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508_6 | The continuation is found in the 19th chamber, where of passage descending to a depth of surfaces in the 22nd chamber – of dry passages at various levels with a static pool. The way on is within this pool at a depth of where of passage ascends to surface in the 23rd chamber – of large passage, followed by four short sumps that arrive in the 24th chamber. This is of what is described in the guidebook as "magnificent" river passage, high and wide, which finishes at a cascade falling from a long lake. There are also more than of high-level passages above the river. The way on continues underwater for some reaching a depth of before surfacing in the 25th chamber – called the Lake of Gloom because of its thick mud deposits. The sump at the end of this has been dived for to a maximum depth of before gravel chokes prevented further progress. The end is about northeast of the entrance. |
508_7 | Hydrology and geology
Wookey Hole is on the southern escarpment of the Mendip Hills, and is the resurgence that drains the southern flanks of North Hill and Pen Hill. It is the second-largest resurgence on Mendip, with an estimated catchment area of , and an average discharge of per second. Some of the water is allogenic in origin i.e. drained off non-limestone rocks, collecting as streams on the surface before sinking at or near the Lower Limestone Shale — Black Rock Limestone boundary, often through swallets such as Plantation Swallet near St Cuthbert's lead works between the Hunter's Lodge Inn and Priddy Pools. It then passes through major cave systems such as Swildon's Hole, Eastwater Cavern and St Cuthbert's Swallet, around Priddy, but 95% is autogenic water that has percolated directly into the limestone. |
508_8 | The southern slopes of the Mendip Hills largely follow the flanks of an anticline, a fold in the rock that is convex upwards and has its oldest beds at its core. On the Mendips the crest of the anticline is truncated by erosion, forming a plateau. The rock strata here dip 10–15 degrees to the southwest. The outer slopes are mainly of Carboniferous Limestone, with Devonian age Old Red Sandstone exposed as an inlier at the centre. Wookey Hole is a solutional cave, mainly formed in the limestone by chemical weathering whereby naturally acidic groundwater dissolves the carbonate rocks, but it is unique in that the first part of the cave is formed in Triassic Dolomitic Conglomerate, a well-cemented fossil limestone scree representing the infill of a Triassic valley. |
508_9 | The cave was formed under phreatic conditions i.e. below the local water table, but lowering base levels to which the subterranean drainage was flowing resulted in some passages being abandoned by the river, and there is evidence of a number of abandoned resurgences. In particular, the passages in the 20th chamber are interpreted as a former Vauclusian spring, the waters of which once surfaced in the Ebbor Gorge. It is uncertain whether that was the original rising or whether it formed when the main rising at Wookey was blocked. |
508_10 | The current resurgence is located close to the base of the Dolomitic Conglomerate at the head of a short gorge formed by headward erosion with subsequent cavern collapse. The morphology of the passages is determined by the rock strata in which they are formed. The streamway in the outer part of the cave system that is formed within the Dolomitic Conglomerate is characterised by shallow loops linking low bedding chambers, or tall narrow passages, known as 'rifts', developed by phreatic solutional enlargement of fractured rifts. The streamway in the inner part of the system formed within the limestone is characterised by deep phreatic loops reaching depths as much as , with the water flowing down-dip along bedding planes and rising up enlarged joints. In the far reaches of the cave the passages descend to below sea level.
History |
508_11 | Witcombe suggests that the name Wookey is derived from the Celtic (Welsh) for 'cave', ogo or ogof, which gave the early names for this cave of "Ochie" or "Ochy". Hole is Anglo-Saxon for cave, which is itself of Latin/Norman derivation. Therefore, the name Wookey Hole Cave basically means cave cave cave. Eilert Ekwall gives an alternative derivation of Wookey from the Old English wocig, meaning a noose or snare for animals. By the 18th century the caves were commonly known as "Okey Hole". It was known as such when it was first described in print in 1681 by the geologist John Beaumont. |
508_12 | Fossils of a range of animals have been found including the Pleistocene lion (Felis leo spelæ), cave hyena (Crocuta crocuta spelaea) and badger (Meles meles). Wookey Hole was occupied by humans in the Iron Age, possibly around 250–300 BC, while nearby Hyena Cave was occupied by Stone Age hunters. Badger Hole and Rhinoceros Hole are two dry caves on the slopes above the Wookey ravine near the Wookey Hole resurgence and contain in situ cave sediments laid down during the Ice Age. Just outside the cave the foundations of a 1st-century hut have been identified. These had been built on during the Roman era up to the end of the 4th century.
