphy has a criminal past and has once again gotten himself into trouble and is sentenced by the court. To escape labor duties in prison, McMurphy pleads insanity and is sent to a ward for the mentally unstable. Once here, McMurphy both endures and stands witness to the abuse and degradation of the oppressive Nurse Ratched, who gains superiority and power through the flaws of the other inmates. McMurphy and the other inmates band together to make a rebellious stance against the atrocious Nurse. Written by Jacob Oberfrank
If he's crazy, what does that make you?
Genres:
19 November 1975 (USA) See more »
Also Known As:
Atrapado sin salida See more »
Filming Locations:
Did You Know?
Trivia
In 1993, the movie was deemed "culturally, historically or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. See more »
Goofs
After McMurphy hijacks the bus and is driving through town, there are some 1970s automobiles, including a Plymouth Duster and Chevy Nova, and a store with lots of color TVs in the window. The movie is set in 1963, according to the World Series broadcast. See more »
Quotes
See more »
Crazy Credits
The cast is credited in alphabetical order in the end credits, except for Brad Dourif , who is listed last as follows: "and introducing / Brad Dourif as Billy Bibbit". See more »
Connections
(Philadelphia, PA) – See all my reviews
The opening shot of ONE FLEW OVER THE CUCKOO'S NEST is a bleak glance at an Oregon morning. Stirring, haunting music plays gracefully on the soundtrack and a car approaches. Inside the car is one of film history's most remarkable characters. "Randle McMurphy" is about to bring hope, humor, and a glimmer of reality to some disturbed people in a mental hospital. Jack Nicholson as "McMurphy", is something of a paradox. Is this guy crazy or is he really the lazy, conniving criminal most believe him to be? That is the magical mystery and start to a journey into mental illness and the effect this man will have on some truly messed up men.
Milos Forman directs this all-time classic, which swept the Oscars deservedly, and holds up so well 25 years later. It is a simplistic film about small people living in their own small worlds. Manic moments are mixed with poignant acting all leading to an astounding climax. Not before or since CUCKOO'S NEST has a collection of different characters had such an impact on me. You could write a book report about each of the patients in the ward. The two most important people here are, of course, Jack Nicholson and Louise Fletcher.
Nicholson has his greatest moments in this picture. One brilliant scene has him doing an imaginary play-by-play commentary of the 1963 World Series to the group, who are not allowed to watch the game on TV. It is a poetic sequence and Nicholson goes crazy with his delivery, describing baseball with colorful anecdotes and profanity. "McMurphy" immediately makes an impression on the crazies and shows them how they don't have to stick to the "normal routine". He knows their names right away, he sprays them with water, he makes impossible bets with them, he introduces them to fishing, and he even gets a suffering young kid (played well by Brad Dourif) a "date".
Louise Fletcher plays one of the more reprehensible human beings in film as "Nurse Mildred Ratched". She is a hardened woman, one who makes the daily meetings with the group a contest to see who will win. Her stubbornness and lack of compassion for the poor guys is rather one dimensional. That's perfect because that is exactly who she is. Her strong will to keep things monotonous leads to a final showdown with the free spirited "McMurphy" in what is easily one of the most shocking and disturbing climaxes in recent memory.
ONE FLEW OVER THE CUCKOO'S NEST does not try to make a statement about mental illness or how the unstable should be treated. Rather, it is a very simple portrait of the long days and hilarious scenarios that can come about when a mixed bag of suffering people are thrown together. Mental illness is nothing to laugh about, but the fact that Nicholson is not really crazy (at least in my opinion) allows us to be amused. He seems to love his compadres in the hospital. He is mislead, however, into thinking he can do as he pleases.
There is no denying the power of CUCKOO'S NEST. The two main powerhouse performances are golden, the cinematography is morbid and gritty like it should be, the "Chief" is great as Nicholson's right hand, ah, protagonist, and you care a lot about what will happen as the film moves on. The famous, final shot ironically happens to be an exit of a major character into that bleak, Oregon morning.
NOTE: I have never read the book and I find it hard to believe author Ken Kesey has never watched the filmed version. Comparing a book to a movie is impossible. They are 2 distinctly different artistic methods of story-telling.
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| One Flew Over the Cuckoo's Nest |
Which Asian country is bordered by Burma, Laos, Cambodia and Malaysia? | The New York Times: Best Pictures
'ONE FLEW OVER THE CUCKOO'S NEST'
Louise Fletcher: The Nurse Who Rules the 'Cuckoo's Nest'
By ALJEAN HAMETZ
LOS ANGELES, Calif. � Smiling a tight little smile, in a toneless voice, Louise Fletcher forces Jack Nicholson to take his tranquilizing medication. With the same smooth, bland expression, she will later order his lobotomy.
Louise Fletcher's Nurse Ratched in the movie version of Ken Kesey's ''One Flew Over the Cuckoo's Nest'' is always calm, always vaguely patronizing, her hair turned under in a perfect Page Boy, a style long out of date. The hair was ''a symbol,'' says Louise Fletcher, ''that life had stopped for her a long time ago. She was so out of touch with her feelings that she had no joy in her life and no concept of the fact that she could be wrong. She delivered her care of her insane patients in a killing manner, but she was convinced she was right.''
Anne Bancroft, Angela Lansbury, Geraldine Page, Colleen Dewhurst and Ellen Burstyn turned down the role of Nurse Ratched, most of them because they thought the character was too grotesque a monster. It is Louise Fletcher's achievement that her Nurse Ratched is so close to being a human being that she is totally oblivious of the fact that she is a monster. She is not the physically overpowering Big Nurse of the Kesey novel; she does not wrestle with the mental patients on her ward or shout them into submission. And her approach to the role has been praised by major critics: Pauline Kael, for example, writing in The New Yorker, said, ''Louise Fletcher give a masterly performance. . . We can see the virginal expectancy � the purity � that has turned into puffy-eyed self-righteousness. She thinks she's doing good for people, and she's hurt � she feels abused � if her authority is questioned' her mouth gives way and the lower part of her face sags. . .''
Off screen, Louise Fletcher's hair is windblown. She is 41 years old and has acted only once in the last 13 years. In the late 1950's, she had a brief television career which consisted primarily of ''Wagon Train,'' ''Lawman'' and ''The Untouchables.'' I was 5 feet 10 inches tall, and no television producer thought a tall woman could be sexually attractive to anybody. I was able to get jobs on westerns because the actors were even taller than I was.'' She married producer Jerry Bick and retired in 1962 when she was pregnant with her second child.
She is still more a mother than an actress. It is 4:10 p.m. on a Friday afternoon, and she has just finished driving her fourth carpool of the day. The telephone in her rented Bel Air house rings. The call is from Milos Forman, the director of ''One Flew Over the Cuckoo's Nest.'' ''I never thought they'd get it,'' he tells her. The ''it'' to which Forman is referring is the subtlety of her characterization. ''Louise had the strength to do it subtle,'' Forman says in an interview a few days later. ''She didn't go for cheap exaggeration. It was the most difficult part in the picture. I was afraid that, surrounded by all those spectacular performances, she would get lost.''
It was not easy to resist exaggeration. ''Everybody else had too much to do,'' she says. ''When you're being crazy, the sky is the limit. I envied the other actors tremendously. They were so free, and I had to be so controlled. I was so totally frustrated that I had the only tantrum I've ever had in my whole life outside the confines of my own house. The still photographer kept taking pictures of all the crazies and putting them up in the hospital dining room. I asked why he didn't take pictures of me and he said, 'You're so boring, always in that white uniform.' With 6-year-old bitchiness, I went into the dining room and tore down the few pictures he had taken of me.''
Milos Forman seems especially pleased with Louise Fletcher's performance, perhaps because he stumbled across her by accident and then fought to get her the part. He was looking at Robert Altman's ''Thieves Like Us,'' in which she played the small part of a decent woman who betrays her brother to the police in order to protect her children. A friend had suggested Shelley Duvall, the star of the Altman film, for one of the whores in ''One Flew Over the Cuckoo's Nest.'' ''I was caught by surprise when Louise came on the screen,'' says Forman. ''I couldn't take my eyes off her. She had a certain mystery which I thought was very, very important for Nurse Ratched.''
The producers, understandably enough, preferred an actress with a name that might bring a few dollars into the box office. The only role Louise Fletcher had done since 1962 was itself a kind of accident. Her husband was the producer of ''Thieves Like Us,'' and she had refused the part because her husband was the producer. She finally accepted when Altman demanded she play the part. ''Louise has a very strong Christian southern ethic,'' says Altman. ''She was ideal for the role.''
It was after ''Thieves Like Us'' that she began to ache to act again. She couldn't even get an agent. She was blonde and beautiful, but she was also 41 years old. Fifteen agents had turned her down by the time Milos Forman sat in a projection room and watched ''Thieves Like Us.''
To prepare for her role of Nurse Ratched, she observed group therapy sessions at Oregon State Hospital, where ''Cuckoo's Nest'' was shot. But she herself was part of no group. ''I was totally isolated from everybody else in every way. Milos Forman is not one to discuss your role with you. He doesn't want to intrude on you, to invade you space. And I was isolated from the other actors because of the character I was playing. A lot of the time I used to tell the other actors what to order for dinner. That isn't like me to be so controlling. The boy who played Billy couldn't eat. He would leave most of the food on his plate. And I would say, 'Come now. Eat up. You have to eat that, Brad.'''
The other actors began to relate to her as the sweetly bullying Miss Ratched. And there was one appalling moment when the actor playing the hysterical Cheswick refused to do the deep breathing exercises Milos Forman made the actors do before the film's group therapy sessions. ''Chessers doesn't feel well today, Miss Ratched,'' he told her, speaking of himself as the character. Instantly, the other actors joined the rebellion against her - just as the characters in the movie had done - and Forman had to order them to do the exercises.
Louise Fletcher is not stranger to isolation. As the daughter of totally deaf parents, her whole childhood was marked by a sense of loneliness and separation. ''If I fell down and hurt myself, I never cried. There was no one to hear me.'' Her first day at school, she was sent home with a note to her father saying that since Louise was deaf, he had better send her to a school for the deaf. Her father was angry that her shyness had created the impression she was deaf; he wanted his four children to thrive in a hearing world. To insure that they would learn to speak properly, he sent them � one at a time � to Texas to live with his wife's sister. Louise was three years old when she left home for the first time. She stayed in Texas a year. After that, it was three months a year with the rich aunt in Texas and nine months of poverty at home in Alabama. Her father was an Episcopalian missionary to the deaf. The work was hard and unremitting and he was away from home for weeks at a time. When he was home, he took her with him to visit nearby asylums where the deaf were kept. Her childhood has left its mark in that ''mystery'' which intrigued Milos Forman. Candid, excruciatingly direct, she has a paradoxical air of reserve, a hidden center.
The sense of emotional isolation she experienced as a child has influenced the choices she has made as an adult. ''That's the main reason I gave up my career after John was born and I was pregnant with Andrew. I could not handle going away day after day. The thought of going away before they got up and coming back after they were in bed was intolerable.''
Louise Fletcher and Jack Nicholson in "One Flew Over the Cuckoo's Nest." (United Artists)
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In Greek mythology, Actaeon was changed into a stag by who when he saw her bathing, and was then killed by his own dogs? | Actaeon - Greek Mythology Link
About • Copyright © 1997 Carlos Parada and Maicar Förlag.
Actaeon
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Actaeon, having surprised Artemis and her train of nymphs in the bath, is turned into a stag. 3320: German work from the 17th century AD. Museum für Kunst und Gewerbe, Hamburg.
Actaeon is the hunter who was torn to pieces by his own dogs after having been turned into a stag by Artemis , whom he had seen unrobed.
Misfortune
Actaeon’s own death is what made him famous, for there are almost no accounts of his life, except that he was trained by the Centaur Chiron to be a hunter. And, they say, it was not any crime of his the cause of his death, but mere mischance. For not knowing anything about the secret cave of Artemis in the vale of Gargaphia, Actaeon came wandering with his dogs after a day of hunt, and entered the cave when the goddess of the wild woods was preparing to bathe in the waters of the spring Parthenius together with the nymphs who attended her.
Artemis uses water instead of arrows
When Actaeon came into the cave, the girls, with loud cries, thronged around Artemis trying to hide her body with their own. But Artemis , standing head and shoulders over the rest, took up the water and flung it into Actaeon’s face saying:
“Now you are free to tell that you have seen me all unrobedif you can tell.” ( Artemis to Actaeon. Ovid, Metamorphoses 3.192).
So soon the goddess had uttered those words, Actaeon began to turn into a stag, much as the Cretan Siproites had his sex changed by Artemis when he saw the goddes bathing. And when the transformation was completed, the goddess planted fear within his heart, and the stag Actaeon fled away. His dogs then went after him, pursuing him in all grounds around Mount Cithaeronbetween Boeotia and Atticaand having finally caught him, the dogs buried their fangs in his body until there was no place for further wounds, thus causing his death. That was the misfortune of Actaeon. For not knowing what he did, he came to be punished and suffered to be hunted, just as he had hunted. Because of this deed, some deemed Artemis to be more cruel, but others judged her act worthy of her virginity.
Arrogance
Yet it has also been told that Actaeon presented himself as superior to Artemis as a hunter, being his boast the reason behind his unfortunate fate. And again, others say that Actaeon came into the cave, and tried to ravish the goddess who, in her anger, made horns grow on his head, turning him into a stag. Still others say that Actaeon, upon dedicating the fruits of his hunting to Artemis , purposed to marry her at the temple of the goddess. Yet others affirm that what happened to Actaeon was conceived by Zeus because Actaeon loved Semele , the mother of Dionysus 2 . Artemis then cast a deer-skin round Actaeon to make sure that his dogs would kill him, so as to prevent him to marry Semele .
Grief
In any case, when Actaeon was gone, the dogs are said to have sought their master, howling in grief. Searching for him, it is told, they came to the cave of the Centaur Chiron , who made an image of the unfortunate Actaeon to soothe their grief. The death of Actaeon was much lamented by his parents. His father Aristaeus migrated to Sardinia, and Actaeon’s mother Autonoe 2 is said to have left Thebes to live near Megara , because of her grief at the death of her son.
A similar case
Far away from where Actaeon was killed, Thasius, son of Anius, son of Apollo and Rhoeo, was also reported to have been destroyed by his own dogs in the island of Delos. The death of this prince (Anius was a king) is the reason why there are no dogs on Delos.
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What type of creature is a serval? | Artemis | Greek Mythology Wiki | Fandom powered by Wikia
Weapons
Silver Bow and Arrows
Artemis (Ancient Greek: Ἄρτεμις) was one of the most widely venerated of the Ancient Greek deities. Her Roman equivalent is Diana. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek. Homer refers to her as Artemis Agrotera, Potnia Theron: "Artemis of the wildland, Mistress of Animals". The Arcadians believed she was the daughter of Demeter .
In the classical period of Greek mythology, Artemis was often described as the daughter of Zeus and Leto , and the twin sister of Apollo . She was the Hellenic goddess of the hunt, wild animals, wilderness, childbirth, virginity and protector of young girls, bringing and relieving disease in women; she often depicted as a huntress carrying a Bow & Arrows . The deer, wolves , and the cypress were sacred to her. In later Hellenistic times she also assumed the ancient role of Eileithyia in aiding childbirth.
Ancient Greek writers linked Artemis (Doric Artamis) by way of folk etymology to artemes (ἀρτεμής) "safe" or artamos (ἄρταμος) "butcher". However, the name Artemis (variants Arktemis, Arktemisa) is most likely related to Greek árktos "bear" (from PIE *h₂ŕ̥tḱos), supported by the bear cult that the goddess had in Attica (Brauronia) and the Neolithic remains at the Arkoudiotissa Cave, as well as the story about Callisto, which was originally about Artemis (Arcadian epithet kallisto).
This cult was a survival of very old totemic and shamanistic rituals and formed part of a larger bear cult found further afield in other Indo-European cultures (e.g., Gaulish Artio). It is believed that a precursor of Artemis was worshiped in Minoan Crete as the goddess of mountains and hunting, Britomartis. While connection with Anatolian names has been suggested, the earliest attested forms of the name Artemis are the Mycenaean Greek a-te-mi-to and a-ti-mi-te, written in Linear B at Pylos. Artemis was venerated in Lydia as Artimus.
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Birth
Various conflicting accounts are given in Classical Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto and that she was the twin sister of Apollo .
An account by Callimachus has it that Hera forbade Leto to give birth on either terra firma (the mainland) or on an island. Hera was angry with Zeus , her husband, because he had impregnated Leto. But the island of Delos (or Ortygia in the Homeric Hymn to Artemis) disobeyed Hera, and Leto gave birth there.
Once, Artemis was tricked into having a child. Artemis had offended Hera, Athena, and Aphrodite. She told Athena and Hera that they were not true virgin goddess. After all, Athena had children, and Hera was the goddess of marriage. She then told Aphrodite that love was worthless, since you would most likely have a broken heart in the end. She showed the example of Orpheus and Eurydice. They still had broken hearts. Of course, these goddess did not take offense easily. They plotted to get revenge. With the help of Dionysus, they made every young man look like a golden stag. But really, they were the men of Athens. Soon she was in childbirth, which was very painful. Hera (who was also the goddess of childbirth), made sure that the birth would not come easily for Artemis. People are not sure who her daughter was. Some say it is Haley's comet. Others say that she is the shadows of night. Most most people believe that it was moon that was her daughter, always shining down upon us.
In ancient Cretan history Leto was worshiped at Phaistos and in Cretan mythology Leto gave birth to Apollo and Artemis at the islands known today as the Paximadia. A scholium of Servius on Aeneid iii. 72 accounts for the island's archaic name Ortygia by asserting that Zeus transformed Leto into a quail (ortux) in order to prevent Hera from finding out his infidelity, and Kenneth McLeish suggested further that in quail form Leto would have given birth with as few birth-pains as a mother quail suffers when it lays an egg.
The myths also differ as to whether Artemis was born first, or Apollo. Most stories depict Artemis as born first, becoming her mother's mid-wife upon the birth of her brother Apollo. Artemis caused no pain to Leto, earning her the title of goddess of childbirth. After she was born she helped Leto give birth to Apollo her twin brother.
Childhood
The childhood of Artemis is not fully related in any surviving myth. The Iliad reduced the figure of the dread goddess to that of a girl, who, having been thrashed by Hera , climbs weeping into the lap of Zeus. A poem of Callimachus to the goddess "who amuses herself on mountains with archery" imagines some charming vignettes: according to Callimachus, Artemis, at three years old, while sitting on the knee of her father, Zeus , asked him to grant her six wishes: to remain always a virgin; to have many names to set her apart from her brother Apollo ; to be the Phaesporia or Light Bringer; to have a bow and arrow and a knee-length tunic so that she could hunt; to have sixty "daughters of Okeanos", all nine years of age, to be her choir; and for twenty Amnisides Nymphs as handmaidens to watch her dogs and bow while she rested. She wished for no city dedicated to her, but to rule the mountains, and for the ability to help women in the pains of childbirth.