In 1544 products of Roman lead working in the area were discovered. The lead mines across the Mendips have produced contamination of the water emerging from the caverns at Wookey Hole. The lead in the water is believed to have affected the quality of the paper produced. |
508_13 | The designation of the water catchment area for Wookey Hole, covering a large area of the Mendip Hills as far away as Priddy Pools, as a Site of Special Scientific Interest (SSSI) during the 1970s and 1980s was controversial because of conflicts of interest between land owners, recreational cavers and cave scientists. Initial proposals put forward by the Council of Southern Caving Clubs (part of the British Caving Association) were that SSSI designation, which would restrict what farmers and other landowners were allowed to do, would cover the entire catchment area. This was opposed as being too restrictive and difficult to enforce. It was argued that agricultural use of fields not directly in contact with cave entrances would have little detrimental effect on the caves themselves. There was also debate about which caves and cave features should be considered "important". The final settlement resulted in a smaller area being designated and many agricultural practices being removed |
508_14 | from the list of proscribed "Potentially Damaging Operations". |
508_15 | The entrance weir and sluice gate servicing the paper mill was built about 1852. The tunnel excavated from the third chamber to the ninth chamber and then out to daylight was dug in 1974–1975 by ex-coal miners from the Radstock area. The show cave was further extended in 2015 by excavating a tunnel from the ninth chamber to the 20th chamber.
The constant temperature of in the caves is used by Ford Farm of Dorset to mature Cheddar cheese in the 'Cheese Tunnel' – an excavated side tunnel between the ninth chamber and the exit to the show cave. |
508_16 | Cave archaeology
Archaeological investigations were undertaken from 1859 to 1874 by William Boyd Dawkins, who moved to Somerset to study classics with the vicar of Wookey. On hearing of the discovery of bones by local workmen, he led excavations in the area of the hyena den. His work led to the discovery of the first evidence for the use by Paleolithic humans in the caves of the Mendip Hills. Middle Paleolithic tools have been found in association with butchered bones with a radiocarbon age of around 41,000 years. |
508_17 | Herbert E. Balch continued the work from 1904 to 1914, when he led excavations of the entrance passage (1904–1915), Witch's Kitchen (the first chamber) and Hell's Ladder (1926–1927) and the Badger Hole (1938–1954), where Roman coins from the 3rd century were discovered along with Aurignacian flint implements. Rhinoceros Hole was scheduled as an ancient monument in 1992. The 1911 work found of stratification, mostly dating from the Iron Age and sealed into place by Romano-British artefacts. Finds included a silver coin of Marcia (124 BC), pottery, weapons and tools, bronze ornaments, and Roman coins from Vespasian to Valentinian II (1st to 4th centuries). |
508_18 | The work was continued, first by E. J. Mason from 1946 to 1949, and then by G. R. Morgan in 1972. Later work led by Edgar Kingsley Tratman explored the human occupation of Rhinoceros Hole, and showed that the fourth chamber of the great cave was a Romano-British cemetery. During excavations in 1954–1957 at Hole Ground, just outside the entrance to the cave, the foundations of a 1st-century hut and Iron Age pottery were seen. These were covered by the foundations of Roman buildings, dating from the 1st to the late 4th century.
Exploration |
508_19 | The cave as far as the third chamber and side galleries has been known since at least the Iron Age period. Before the construction of a dam at the resurgence to feed water to the paper mill downstream, two more chambers (the Fourth and Fifth) were accessible. Further upstream the way lies underwater. Diving was first tried by the Cave Diving Group under the leadership of Graham Balcombe in 1935. With equipment on loan from Siebe Gorman, he and Penelope ("Mossy") Powell penetrated into the cave, reaching the seventh chamber, using standard diving dress. The events marked the first successful cave dives in Britain. |
508_20 | Diving at Wookey resumed in early June 1946 when Balcombe used his homemade respirator and waterproof suit to explore the region between the resurgence and first chamber, as well as the underground course of the river between the third and first chambers. During these dives, the Romano-British remains were found and archaeological work dominated the early dives in the cave. The large ninth chamber was first entered on 24 April 1948 by Balcombe and Don Coase. Using this as an advance dive base, the 10th and then 11th chambers were discovered. The way on, however, was too deep for divers breathing pure oxygen from a closed-circuit rebreather. The cave claimed its first life on 9 April 1949 when Gordon Marriott lost his life returning from the ninth chamber. Another fatality was to occur in 1981 when Keith Potter was drowned on a routine dive further upstream. |
508_21 | Further progress required apparatus that could overcome the depth limitation of breathing pure oxygen. In 1955 using an aqualung and swimming with fins, Bob Davies reached the bottom of the 11th chamber at depth in clear water and discovered the 12th and 13th chambers. He got separated from his guideline and the other two divers in the 11th chamber, ending up spending three hours trapped in the 13th chamber and had much trouble getting back to safety. Opinion hardened against the use of the short-duration aqualung in favour of longer-duration closed-circuit equipment. Likewise, the traditional approach of walking along the bottom was preferred over swimming. Employing semi-closed circuit nitrogen-oxygen rebreathers, between 1957 and 1960 John Buxton and Oliver Wells went on to reach the elbow of the sump upstream from the ninth chamber at a depth of . This was at a point known as "The Slot", the way on being too deep for the gas mixture they were breathing. |
508_22 | A six-year hiatus ensued while open circuit air diving became established, along with free-swimming and the use of neoprene wetsuits. The new generation of cave diver was now more mobile above and under water and able to dive deeper. Using this approach, Dave Savage was able to reach air surface in the 18th chamber (chambers did not have to have air spaces to be so named; they were the limits of each exploration) in May 1966. A brief lull in exploration occurred while the mess of guidelines laid from the ninth chamber was sorted out before John Parker progressed first to the large, dry, inlet passage of the 20th chamber, and thence followed the River Axe upstream on a dive covering at a maximum depth of to the 22nd chamber where the way on appeared to be lost. |
508_23 | Meanwhile, climbing operations in the ninth chamber found an abandoned outlet passage that terminated very close to the surface, as well as a dry overland route downstream through the higher levels of the eighth, seventh and sixth chambers as far as the fifth chamber. These discoveries were used to enable the show cave to be extended into the ninth chamber and the cave divers to start directly from here, bypassing the dive from the third chamber onwards. The way on from the 22nd chamber was at last found by Colin Edmond and Martyn Farr in February 1976 and was explored until the line ran out. A few days later Geoff Yeadon and Oliver Statham somewhat controversially reached the 23rd chamber after laying just a further of line. After a further three short dives they surfaced in the 24th chamber to be confronted by what Statham described as "a magnificent sight—the whole of the River Axe pouring down a passage high by wide" terminating in a blue lake after . This lake was dived by |
508_24 | Farr a few days later for at a maximum depth of to emerge in the 25th chamber, a desolate, muddy place named "The Lake of Gloom". |
508_25 | The 25th chamber represents the furthest upstream air surface in Wookey Hole Cave. From here the River Axe rises up from a deep sump where progressive depth records for cave diving in the British Isles have been set: firstly by Farr () in 1977, then Rob Parker () in 1985, and finally by John Volanthen and Rick Stanton () in 2004. The pair returned again in 2005 to explore the sump to a depth of , setting a new British Isles depth record for cave diving. This record was broken in 2008 by Polish explorer Artur Kozłowski, then later again by Michal Marek, on dives in Pollatoomary in Ireland.
Taking advantage of the tunnel driven through to Chamber 20 by the show cave management in 2015, a team began seriously to investigate the leads in that area. One small passage was pushed to a sump that was dived through to Sting Corner in Chamber 24. In 2020 a dry connection was made to the same location. |
508_26 | During 1996–1997 water samples were collected at various points throughout the caves and showed different chemical compositions. Results showed that the "Unknown Junction", from where water flows to the static sump in the 22nd chamber by a different route from the majority of the River Axe, is upstream of the sump in the 25th.