Artemis believed that she had been chosen by the Fates to be a midwife, particularly since she had assisted her mother in the delivery of her twin brother, Apollo. All of her companions remained virgins, and Artemis closely guarded her own chastity. Her symbols included the silver bow and arrow, the hunting dog, the stag, and the moon. Callimachus tells how Artemis spent her girlhood seeking out the things that she would need to be a huntress, how she obtained her bow and arrows from the isle of Lipara, where Hephaestus and the Cyclops worked.
Okeanus' daughters were filled with fear, but the young Artemis bravely approached and asked for bow and arrows. Callimachus then tells how Artemis visited Pan , the god of the forest, whom gave her seven female dogs and six dogs. She then captured six golden-horned deer to pull her chariot. Artemis practiced with her bow first by shooting at trees and then at wild beasts.
Possible Relations & Others
As a virgin, Artemis had interested many gods and men.
Artemis was friends with the giant Orion, but long after Orion's death humans thought that they could have been something more. This was unlikely true because the first stories of their friendship were things like Orion being a rapist and attempting to take advantage of their friendship and rape Artemis, which in turn led to her killing him. Others were things like Orion attempting to kill every beast in the world to win her heart, in order to stop him either Artemis killed him without regret (she thought he was crazy and that she would never fall in love no matter what, or Gaia sending Scorpio to kill him. Either way unlike popular belief there was plenty of evidence that they had nothing other than a mere friendship (despite Orion wanting more but he may or may not have acted on it and tried to rape her). In the unlikely case of Artemis being in love with Orion it would have likely ended with with Apollo wanting to make sure Artemis kept her vow and he either sent Scorpio to kill him or tricked Artemis into shooting Orion. Orion was the self-proclaimed best hunter in another version and Hera sent Scorpio to kill him, in this version Zeus put him in the stars as a constellation as an apology to Orion for what his wife did. It was most likely in most case that Zeus was the one who put him in the sky and only the ones where Artemis was in love with him would Artemis have put her in the sky. The whole idea of Artemis loving Orion was started way after the first stories of any possible friendship between the two.
Alpheus , a river god, was in love with Artemis, but he realizes that he can do nothing to win her heart. So he decides to capture her. Artemis, who is with her companions at Letrenoi, goes to Alpheus, but, suspicious of his motives, she covers her face with mud so that the river god does not recognize her. In another story, Alphaeus tries to rape Artemis' attendant Arethusa . Artemis pities Arethusa and saves her by transforming Arethusa into a spring in Artemis' temple, Artemis Alphaea in Letrini, where the goddess and her attendant drink.
Bouphagos, the son of the Titan Iapetos, sees Artemis and thinks about raping her. Reading his sinful thoughts, Artemis strikes him at Mount Pholoe. Sipriotes is a boy, who, either because he accidentally sees Artemis bathing or because he attempts to rape her, is turned into a girl by the goddess.
Aktaeon
Multiple versions Actaeon myth survive, though many are fragmentary. The details vary but at the core they involve a great hunter, Aktaeon who Artemis turns into a stag for a transgression and who is then killed by hunting dogs. Usually the dogs are his own, whom no longer recognize their master. Sometimes they are Artemis' hounds.
According to the standard modern text on the work, Lamar Ronald Lacey's The Myth of Aktaion: Literary and Icongraphic Studies, the most likely original version of the myth is that Aktaeon was the hunting companion of the goddess who, seeing her stark naked in her sacred spring, attempts to force himself on her. For this hubris he is turned into a stag and devoured by his own hounds. However, in some surviving versions Aktaeon is a stranger who happens upon her. Different tellings also diverge in the hunter's transgression, which is sometimes merely seeing the virgin goddess naked, sometimes boasting he is a better hunter than she, or even merely being a rival of Zeus for the affections of Semele .
Adonis
In some versions of the story of Adonis , who was a late addition to Greek mythology during the Hellenistic period, Artemis sent a wild boar to kill Adonis as punishment for his hubristic boast that he was a better hunter than she.
In other versions, Artemis killed Adonis for revenge. In later myths, Adonis had been related as a favorite of Aphrodite , and Aphrodite was responsible for the death of Hippolytus , who had been a favorite of Artemis. Therefore, Artemis killed Adonis to avenge Hippolytus's death.
In yet another version, Adonis was not killed by Artemis, but by Ares , as punishment out of jealousy.
Orion
Orion was Artemis' hunting companion. In some versions, he is killed by Artemis, while in others he is killed by a scorpion sent by Gaia . In some versions, Orion tries to seduce Opis , one of her followers, and she killed him. In a version by Aratus , Orion took hold of Artemis's robe and she killed him in self-defense.
In yet another version, Apollo sends the scorpion. According to Hyginus , Artemis once loved Orion (in spite of the late source, this version appears to be a rare remnant of her as the pre-Olympian goddess, who took consorts, as Eos did), but was tricked into killing him by her brother Apollo, who was "protective" of his sister's maidenhood.
Artemis was friends with the giant Orion, but long after Orion's death humans thought that they could have been something more. This was unlikely true because the first stories of their friendship were things like Orion being a rapist and attempting to take advantage of their friendship and rape Artemis, which in turn led to her killing him. Others were things like Orion attempting to kill every beast in the world to win her heart, in order to stop him either Artemis killed him without regret (she thought he was crazy and that she would never fall in love no matter what, or Gaia sending Scorpio to kill him. Either way unlike popular belief there was plenty of evidence that they had nothing other than a mere friendship (despite Orion wanting more but he may or may not have acted on it and tried to rape her). In the unlikely case of Artemis being in love with Orion it would have likely ended with with Apollo wanting to make sure Artemis kept her vow and he either sent Scorpio to kill him or tricked Artemis into shooting Orion. Orion was the self-proclaimed best hunter in another version and Hera sent Scorpio to kill him, in this version Zeus put him in the stars as a constellation as an apology to Orion for what his wife did. It was most likely in most case that Zeus was the one who put him in the sky and only the ones where Artemis was in love with him would Artemis have put her in the sky. The whole idea of Artemis loving Orion was started way after the first stories of any possible friendship between the two
The Aloadae
These twin sons of Iphidemia and Poseidon , Otos and Ephialtes, grew enormously at a young age. They were aggressive, great hunters, and could not be killed unless they killed each other. The growth of the Aloadae never stopped, and they boasted that as soon as they could reach heaven, they would kidnap Artemis and Hera and take them as wives. The gods were afraid of them, except for Artemis who captured a fine deer (or in another version of the story, she changed herself into a doe) and jumped out between them. The Aloadae threw their spears and so mistakenly killed each other.
Callisto
Callisto was the daughter of Lycaon, King of Arcadia and also was one of Artemis' hunting attendants. As a companion of Artemis, she took a vow of chastity. Zeus appeared to her disguised as Artemis, or in some stories Apollo , gained her confidence, then took advantage of her. As a result of this encounter she conceived a son, Arcas.
Enraged, Hera or Artemis (some accounts say both) changed her into a bear. Arcas almost killed the bear, but Zeus stopped him just in time. Out of pity, Zeus placed Callisto the bear into the heavens, thus the origin of Callisto the Bear as a constellation. Some stories say that he placed both Arcas and Callisto into the heavens as bears, forming the Ursa Minor and Ursa Major constellations.
Iphigenia and the Taurian Artemis
Artemis punished Agamemnon after he killed a sacred stag in a sacred grove and boasted that he was a better hunter than the goddess. When the Greek fleet was preparing at Aulis to depart for Troy to begin the Trojan War , Artemis becalmed the winds. The seer Calchas advised Agamemnon that the only way to appease Artemis was to sacrifice his daughter, Iphigenia . Artemis then snatched Iphigenia from the altar and substituted a deer. Various myths have been told around what happened after Artemis took her. Either she was brought to Tauros and led the priests there, or became Artemis' immortal companion.
Niobe
A Queen of Thebes and wife of Amphion , Niobe boasted of her superiority to Leto because while she had fourteen children (Niobids), seven boys and seven girls, Leto had only one of each. When Artemis and Apollo heard this impiety, Apollo killed her sons as they practiced athletics, and Artemis shot her daughters, whom died instantly without a sound. Apollo and Artemis used poisoned arrows to kill them, though according to some versions two of the Niobids were spared, one boy and one girl. Amphion, at the sight of his dead sons, killed himself. A devastated Niobe and her remaining children were turned to stone by Artemis as they wept. The gods themselves entombed them.
Niobe and Amphion boasted they were better than Leto, becuase they had raised fourteen children and Leto had only raised two. Artemis and Apollo, very angered that the two dared to compare their mortal lives to that of a goddess, killed their children. Apollo killed all the male children and Artemis killed all the female children, each with their bow and arrows. Amphion committed suicide and Niobe wept until she was turned into a rock. This myths is said to be the explanation of why rocks "cry".
Khione
Khione was a princess of Pokis. She was beloved by two gods, Hermes and Apollo, and boasted that she was prettier than Artemis because she made two gods fall in love with her at once. Artemis was furious and killed Khione with her arrow or struck her dumb by shooting off her tongue. However, some versions of this myth say Apollo and Hermes protected her from Artemis' wrath.
Atalanta, Oeneus and the Meleagrids
Artemis saved the infant Atalanta from dying of exposure after her father abandoned her. She sent a female bear to suckle the baby, whom was then raised by hunters. But she later sent a bear to hurt Atalanta because people said Atalanta was a better hunter. This is in some stories.
Among other adventures, Atalanta participated in the hunt for the Calydonian Boar, which Artemis had sent to destroy Kalydon because King Oeneus had forgotten her at the harvest sacrifices. In the hunt, Atalanta drew the first blood, and was awarded the prize of the skin. She hung it in a sacred grove at Tegea as a dedication to Artemis.
Meleager was a hero of Aetolia. King Oeneus had him gather heroes from all over Greece to hunt the Calydonian Boar. After the death of Meleager, Artemis turned his grieving sisters, the Meleagrids into guineafowl that Artemis loved very much.
Aura
In Nonnus Dionysiaca, Aura was Greek goddess of breezes and cool air, daughter of Lelantos and Periboia . She was a virgin huntress, just like Artemis and proud of her maidenhood. One day, she claimed that the body of Artemis was too womanly and she doubted her virginity. Artemis asked Nemesis for help to avenge her dignity and caused the rape of Aura by Dionysos . Aura became a mad and dangerous killer. When she bore twin sons, she ate one of them while the other one, Iakhos, was saved by Artemis. Iakhos later became an attendant of Demeter and the leader of Eleusinian Mysteries.
Trojan War
Artemis may have been represented as a supporter of Troy because her brother Apollo was the patron god of the city and she herself was widely worshiped in western Anatolia in historical times. In the Iliad she came to blows with Hera , when the divine allies of the Greeks and Trojans engaged each other in conflict. Hera struck Artemis on the ears with her own quiver, causing the arrows to fall out. As Artemis fled crying to Zeus , Leto gathered up the bow and arrows.
Artemis played quite a large part in this war. Like her mother and brother, whom was widely worshiped at Troy, Artemis took the side of the Trojans. At the Greek's journey to Troy, Artemis becalmed the sea and stopped the journey until an oracle came and said they could win the goddess' heart by sacrificing Iphigenia , Agamemnon's daughter. Agamemnon once promised the goddess he would sacrifice the dearest thing to him, which was Iphigenia, but broke the promise. Other sources said he boasted about his hunting ability and provoked the goddess' anger. Artemis saved Iphigenia because of her bravery. In some versions of the myth, Artemis made Iphigenia her attendant or turned her into Hekate , goddess of night, witchcraft, and the underworld.
Aeneas was helped by Artemis, Leto, and Apollo. Apollo found him wounded by Diomedes and lifted him to heaven. There, the three of them secretly healed him in a great chamber.
Artemis in Art
The oldest representations of Artemis in Greek Archaic art portray her as Potnia Theron ("Queen of the Beasts"): a winged goddess holding a stag and leopard in her hands, or sometimes a leopard and a lion. This winged Artemis lingered in ex-votos as Artemis Orthia , with a sanctuary close by Sparta .
In Greek classical art she is usually portrayed as a maiden huntress, young, tall and slim, clothed in a girl's short skirt with hunting boots, a quiver, a bow and arrows. Often, she is shown in the shooting pose, and is accompanied by a hunting dog or stag. When portrayed as a goddess of the moon, Artemis wore a long robe and sometimes a veil covered her head. Her darker side is revealed in some vase paintings, where she is shown as the death-bringing goddess whose arrows fell young maidens and women, such as the daughters of Niobe .
Only in post-Classical art do we find representations of Artemis-Diana with the crown of the crescent moon, as Luna . In the ancient world, although she was occasionally associated with the moon, she was never portrayed as the moon itself. Ancient statues of Artemis have been found with crescent moons, but these moons are always Renaissance-era additions.
On June 7, 2007, a Roman era bronze sculpture of Artemis and the Stag was sold at Sotheby's auction house in New York state by the Albright-Knox Art Gallery for $25.5 million.
Attributes
Bow and Arrow:
According to the Homeric Hymn to Artemis, she had golden bow and arrows, as her epithet was Khryselakatos, "of the Golden Shaft", and Iokheira (Showered by Arrows). The arrows of Artemis could also to bring sudden death and disease to girls and women. Artemis got her bow and arrow for the first time from The Kyklopes, as the one she asked from her father. The bow of Artemis also became the witness of Callisto's oath of her virginity. In later cult, the bow became the symbol of waxing moon.
Chariots:
Artemis' chariot was made of gold and was pulled by four golden horned deer (Elaphoi Khrysokeroi). The bridles of her chariot were also made of gold.
Spears, Nets and Lyres:
Although quite seldom, Artemis is sometimes portrayed with a hunting spear. Her cult in Aetolia, the Artemis Aetolian, showed her with a hunting spear. The description about Artemis' spear can be found in Ovid's Metamorphosis, while Artemis with a fishing spear connected with her cult as a patron goddess of fishing.
As a goddess of maiden dances and songs, Artemis is often portrayed with a lyre.
Fauna
Deer
Deer were the only animals held sacred to Artemis herself. On seeing a deer larger than a bull with horns shining, she fell in love with these creatures and held them sacred. Deer were also the first animals she captured. She caught five golden horned deer called Elaphoi Khrysokeroi and harnessed them to her chariot. The third labour of Heracles , commanded by Eurystheus , consisted in catching the Kerynitis Hind alive. Heracles begged Artemis for forgiveness and promised to return it alive. Artemis forgave him but targeted Eurystheus for her wrath.
Hunting Dog
Artemis got her hunting dogs from Pan in the forest of Arcadia. Pan gave Artemis two black-and-white dogs, three reddish ones, and one spotted one - these dogs were able to hunt even lions. Pan also gave Artemis seven bitches of the finest Arcadian race. However, Artemis only ever brought seven dogs hunting with her at any one time.
Bear
The sacrifice of a bear for Artemis started with the Brauron cult. Every year a girl between five and ten years of age was sent to Artemis' temple at Brauron. The Byzantine writer Suidos relayed the legend in Arktos e Brauroniois. A bear was tamed by Artemis and introduced to the people of Athens. They touched it and played with it until one day a group of girls poked the bear until it attacked them. A brother of one of the girls killed the bear, so Artemis sent a plague in revenge. The Athenians consulted an oracle to understand how to end the plague. The oracle suggested that, in payment for the bear's blood, no Athenian virgin should be allowed to marry until she had served Artemis in her temple ('played the bear for the goddess').
Boar
The boar is one of the favorite animals of the hunters, and also hard to tame. In honor of Artemis' skill, they sacrificed it to her. Oineus and Adonis were both killed by Artemis' boar.
Guinea Fowl
Artemis felt pity for the Meleagrids as they mourned for their lost brother, Meleagor, so she transformed them into Guinea Fowl to be her favorite animals. Citation needed
Buzzard Hawk
Hawks were the favored birds of many of the gods, Artemis included. Citation needed
Flora
Palm Tree and Cypress Tree trees were connected with the story of their birth to be her birthplace. Other plants sacred to Artemis are Amaranth and Asphodel .
Artemis as The Lady of Ephesus
Main Article: Temple of Artemis
At Ephesus in Ionia, Turkey, her temple became one of the Seven Wonders of the World. It was probably the best known center of her worship except for Delos. There the Lady whom the Ionians associated with Artemis through interpretatio graeca was worshiped primarily as a mother goddess, akin to the Phrygian goddess Cybele, in an ancient sanctuary where her cult image depicted the "Lady of Ephesus" adorned with multiple rounded breast like protuberances on her chest. They have been variously interpreted as multiple accessory breasts, as eggs, grapes, acorns, or even bull testes. Excavation at the site of the Artemision in 1987-88 identified a multitude of tear-shaped amber beads that had adorned the ancient wooden xoanon. In Acts of the Apostles, Ephesian metalsmiths who felt threatened by Saint Paul's preaching of Christianity, jealously rioted in her defense, shouting "Great is Artemis of the Ephesians!" Of the 121 columns of her temple, only one composite, made up of fragments, still stands as a marker of the temple's location. The rest were used for making churches, roads, and forts.
Artemis in Astronomy
A minor planet, (105) Artemis ; a lunar crater; the Artemis Chasma and the Artemis Corona have all been named for her. Artemis is the acronym for "Architectures de bolometres pour des Telescopes a grand champ de vue dans le domaine sub-Millimetrique au Sol," a large bolometer camera in the submillimeter range that was installed in 2010 at the Atacama Pathfinder Experiment (APEX), located in the Atacama Desert in northern Chile.
Animals and other things sacred to Artemis
The Goose Sacred to Artemis
The Guinea-Fowl is sacred to Artemis
The Wolf is sacred to Artemis as well as Zeus
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Lead singer of The Doors, Jim Morrison, died in July 1971 in which European city? | The Doors' Jim Morrison died 40 years ago - NY Daily News
Jim Morrison died 40 years ago: The Doors singer was found unresponsive in a bathtub in Paris
The Doors' Jim Morrison died 40 years ago
The Doors singer Jim Morrison died forty years ago on July 3, 1971 in Paris, France.
(Thomas Monaster)
DAILY NEWS STAFF WRITER
Sunday, July 3, 2011, 12:27 PM
Forty years ago today, Jim Morrison died at the age of 27 -- and broke on through to the other side.
The Doors singer's body was discovered by his girlfriend, Pamela Courson , in a bathtub in his Paris apartment on July, 3 1971.
Persuant to French law, no autopsy was performed on Morrison because foul play was not suspected -- and that only added to the mystery surrounding his death.
After returning to the U.S. , Courson told Danny Sugerman , the manager of The Doors, that Morrison had died of a heroin overdose after ingesting what he thought was cocaine. Later, Sugerman says Courson, a heroin addict herself, changed her story a number of times, and even admitted she had killed Morrison.
Twenty years after Morrison's death, friends Alain Ronay and Agnes Varda broke their silence and gave their account of what happened that day.
The two admitted that when they arrived at Morrison's apartment, Courson told them that they had both taken heroin after a night of drinking, and Morrison began coughing so badly, he was vomiting blood. When he seemed better, she went to sleep. But when she awoke a short time later, she found him in the bath unresponsive and called for help.