Witch of Wookey Hole
There are old legends of a "witch of Wookey Hole", which are still preserved in the name of a stalagmite in the first chamber of the caves. The story has several different versions with the same basic features: |
508_27 | A man from Glastonbury is engaged to a young woman from Wookey. A witch living in Wookey Hole Caves curses the romance so that it fails. The man, now a monk, seeks revenge on this witch who—having been jilted herself—frequently spoils budding relationships. The monk stalks the witch into the cave and she hides in a dark corner near one of the underground rivers. The monk blesses the water and splashes some of it at the dark parts of the cave where the witch was hiding. The blessed water immediately petrifies the witch, and she remains in the cave to this day. |
508_28 | A 1000-year-old skeleton was discovered in the caves by Balch in 1912, and has also traditionally been linked to the legendary witch, although analysis indicated that they are the remains of a male aged between 25 and 35. The remains have been part of the collection of the Wells and Mendip Museum, founded by Balch, since they were excavated, though in 2004 the owner of the caves said that he wanted them to be returned to Wookey Hole.
It was partly the legend of the witch that prompted TV's Most Haunted team to visit Wookey Hole Caves and Mill to explore the location in depth, searching for evidence of paranormal activity. The show, which aired on 10 March 2009, was the last episode transmitted in series 11 of the show's run on the satellite and cable TV channel Living. In 2009, a new actress to play the 'witch' was chosen by Wookey Hole Ltd amid much media interest. Carole Bohanan in the role of Carla Calamity was selected from over 3,000 applicants.
Tourism |
508_29 | The cave was first opened to the public by the owner Captain G.W. Hodgkinson in 1927 following preparatory work by Balch. Three years later, John Cowper Powys wrote of the caves in the novel A Glastonbury Romance. Hodgkinson took offence at the portrayal of his fictional equivalent, initiating a costly libel suit.
The current paper mill building, whose water wheel is powered by a small canal from the river, dates from around 1860 and is a Grade II listed building. The commercial production of handmade paper ceased in February 2008 after owner Gerry Cottle concluded there was no longer a market for the product, and therefore sold most of the historic machinery. Visitors to the site are still able to watch a short video of the paper being made from cotton. Other attractions include the dinosaur valley, a small museum about the cave and cave diving, a theatre with circus shows, a house of mirrors and penny arcades. |
508_30 | In 1956, Olive Hodgkinson, a cave guide whose husband's family owned the caves for over 500 years, was a contestant on What's My Line?
In the late 1950s, the caves were photographed by Stanley Long of VistaScreen, to be sold as both souvenirs and as mail-order stereoviews.
The cave and mill were joined, after purchase, by Madame Tussauds in 1973 and operated together as a tourist attraction until there was a management team buyout in 1989. A collection of fairground art of Wookey Hole was sold in 1997 at Christie's. The present owner is the former circus proprietor Gerry Cottle, who has introduced a circus school. |
508_31 | The cave was used for the filming of episodes of the BBC TV series Doctor Who: the serial Revenge of the Cybermen (1975) starring Tom Baker. This has since been referenced in the comedy of The League of Gentlemen. The cave was also used in the filming of the British series Blake's 7 (1978) and Robin of Sherwood (1983). The caves were used again for Doctor Who in "The End of Time" (2009), including a scene with the Doctor sharing thoughts and visions with the Ood.
In 2005, the museum reported that a Dalek prop had gone missing from its collection, and that they had received a ransom note and a detached plunger from the "Guardians of the Planet Earth". The prop was later recovered from Glastonbury Tor after thieves had supposedly considered it "too hot". Cottle denied that this was a publicity stunt. |
508_32 | On 1 August 2006, CNN reported that Barney, a Doberman Pinscher employed as a security dog at Wookey Hole, had destroyed parts of a valuable collection of teddy bears, including one which had belonged to Elvis Presley, which was estimated to be worth £40,000 (US$75,000). The insurance company insuring the exhibition of stuffed animals had supposedly insisted on having guard dog protection. Cottle later admitted that he had invented this story as a publicity stunt, and no such bear had ever been owned by the museum.
In February 2009 Cottle turned the Victorian bowling green next to the caves into a crazy golf course without first obtaining planning permission.
References
Bibliography
Dawkins, W.B. (1862) On a hyaena den at Wookey Hole, near Wells. Quarterly Journal of the Geological Society of London 18: 115–126.
External links
Wookey Hole Caves / Paper Mill / Museum
Map of Wookey Hole Cave System |
508_33 | Caves of the Mendip Hills
Sites of Special Scientific Interest in Somerset
Tourist attractions in Somerset
Show caves in the United Kingdom
Limestone caves
Grade II listed buildings in Mendip District
Somerset folklore
Iron Age sites in Somerset
cy:Wookey Hole
ja:ウーキー・ホール |
509_0 | The name Moriarty is an Anglicized version of the Irish name Ó Muircheartaigh which originated in County Kerry in Ireland. Ó Muircheartaigh can be translated to mean 'navigator' or 'sea worthy', as the Irish word muir means sea (cognate to the Latin word mare for 'sea') and ceardach means skilled. Several prominent people have the Irish name Moriarty, mostly as a surname.
Using documentary evidence, flavoured by legend, researchers have isolated historical data using books by O'Hart, McLysaght and O'Brien, the Four Masters, baptismals, parish records, and ancient land grants. Despite the loss of records caused by the fire in the Dublin Records Office in 1922 which was an irreparable disaster to Irish historians, sufficient evidence is still available to produce a thumbnail sketch of the Moriarty history.
Conclusions by these researchers show that the family name Moriarty was first found in county Kerry. |
509_1 | Spelling variations of the names were found in the archives researched, particularly when families attempted to translate the name from the Gaelic to the English. Although the name Moriarty occurred in many references, from time to time the surname was also officially recorded as Moriarty, O'Moriarty, Murtagh, Murtag, Murtaugh, McMoriarty, O'Murtagh, and these changes in spelling frequently occurred, even between father and son. Preferences for different spelling variations usually arose from a division of the family, or for religious reasons, or sometimes patriotic reasons. Church officials and scribes spelt the name as it sounded, sometimes several different ways in the lifetime of the same person. The abbreviations of Mc in front of a name, meaning 'son of' is popular in Irish names, although this is no guarantee that the name is Irish. Many Scottish names also prefer Mc instead of Mac. Officially in both countries, the abbreviation is Mac. In Ireland, frequently O' is also used |
509_2 | before a name meaning the 'grandson of'. |
509_3 | Migrants
In North America, some of the first migrants which could be considered kinsmen of the sept Moriarty of that same family were Daniel, Ellen, Eugene, Margaret, Michael, Thomas Moriarty all settled in Boston in 1849; James, John, Martin, Maurice, and Michael Moriarty all arrived in Philadelphia between 1840 and 1860. |
509_4 | People with the surname
Abram Moriarty (1830–1918), Irish-born Australian politician
Ambrose Moriarty (1870–1949), English prelate of the Roman Catholic Church, former Bishop of Shrewsbury
Bill Moriarty (baseball) (1883–1916), American baseball player briefly active in 1909
Brendan Moriarty, ophthalmic surgeon mostly known for introducing intraocular telescope surgery for macular degeneration
Brendan Moriarty, American film director and Media owner of The Cambodian Journal. He is the grandson to Joseph B Moriarty, New Hampshire Labor Union Leader from 1936 to 1985.
Brian Moriarty (born 1956), computer game author mostly known for Trinity and Loom
Cathy Moriarty (born 1960), American actress nominated for a Best Supporting Actress Academy Award for her role in Raging Bull
Cecil Moriarty (1877–1958), Irish-born Chief Constable of Birmingham and rugby international
Clare Moriarty, British civil servant
Colm Moriarty (born 1979), Irish professional golfer |
509_5 | Dan Moriarty (footballer, born 1875) (1875–1903), Australian rules footballer
Dan Moriarty (footballer, born 1895) (1895–1982), Australian rules footballer
David Moriarty (1814–1877), Irish Roman Catholic bishop and pulpit orator
David H. Moriarty (1911–1989), American sound engineer
Ed Moriarty (1912–1991), American Major League Baseball player
Edward Orpen Moriarty (1824–1896), Australian civil engineer
Erin Moriarty (journalist) (born 1952), American television news reporter
Erin Moriarty (actress) (born 1994), American actress
Fiach Moriarty (), Irish singer-songwriter
Gene Moriarty (1863–1904), American Major League Baseball outfielder
Geoff Moriarty (1871–1948), Australian rules footballer
George Moriarty (1884–1964), American Major League Baseball player, manager and umpire
George Andrews Moriarty, Jr (1883–1968), American genealogist
Greg Moriarty (born 1964), Australian public servant and diplomat
Jack Moriarty (1901–1980), Australian rules footballer |
509_6 | Jim Moriarty (born 1953), New Zealand actor and theatre director
James Moriarty (disambiguation), several people
Jeremiah J. Moriarty (1914–1995), New York politician and judge
Jerry Moriarty (born 1938), American artist
Joan Moriarty (1923–2020), nursing sister, Matron-in-Chief/Director of the Queen Alexandra's Royal Army Nursing Corps from 1977 to 1981
Joan Denise Moriarty (early 1910s?–1992), Irish dancer, teacher and choreographer, founder of professional ballet in Ireland
John Moriarty (disambiguation), several people
Joseph Vincent Moriarty (1910–1979), Irish-American mobster
Judith Moriarty (born 1942), American politician
Kieran Moriarty, British physician