Other conspiracy theories include that Morrison overdosed in a bathroom at Paris’ Rock 'n' Roll Circus nightclub, and was then dumped in his bathtub by two drug dealers.
Morrison's body is buried in the Pere Lachaise Cemetery in Paris, and has become one of the city's most-visited tourist attractions.
Three years after Morrison's death, Courson overdosed on heroin in California .
Morrison formed The Doors in 1965 with Ray Manzarek , John Densmore and Robby Krieger . Until his death, they released six studio albums together and scored hits with "Break on Through (To the Other Side)," "Light My Fire," "Hello, I Love You" and "Riders on the Storm."
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Dorsodynia is a pain in which part of the body? | Doors' 'L.A. Woman': 10 Things You Didn't Know - Rolling Stone
Doors' 'L.A. Woman': 10 Things You Didn't Know
Doors' 'L.A. Woman': 10 Things You Didn't Know
From bathroom recordings to Elvis' borrowed bassist, here are some surprising facts about Jim Morrison's swan song
Read little-known facts about the recording of 'L.A. Woman,' the final album the Doors released in Jim Morrison's lifetime.
Doors' 'L.A. Woman': 10 Things You Didn't Know
All Stories
The Doors had crammed several lifetimes into just five years as band, and by late 1970, the psychic toll of Jim Morrison's addiction and legal hassles threatened to overwhelm the group. Any attempts at making an album under these conditions should have met with unmitigated disaster, but on L.A. Woman – the final Doors LP released during Morrison's lifetime – the band succeeded almost in spite of themselves. Self-produced and recorded in their private rehearsal space, the album was a homecoming in both a musical and spiritual sense. "Our last record turned out like our first album: raw and simple," drummer John Densmore reflected in his autobiography. "It was as if we had come full circle. Once again we were a garage band, which is where rock & roll started."
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Morrison left on an extended trip to Paris as the final mixes were being prepared, hoping to rediscover his muse in the City of Light. He would never return: The singer died there in July 1971. As his final recorded work with the Doors turns 45, here are some surprising facts about the creation of L.A. Woman.
The Doors' longtime producer quit the sessions, dismissing the songs as "cocktail music."
L. A. Woman got off to an inauspicious start in November 1970, when the band played their new material for producer Paul Rothchild. They possessed only a handful of semi-complete tunes, and Rothchild was less than impressed. He dismissed "Riders on the Storm" as "cocktail music," but reserved particular scorn for "Love Her Madly," which he cited as the song that drove him out of the studio. "The material was bad, the attitude was bad, the performance was bad," he said in the Morrison biography No One Here Gets Out Alive. "After three days of listening I said, 'That's it!' on the talk-back and cancelled the session."
They convened for an emergency meeting at a nearby Chinese restaurant, and Rothchild laid his cards on the table. "I said, 'Look, I think it sucks. I don't think the world wants to hear it. It's the first time I've ever been bored in a recording studio in my life. I want to go to sleep.'" With that, the so-called "Fifth Door," who had produced the band since their debut, walked out. Once the shock had worn off, the Doors turned to engineer Bruce Botnick, whose credits included all of their previous albums, as well as the Beach Boys' Pet Sounds, and the Rolling Stones' Let It Bleed. With his help, the reinvigorated band vowed to coproduce their new album. Gone were the days of Rothchild's studio strictness, where it was normal to record 30 takes or spend hours on perfecting a drum sound. "Rothchild was gone, which is one reason why we had so much fun," Robbie Krieger told Guitar World in 1994. "The warden was gone."
Jim Morrison recorded his vocal parts in a bathroom.
Eschewing the high tech luxury of Sunset Sound, the Doors decided to record in their unassuming "workshop" at 8512 Santa Monica Boulevard. "It was the room we had rehearsed in forever," recalled John Densmore in the documentary Mr. Mojo Risin. "Our music was seeped into the walls. We were very comfortable. It was home." Like a fraternity common room, the cramped space was littered with empty beer bottles, dog-eared magazines, an endless tangle of cables and assorted instruments – plus a jukebox and pinball machine. "It was tight," says Botnick, who was ensconced in the upstairs office behind a portable mixing board. "It was like sardines."
During takes, Morrison would grab his gold Electrovoice 676-G stage mic and sing in the adjoining bathroom, which served as a provisional vocal booth. The room's tile provided impressive natural acoustics, and he ripped the door off its hinges to better commune with his bandmates. The building has changed hands several times since the Doors recorded there, but its most recent incarnation – a bar, appropriately – paid tribute to the sessions with a plaque in the bathroom stall .
The band called upon Elvis Presley's bass player to add some extra funk.
The Doors famously lacked a bassist during live sets, instead relying on Ray Manzarek's Fender Rhodes' keyboard bass to lock into the rhythm with Densmore. For their studio albums, the band quietly supplemented their core lineup with session pros handling the low end. Some of these contributions were overdubbed separately from the band, but for L.A. Woman, they wanted the live sound of musicians playing together. Botnick suggested Jerry Scheff, fresh from backing Elvis Presley at Las Vegas' International Hotel. Morrison, a massive Presley fan, was thrilled. So was Densmore. "Jerry was incredible; an in-the-pocket man," the drummer told Classic Rock magazine . "He allowed me to communicate rhythmically with Morrison, and he slowed Ray down, when his right hand on the keyboards got too darn fast."
The band also called upon guitarist Marc Benno, who was making a name for himself playing with Leon Russell. He contributed the percussive James Brown-like rhythm guitar stabs on the title track, as well as "Been Down So Long," "Cars Hiss By My Window," and "Crawling King Snake." Scheff played on all songs except "L'America."
"L'America" was originally recorded for a Michelangelo Antonioni soundtrack.
The cartwheeling "L'America" predates the L.A. Woman sessions by more than a year. The track had been intended for inclusion in Antonioni's 1970 psychedelic drama, Zabriskie Point. The Italian auteur had notably tapped the Yardbirds for 1966's Blow-Up, and it appeared he might do the same this time around with the Doors. He visited the band in the recording studio, but their intensity – not to mention volume – proved too much for him to handle at close range. "We played it for him, and it was so loud, it pinned him up against the wall," Manzarek told L.A. Weekly in 2011. "When it was over, he thanked us and fled." Predictably, the song was not included in the film. The Doors were in good company – Jerry Garcia, John Fahey and Pink Floyd also had work rejected from the soundtrack.
"Riders on the Storm" was inspired by an old cowboy song – and a real-life serial killer.
During one of the early rehearsal jams that fueled L.A. Woman, the Doors began riffing on Stan Jones' galloping 1948 country-western hit "(Ghost) Riders in the Sky: A Cowboy Legend," made famous by Vaughn Monroe. "Robbie was playing his twang guitar," Ray Manzarek recalled in Mr. Mojo Risin . "And Jim went, 'I got lyrics for that!' And he had 'Riders on the Storm.'" The moody words fit the equally foreboding music, and Manzarek's driving keyboard figure shifted the melody from a Morricone-esque "yippee ki-yay" to a lonely desert highway.
Characteristically, Morrison's lyrics drew from a myriad of sources. The title was adapted from a passage in "Praise for an Urn" by poet Hart Crane, and other lines were inspired by his tumultuous relationship with long-term partner Pamela Courson. But the most memorable verse is culled from a self-penned screenplay inspired by the spree killer Billy Cook , who murdered six people – including a family – while hitchhiking to California in 1950. Though executed for his crimes, he is immortalized as the "killer on the road."
"Love Her Madly" takes its title from a Duke Ellington catchphrase.
The lyrics for L.A. Woman's lead single – the Doors' first to crack the Top 40 since "Touch Me" two years earlier – were born out of a particularly noisy fight between Robbie Krieger and his future wife, Lynne. "Every time we had an argument, she used to get pissed off and go out the door and slam the door so loud the house would shake," he said in Mr. Mojo Risin. But the title borrows a signature phrase from Duke Ellington, who would end every concert with the sign-off, "We love you madly." Krieger's bandmates, all well versed in jazz, got the reference.
The album was recorded in less than a week.
Aside from "L'America," which was already in the can, the basic tracks for L.A. Woman came together in just six days spread between December 1970 and January 1971. Mixing took an additional week, but that's still a blink of an eye compared to the nine months it took to complete the Doors' cumbersome 1969 work, The Soft Parade. The rapid pace ensured that the mercurial Jim Morrison, whose short attention span often led him towards destructive tendencies, remained focused and on his best behavior. During a single session, which the singer dubbed "blues day," they enthusiastically tackled "Cars Hiss By My Window," "Been Down So Long," "Crawling King Snake" and several other loose jams.
"We just did a couple takes, on everything," Densmore told Modern Drummer in 2010. "There were some mistakes, and I would say, 'Remember on Miles Davis at Carnegie Hall ... there's this horrible trumpet error? Miles said he didn't care, because of the feeling.' That's what L.A. Woman is. Just passion – in our rehearsal room, not in a fancy studio. It was the first punk album!"
Jim Morrison used the L.A. Woman cover to get revenge on his record company.
Morrison was always contemptuous of his rock Adonis image, and by 1970 he had ditched his trademark leather pants, gained considerable weight, and obscured his handsome features with a bushy beard in an effort to direct fans away from his appearance and towards his art. But rock is built around image, and Elektra Records preferred the svelte Lizard King of yore. They used a much earlier photo of Morrison on the cover of 1970's compilation 13, even after he consented to shaving his beard for photo sessions. The message was even more blunt on the cover of that year's Absolutely Live, which superimposed an older photo of the singer over a contemporary shot of the rest of the band. Morrison was furious.
For L.A. Woman, he would do it his way – beard and all. Fed up with having his image emphasized on album covers, he insisted on a group shot, and crouched to appear even smaller alongside his bandmates. What you can't see is a bottle of Irish whiskey just out of frame. "In that photo you can see the impending demise of Jim Morrison," Ray Manzarek later reflected. "He was sitting down because he was drunk. A psychic would have known that guy is on the way out. There was a great weight on him."
"Riders on the Storm" contains Jim Morrison's last recorded contribution to the Doors.
When the band gathered at Poppi Studios early January 1971 to mix L.A. Woman with Bruce Botnick, they made some last minute embroideries to their epic album closer. Thunderstorm sound effects were added to "Riders on the Storm," but Morrison had a more subtle contribution: two ghostly whispers of the song's title on the fadeout. The eerie send-off is even more haunting in retrospect. "That's the last thing he ever did," Ray Manzarek told Uncut . "An ephemeral, whispered overdub." The song was released as the album's second single, entering the Billboard charts on July 3rd, 1971 – the day Jim Morrison died.
Additional songs were recorded during the L.A. Woman sessions – and one remains unissued.
In addition to the 10 tracks that made up the final album, several additional songs were considered for L.A. Woman. "Orange County Suite," which Morrison had recorded as a piano demo in early 1969, was ultimately rejected, as it had been from their previous album, 1970's Morrison Hotel. It eventually was completed by the band posthumously and included in a 1997 box set.
A primitive bluesy medley called ""She Smells So Nice/Rock Me," recorded early in the sessions and long forgotten, was rediscovered in the tape vault and issued on the expanded 40th-anniversary edition of L.A. Woman in 2012. But perhaps most intriguing is the song "Paris Blues," which remains unheard. The only known copy is a badly damaged cassette, on which portions have been accidentally erased. Lyrical fragments hint at a deeply personal song. "Goin' to the city of love, gonna start my life over again," Morrison sings. "Once I was young, now I'm gettin' old/Once I was warm, now I feel cold/Well, I'm goin' overseas, gonna grab me some of that gold." Considering Morrison's fate in Paris, it reads like a poignant farewell.
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The Mont Blanc Tunnel joins which two countries? | Mont Blanc Tunnel | tunnel, France-Italy | Britannica.com
Mont Blanc Tunnel
Alternative Titles: Mont Blanc Vehicular Tunnel, Mount Blanc Tunnel
Similar Topics
Holland Tunnel
Mont Blanc Tunnel, major Alpine automotive tunnel connecting France and Italy . It is 7.3 miles (11.7 km) long and is driven under the highest mountain in Europe . The tunnel is notable for its solution of a difficult ventilation problem and for being the first large rock tunnel to be excavated full-face—i.e., with the entire diameter of the tunnel bore drilled and blasted. Otherwise it was conventionally driven from two headings, the Italian and French crews beginning work in 1958 and 1959, respectively, and meeting in August 1962. Many difficulties, including an avalanche that swept the Italian camp, were overcome, and, when the tunnel opened in 1965, it was the longest vehicular tunnel in the world. It fulfilled a 150-year-old dream and is of great economic importance, providing a significantly shortened year-round automotive route between the two countries. In March 1999, however, a two-day fire killed 39 people and caused extensive damage to the tunnel, forcing it to close. It reopened to car traffic in March 2002 and to trucks and buses in the following months. Protestors, citing environmental and safety concerns, opposed the tunnel’s reopening, especially its use by heavy trucks.
Learn More in these related articles:
in tunnels and underground excavations: Heavy ground
...large increases of time and funds are invariably required to deal with it. Special techniques have generally been evolved on the job, as indicated by a few of the numerous examples. On the 7.2-mile Mont Blanc Vehicular Tunnel of 32-foot size under the Alps in 1959–63, a pilot bore ahead helped greatly to reduce rock bursts by relieving the high geostress. The 5-mile, 14-foot El Colegio...
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Article Title: Mont Blanc Tunnel
Website Name: Encyclopædia Britannica
Date Published: August 23, 2002
URL: https://www.britannica.com/topic/Mont-Blanc-Tunnel
Access Date: January 18, 2017
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An onager is what type of animal? | Mont Blanc Tunnel Reopens to Heavy Trucks - 2002-06-25
Mont Blanc Tunnel Reopens to Heavy Trucks - 2002-06-25
October 29, 2009 7:32 AM
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The Mont Blanc tunnel between France and Italy has reopened to heavy trucks, three years after a truck accident sparked a deadly fire inside the tunnel. Large groups of demonstrators protested the reopening of the mountain link between the two countries.
Local media report 2,000-3,000 protesters blocked the French entrance of the Mont Blanc tunnel early Tuesday near the picturesque valley of Charmonix. Protests also were reported on the Italian side of the tunnel.
Local citizens groups, environmentalists and unions organized demonstrations to voice outrage that big trucks are allowed once again to pass through the Alpine tunnel.
A collision involving a heavy truck in 1999 sparked a large fire in the tunnel that killed 39 people. The tunnel, which links France and Italy, was closed to all traffic for three years. During that period, engineers widened the artery and installed a number of safety measures to prevent a similar accident from occurring.
The Mont Blanc tunnel was reopened to autos and light vehicles earlier this year. But some citizens groups and environmentalists in both France and Italy said the ban should remain on big trucks. They argue the heavy trucks pollute the Alpine valley and are dangerous.
Heavy trucks were allowed to legally use the tunnel beginning at midnight. As of midday Tuesday, only a few had passed from Italy to France. And after French protesters blocked a Belgium truck from passing, no large trucks crossed the tunnel's entrance in France.
Truckers argue that tunnels like Mont Blanc are vital for hauling large amounts of merchandise between European countries. And French and Italian officials say the newly reopened Mont Blanc, along with tougher tunnel rules, mean chances are very unlikely for a repeat of the 1999 tunnel accident.
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The Spectre organisation first featured in which James Bond film? | SPECTRE | James Bond Wiki | Fandom powered by Wikia
is a dedicated fraternity whose strength lies in the absolute integrity of its members."
― Ernst Stavro Blofeld. [src]
SPECTRE
(an acronym of Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion), stylised simply as Spectre in its 2015 film reboot, is a fictional global criminal and terrorist organisation featured in the James Bond novels by Ian Fleming and their official and unofficial film adaptations. Led by 007's nemesis Ernst Stavro Blofeld , the organisation first formally appeared in the novel Thunderball (1961) and subsequently in the movie Dr. No (1962). After a four-decade absence from the Eon film series the organization was officially reintroduced in the twenty-fourth Bond film, Spectre (2015).
When introduced in 1961, the organization effectively replaced
as Bond's primary antagonist.
SPECTRE
is not aligned to any nation or political ideology, enabling the later Bond books and Bond films to be regarded as apolitical. Originally concieved of as a small group of professional criminals in the novels,
SPECTRE
became a vast international organisation with its own elaborate facilities in the film series.
Contents
Ideology
Comparison of Fiona Volpe's octopus insignia ring from Thunderball (1965), with Marco Sciarra's one from Spectre (2015).
In Ian Fleming's novels,
SPECTRE
was primarily a commercial enterprise led by Ernst Stavro Blofeld . Their top-level members were 21 individuals, 18 of whom handled day-to-day affairs and were drawn in groups of three from six of the world's greatest criminal organisations—the Gestapo,
SMERSH
, Marshal Josip Broz Tito's secret police, the Mafia, the Unione Corse , and a massive heroin-smuggling operation based in Turkey. [1] Their debut was in Thunderball . At the time of writing the novel (c.1959) Fleming believed that the Cold War might end during the two years it would take to produce a film adaptation, which would leave it looking dated; he therefore thought it better to create a politically neutral enemy for Bond. [2]
In the classic James Bond films produced by EON Productions , the organisation had a more active role, often as a third party in the ongoing Cold War. The goal of world domination was only ever stated in You Only Live Twice , and
SPECTRE
was working not for itself but for an unnamed Asian government whose two representatives Blofeld speaks to during the movie; perhaps Red China, who earlier backed Goldfinger .
SPECTRE
's goals in the other films it has appeared in have always been less lofty. Its long-term strategy, however, is illustrated by the analogy of the three Siamese fighting fish Blofeld keeps in an aquarium in the film version of From Russia with Love . Blofeld notes that one fish is refraining from fighting two others until their fight is concluded. Then, that cunning fish attacks the weakened victor and kills it easily. Similarly,
SPECTRE
's main strategy was to instigate conflict between two powerful enemies, namely the superpowers, hoping that they would exhaust themselves and be vulnerable when it seizes power.
SPECTRE
thus worked with both sides of the Cold War.
In all novel and film depitctions, organizational discipline within
SPECTRE
was notoriously draconian with the penalty for disobedience or failure being death. With the cinematic Blofeld stating on several occasions: "This organisation does not tolerate failure". Furthermore, to heighten the impact of the executions, Blofeld often chose to focus attention on an innocent member, making it appear his death is imminent, only to suddenly strike down the actual target when that person is off guard. Fleming's
SPECTRE
had elements inspired by mafia syndicates and organised crime rings that were actively hunted by law enforcement in the 1950s. The strict codes of loyalty and silence, and the hard retributions that followed violations, were hallmarks of U.S. gangster rings, Mafia, the Unione Corse, the Chinese Tongs/Triads and the Japanese Yakuza/Black Dragon Society.
Headquarters
02:52
SPECTRE meeting in Thunderball
In both the novel and official film adaptation of Thunderball , the physical headquarters of the organisation were located in Paris , France , operating behind a front organisation aiding refugees ("Firco" in the novels; "International Brotherhood for the Assistance of Stateless Persons" in the films). Similarly, in the unofficial 1983 film Never Say Never Again,
SPECTRE
meets in a secret underground meeting room beneath an unidentified French bank. With ther official reintroduction and reimagining in the 2015 film Spectre, the organisation's base of operations were primarily centred around a data-gathering centre in the Saharan desert, with a separate meeting location (presumably intended to be temporary) in Rome , Italy.