Larry Moriarty (born 1958), American former National Football League player
Laura Moriarty (novelist) (born 1970), American author from Hawaii
Laura Moriarty (poet and novelist) (born 1952), American poet and novelist from Minnesota
Liane Moriarty (born 1966), Australian author |
509_7 | Michael Moriarty (disambiguation), several people
Merion Moriarty (1794–1864), Irish-born Australian politician
Paddy Moriarty, Gaelic footballer from Northern Ireland in the 1970s
Pat Moriarty (American football) (born 1955), football executive for the National Football League's Baltimore Ravens
Patrick Moriarty (disambiguation), several people
Paul Moriarty (disambiguation), several people
Philip Moriarty (born 1968), Irish physicist and professor of physics at the University of Nottingham
P. H. Moriarty (born 1939), British actor
Richard Moriarty (born 1957), Welsh former international rugby union captain
Robert J. Moriarty (born 1946), American Marine fighter pilot
Ross Moriarty (born 1994), Welsh international rugby union player
Stephen Moriarty (born 1949), American politician
Teague Moriarty (born 1983), American chef
Terry Moriarty (1925–2011), Australian rules footballer
Thomas Moriarty (1812–1894), Church of Ireland clergyman |
509_8 | Tom Moriarty (born 1953), American former National Football League player
William Moriarty (1890–1936), a leader of the Communist Party of Canada who sided with the Right Opposition |
509_9 | See also
Moriarty (disambiguation)
Jay Moriarity, American surfer
Mícheál Ó Muircheartaigh, Irish Gaelic Games commentator
References
External links
Moriarty family pedigree at Library Ireland
Surnames of Irish origin
Irish families
Anglicised Irish-language surnames |
510_0 | The Mark, Tom, and Travis Show (The Enema Strikes Back!) is a live album by American rock band Blink-182. It was released on November 7, 2000 by MCA Records. Blink-182 had risen to fame at the turn of the millennium on the strength of its third album, Enema of the State, which went multiplatinum. Capturing the band's stage show—known for its irreverent humor—with a live release was designed to satisfy fans between new studio albums. The album was recorded over two nights at performances in their native California, on the group's inaugural arena tour. |
510_1 | The album contains energetic, high-speed renditions of the band's catalogue up to that point in their career. The set list includes singles such as "All the Small Things", "What's My Age Again?", and "Dammit". Guitarist Tom DeLonge and bassist Mark Hoppus trade juvenile jokes in-between songs, while drummer Travis Barker performs with virtuosity. The album's sleeve was designed by artist Glen Hanson, who received an award for his work on it. Jerry Finn, the band's frequent collaborator, produced and mixed the album. |
510_2 | Marketed as a limited edition release, The Mark, Tom, and Travis Show was initially available for only two months at retail. During that time, the album sold over 500,000 copies in the US, earning a gold certification from the Recording Industry Association of America. "Man Overboard"—a bonus studio single recorded to promote its release—reached number two on Billboard Modern Rock Tracks chart. The album proved influential for future pop punk acts, including Man Overboard and All Time Low. In recent years, the album has seen sporadic availability on digital platforms. |
510_3 | Background |
510_4 | Blink-182 broke into the mainstream with its 1999 album Enema of the State—a fast, glossy pop-punk record with multiple hit singles. The LP proved enormously successful, shifting over five million units domestically, and three times that number worldwide. It became a time of transition for the group, who performed worldwide in larger venues than before, including amphitheaters, arenas, and stadiums. At the beginning of the album's promotional cycle, the trio were driving from show to show in a van with a trailer attached for merchandise and equipment; by its end, they were traveling by double-decker bus and flying on private jets. Bassist Mark Hoppus recalled that "we had gone from playing small clubs and sleeping on people's floors to headlining amphitheaters and staying in five-star hotels." Guitarist Tom DeLonge, in a band biography, recalled that touring arenas "was amazing, because it was the first time we'd ever done anything that big. I felt like a success story." Drummer |
510_5 | Travis Barker, in his memoir Can I Say, recalled his newfound stardom: "[The] album took us all over the world, for months at a time. We were playing awards shows with [pop stars] Britney Spears and Christina Aguilera when we were used to hanging with bands like the Vandals, Unwritten Law, and 7 Seconds." |