Leadership & Hierarchy
Main article: List of SPECTRE members In most of its iterations,
SPECTRE
was founded and headed by the supervillain Ernst Stavro Blofeld (who usually appeared accompanied by a white Persian cat in the movies, but not in the books). In both the films and the novels, Emilio Largo was the second in command. It is stated in the novel that if something were to happen to Blofeld, Largo would assume command. [3]
The members of the head board of
SPECTRE
went by numbers (e.g.: Number 1) as codenames. In the novels, the numbers of members were initially assigned at random and then rotated by two digits every month to prevent detection. For example, if one was Number 1 this month, he would be Number 3 next month. In the novel Thunderball Blofeld has been assigned "Number 2", while Emilio Largo is assigned "Number 1". This particular example of numbering was perhaps deliberately borrowed from revolutionary organisations, wherein members exist in cells, and are numerically defined to prevent identification and cross-betrayal of aims. By deliberately drawing attention away from the true leader of the organisation, he was protected by masquerading as a target of lower importance, and the structure of the organisation was also obscured from intelligence services. Conversely, in the classic film series the individual's number indicates rank: Blofeld is always referred to as "Number 1" and Emilio Largo, in the film Thunderball, is "Number 2".
Appearances
In the original Bond novel series,
SPECTRE
's first and last appearance as a worldwide power is in the novel Thunderball , published in 1961. In the novel,
SPECTRE
, headed by Blofeld, attempts to conduct nuclear blackmail against NATO. Temporarily weakened in the story's aftermath,
SPECTRE
is said to be active again in the next book, The Spy Who Loved Me , where Bond describes investigating their activities in Toronto before the story begins. In On Her Majesty's Secret Service , the second chapter of what is known as the "Blofeld Trilogy", Blofeld is hired by an unnamed country or party (though the Soviet Union is implied) to ruin British agriculture. Blofeld's final appearance, sans
SPECTRE
Later, the John Gardner Bond novel, For Special Services introduces a revived
SPECTRE
led by Blofeld's daughter, Nena Bismaquer. Although Bond ultimately prevents
SPECTRE
from reforming, it continued, under the leadership of Tamil Rahani, to play a part in Role of Honour and Nobody Lives For Ever . The next Bond novelist, Raymond Benson , reintroduces Irma Bunt , Blofeld's assistant, in his short story "Blast From the Past", which is a sequel to You Only Live Twice.
Classic film continuity
Thunderball (1965) - Open-ended Trailer for this James Bond film
In the EON Productions James Bond series, which began in 1962 with Dr. No ,
SPECTRE
plays a more prominent role. The organisation is first mentioned in Dr. No as the organisation for which Dr. Julius No works. This was changed from Fleming's novels, which had Dr. No working for the USSR. In the films,
SPECTRE
as the main villains, although there is a brief reference to
SMERSH
in the second EON Bond film, From Russia with Love . The film adaptation of From Russia with Love also features the first on-screen appearance of Blofeld, although he is only identified by name in the closing credits of the film. After being absent from Goldfinger ,
SPECTRE
returns in Thunderball and subsequently is featured in the following films You Only Live Twice , On Her Majesty's Secret Service and Diamonds Are Forever .
Following Diamonds Are Forever,
SPECTRE
and Blofeld were retired from the EON film series due to a long-standing litigation case starting in 1961 between producer/writer Kevin McClory and Ian Fleming over the film rights to Thunderball and its contents. In 1963 Ian Fleming settled out of court with McClory, which awarded McClory with the film rights to Thunderball, although the literary rights would stay with Fleming and thus allow continuation author John Gardner to use
SPECTRE
in a number of his novels. Although
SPECTRE
and Blofeld are used in a number of films before and after Thunderball, the issue over the copyright of Thunderball, did prevent
SPECTRE
and Blofeld from becoming the main villains in 1977's The Spy Who Loved Me . Consequently, the producers chose to dispose of Blofeld (not identified by name, but bald and accompanied by the character's trademark cat), writing him out of the series during the opening sequence of For Your Eyes Only .
Unofficial film
In 1963 the producers of EON Productions , Albert R. Broccoli and Harry Saltzman had made an agreement with McClory to adapt the novel into the fourth official James Bond film. The agreement also stipulated that McClory would not be allowed to make further adaptations of Thunderball for at least ten years after its release. In autumn 1983, after almost a decade of development and complications, Warner Bros. finally released Kevin McClory 's unofficial James Bond film Never Say Never Again . Not considered part of the official Bond series, the film retells the story of Thunderball and reintroduces both
SPECTRE
Modern film continuity
A Quantum "Q-insignia" lapel pin from Quantum of Solace (2008).
Due to the embargo placed on the series as a result of the copyright dispute, the rebooted 2006 series introduced a new terrorist cell known as Quantum , which is later revealed to be a subsidiary of Spectre. Starting with Casino Royale , it is revealed Le Chiffre and a reluctant Vesper Lynd are part of the group, serving under the mysterious Mr. White . Quantum of Solace elaborates the eponymous group, presenting Quantum as an amalgam of powerful business people and government operatives. It is worth noting that in the Bulgarian subtitles of Quantum of Solace, the name Quantum was translated as Spectre, with the title changed to "Spectre of Solace" ("Спектър на утехата").
On November 15, 2013, MGM and Danjaq, LLC announced they had acquired all rights and interests of the estate of the late Kevin McClory, who had died in 2006. MGM, Danjaq, and the McClory estate issued a statement saying that they have brought to an "amicable conclusion the legal and business disputes that have arisen periodically for over 50 years." [4] With the rights to Blofeld and
SPECTRE
in their posession, EON Productions officially reintroduced the organization into its rebooted film series with the release of Spectre in 2015. Retconning the poorly recieved Quantum of Solace, the film placed Quantum as a subsection of the wider organization with Blofeld ( Christoph Waltz ) the mastermind behind previous films—including Raoul Silva 's vengeful rampage in Skyfall —taunting Bond with his previous failures and setting up a more traditional rendition of the Bond mythos for future instalments. Spectre presents the organisation as a conspiracy of legitimate businesses and organised crime, moving to become a private intelligence agency.
Video games
01:00
Goldeneye Rogue Agent (VG) (2004) - Video Game
As with EON's official film series, the 007 video game series was also affected adversely by ongoing litigation prior to 2013. To avoid possible legal action, several video games hinted at
SPECTRE
without explicitly referencing them or their leader. They are first referenced in GoldenEye: Rogue Agent (2004), where it is implied to be the "powerful criminal organisation" behind many of the game's events. It is depicted as being much more powerful than any preceding iteration, possessing a massive undersea black market known as "The Octopus" (resembling Karl Stromberg 's lair from The Spy Who Loved Me), a main base of operations built into an extinct volcano, and also the personal structures of its members Auric Goldfinger and Dr. Julius No .
In 2005, following actor Pierce Brosnan 's departure from the role of 007, Electronic Arts released a video-game adaptation of a previous Bond adventure titled From Russia with Love . Given
SPECTRE
's prominence in the eponymous 1962 film, and the continuing dispute between United Artists/MGM and the now-deceased McClory, the organisation was renamed " Octopus " for the video game and appeared to lack a central leader in the same vein as Blofeld. The game features a recurring symbol which bears a close resemblance to
SPECTRE
's classic film insignia: a simple octopus outline with semicircular eyes and blade-like tentacles.
With EON's acquisition of the rights to Blofeld and
SPECTRE
in 2013, a mobile video game titled James Bond: World of Espionage was released to tie in with the 2015 James Bond film Spectre. The game was the first to explicitly refer to the organisation
SPECTRE
SPECTRE
equipment
Cyanide cigarettes ( Dr. No ) - Cigarettes containing cyanide. Used by Jones , an operative of Dr. Julius No. In a bid to escape interrogation by Bond, he bites down on a cigarette and dies seconds later. Although it doesn't appear in the novel, Bond is sent a cyanide-laced basket of fruit by Dr. No.
Garotte watch ( From Russia with Love ) - A wristwatch from which a wire garrote can be drawn. It is used by Red Grant to strangle a fake Bond as part of a training exercise in the opening scene. He later attempts to strangle the real 007 in the film's climax, only to have it turned against him. Later seen in On Her Majesty's Secret Service when Bond cleans out his office.
Dagger shoes ( From Russia with Love ) - A shoe with a retractable, poison-tipped blade concealed in the toe-cap. In the film the poison caused death within seven seconds. Dr. No, the novel's sequel, notes that the shoe spike was coated with the poison tetrodotoxin. In the film they were worn by
SPECTRE
operatives Rosa Klebb and Morzeny, whereas in the novel they were worn only by Klebb. Seen again in Die Another Day .
Largo's remote control ( Thunderball ) - A remote control device disguised as a cigarette case. The device allows access to
SPECTRE
's Paris conference room, concealed in the 'Centre international d'assistance aux personnes déplacées' ('The International Brotherhood for the Assistance of Stateless Persons').
Electric chair ( Thunderball ) - With the flick of a switch on Blofeld's control console, any seat can become electrified, killing its occupant. The seat then drops down into the floor, disposing of the dead body. Blofeld uses this equipment to execute No. 9, who he believes is guilty of embezzlement.
Lipstick gas grenade ( You Only Live Twice ) - A gas grenade disguised as a makeup applicator. While flying Bond in a light aircraft Helga Brandt catches the spy off guard by dropping the device, locking him in his seat and parachuting to safety. Within seconds the cabin is filled with a disorienting gas, leaving 007 fighting for his life in a pilot-less plane.
Piranha pool ( You Only Live Twice ) - Blofeld's trap door that he uses to dispose of failures to his organization and unwelcome guests. Operated by a foot pedal concealed behind Blofeld's desk, part of the foot-bridge over the piranha-infested pool collapses, sending the unsuspecting victim to his or her death.
Bo with retractable spear ( You Only Live Twice ) - Used by a
SPECTRE
assassin who infiltrated Tanaka's Samurai training school in an attempt to assassinate Bond.
Blofeld's gifts ( On Her Majesty's Secret Service ) - Blofeld's gifts to the Piz Gloria girls; in reality they are transmitting devices which would enable the spread of his biological weapon.
Voice algorithm recorder ( Diamonds Are Forever ) - Used primarily by Blofeld to disguise his voice as that of Willard Whyte. Bond later uses a similar device (Courtesy of Q) to fool Blofeld into divulging Willard Whyte's loaction.
Trivia
| Dr. No |
What is the name of the fictional vicar played by Dawn French in the UK television series ‘The Vicar of Dibley’? | The New 'SPECTRE' Trailer Is Here, and it's Explosive [Video]
The New 'SPECTRE' Trailer Is Here, and it's Explosive
Yahoo Movies•
July 22, 2015
Sony and MGM have released the first full-length trailer for Spectre , the new James Bond film directed by Sam Mendes.
Starring Daniel Craig as 007, Spectre was shot this past year in London, Austria, Italy, Mexico and Morocco.
It opens in U.S. theaters on Nov. 6.
The 24th film in the Bond franchise, Spectre co-stars Christoph Waltz as the villainous Franz Oberhauser, Ralph Fiennes as M, Naomie Harris as Eve Moneypenny and Ben Whishaw as Q. New cast members include Monica Bellucci and Lea Seydoux.
The previous Bond pic, Skyfall, delivered the best performance in the series with grosses topping $1.1 billion worldwide.
The name SPECTRE was featured in Ian Fleming’s Bond novels and stands for Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion. It’s a fictional global criminal syndicate and terrorist organization, led by supervillain Ernst Stavro Blofeld, and first appeared in the novel Thunderball and in the film “Dr. No” in 1962.
Michael G. Wilson and Barbara Broccoli produced the film based on a script by John Logan, Neal Purvis and Robert Wade.
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Who won the Golden Ball Award for best player at the 2006 FIFA World Cup? | BBC SPORT | Football | World Cup 2006 | Sent-off Zidane named best player
Sent-off Zidane named best player
Zidane's final match in professional football was the World Cup final
Zinedine Zidane won the Golden Ball award for the World Cup's best player, despite being dismissed for headbutting Marco Materazzi in the final.
France captain Zidane polled 2,012 points in the vote by journalists mostly carried out at half-time.
The midfielder, 34, beat Italians Fabio Cannavaro (1,977 points) and Andrea Pirlo (715 points) in the ballot.
He scored a penalty early on in the final but was sent off in extra time as France went on to lose on penalties.
Report: Zidane welcomed home
The former international player of the year and 1998 World Cup winner announced last month that he was retiring from football after the tournament.
The vast majority of those votes were cast by journalists before the final was over and that I'm sure is why Zidane has come out top
BBC sports news correspondent Gordon Farquhar
On Sunday, he put France ahead from the spot in the opening minutes but was sent off after slamming his head into Materazzi's chest during the tense second period of extra time, which ended 1-1.
It was to be his last act as a professional player and, with the French missing his prowess in the ensuing penalty shootout, Italy went on to claim the World Cup title.
BBC sports news correspondent Gordon Farquhar was in Berlin to see the game and the vote.
"The vast majority of those votes were cast by journalists before the final was over and that I'm sure is why Zidane has come out top," Farquhar told BBC Radio Five Live.
WORLD CUP BLOG
More on our World Cup blog
"But it's going to be a bit embarrassing for Fifa - the man who got sent off in the final for a completely unacceptable foul against another player is the guy who's been chosen by journalists as the man of the tournament.
"The reason the journalists voted for Zidane was this great emotional thing - everybody knew it was his last tournament and the final was his last game of football ever - but most people were dumbfounded to see what he did on Sunday.
"If you'd asked the 2,012 journalists - who voted for him - after the game whether they wanted to change their vote, they probably would have."
Other players on the Golden Ball shortlist included Maniche (Portugal), Michael Ballack (Germany), Gianluca Zambrotta (Italy), Thierry Henry (France), Gianluigi Buffon (Italy), Patrick Vieira (France) and Miroslav Klose (Germany).
606 VIEW
| Zinedine Zidane |
Who wrote and recorded the 1966 song ‘Mellow Yellow’? | BBC SPORT | Football | World Cup 2006 | Sent-off Zidane named best player
Sent-off Zidane named best player
Zidane's final match in professional football was the World Cup final
Zinedine Zidane won the Golden Ball award for the World Cup's best player, despite being dismissed for headbutting Marco Materazzi in the final.
France captain Zidane polled 2,012 points in the vote by journalists mostly carried out at half-time.
The midfielder, 34, beat Italians Fabio Cannavaro (1,977 points) and Andrea Pirlo (715 points) in the ballot.
He scored a penalty early on in the final but was sent off in extra time as France went on to lose on penalties.
Report: Zidane welcomed home
The former international player of the year and 1998 World Cup winner announced last month that he was retiring from football after the tournament.
The vast majority of those votes were cast by journalists before the final was over and that I'm sure is why Zidane has come out top
BBC sports news correspondent Gordon Farquhar
On Sunday, he put France ahead from the spot in the opening minutes but was sent off after slamming his head into Materazzi's chest during the tense second period of extra time, which ended 1-1.
It was to be his last act as a professional player and, with the French missing his prowess in the ensuing penalty shootout, Italy went on to claim the World Cup title.
BBC sports news correspondent Gordon Farquhar was in Berlin to see the game and the vote.
"The vast majority of those votes were cast by journalists before the final was over and that I'm sure is why Zidane has come out top," Farquhar told BBC Radio Five Live.
WORLD CUP BLOG
More on our World Cup blog
"But it's going to be a bit embarrassing for Fifa - the man who got sent off in the final for a completely unacceptable foul against another player is the guy who's been chosen by journalists as the man of the tournament.
"The reason the journalists voted for Zidane was this great emotional thing - everybody knew it was his last tournament and the final was his last game of football ever - but most people were dumbfounded to see what he did on Sunday.
"If you'd asked the 2,012 journalists - who voted for him - after the game whether they wanted to change their vote, they probably would have."
Other players on the Golden Ball shortlist included Maniche (Portugal), Michael Ballack (Germany), Gianluca Zambrotta (Italy), Thierry Henry (France), Gianluigi Buffon (Italy), Patrick Vieira (France) and Miroslav Klose (Germany).
606 VIEW
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Which English football club play their home games at White Hart Lane? | Tottenham Hotspur to leave White Hart Lane for 2017-18 season due to a High Court challenge - Telegraph
Tottenham Hotspur
Tottenham Hotspur to leave White Hart Lane for 2017-18 season due to a High Court challenge
Spurs have announced it is 'highly unlikely' they will be able to move into their new stadium for the start of the 2017-2018 season
On the move: An artist's rendering of the Tottenham's new White Hart Lane stadium
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Tottenham have confirmed that they will play their home matches away from White Hart Lane for one season while they build a new ground, with Stadium:mk in Milton Keynes one of the more radical options alongside Wembley, the Olympic Stadium and Twickenham.
A statement on Wednesday said that the club were in the process of “undertaking due diligence on alternative stadium options” and, while suggestions of playing further afield in Ipswich or Brighton are highly unlikely, most other possibilities remain on the table. These include sharing with another London club or playing some matches at Wembley and some at Stadium:mk.
Tentative talks are believed to have already been held with Wembley, although Brent Council will not currently allow more than 37 major events per year to be held at the national stadium. In this past year, 33 events have been held, including England matches, various club competitions and concerts, as well as rugby union and an annual NFL fixture.
That would seem to make it impossible for Tottenham to play an entire season at Wembley but it could be used for higher profile games alongside a second smaller venue.
The closest Premier League club to Tottenham is Arsenal but, even aside from the intense local rivalry, a ground-share is not deemed feasible because of fixture scheduling.
Related Articles
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03 Sep 2014
The idea of using Upton Park after it is vacated by West Ham and before it is redeveloped is also understood to have been explored. Spurs stressed on Wednesday that there would be no perfect solution but made particular mention of how the impact on both fans and the players would be of critical importance.
“Consideration needs to be given to several factors, including planning and policing and, importantly, our fans and the impact it may have on the team itself,” the statement said. “Clearly all possible options have pros and cons and we are aware that we shall not be able to find one which will please all parties. We shall however seek to find the optimum solution for the club and our supporters and we shall be sharing our deliberations with our supporters at an appropriate time.”
The timescale is also currently uncertain. Tottenham took a major step forward in their planning for a new 56,250-capacity stadium in July when a Compulsory Purchase Order was approved but that decision is now being challenged in the High Court.
Spurs say that they have already successfully and amicably relocated more than 70 businesses in the area but that they have been unable to reach agreement with one landowner. “We remain committed to finding the earliest possible resolution and shall continue to engage with Archway,” the statement said.
The delay means that Tottenham now regard themselves as “highly unlikely” to move into their new stadium as scheduled for 2017-18. They will need to find an alternative home for one season while the construction work is carried out.
“The club has revised its construction programme in order to take the shortest possible time to construct,” the Spurs statement said. “This now therefore involves the club moving away from the Lane during construction for a period of one season, to start at the beginning of a season in order to comply with Premier League rules.”
The new stadium would be built as part of a development that would also include the land of their current White Hart Lane home. Tottenham were among the bidders for the Olympic Stadium but, with West Ham due to be the anchor tenant from the 2016‑17 season, there may also be scheduling issues with any possible ground share.
Their proposal must gain the approval of the Premier League board, meaning Spurs would have to ensure their temporary home met a series of standards and guidelines. For example, every ground must have the capacity to meet certain broadcast requirements and a range of minimum standards for fans. The location and transport links would also be analysed.
The Premier League guidelines would seriously restrict the possibility of Spurs launching a tour of stadiums in and around London, with the needs of supporters regarded as paramount.
| Tottenham Hotspur F.C. |
Who was the mother of British monarch King George V? | Tottenham sign deal with NFL to stage American Football matches at new 61,000-seater stadium - Telegraph
Tottenham Hotspur
Tottenham sign deal with NFL to stage American Football matches at new 61,000-seater stadium
Spurs will fully accommodate provision in plans to make new stadium genuinely multi-sport arena that could also be ideally suited to NFL
Photo: TOTTENHAM HOTSPUR
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Tottenham Hotspur have reached a ground-breaking agreement with the NFL to stage at least 20 American football matches at their new 61,000-capacity stadium. Wembley already hold three NFL games a year but, as revealed on Wednesday morning by Telegraph Sport, there has also been rapid progress in talks between Tottenham and the NFL.
Spurs will now become the first Premier League club to accommodate NFL fixtures, hosting a minimum of two games a year during a 10-year partnership.
Tottenham, who have confirmed the £11.5 million signing of Toby Alderweireld , have also released more detailed plans for their new £400 million stadium project, including confirmation of an enhanced 61,000 capacity that would be second only in size to Old Trafford among English football clubs.
NFL games have wreaked havoc on the Wembley pitch
Their preference would be to play home games at Wembley rather than Milton Keynes during the one-year construction phase away from White Hart Lane. Chelsea are also interested in using Wembley if they receive planning permission to rebuild Stamford Bridge and, although they could potentially offer more money, they are still only at the stage of consulting with residents on their plans.
Tottenham chairman Daniel Levy is confident that Chelsea’s situation will not threaten his chances of securing Wembley. “I think the FA will do the right thing and I’m sure they will be able to accommodate both clubs,” said Levy.
Spurs are further advanced in their planning and hoping to begin the 2018-19 Premier League season at their new home. Significantly – and unlike other new London venues such as Wembley and the Olympic Stadium – Tottenham have planned to make their new stadium a genuinely multi-sport arena that would be ideally suited to the NFL.
Tottenham will soon vacate White Hart Lane
Although the current focus is staging individual NFL games in a similar way to Wembley, there is also the longer-term potential of the new stadium being used as the permanent home for an NFL franchise.
Designs produced by stadium architects Populous already show a changing room in the East Stand that would be larger than those in the West Stand. This is significant because the NFL requires locker rooms areas to accommodate more than 50 players and around 20 coaches, as well as additional equipment and medical space.
Wembley began hosting NFL games in 2007 but there are other limitations in the design that the new Spurs stadium should improveupon. Spurs will introduce a retractable grass pitch for football, with an artificial surface underneath, in order to provide optimum conditions for both sports. At Wembley, the NFL also have to leave the lowest 5,000 seats empty, so that the view of spectators is not restricted.
Increased capacity – up from 56,250 to 61,000 with the largest single tier stand in the UK, increased to 17,000. pic.twitter.com/3FDBsuNIFh
— Tottenham Hotspur (@SpursOfficial) July 8, 2015
The design of the proposed new stadium is optimised to meet the latest requirements & improvements in stadia design. pic.twitter.com/LJ9me4K4ir
— Tottenham Hotspur (@SpursOfficial) July 8, 2015
Spurs are currently seeking funding for their Northumberland Development Project that, as well as the stadium, includes a hotel, 579 new homes and significant modernisation of the surrounding area. They have no public funding commitments but, in consultation with advisors Rothschild, have been making positive progress. Various banks and investment funds are looking at the possibility of becoming involved and there have even been rumours, both in the city and the United States, that Mark Zuckerberg, the chairman and chief executive of Facebook, could be involved with a group of Californian investors.
Spurs have stressed that they are not in takeover talks with anyone. Facebook said that they “did not have any information to share” on the subject. NFL games will not be exclusive to Tottenham and Wembley still want to continue staging fixtures.
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‘Half the World Away’ by Oasis is the theme tune to which UK television series? | Half the world away - YouTube
Half the world away
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Uploaded on Jan 2, 2009
A song from the Manchester Boys, Noel has written some great stuff, with the influence of the Liverpool boys clearly there to see.
Hope you like it
Wiki information
Half the World Away" is a song by British Rock band Oasis. It is well known as the theme tune to the popular BBC sitcom The Royle Family.
The song was written by Oasis' lead guitarist Noel Gallagher, who also provides lead vocals, taking over from Oasis' regular lead singer, Liam Gallagher. The song is a slow acoustic tune with plodding keyboards, and the lyric - much like "Rock 'n' Roll Star", one of Oasis' most famous songs - expresses a desire to leave a stagnant life in a boring city.
Recorded at The Congress House Studio, Austin, Texas in October 1994, "Half the World Away" was first released as a B-side to "Whatever" on 18 December 1994, reaching #3 in the UK charts.[1]
However, the song gained mass public exposure when it was selected by Caroline Aherne and Craig Cash to be the theme tune to their sitcom The Royle Family. The series revolved around the sitting room of a lazy working-class family and was set in Manchester, the hometown of Oasis. Although it had modest beginnings, the series soon became a cultural phenomenon in England and its theme became well known. The opening credits of the series edited together first stanza of the first verse and the second stanza of the first chorus. The end credits, which would cut in immediately after the final joke of the episode - so as to add weight to it - began with the second stanza of the final chorus and would see the song through to the coda. When Gallagher was originally approached about using an Oasis song for a series about a working class family in Manchester, he suggested "Married With Children" and was confused when "Half the World Away" was chosen. On tour in America when The Royle Family was first screened, he claims the penny did not drop until he returned to the United Kingdom to find the series a huge success and viewed it, feeling the song was perfect for the series. He now claims not to think of "Half the World Away" as an Oasis song, but rather as the theme tune to The Royle Family.[2]
In 1998 the song was included in The Masterplan; a collection of Oasis' best b-sides. The collection was a success, peaking at #2 in the UK charts. The track is also included on Oasis' compilation album Stop the Clocks, which also reached #2.
In interviews, Gallagher - who is famous for "borrowing" from other musicians - has admitted the tune to "Half the World Away" was adapted from "This Guy's In Love With You" by Burt Bacharach and Hal David. He commented "It sounds exactly the same. I'm surprised he hasn't sued me yet!"[
Category
| The Royle Family |
The Metro Shopping Centre is in which English town? | Gallagher Sings Royle Family Song For Aherne
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Gallagher Sings Royle Family Song For Aherne
The former Oasis frontman performs a moving version of Half The World Away just hours after hearing his friend has died.
09:58, UK, Monday 04 July 2016
A photo posted by Noel Gallagher (@themightyi) on
Jul 2, 2016 at 8:35am PDT
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Noel Gallagher has dedicated the song used as The Royle Family theme tune to his friend Caroline Aherne, who created and starred in the television show.
The former Oasis frontman only discovered the actress and comedian had died a few hours before he took to the stage in Nashville on Saturday where he sang a moving version of Half The World Away.
Image Caption: Gallagher is touring with his band
He told the crowd at the Ryman Auditorium: "I want to dedicate the next song to a friend of mine who died this afternoon.
"Her name was Caroline and she was a very, very, very funny woman.
"She used this next song on a very, very, very, very brilliant sitcom in England called The Royle Family."
He finished by adding, "So, wherever you are," and pointing heavenward, before launching into the song.
The 49-year-old, who is touring with his band Noel Gallagher's High Flying Birds, had promised the tribute earlier on his Instagram account.
He shared a picture of Aherne with the caption, "RIP Kaz ... I shall sing for you tonight. (My god you made us laugh!)"
Aherne starred as Denise Best in The Royle Family, a sitcom that centred around a working class family sitting in their living room and which was toast of the 1999 British Comedy Awards, scooping four trophies including best actress for Aherne.
It also went on to take home the best sitcom BAFTA in 2000 and 2007.
Her co-star Ralf Little, who played brother Anthony in the BBC sitcom, shared a story about Gallagher's gesture on Twitter, writing: "Noel G on tour playing Half the World Away for Caroline. The Chief never lets you down."
Aherne died on Saturday at her home in Timperley, Greater Manchester, at the age of 52 after a battle with lung cancer.
She was also known for her chat show The Mrs Merton Show, which won a string of awards, and more recently she narrated Channel 4 show Gogglebox.
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Composers Beethoven and Schubert both died after completing which number symphony? | BEETHOVEN AND SCHUBERT
BEETHOVEN AND SCHUBERT
October 4, 2013 | Filed under: Essay and tagged with: Reid , Schubert
by Paul Reid
Paul Reid is the author of The Beethoven Song Companion (2007), and former Chairman of the Schubert Institute (UK) . He also contributed his realisation of Beethoven’s Der Gute Fürst to this website.
BEETHOVEN AND SCHUBERT ©2013, Paul Reid
Two of the world’s greatest composers lived in the same small city for thirty-one years, the entire life of the younger man. We are bound to ask whether they met – and equally frustrated at the lack of evidence that renders all our answers ultimately conjectural. When asking how the work of the older composer influenced that of the younger, we have plentiful evidence at our disposal. If we seek to estimate the influence exerted on Schubert by the personality of Beethoven, our imagination in the interpretation of facts and events is again exercised. A final, intriguing question concerns the possible influence of Schubert on Beethoven. Could the Titan, rendered yet more remote by his deafness, have given heed to compositions by the retiring Schubert, twenty-seven years his junior? There can be no definitive answers to these questions, but we can at least offer a commonsense survey and a commentary on the facts and issues relevant to their investigation.
Throughout his life Schubert admired Beethoven as an artist and a composer, but he did not set out slavishly to emulate the composer or to model his music directly on Beethoven’s. Indeed, despite occasional influences which can be traced in Schubert’s early compositions (where, like most young artists, he was studying a number of recognised sources as part of his apprenticeship), we find Schubert in 1816 blaming Beethoven for the trend towards ‘Bizarrerie’ in music. This ‘Bizarrerie’, which Schubert roundly condemns, is characterised by what Schubert considers an almost sacrilegious tendency to mix tragic and comic elements, to combine ‘the holiest with the Harlequin’, and arouse wild passions instead of leading listeners towards love and God. Schubert is clearly parroting the views of his musically conservative teacher Antonio Salieri to a large extent 1 , but he consistently disapproved of music as a tool to arouse cheap emotions and could never bring himself to debase music by making it a butt of humour in itself 2 . In his later music, Schubert occasionally echoes motives from Beethoven works, including deliberate quotations as homage, but rarely seeks to imitate Beethoven’s style as such. By then Beethoven is important more as a personal model of the independent professional composer, and his example confirms Schubert in his determination to compose what inner necessity dictates, even if this is out of step with fashion and may not be fully appreciated by his contemporaries.
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Known links between the two great contemporaries
The excellent student orchestra at the Konvikt, the Viennese boarding school which Schubert attended from 1808 until 1813, played the earlier (and easier) symphonies of Beethoven. The performances were enjoyed in the summer months by an appreciative crowd of locals, who gathered beneath the open windows of the school. Josef von Spaun 3 mentions the second symphony in D major (published in 1804) as a favourite which made the ‘deepest impression’ on Schubert, then only just 12 and playing in the violin section. Another fellow-student, Anton Holzapfel, 4 mentions the first and second symphonies, plus the overtures Coriolan (published 1808) and Leonore (probably No. 3, published 1807) – both then hot off the press. This was new and exciting music and showed Schubert just what could be achieved in the realm of orchestral music.
Yet the effect of this encounter with Beethoven’s orchestral music was intimidating as well as inspiring. Spaun reports that Schubert developed serious ambitions as a composer, nourished and encouraged in part by Beethoven’s music, but felt that he would never be able to compete on equal terms with the great man: ‘Er sagte dann ganz kleinlaut: Heimlich im stillen hoffe ich wohl selbst noch etwas aus mir machen zu können, aber wer vermag nach Beethoven noch etwas zu machen?’ (Then he added in an undertone: Secretly I still really hope to be able to make something of myself , but who can do anything now after Beethoven?). 5 Any composer in Vienna in the first quarter of the nineteenth century was, of course, working more or less in the shadow of Beethoven, who gradually acquired the status of a living legend, but the young Schubert, who was already able to appreciate the nature and scope of Beethoven’s genius while yet lacking the technical skill to emulate the older man, would have felt his inadequacy particularly keenly.
Moritz von Schwind, reported that the 17-year-old Schubert sold his books in order to buy a ticket for the first performance of the revised version of Beethoven’s opera Fidelio on 23rd May 1814. 6 Even if this anecdote is apocryphal, as seems probable, as Schwind was only ten years old at the time and was not to meet Schubert until 1821, it is cleverly chosen, as it fits well with what we know of Schubert’s enthusiasm for Beethoven – an enthusiasm he shared with a majority of the Viennese musical public.
Josef Kenner, Schubert’s contemporary at the Konvikt, reports more reliably that Schubert went through songs by both Beethoven and Zumsteeg with his fellow students Albert Stadler and Anton Holzapfel during his time at the school. 7 In fact, Schubert deliberately modelled songs on exisiting setting by both composers. 8
Schubert’s diary entry for 13th June 1816 states that he performed variations by Beethoven at a musical soirée, before singing two of his own songs. 9 It is impossible to know which set of variations Schubert performed, as nineteen sets of variations for piano had been published by this time (all except the Diabelli Variations, op. 120), and twelve of these were first published in Vienna. This performance took place just three days before Schubert was to criticise Beethoven’s ‘Bizarrerie’ in his diary (see above), although an early set of variations would have been a less ‘bizarre’ choice than some of Beethoven’s more recent works.
When Schubert published his first substantial instrumental composition, the Variations on a French Theme for Piano Duet, op.10 (D 624) in 1822, it was dedicated to Beethoven from his ‘worshipper and admirer Franz Schubert’. This is strong phraseology even for a dedication. Beethoven is said to have played Schubert’s Variations with his nephew Karl and to have enjoyed them. 10 Presumably Schubert, either directly or through his publishers Cappi and Diabelli, had obtained Beethoven’s permission to dedicate the work to him. In making this dedication, Schubert was also passing up the chance to receive the gratuity he would have expected from a noble dedicatee. The act of homage to the older composer was clearly more important to him than financial considerations.
Schubert almost certainly attended Beethoven’s grand concert or ‘Akademie’ in Vienna on 7 May 1824, when the ‘Choral’ Symphony was first performed, along with three movements from the Missa Solemnis . 11 This may have influenced his own Ninth Symphony (the ‘Great’) , begun the following year, and one wonders whether the choral version of Die Allmacht (D 875A) may have been the first draft for a choral Finale to Schubert’s new symphony. Beethoven’s ‘Akademie’ certainly inspired Schubert with the idea of organizing a benefit concert of his own.
The said benefit concert took place on 26th March 1828, a year to the day after Beethoven’s death. In addition to the significance of the date, there was more than an element of a tribute to Beethoven about the music performed. The song Auf dem Strom with horn obbligato (D943) clearly quotes the funeral march from the ‘Eroica’ Symphony, and Christopher Gibbs detects further, although well concealed reminiscences of the ‘Eroica’ in the E flat Piano Trio, which was the centrepiece of the concert. 12 The poem to Auf dem Strom by Ludwig Rellstab may well have been among a sheaf of poems which the poet had given to Beethoven and which Anton Schindler recalls passing on to Schubert after Beethoven’s death. Seven more of these Rellstab poems were set by Schubert and incorporated into the Schwanengesang collection after Schubert’s own death.
Schubert knew his own worth and saw himself as the true successor to Beethoven. This belief was encouraged by Schindler’s handover of the sheaf of poems, and also on Easter Monday 1827, when the celebrated violinist Ignaz Schuppanzigh gave his final subscription concert as an early memorial to Beethoven. The concert opened with the first public performance of Schubert’s Octet (D803) , followed by Beethoven’s An die ferne Geliebte and an arrangement of the ‘Emperor’ concerto . 13 In offering this juxtaposition, Schuppanzigh, who knew both Schubert and Beethoven and their instrumental works well, was providing an early answer to the challenging question posed by Franz Grillparzer in the fulsome eulogy he composed for Beethoven’s funeral: ‘Who shall stand beside him?’ 14
Schubert had been one of several torchbearers at Beethoven’s funeral, although this says more about Schubert’s established position in Viennese cultural life than about his specific relationship with Beethoven.
On his deathbed Schubert is said to have requested a command performance of Beethoven’s C sharp minor String Quartet, op.131 , which was duly given by Karl Holz and others (the violinist Holz was a mutual friend of the two composers), 15 and in his dying delirium Schubert was thought to be asking obliquely to be buried beside Beethoven at the cemetery in Währing. His father took pains to ensure that this wish was granted. 16
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For his part, Beethoven cannot have been unaware of Schubert’s rising fame. Reports of the publication and performance of Schubert’s works were appearing in newspapers and journals with increasing frequency and it is well known that Beethoven read newspapers and the specialist music journals assiduously. The ‘conversation books’ which survive from the period of his total deafness also show that a stream of fellow artists regaled him with news of the latest developments in music and literature. Contemporary reviews of Schubert’s music, as Christopher Gibbs has reminded us, 17 regularly compared Schubert’s works with similar works by Beethoven, and this assessment of Schubert by the absolute benchmark of Beethoven thus began in his lifetime, and encouraged Schubert to make similar comparisons himself. Later it was to become fashionable to compare and contrast the ‘masculine’ Beethoven with the more ‘feminine’ Schubert and look for traits in the music which might exemplify this neat theory. This trend was initiated by Robert Schumann in his capacity as critic, taken up by Sir George Grove, and has continued to the present day, given new impetus by the debate over Schubert’s sexuality. 18
Beethoven may not have praised Schubert publicly, but even positive comments made in private about the quality of Schubert’s Variations and his songs would constitute high praise from Beethoven, who rarely praised fellow composers openly. Beethoven’s deafness would not, of course, have been a barrier to his appreciating Schubert’s music, as he would hear a score in his head, but his appreciation could clearly be based only on published works or autographs. As a majority of Schubert’s published works before March 1827 were songs, Beethoven could be excused for judging him principally as a song composer. None of the symphonies, for example, were published in Schubert’s lifetime, the majority having to await the complete critical edition of 1884-5. We cannot criticise Beethoven – or other of Schubert’s contemporaries – for failing to have the rounded view of Schubert’s oeuvre which we can gain with comparatively little effort, and thereby underestimating his achievement in instrumental and orchestral music. 19
Schindler, Beethoven’s self-appointed secretary in his later years, reported that he took a portfolio of Schubert songs in handwritten copies to Beethoven a month before the composer died, and on leafing through them Beethoven is said to have exclaimed: ‘Truly, in this Schubert there dwells a divine spark!’. The story is lent credibility by the survival of a portfolio of songs from Schindler’s effects, now bound and in the Taussig Collection in Lund, Sweden, which is possibly the very one which Schindler assembled for Beethoven’s perusal. 20
In March 1827, the celebrated pianist and composer Johann Nepomuk Hummel hastened to Vienna to speak to Beethoven, having learned of his serious illness. Beethoven reported in a letter to Ignaz Moscheles, of 14 March 1827: ‘Hummel is here and has already visited me a few times’. 21 We know from Ferdinand Hiller , 22 who accompanied his master Hummel on this trip, that Hummel was extremely moved when Schubert and Vogl performed songs at the home of the retired singer Katharina Laszny during the same period, and Hummel even (according to Spaun 23 ) improvised on one of the songs, Der blinde Knabe. It seems likely, given this conjunction, that Hummel would have praised Schubert’s songs to the dying Beethoven – a belated recommendation that would, however, have carried some weight, given the celebrity of Hummel at that time.
Schubert and Beethoven inevitably had many other mutual acquaintances. These included publishers, such as Anton Diabelli, Tobias Haslinger , Domenico Artaria and Sigmund Anton Steiner; movers and shakers in musical life, such as the Sonnleithners , Count Ferdinand Troyer , Moritz von Dietrichstein and Moritz Fries ; writers and critics, such as Friedrich Rochlitz and Franz Grillparzer ; and of course, practising musicians, among them the violinists Ignaz Schuppanzigh and Karl Holz , the singers Johann Michael Vogl , Anna Milder and Karoline Unger, and the pianist and composer Josef Czerny.
Well, did they meet?
Schubert and Beethoven must, in the natural course of events, have met as fellow musicians living and working in a small city. It would indeed have entailed a huge effort to avoid an encounter, although Schubert’s modesty and shyness might explain why a formal introduction is not recorded. Reports on the matter are of little assistance. Schubert’s brother Ferdinand states: ‘He often met Beethoven, whom he revered and who spoke highly of Schubert’s songs in particular’, but the (lack of) evidence is against such a bold claim. 24 Two possible meetings are reported in 1822. One was the handover of Schubert’s Variations, op.10, dedicated to Beethoven: some report that Beethoven was not at home and Schubert left the Variations and went, while others say that Schubert presented the Variations personally, but panicked when Beethoven made a minor critical comment and ran out. The other occasion was a meeting at Baden in the Summer of 1822, reported by the critic Rochlitz, who reports that Schubert actually took him to an inn specifically to introduce him to Beethoven, but this really does not ring true. 25
Schubert visited Beethoven’s sickbed, but so did many others. Everyone wanted a piece of the famous man by that time – often literally, as after his death many visitors requested a few hairs from his head as a keepsake, in the manner of a religious relic, such was Beethoven’s revered status in Vienna by that time. In March 1827, about a week before Beethoven died, Schubert visited Beethoven’s room with his friends Josef Teltscher and the Hüttenbrenner brothers, Joseph and Anselm, but the two composers did not converse. 26
Anselm Hüttenbrenner reports that he and Schubert often saw Beethoven in Steiner’s music shop, where Beethoven would hold forth. His mention of Beethoven’s speaking sarcastically about the excesses of Italian opera gives his accounts the ring of truth, as Italian opera and notably a Rossini mania of epidemic proportions was ousting all else at that period, causing some resentment among the ‘German’ composers. 27
While it is as certain as it can be that the two men met, the evidence is frustratingly circumstantial and the reports contradictory. We must remember that Beethoven’s deafness made him increasingly less approachable to potential new acquaintances. As early as 1812, Goethe had commented with sadness on Beethoven’s increasing deafness, noting percipiently that it would be bound to affect his social interaction rather than his composing. It would have required a superhuman effort on Schubert’s part to enter Beethoven’s inner circle several years later, even had he wished to do so.
If by ‘meeting’ we mean shaking hands warmly and conversing, it seems probable that the two men did not meet. If we mean brief encounters, with a nodding acknowledgement of the other, then they did.
Musical indicators
While it can be fascinating, it is potentially facile to draw up a simple concordance of musical reminiscences, unless these have a semantic or biographical significance or give us an insight into compositional method or style.
The fact that Schubert, as previously mentioned, quotes the Funeral March from Beethoven’s ‘Eroica’ Symphony in his song ‘Auf dem Strom’ is of the greatest interest, as the song was first performed at Schubert’s concert a year to the day after Beethoven’s death. This encourages us – as it did the contemporary audience in March 1828 – to regard the whole event as a deliberate tribute to the dead Beethoven. Furthermore, although the actual words of the song are not relevant at this point (sadness at being carried away from home and love by the river), the fact that Schubert quotes a funeral march from Beethoven’s ‘heroic’ symphony certainly is:
Ex. 1a: Beethoven: ‘Eroica’, Marcia funebre
Ex. 1b: Schubert: Auf dem Strom
There are few more moving musical tributes from one composer to another, rendered all the more touching and intimate by the younger composer’s modesty in veiling, rather than proclaiming, the reminiscence – and that at a time when musical compositions, poems and concerts ostentatiously dedicated to Beethoven’s memory were the order of the day. 28 It is likely that many members of the audience will have spotted the musical reference at once, while others will have been unsettled by hearing a melody which they could not quite place, the removal from its grand symphonic context to the intimate sphere of the solo song with obbligato producing a sense of alienation. Schubert, in his tribute, is not striving to compete on equal terms with his hero by some orchestral metamorphosis, but quietly weaving the familiar melody into the weft of the musical genre he had made his own – song.
Any outline similarities between Beethoven’s Septet and Schubert’s Octet , such as its instrumentation and the disposition of the movements, are of scant relevance to our theme, as this was a commission, and Count Ferdinand Troyer had apparently asked Schubert to imitate Beethoven’s celebrated Septet closely. Julian Rushton has pointed out, however, that Schubert was never going to follow this instruction to the letter: ‘Mercifully he did not succeed – even if he tried – for to have done so would have been to suppress his own inventive faculty’ 29 . Rushton points to some essential differences between the two works, attributing some to Schubert’s ‘volcanic temper’ 30 , some to his general tendency to more expansive structures, and some to his use of Beethoven’s larger-scale middle period orchestral works, rather than the early Septet itself, as a model, notably in the Scherzo movement. Thus, it is the differences rather than the similarities which cast light on the compositional approach of the two composers. Beethoven’s Septet is a comparatively early work (1799), but it is instructive to recall that, when Schubert wrote his Octet (1824) in the period of his musical maturity – having already found his own musical voice and the confidence to seek to improve on his model – he was actually two years younger than Beethoven had been in 1799.
Certain works of Beethoven had a particularly pervasive influence on Schubert. The Allegretto of Beethoven’s 7th Symphony with its persistent ‘dactylic’ metre (one long note, followed by two short ones) resonates throughout Schubert’s mature work. It acquires almost the status of a musical motto and is certainly one of Schubert’s most distinctive musical fingerprints. Having adopted the dactylic figure into his musical armoury, however, Schubert proceeds to refine and redefine it. In songs such as ‘Der Tod und das Mädchen’ (D531) or the moving ‘Schwanengesang’ (D744) to words by his friend Johann Senn, the metre becomes the ultimate musical analogue for the approach of death. This is no simple imitation, as borrowing has led to complete assimilation and transformation.
Beethoven’s Second Symphony was an early influence. As Brian Newbould has lucidly demonstrated, the influence could be directly musical, as in Schubert’s earliest attempt at symphonic writing, D2B; but more importantly Beethoven’s symphony reminded Schubert of the effectiveness and convenience of the key of D major for orchestral scoring, one of the principal technical challenges for an apprentice composer. Could Schubert’s choice of D major for 6 of his 13 attempts at a symphony and for all of his early overtures (1811-13) be directly attributable to his experience of performing Beethoven’s 2nd Symphony? 31 The influence of Beethoven’s 2nd Symphony was certainly enduring, evidenced by a delightful recollection of its second movement (Larghetto) in the second movement (Andante) of Schubert’s Sonata in C for piano duet (‘Grand Duo’, D812) of June 1824:
Ex. 2a: Beethoven: 2nd symphony, Larghetto
Ex. 2b: Schubert: ‘Grand Duo’, Andante
Schubert was clearly taken with Beethoven’s final piano sonata, op. 111 in C minor, and typically pays his most apparent homage to this work, not in an instrumental work, but in a late song. Der Atlas (D957/8). Schubert’s own late triptych of piano sonatas (D958-960) were in themselves a homage to Beethoven 32 , recalling that composer’s own final triptych (Op. 109-111), but in Der Atlas the homage is immediately apparent in the music itself. Schubert’s introduction is dominated by the same three-note motiv (C-Eb-B) which Beethoven had stated as a motto at the opening of the Allegro con brio ed appassionato section of the first movement of his op. 111. Susan Youens , in a virtuoso analysis of the song, suggests that Schubert may, in the opening bars of the song, be declaring his true kinship with Beethoven, his brother Titan (Prometheus and Atlas). The modest and still young composer is emboldened to state: ‘I shall continue where Beethoven left off’. 33 Schubert is also demonstrating here that he has advanced song composition to the stage where a single song, traditionally a miniature and intimate art-form, can have the emotional impact and dramatic punch of a full-blown instrumental or orchestral composition.
Song links – a case study
Beethoven’s significant achievement in song and his contribution to the development of the Romantic Lied is now becoming properly appreciated, but song was the one genre where Schubert might have expected to be able to outshine Beethoven – and did. The publication of Beethoven’s great song cycle An die ferne Geliebte in October 1816 must have made the younger composer’s jaw drop a little, but he was not deterred and carried on to produce masterpiece after masterpiece and to bring his own conception of the song cycle to glorious fruition. Nevertheless, even in the field of song we can trace the influence of the older composer on the younger, and in one instance at least, a probable intimidating effect of Schubert’s achievement on Beethoven’s composition. 34
In 1815 we note Schubert modelling songs closely on Beethoven’s settings of the same texts. He was clearly familiar with Beethoven’s set of six songs, op. 75, and his settings of Kennst du das Land (D321) and Der Zufriedene (D320) demonstrate a clear debt to Beethoven. Schubert composed his setting of Mignon’s song Kennst du das Land on 23rd October 1815, and on the same day set a further text which Beethoven had included in his op.75 collection: Reissig’s Der Zufriedene. Both Schubert songs show clear similarities in outline to Beethoven’s settings (op. 75, Nos. 1 and 6). The influence of the senior composer is self-evident in Der Zufriedene, the two songs employing a common key – A major – and even an identical pattern of semiquaver triplets in the piano part. In Mignon’s song too Schubert follows Beethoven in his choice of key (A major), the solemn metre of the opening phrases and a faster movement at ‘Dahin’. Like Beethoven, Schubert sets the first two stanzas to identical music, using repeat markings. A reminiscence beyond coincidence occurs at ‘Es stürzt der Fels’, where Schubert, like Beethoven, inserts staccato markings, here in the piano part:
Ex. 3a: Beethoven: Kennst du das Land?
Ex. 3b: Schubert: Kennst du das Land?
Schubert, at eighteen, does not seem to grasp the emotional subtlety of the poem and relies heavily on his exemplar. Sadly, Schubert did not return to this poem in January 1826 when he plumbed the psychological depths of the other Mignon poems in his D877 settings, speaking now wholly in his own voice.
It is interesting, incidentally, to see Beethoven and Schubert experimenting along similar lines in their early years. Although Schubert cannot feasibly have known the song An Laura (WoO112), which was discovered only in 1911 and first published in 1916, there is an uncanny similarity of form in some of his own early settings of the poet Friedrich Matthisson. Der Abend (D108), Lied der Liebe (D109), Erinnerungen (D98) and Der Geistertanz (D116), for example, all show, like the Beethoven song, a strophic form interrupted briefly by recitative, before the original musical metre returns.
Beethoven’s setting of Der Wachtelschlag was published in 1804 (WoO129). Through tracing common divergences from Sauter’s original text, it is possible to demonstrate that Schubert almost certainly used Beethoven’s song as the source for the text of his song (D742), published in 1822, although there is no evidence of musical borrowing as such. Indeed, there is a fascinating contrast of styles in this case. The dotted song of the quail (‘Lobe Gott!’) runs through both settings as a given, of course. But Schubert’s setting is set lightly in 6/8 time and is essentially strophic, with only a sidestep to the tonic minor when storms and warriors approach, while Beethoven’s setting is through-composed (notated in F major, but riddled with accidentals) and amounts to a little cantata, with very much stronger and more pianistic accompaniment – note, for example, the vigorously pumping Allegro interlude which precedes the mention of the warriors (bar 51: ‘Machen Gefahren der Krieger dich bang’) which is closely related to the fiery last movement of the piano sonata op.31/3 (Presto con fuoco), composed in 1802, the previous year. Beethoven varies his time signature (2/4, C and 6/8) and tempo indications, from larghetto to allegro molto, and repeats words freely, partly in his habitual straining for emphasis, but also from purely musical considerations.
As an example of small-scale borrowing, consider the opening two bars (a ‘gathering note’ followed by semiquavers), which introduce each verse of Beethoven’s Sehnsucht (‘Was zieht mir das Herz so?’, op.83/2) . These clearly prefigure the semiquaver meanderings of Schubert’s Am Feierabend from Die schöne Müllerin .
Ex. 4a: Beethoven: Sehnsucht, bb. 1-3
Ex. 4b: Schubert: Am Feierabend, bb. 5-7
Furthermore, the punching rhythm (two quavers plus quaver rest in 6/8 time) at ‘Da kommt sie und wandelt’ is identical with Schubert’s rhythm at ‘Ach, wie ist mein Arm so schwach’:
Ex. 4c: Beethoven: Sehnsucht, bb. 27-29
Ex. 4d: Schubert: Am Feierabend, bb. 26-29
In 1817 Schubert sketched an early version of the slow movement of his piano sonata in E flat (D568) on the outer leaves of a double sheet, the inner leaves of which contain the autograph of Beethoven’s song Ich liebe dich (WoO123). It is unexplained how this remarkable ‘double autograph’ came about. Kinsky, in his catalogue of Beethoven’s works, can only surmise that Salieri may have given the Beethoven autograph to Schubert in 1817. Schubert, always desperate for manuscript paper, would then have filled the unused outer leaves without thinking. What is certain is that Schubert gave one half of the folded sheet to his friend Anselm Hüttenbrenner (later purchased by the collector Johann Kafka) and that the other half went to Schubert’s nephew Edward Schneider after the composer’s death. In 1872, Brahms obtained both sheets and reunited them. He donated the unique object to the Gesellschaft der Musikfreunde in 1893, where it remains (GdM: A13). It is quite astonishing that Schubert did not attach more importance to the Beethoven autograph, which he must have recognised, as the song had been published in 1803 in Vienna and reprinted as recently as 1816. It is known, however, that Schubert could be nonchalant even about his own manuscripts, giving them away freely to admiring friends, and it would be wrong to conclude that Schubert intended Beethoven or his song any disrespect.
We have one example of a partial copy of a song by Beethoven made by Schubert, which constitutes one of the very few documentary links between the two great Viennese contemporaries. 35 Schubert began to make a copy of one of Beethoven’s finest songs Abendlied unterm gestirnten Himmel (WoO150, composed 1820), writing out the first 24 bars and making a slight alteration to the accompaniment figure in bar 6. The fact that Schubert also transposed the song from E major down to D major suggest that he may have been making a performing version for the baritone Michael Vogl, by then a regular musical partner.
Beethoven made extensive sketches for a setting of Goethe’s poem Rastlose Liebe in 1796 (Hess149) , and in March 1823 promised Goethe a setting of this very poem. 36 Interestingly, if Beethoven had revised his sketch in 1823, his final version would still have postdated Schubert’s setting of the text, written in 1815 and published in 1821. Could it be that Beethoven’s encounter with Schubert’s song was the reason his own project was abandoned? While he never heard any of Schubert’s songs performed, it is inconceivable that Beethoven did not leaf through copies of songs by his younger colleague in the music shops of Vienna. Clearly his deafness would not affect in the least his appreciation of the younger composer’s songs, and one wonders whether the ongoing publication of Schubert’s songs from 1821 explains Beethoven’s failure to complete any songs after 1820.
Conclusion
Beethoven’s reputation in Vienna in the first quarter of the nineteenth century was such that nobody in the world of music could ignore him. Schubert was alternately inspired and intimidated by his musical genius and his brooding presence. When Beethoven died in March 1827, Schubert knew that he was now the greatest living composer in Vienna. On the one hand he felt a sense of liberation, but on the other he was weighed down by a heavy sense of responsibility. Beethoven was a hard act to follow, and his spirit needed to be laid to rest. Schubert paid generous musical tribute to Beethoven, in his last piano sonatas, in the Rellstab songs and by indirect reference to Beethoven’s work in his ‘Akademie’ of March 1828. Schubert’s celebrated C major String Quintet (D956) may well have been yet another example of his deliberately realising the unfinished work of his predecessor, as Beethoven was known to have begun a String Quintet in the same key in the Autumn of 1826 ( WoO62 ), and these 26 bars were probably his final composition. Having thus paid due tribute to Beethoven, Schubert was ready to move on, and he is fully liberated and fully himself in his two last solo vocal works: the glorious Der Hirt auf dem Felsen , and Die Taubenpost , whose syncopated gait recalls happy days in Hungary. But his newfound freedom and confidence were short-lived, and it is one of the cruellest twists of fate that he outlived Beethoven by a mere twenty months, during most of which he had striven almost frantically to come to terms with the loss of his musical hero.
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footnotes
2. The issue is discussed more fully, of course, in the essay on Schubert’s Humour. *Back*
3. Mems. 25 (18). *Back*
4. Mems. 68 (58). *Back*
5. Mems. 150 (128). *Back*
7. Mems 95 (82). *Back*
8. See below for Schubert’s debt to two of Beethoven’s op. 75 songs. *Back*
22. Mems. 282f. (324f.). *Back*
23. Mems. 137 (160.). *Back*
24. Mems. 47 (37). *Back*
25. Mems. 349 (303). *Back*
26. Docs. 618 (416). *Back*
27. Mems. 77 (66). *Back*
28. See Christopher Gibbs: ‘Performances of Grief: Vienna’s Response to the Death of Beethoven’ in Beethoven and his World, ed. Burnham and Steinberg (Princeton 2000). *Back*
29. The Schubertian (Journal of the Schubert Institute UK), No. 58 (January 2008), pp. 17-21. *Back*
30. A phrase conveniently coined by Hugh Macdonald to explain the isolated ferocious outbursts which occur in Schubert’s later piano music and here in the Adagio and the Finale. See ‘Schubert’s Volcanic Temper’ in The Musical Times 99 (1978), pp. 949-52. *Back*
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Which two numbers on a phone keypad have no letters? | Ludwig van Beethoven | Biography & History | AllMusic
Ludwig van Beethoven
Biography by Rovi Staff
Among the greatest of composers, Beethoven took the style and forms of the Classical era to their utmost as a vehicle for personal expression.
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Artist Biography by Rovi Staff
The events of Beethoven 's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn ; despite the prickliness of their relationship, Haydn 's concise humor helped form Beethoven 's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven 's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.
Beethoven 's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven 's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven 's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly inspired both conservatives (such as Brahms , who, like Beethoven , fundamentally stayed within the confines of Classical form) and radicals (such as Wagner , who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven 's music remains universally appealing because of its characteristic humanism and dramatic power.
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Which US state is known as The Land of Enchantment? | The State of New Mexico - An Introduction to the Land of Enchantment from NETSTATE.COM
The State of New Mexico
Winter Cottonwoods, Taos
New Mexico welcomes you with color and art, music and dance, breathtaking landscapes, and a heritage of Indian, Anglo, and Hispanic cultures that cannot be found in any other state in the union. From prehistoric times until the present, cultures and tribes have journeyed through New Mexico's land. From the north, various native American tribes have wandered in, and from the south, people from Mexico, and Spaniards as well, and Europeans have added to the mix. Pueblo, Apache, Navajo and others are all part of the incredible diversity that marks the vibrant culture of New Mexico.
The people, their heritage and traditions, their skills and their arts, and the land, its awesome beauty, all make New Mexico the unique and colorful place that it is today.
The hot air balloon is New Mexico's official aircraft .
Land of Enchantment (Official)
The "Land of Enchantment" describes New Mexico's scenic beauty and its rich history. This legend was placed on New Mexico license plates in 1941. This nickname became the official State Nickname of New Mexico on April 8, 1999.
The Cactus State
or "Land of the Cactus" refers to the cacti that grow so abundantly in the state, particularly along the border with Mexico and on the plains.
The Spanish State
New Mexico has been referred to as "The Spanish State" because of its border with Mexico, its historical background and the proportion of its Spanish speaking population.
The Land of Sunshine
or "The Sunshine State" are nicknames that refer to the generous portion of sunshine that "rains" down upon New Mexico. "Sunshine State" appeared on state license plates before 1941.
The Land of the Delight Makers
This nickname, suggested by George Wharton James, was to celebrate the state's influence on literature and art and because "...it is also the home of the first real field-school of American Archaeology in America." The name was suggested by a book by Adolf Bandelier,
The Delight Makers
.
The Land of Opportunity
So called because of its natural beauty, its climate, its newness at the time, its free lands and its industries. New Mexico was described as place that offered enough opportunity to fulfill the hopes of all who came.
The Land of the Heart's Desire
This is another historical nickname that promoted New Mexico as a land of unbound opportunity. Its location was between the Gulf of Mexico and the Pacific Ocean, it provided an ideal climate and was still relatively undeveloped.
THE STATE QUARTER:
United States Mint Image
The second commemorative quarter-dollar coin released in 2008 honors New Mexico, and is the 47th coin in the United States Mint's 50 State Quarters® Program. New Mexico, nicknamed the "Land of Enchantment," was admitted into the Union on January 6, 1912, becoming our Nation's 47th state. The reverse of New Mexico's quarter features a Zia sun symbol over a topographical outline of the State with the inscription "Land of Enchantment." The coin also bears the inscriptions "New Mexico" and "1912."
The great influence of Native American cultures can be found throughout New Mexico. The Zia Pueblo believe the sun symbol represents the giver of all good, who gave gifts in groups of four. From the circle representing life and love without beginning or end, the four groups of four rays that emanate represent the four directions, the four seasons, the four phases of a day (sunrise, noon, evening, and night), and the four divisions of life (childhood, youth, middle years, and old age).
The New Mexico Coin Commission, appointed by Governor Bill Richardson, solicited and reviewed approximately 1,000 concept submissions from state citizens. The Commission then constructed four narrative concepts that represented the most popular elements submitted by the public and forwarded them to the United States Mint for consideration. The final artistic renderings developed by United States Mint Sculptor-Engravers and artists participating in the United States Mint's Artistic Infusion Program were then proposed to New Mexico for a final selection process. On April 24, 2007, Governor Richardson announced his recommendation of the "Zia Symbol over Topographical State Outline" design.
The Department of the Treasury approved the design on May 25, 2007. The other three designs considered were "Zia Symbol over Textured State Outline," "Textured Zia Symbol over State Outline," and "Zia Symbol over Textured State Outline," with the Zia symbol marking the location of the capital, Santa Fe.
For more about the state commemorative quarters, visit this page .
This 50 State Quarter Map is a great way to collect and display all 50 State Quarters.
Sources...
New Mexico (World Almanac Library of the States)
, by Michael Burgan. 48 pages. Publisher: Gareth Stevens Publishing (February 2003) Reading level: Grades 4-6. Filled with the most up-to-date information, including the latest Census results. Full-color photos bring to life the story of New Mexico. In addition to an in-depth factual profile of New Mexico in the form of a state Almanac, this book offers fascinating and lively discussions of the state's history, people, geography, government, economy, culture, and lifestyles. A section on Notable People, a calendar of events, and enough primary source documents, time lines, maps, and other tools to make this unquestionably the best young adult reference material on the USA available anywhere.
A Brief History of New Mexico
, by Myra Ellen Jenkins & Albert H. Schroeder 95 pages. Publisher: University of New Mexico Press; 1st edition (January 1, 1975) No New Mexican should be without this useful volume, the first history of New Mexico in many years to be published with the official sanction of the state. The general reader, the newcomer to New Mexico, and the student will find remarkably detailed information here on every aspect of New Mexico's past.
The authors begin their survey with New Mexico's earliest inhabitants, prehistoric Sandia and Folsom men, and carry it up to such contemporary developments as the construction of Cochiti Dam. Their narrative covers such major subjects as exploration and settlement, westward expansion, political and military affairs, commerce and trade, ranching and agriculture, lumbering and mining, science, religion, culture, and education.
New Mexico: An Interpretive History
, by Marc Simmons. 221 pages. Publisher: University of New Mexico Press (August 1, 1988) For all who love New Mexico, and for those who aspire to know the state, this book is a graceful and compelling summary of what has made the Land of Enchantment its distinctive self. Originally published in 1977 to commemorate the bicentennial of American Independence, New Mexico is now available for the first time in a quality paperback edition with a new introduction by the author.
In writing this book, Marc Simmons sets out to arrive at an understanding of the state's character. His is an interpretive, sensitive, individual--even personal--account. He shows that across the centuries the collision and mingling of cultures dominates New Mexico's history. Out of this complex interplay of human and natural forces he selects his examples of Pueblo life ways, Spanish domination, and Anglo control to make immediate and memorable the state's rich history.
| New Mexico |
Boxer Primo Carnera was known as the ‘Ambling ‘what’? | NewMexico.gov - Welcome to the Land of Enchantment
Are you a
Citizen
A guide to living in New Mexico. Find information about education, taxes, laws, public safety and other important information essential to every New Mexican, as well as links to online services available to citizens.
Are you a
Business
New Mexico is open for business. Find out about New Mexico’s business initiatives, policies and regulations, as well as information regarding employment, online services and agencies involved with conducting business in New Mexico.
Are you a
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In New Mexico, every adventure has a True story. Explore information about the many things to do and see during your time in the Land of Enchantment. Find museums, parks, events and other interesting things to experience in our state.
New Mexico
Government
Locate information about state government services as well as local, county and federal entities within New Mexico and services they can provide for your inter-government needs.
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Which is the smallest state by area in the US? | Top 10 Smallest States in the United States | Top 1 US
Home » Smallest » Top 10 Smallest States in the United States
Top 10 Smallest States in the United States
Tuesday, August 16th 2011. | Smallest
The United States is one of the five largest countries in the world. Some State in the United States has a very large size, but some others have a small size today we will talk about the top 10 smallest states in the United States.
10. West Virginia
West Virginia
West Virginia (English: West Virginia) is a state of the United States. The state is located in the east. In 2007, the state has a population of 1,812,035 people and has an area of 62,755 km ². Its capital is Charleston.
9. Maryland
Maryland
Maryland is a state of the United States. The postal abbreviation for Maryland is MD. Maryland is one of the 13 colonies revolt against British rule in the American Revolution. The state is bordered by Pennsylvania to the north (Mason-Dixon Line), on the west by West Virginia, in the north and east by Delaware and the Atlantic Ocean, and south to Virginia
8. Vermont
Vermont
Vermont is a state of the United States in the New England region in the Northeast United States. This state ranks 45th in the list of largest U.S. state with a total area of 24.902 km ², while the order of 43 in the list of states with the largest land area. Vermont residents only amounted to 608,827 souls and ranks second (after Wyoming) as a state with a population of at least in the U.S.
7. New Hampshire
New Hampshire
New Hampshire is a state of the United States. The state is located in the northeast. In 2008, the state has a population of 1,315,809 people and has an area of 24,217 km ². Its capital is Concord.
6. Massachusetts
Massachusetts
Commonwealth of Massachusetts, is a state of the United States, part of the New England region. MA zip code is. Several ships named USS Massachusetts to appreciate the state.
5. New Jersey
New Jersey
New Jersey is a state located in the Mid-Atlantic and northeastern United States. The state is bordered on the north by New York, on the east by the Atlantic Ocean, on the southwest by Delaware, and on the west by Pennsylvania. Parts of New Jersey are located in the New York metropolitan area and Philadelphia.
4. Hawaii
Hawaii
Hawaii is a state of the United States. Hawaii was discovered by James Cook, a British explorer on January 10, 1778. The native Hawaiian Islands are Polynesian tribes. King Kamehameha I who was born in 1758, is a great king who had dominion over the Hawaiian Islands around 1810. Kamehameha dynasty was continued by his descendants until Kamehameha V, who died on December 11, 1872, which is the last successor Kamehameha dynasty.
3. Connecticut
Connecticut
Connecticut is a state of the United States. The state is located in the northeast. In 2000, the state has a population of 3,405,585 people and has an area of 14,356 km ². Its capital is Hartford.
2. Delaware
Delaware
Delaware is a state of the United States. The state is located in the east. In 2000, the state has a population of 783,600 people and has an area of 6452 km ². Its capital is Dover.
1. Rhode Island
Rhode Island
The state of Rhode Island and Providence Plantations is a state of the United States. The state has an area of the smallest among the states that exist across the United States in addition, Rhode Island, directly adjacent to the Connecticut and Massachusetts. This is smallest state in United States.
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What does the Latin phrase ‘Res ipsa loquitur’ translate to in English? | Wilderness.net - Fast Facts About America's Wildernesses
Text size: A | A | A [ Print ]
The Beginnings of the National Wilderness Preservation System
When the Wilderness Act was passed in 1964, 54 areas (9.1 million acres) in 13 states were designated as wilderness. This law established these areas as part of the National Wilderness Preservation System. Since 1964, the NWPS has grown almost every year and now includes 765 areas (109,127,689 acres) in 44 states and Puerto Rico. In 1980, the passage of the Alaska National Interest Lands Conservation Act (ANILCA) added over 56 million acres of wilderness to the system, the largest addition in a single year . 1984 marks the year when the most new wilderness areas were added .
Overall, however, only about 5% of the entire United States—an area slightly larger than the state of California—is protected as wilderness. Because Alaska contains just over half of America's wilderness, only about 2.7% of the contiguous United States—an area about the size of Minnesota—is protected as wilderness.
Think you know a lot about the NWPS? You can also test your knowledge by taking one of our quizzes .
Trivia at a Glance
Click on the questions below to reveal or hide the answers.
How many wilderness areas are there in the NWPS?
National Park Service
What's the newest wilderness?
The Hemingway-Boulders , White Clouds , and Jim McClure-Jerry Peak Wildernesses in central Idaho designated on August 7, 2015 by the Sawtooth National Recreation Area and Jerry Peak Wilderness Additions Act.
How many wildernesses does the Appalachian National Scenic Trail traverse?
The ANST passes through 25 wilderness areas.
How many wildernesses does the Continental Divide Trail traverse?
The CDT passes through 26 wilderness areas including the Gila , the first wilderness area, and near the Mission Mountains Tribal Wilderness, the first wilderness area designated by a Tribal Group, the Confederated Salish and Kootenai Tribes of Montana.
Wilderness Area Database
Information about all of the 765 wildernesses that make up the National Wilderness Preservation System is available in a searchable format. Use the data search to find Wilderness areas by name, agency, state, size or year of enacting legislation.
Current acreages above are the sum of acreage measurements reported by each administrative unit for each wilderness. Data last updated on 12/8/16 (Forest Service acreages updated to be consistent with the 2016 Lands Area Report). - read data disclaimer.
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What are the name of the green flower buds used in tartar sauce? | Almost Tartar Sauce | Think Tasty
Almost Tartar Sauce
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Tartar sauce is one of those sauces whose names give you no idea what’s in them; for the record, it contains no cream of tartar. Most people have no idea what’s in it, but most people expect to see it on the table, or in a little packet on their fast food tray, when fish is served. So it’s a good thing to have around, but what exactly is it?
Tartar sauce is based on mayonnaise, another wildly popular sauce with an uninformative name. (There are different stories about where the name came from; anyway, mayonnaise is made of egg and oil.) Almost always, it includes pickles of some kind, varying by region. After that, there’s a lot of variation.
Fresh tartar sauce made from scratch can get pretty elaborate, with capers, fresh parsley, olives, chopped hard boiled egg, and more. Ready made tartar sauce in a jar tends to be a faintly spiced white spread with green flecks. What I’m offering here is something in between: a basic fish sauce you can make from ingredients you’re likely to have already, especially in summer. If you want to add any of the extras I’ve mentioned above, go ahead – but this is all you need to make something better than commercial tartar sauce:
Ingredients
1/4 cup mayonnaise (four tablespoons will be easier to get out of the jar)
1/4 tsp dry mustard (use prepared mustard if that’s what you have, but the sauce will be a little thinner)
1 tsp pickle relish
1 tsp chopped green onion
Instructions
Combine all ingredients thoroughly and store in a covered container in the refrigerator. Keeps for about a week.
This is also good as a sandwich spread when you want something with a little more taste than mayonnaise. You could also try making tuna salad with it.
I came up with the green onion, which I had in a glass of water on my kitchen windowsill, as a cheap substitute for capers.
These, by the way, are pickled edible flower buds from a plant that grows around the Mediterranean and other warm places. In not-so-warm places, like where I live, they’re seriously expensive.
It’s no wonder more people don’t try to make their own tartar sauce when a jar of one ingredient costs more than a jar of ready made sauce.
If you’ve got capers already, or if you can get them affordably, again, go right ahead and use them.
By Jane Wangersky
| Caper |
Who became Prime Minister of India in January 1966? | An In-depth Look at What are Capers and How to Use Them
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An In-depth Look at What are Capers and How to Use Them
You must have seen bottles of pickled capers preserved in brine or vinegar in supermarkets. So what are capers and how do you use them? Capers are edible flower buds and they are used for making a number of sauces and salads.
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You must have come across capers in the gourmet food section of the supermarket. They are usually sold in glass jars, preserved in a brine and vinegar solution. Capers are used in Mediterranean as well as Moroccan cuisine and they work well in salads, sauces and pastas. Capers are the green flower buds from the Capparis Spinosa bush. Capers are actually immature buds that are picked from bushes and are used as seasoning in many dishes. The caper bush grows extensively in the Mediterranean and Middle Eastern region and so it is most often used in their native cuisine. Capers are also cultivated in Spain, Cyprus, Sicily, Greece and France. When the capers are freshly picked, it does not have any tangy or zesty flavor but it is somewhat bitter. But after sun drying them and then brining, it develops a sharp flavor which can impart a certain savoriness to a dish. Capers comes in a variety of sizes, from peppercorn sized ones to ones that are as large as olives. Smaller the size of capers, the more valuable it is regarded to be.
All about Capers
Capers are usually picked by hand and so requires a lot of manual labor. The caper buds have to be picked at a certain time of the day and when they reach the proper size. Capers are about the size of corn kernels when they are plucked from the bushes but rapidly shrink on being sun dried. For a city dweller, finding fresh capers can be challenging, so it is best to stick to the pickled capers found in the market.
After the capers are picked and sun dried, they are then pickled in a mixture of brine and vinegar. Sometimes capers are pickled only in salt and these are sold as salted capers. Pickling the capers gives them a unique piquant taste, similar to that of pickled olives. They are dark green to olive green in color and range from 7mm to 14mm in size. The smaller the size of the caper, the more expensive it will be. In taste they have a pungent, peppery and lemony flavor. During the pickling process, capers release mustard oils, which is what gives them the unique pungent flavor. This makes them an excellent ingredient for making sauces, gravies and salad dressings. It is mostly used in Sicilian cooking and Italian food. The sharp piquant flavor of capers harmonizes the richness of a creamy pasta sauce.
How to Use Capers
Let's have a look at what type of dishes capers can be used in. The most important thing to remember about capers is that you should use them sparingly. As they have a very sharp and distinct taste, it can totally overpower the dish. Another important thing to remember while using salted or brined capers in a dish is to first rinse them thoroughly under running water. If this is not done, the dish will end up being too salty and vinegary in taste.
Capers are best used in salads with fresh salad leaves like endives and watercress.
They can also be used in salad dressings and vinaigrettes for imparting a unique flavor to your salads.
A great way to have capers is to use it as a marinade for fish, meat and poultry.
Grilled fish brushed with a marinade of capers, olive oil, anchovies, salt and pepper will taste very delectable.
Try using a handful of capers as pizza toppings and then enjoy this delicious gourmet pizza.
Capers are one of the essential ingredients in sauces like tartar sauce and rémoulade sauce.
If you do not care for the taste of capers, but your recipe calls for it, you can use capers substitute like pickled olives, nasturtium seeds and green peppercorns that are pickled in brine or vinegar. Some dishes which are a bit on the bland to taste can be instantly jazzed up by adding a handful of capers. If you want to add a distinct sharp and piquant flavor to your dish, then there is nothing better than adding capers.
Rimlee Bhuyan
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Which late British author of ‘A Clockwork Orange’ had a blue plaque unveiled in October 2012 at Manchester University, where he studied? | Blue plaque in Manchester will honour Anthony Burgess | UK news | The Guardian
Blue plaque in Manchester will honour Anthony Burgess
The plaque will be unveiled today at Manchester University, where the author studied in the 1930s
A cherub propped up against bookcases at the Anthony Burgess Centre in Manchester. Photograph: Christopher Thomond for the Guardian
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A blue plaque will be unveiled in honour of the Manchester-born author Anthony Burgess , the first public recognition of his astonishing literary success.
The plaque will be unveiled today at Manchester University, where the enduringly popular Burgess studied more than seven decades ago. It will be preceded by the first performance of a trumpet fanfare he wrote as a birthday present to his son, Andrew Burgess Wilson. It was discovered recently by staff at the International Anthony Burgess Foundation in Manchester.
With the exception of a plaque outside Burgess's former flat in Monaco [where he lived for 17 years] there is no other British tribute to the author, who died in 1993.
At the foundation, which opened last year, a vast body of previously unseen work was unveiled that proved how important Burgess was beyond A Clockwork Orange. The foundation is a creative hub in a listed former mill building, with an archive of thousands of Burgess's books, personal papers and objects.
When I visited soon after the foundation was opened, a wooden cherub retrieved from his home in Italy was nonchalantly leaning in the music room.
Burgess was fascinated by dystopia and wrote 1985 in response to George Orwell's Nineteen Eighty-Four. He has a huge following in south-east Asia, as he wrote a trilogy charting the divisions in colonial Malaya, where he once worked as a teacher.
He was up against William Golding for a Booker prize in 1980 but refused to attend the ceremony when he was told he hadn't won.
A Clockwork Orange was based on the Moss Side gangs he grew up around in the 1920s and 30s. The tragedy of losing his mother while he was a child during the flu epidemic had a profound impact on his life and work.
Dr Andrew Biswell, director of the International Anthony Burgess Foundation, who is also his biographer, said:
"Although Burgess was one of the great English language writers of the 20th century, he has always been neglected in the country of his birth.
"In his lifetime, he was always regarded with suspicion because he lived abroad, even though he regularly visited the UK and came back to London towards the end of his life.
"Burgess was awarded major public honours by President Mitterand of France and Prince Rainier of Monaco, but in Britain he received nothing except a cheap plastic trophy presented to him by Mrs Thatcher at the British Press Awards."
Biswell said he's delighted that the university has decided to install the first British public monument to Burgess – 50 years after A Clockwork Orange was first published. A series of events are planned at the foundation to mark the achievement.
Burgess studied English literature at Manchester University from 1937. He went on to write 33 novels, 25 works of non-fiction, two volumes of autobiography, three symphonies and 250 other musical works, including a violin concerto for Yehudi Menuhin.
He was born and grew up in Manchester, living in Harpurhey and Moss Side, before winning a scholarship to Xaverian College. A Clockwork Orange remains his most well-known work.
Some of his earliest poems were published in the university's student magazine The Serpent, including a love poem to his first wife and fellow student, Llewela Jones. They became engaged while they were studying at Manchester.
He also wrote music as an undergraduate, composing a piano sonata, a number of cabaret songs, and a setting of T.S. Eliot's poem, "Lines for an Old Man".
The fanfare, called Flourish, was originally written for recorder and trumpet in the 1980s - but has been arranged for two trumpets by Manchester University lecturer and head of composition Dr Kevin Malone.
The plaque will be unveiled by Professor Jeremy Gregory, Head of the School of Arts, Languages and Cultures. A discussion on Burgess will take place with academics chaired by Dr Howard Booth, lecturer in English and American literature, with Dr Biswell and Dr Kaye Mitchell, from the university's English and American Studies department.
| Anthony Burgess |
In 1959, Luna 2 became the first man-made object to crash where? | Upcoming Events - The International Anthony Burgess Foundation
The International Anthony Burgess Foundation
What’s it going to be then, eh?
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Upcoming Events
One of the delights known to age, and beyond the grasp of youth, is that of Not Going. – Anthony Burgess
Don’t listen to him. Full details of our programme of activities are below.
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Who directed the 1955 film ‘To Catch a Thief’? | To Catch a Thief (1955) - IMDb
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17 January 2017 4:34 PM, UTC
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To Catch a Thief ( 1955 )
PG |
When a reformed jewel thief is suspected of returning to his former occupation, he must ferret out the real thief in order to prove his innocence.
Director:
John Michael Hayes (screenplay), David Dodge (based on the novel by)
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Won 1 Oscar. Another 5 nominations. See more awards »
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Director: Alfred Hitchcock
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Director: Alfred Hitchcock
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Director: Alfred Hitchcock
Two young men strangle their "inferior" classmate, hide his body in their apartment, and invite his friends and family to a dinner party as a means to challenge the "perfection" of their crime.
Director: Alfred Hitchcock
A serial murderer is strangling women with a necktie. The London police have a suspect, but he is the wrong man.
Director: Alfred Hitchcock
A psychotic socialite confronts a pro tennis star with a theory on how two complete strangers can get away with murder - a theory that he plans to implement.
Director: Alfred Hitchcock
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people.
Director: Alfred Hitchcock
Edit
Storyline
American expatriate John Robie living in high style on the Riviera is a retired cat burglar. He must find out who a copy cat is to keep a new wave of jewel thefts from being pinned on him. High on the list of prime victims is Jessie Stevens, in Europe to help daughter Frances find a suitable husband. The Lloyds of London insurance agent is using a thief to catch a thief. Take an especially close look at scene where Robie gets Jessie's attention, dropping an expensive casino chip down the décolletage of a French roulette player. Written by Dale O'Connor <[email protected]>
For a moment he forgets he's a thief--and she forgets she's a lady! See more »
Genres:
Rated PG for some action violence, mild suggestive material and smoking | See all certifications »
Parents Guide:
22 August 1955 (Brazil) See more »
Also Known As:
Alfred Hitchcock's To Catch a Thief See more »
Filming Locations:
Did You Know?
Trivia
Before the film was released there was some concern that the age difference between Cary Grant and Grace Kelly was too great. He was 50 and she was 24. See more »
Goofs
When Robie and Hughson are walking at the flower market, they look back at a few men following them. As they do, a woman in a bright pink dress is walking towards the two men behind them, but as they turn back, the same woman (who should have been behind them) is walking towards Robie and Hughson. See more »
Quotes
can be seen again and again
15 March 2005 | by Tashtago
(Vancouver,Canada) – See all my reviews
Like most of Hitchcock this is a film that withstands repeated viewings. A light crime farce it is nevertheless full of great Hitchcock touches- a particular favorite of mine is the chase through the flower market with Cary Grant's comic encounter with the old flower seller. Grace Kelly was perhaps the sexiest of all movie stars in that she could combine the glamor of a Katherine Hepburn or Elizabeth Taylor with the earthy sexiness of Marilyn Monroe. Witness her first surprise kiss with Cary Grant and his reaction. This is priceless acting and one of the reasons Grant is considered one of the greatest actors in movie history. John Williams is also excellent as the very British insurance agent and Jesse Royce Landis (who played Grant's mother in North by Northwest ) is also on hand for a number of fine moments. Although slim in terms of drama this has to rank among the top ten of Hitch's films.
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Which breed of dog is cartoon character Snoopy? | To Catch a Thief (film) - Wikiquote
To Catch a Thief (film)
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To Catch a Thief is a 1955 film about a former thief suspected of a new series of crimes who tries to find the real culprit and the woman who romances him.
Directed by Alfred Hitchcock . Written by John Michael Hayes , based on the novel by David Dodge .
Wanted by the police in all the luxury-spots of Europe!... A catch for any woman!
Palaces are for royalty. We're just common people with a bank account.
[to Robie] You've got a very strong grip - the kind a burglar needs.
Mrs. Jessie Stevens[ edit ]
Dialogue[ edit ]
Hughson: You are a man of obvious good taste in everything. How did you - I mean, why did you...?
Robie: Why did I take up stealing? To live better, to own things I couldn't afford, to acquire this good taste which you now enjoy and which I should be very reluctant to give up.
Hughson: Oh, you mean you were frankly dishonest.
Robie: I tried to be.
Hughson: You know, I thought you'd have some defense, some tale of hardship - your mother ran off when you were young, your father beat you, or something.
Robie: Naah, no. I was a member of an American trapeze act in the circus that traveled in Europe. It folded and I was stranded, so I put my agility to a more rewarding purpose.
Hughson: You have no other defense.
Robie: No. For what it's worth, I only stole from people who wouldn't go hungry.
Hughson: I take it you were a sort of modern Robin Hood . I mean, you gave away most of the proceeds of your crimes...
Robie: Kept everything myself. Well, let's face it, I was an out-and-out thief, like you.
Hughson: Steady, old man.
Robie: No, no, wait a minute. Have you ever taken an ashtray from a hotel or a towel?
Hughson: Souvenirs; they expect that.
Robie: You're given an expense allowance to pay for all the meals you eat on the job. Right? But this meal is free. Now, are you going to deduct the price of a lunch from your expense account? Well, of course you're not. It would be stupid. Do you agree?
Hughson: Yes.
Robie: You're a thief. Only an amateur thief, of course, but it will help you to sympathize with us professionals.
Mrs. Stevens: [to Robie] How come you haven't made a pass at my daughter? [to Frances] And don't say, "Oh, Mother!" to me. Mr. Burns, I asked you a question.
Robie: Very pretty; quietly attractive.
Mrs. Stevens: Yeah, but too nice. I'm sorry I ever sent her to that finishing school; I think they finished her there.
Danielle: Don't you think it's foolish to remain here without knowing what will happen to you? But if you were in South America with me, you will know exactly what will happen.
Robie: You make it sound dangerous either way.
Danielle: It would be so much nicer to be killed by love, no?
Robie: Uh, pardon me while I get the water out of my ear.
Danielle: John, you know what sort of men they are at Bertani's. Another robbery and they will do something to you.
Robie: Well, I'd better get back.
Danielle: [about Francie] But what has she got more than me? Except money, and you are getting plenty of that.
Robie: Danielle, you are just a girl. She is a woman.
Danielle: Why do you want to buy an old car if you can get a new one cheaper? It will run better and last longer.
Robie: Well, it looks as if my old car just drove off.
Francie: [swimming up] No, it hasn't, it's just turned amphibious. I thought I'd come out and see what the big attraction was.
Robie: Yes.
Francie: And possibly even rate an introduction.
Robie: [to Danielle] Oh, uh, you didn't tell me your name.
Danielle: Danielle Foussard.
Robie: Miss Foussard - Miss Stevens.
Francie: How do you do, Miss Foussard. Mr. Burns has told me so little about you.
Robie: Well, we only met a couple of minutes ago.
Danielle: That's right, only a few minutes ago.
Francie: Only a few minutes ago? And you talk like old friends.
Danielle: Ah well, that's warm, friendly France for you.
Robie: [to Francie] I was asking about renting some water-skis. Would you like me to teach you how to water ski?
Francie: Thank you, but I was women's champion at Sarasota, Florida, last season.
Robie: Well, it was just an idea.
Francie: Are you sure you were talking about water-skis? From where I sat, it looked as though you were conjugating some irregular verbs.
Robie: Say something nice to her, Danielle.
Danielle: She looks a lot older, up close.
Robie: Ohhh -
Francie: To a mere child, anything over twenty might seem old.
Danielle: A child? Shall we stand in shallower water and discuss that?
Francie: Enjoying yourself, Mr. Burns?
Robie: Oh yes, it's very nice out here, with the sun and all.
Francie: Well, it's too much for me. I'll see you at the hotel.
Robie: [laughing nervously] I'll go with you.
Danielle: But Mr. Burns, you didn't finish telling me why French women are more seductive than American women?
Robie: I know what I'd like to tell you!
Francie: Do you want a leg or a breast?
Robie: You make the choice.
Francie: If you really want to see fireworks, it's better with the lights out. [She turns off the lamps in the room one by one] I have a feeling that tonight, you're going to see one of the Riviera's most fascinating sights... I was talking about the fireworks.
Robie: I never doubted it.
Francie: The way you looked at my necklace, I didn't know. You've been dying to say something about it all evening. Go ahead.
Robie: Why, have I been staring at it?
Francie: No, you've been trying to avoid it.
Robie: May I have a brandy?
Francie: Please.
Robie: Do you care for one?
Francie: No. Thank you. Some nights a person doesn't need to drink. Doesn't it make you nervous to be in the same room with thousands of dollars' worth of diamonds and unable to touch them?
Robie: No.
Francie: Like an alcoholic outside of a bar on election day.
Robie: [laughs] Wouldn't know the feeling.
Francie: All right. You've studied the layout, drawn your plans, worked out your timetable, put on your dark clothes with your crepe-soled shoes and your rope. Maybe your face blackened. And you're over the roofs in the darkness, down the side wall to the right apartment, and the window's locked. All that elation turned into frustration. What would you do?
Robie: I'd go home, get a good night's sleep.
Francie: Oh, what would you do? [She steps into the darkness that hides only her face] The thrill is right there in front of you, but you can't quite get it - and the gems glistening on the other side of the window, and someone asleep, breathing heavily.
Robie: I'd go home, get a good night's sleep.
Francie: Wouldn't you use a glass cutter, a brick, your fist - anything to get what you wanted? Knowing it was just there waiting for you?
Robie: [sips his brandy] Oh, forget it.
Francie: Drinking dulls your senses.
Robie: Yeah, and if I'm lucky, some of my hearing.
Francie: [fondles her necklace] Blue-white with just hairlike touches of platinum.
Robie: You know, I have about the same interest in jewelry that I have in politics, horseracing, modern poetry, or women who need weird excitement: none.
Francie: Hold this necklace in your hand and tell me you're not John Robie, 'the Cat.' John, tell me something. You're going to rob that villa we cased this afternoon, aren't you? Oh, I suppose 'rob' is archaic. You'd say, 'knock over'?
Robie: [pained] Oh -
Francie: Don't worry, I'm very good at secrets.
Robie: Tell me, have you ever been on a psychiatrist's couch?
Francie: Don't change the subject. I know the perfect time to do it: Next week, the Sanfords are holding their annual gala. Everyone who counts will be there. I'll get you an invitation. It's an 18th-century costume affair. There will be thousands upon thousands of dollars' worth of the world's most elegant jewelry. Some of the guests will be staying for the weekend. We'll get all the information, and we'll do it together. What do you say?
Robie: My only comment would be highly censorable.
Francie: [sits alluringly on the couch, displaying both her necklace and bare decolletage] Give up, John. Admit who you are. Even in this light, I can tell where your eyes are looking. [He sits down] Look, John. Hold them. Diamonds. Only thing in the world you can't resist. Then tell me you don't know what I'm talking about. [She kisses his fingers, one by one, then puts her necklace in the palm of his hand] Ever had a better offer in your whole life? One with everything?
Robie: I've never had a crazier one.
Francie: Just as long as you're satisfied.
Robie: You know as well as I do this necklace is imitation.
Francie: Well, I'm not. [They kiss]
Francie: I called the police from your room and told them who you are and everything you've been doing tonight.
Robie: Everything? The boys must have really enjoyed that at headquarters!
Wanted by the police in all the luxury-spots of Europe!... A catch for any woman!
For a moment he forgets he's a thief -- and she forgets she's a lady!
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The medical condition Ichthyosis affects which part of the body? | What is Ichthyosis? | Foundation for Ichthyosis & Related Skin Types (FIRST)
What is ichthyosis?
Ichthyosis is a family of genetic skin disorders characterized by dry, scaling skin that may be thickened or very thin. The prefix "ichthy" is taken from the Greek root for the word fish. Each year, more than 16,000 babies are born with some form of ichthyosis. A recent study has determined that approximately 300 babies are born each year with a moderate to severe form of ichthyosis. Ichthyosis affects people of all ages, races and gender. The disease usually presents at birth, or within the first year, and continues to affect the patient throughout their lifetime.
Is there a cure for ichthyosis?
At present time there is no cure for ichthyosis, however dedicated researchers and physicians have and continue to develop effective ways to help manage the disorder. Parents are also playing an important role in sharing different treatments they are receiving with fellow parents of affected children and affected adults.
What are some of the problems associated with ichthyosis?
Besides the common scaling condition of the skin and depending on the severity, there may be associated psychological symptoms due to the abnormal appearance of the skin. Ichthyosis is disfiguring for most affected individuals. In addition to the numerous medical complications like dehydration, infections, chronic blistering, overheating, and rapid-calorie loss, patients with ichthyosis are subjected to psychological issues. Patients are often ostracized and concerns of isolation, low self-esteem, and depression are common due to the appearance of their visible, chronically shedding skin.
Why is skin important to us?
The skin is the primary deflector for the human body. It encases and protects our body from the external environment. The barrier that makes up the skin has many components, which include a barrier to excessive loss of body fluids or uptake of noxious chemicals in the skin. The skin is made up of many layers, but it is the outermost layer that provides the most protection and it is this layer where most ichthyosis patients have a defect.
What causes ichthyosis?
Most forms of ichthyosis are very rare. The genetic mutation that causes the disorder is passed from parent to child. In some cases however, neither parent exhibits the disorder themselves, but they are carriers of the defective gene. When two carriers pass their mutated gene on to a new life, the child will inherit the disorder. In some very rare cases, the genetic mutation occurs spontaneously in the affected generation.
What resources are available to help me?
FIRST offers a vast library of information available to guide you on your journey to understanding ichthyosis and its implications. Ranging from a basic overview to an in-depth look at how ichthyosis is passed genetically , information for caregivers and teachers , our library includes booklets, resource sheets , disease sheets and our quarterly newsletter, Ichthyosis Focus . Our Regional Support Network is available to connect individuals with others in similar circumstances.
| Skin |
What is a female mouse called? | CHILD syndrome - Genetics Home Reference
CHILD syndrome
Description
Congenital hemidysplasia with ichthyosiform erythroderma and limb defects, more commonly known by the acronym CHILD syndrome, is a condition that affects the development of several parts of the body. The signs and symptoms of this disorder are typically limited to either the right side or the left side of the body. ("Hemi-" means "half," and "dysplasia" refers to abnormal growth.) The right side is affected about twice as often as the left side.
People with CHILD syndrome have a skin condition characterized by large patches of skin that are red and inflamed (erythroderma) and covered with flaky scales (ichthyosis). This condition is most likely to occur in skin folds and creases and usually does not affect the face. The skin abnormalities are present at birth and persist throughout life.
CHILD syndrome also disrupts the formation of the arms and legs during early development. Children with this disorder may be born with one or more limbs that are shortened or missing. The limb abnormalities occur on the same side of the body as the skin abnormalities.
Additionally, CHILD syndrome may affect the development of the brain, heart, lungs, and kidneys.
Related Information
Genetic Changes
Mutations in the NSDHL gene cause CHILD syndrome. This gene provides instructions for making an enzyme that is involved in the production of cholesterol. Cholesterol is a type of fat that is produced in the body and obtained from foods that come from animals, particularly egg yolks, meat, fish, and dairy products. Although high cholesterol levels are a well-known risk factor for heart disease, the body needs some cholesterol to develop and function normally both before and after birth. Cholesterol is an important component of cell membranes and the protective substance covering nerve cells ( myelin ). Additionally, cholesterol plays a role in the production of certain hormones and digestive acids.
The mutations that underlie CHILD syndrome eliminate the activity of the NSDHL enzyme, which disrupts the normal production of cholesterol within cells. A shortage of this enzyme may also allow potentially toxic byproducts of cholesterol production to build up in the body's tissues. Researchers suspect that low cholesterol levels and/or an accumulation of other substances disrupt the growth and development of many parts of the body. It is not known, however, how a disturbance in cholesterol production leads to the specific features of CHILD syndrome.
Inheritance Pattern
This condition has an X-linked dominant pattern of inheritance. A condition is considered X-linked if the mutated gene that causes the disorder is located on the X chromosome , one of the two sex chromosomes. The inheritance is dominant if one copy of the altered gene in each cell is sufficient to cause the condition.
Most cases of CHILD syndrome occur sporadically, which means only one member of a family is affected. Rarely, the condition can run in families and is passed from mother to daughter. Researchers believe that CHILD syndrome occurs almost exclusively in females because affected males die before birth. Only one male with CHILD syndrome has been reported.
Related Information
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