510_6 | Capturing the band's stage show with a live album was designed to satisfy fans between new studio albums. The content of The Mark, Tom and Travis Show was recorded at two concerts in California. These shows—a part of the band's first arena outing, the Loserkids Tour—took place on November 4, 1999, at the Bill Graham Civic Auditorium in San Francisco, California, and November 5, 1999, at Universal Amphitheatre in Universal City, California. The album was titled after the band's 2000 worldwide tour, while the subtitle alludes to both Enema of the State and the Star Wars film The Empire Strikes Back. The recordings were captured by Le Mobile, a California-based mobile recording unit. Le Mobile has also recorded live albums for artists such as the Offspring, Van Morrison, Kenny G, and Robin Thicke. |
510_7 | Hoppus described the experience as daunting, especially the Los Angeles show: "Playing shows in LA is already nerve-wracking enough because you have friends and family and agents and lawyers and label people and radio stations," he told Rock Sound in 2020. The album was produced and mixed by Jerry Finn, a veteran punk rock producer that the band previously collaborated with on Enema of the State. Additional editing of the recordings took place at Signature Sound in the band's hometown, San Diego; Finn mixed the album at Cello Studios in Hollywood, where it was also finalized at Bernie Grundman Mastering. The album's artwork was illustrated by artist Glen Hanson, best-known for later designing the Mattel fashion doll franchise Monster High. The drawing depicts the band performing for a colorful audience of characters, including a wizard, nude men, an alien, and Enema of the State cover model Janine Lindemulder. Hanson was awarded a certificate of excellence from the American Institute |
510_8 | of Graphic Arts for his work on the sleeve. The design of the CD sleeve was headed by Tim Stedman, then vice president of the art department for MCA Records. |
510_9 | Composition
Music
The Mark, Tom, and Travis Show features live renditions of songs from the band's first three albums: Cheshire Cat, Dude Ranch, and Enema of the State. It leans heavily on the contents of the latter, as the band were touring in support of it at the time. "We played the songs at lightning speed, and the dick jokes were at an all-time high. It was a perfect representation of what we sounded like and who we were at that time," Barker has recalled. The band's songs commonly focus on autobiographical lyrical subjects such as relationships, and adolescent themes like high school and teen angst. Greg Kot at the Chicago Tribune perceived an "undercurrent of seriousness and an attention to songcraft that might not be instantly apparent beneath the prankster veneer." |
510_10 | Guitarist Tom DeLonge's guitar riffs are down-stroked and power-chord heavy, with large amounts of palm muting, while Hoppus acts as a combination between a rhythm guitarist and bassist. Writer Greg Heller of Alternative Press, on the topic of Barker's role, observed that "In the great tradition of Cheap Trick's Live at Budokan, the [album] showcases the drummer's quiet fury—which is to say that when not drumming furiously, he’s quiet [...] But when playing he’s the loudmouth, squeezing fills into rolls with unthinkable technicality and brutal abandon." Heller felt that Barker's percussive work on the album offers "something slightly more eclectic" than the typical "repetitive blitzkrieg" of double-time punk drumming. At this point in his career, Barker listed veteran percussionists Steve Gadd, Dennis Chambers, and Stewart Copeland as influences. DeLonge and Hoppus, meanwhile, jokingly prioritize carelessness, remarking on the album that they "professionally suck." |
510_11 | At the conclusion of the live set, the album crossfades into "Man Overboard", a new studio track. The song was originally demoed during the sessions that produced Enema of the State, but was left off the final album. It lyrically references former drummer Scott Raynor, likening his expulsion from the group to an exclamation made when a passenger falls from a ship. The band wanted to include a new studio cover song as a bonus track, potentially from an artist like the Police, Phil Collins, or Paul Simon, but it was difficult to find time between their busy schedule. |
510_12 | Humor |
510_13 | The album contains a handful of juvenile joke songs, including "Family Reunion", a musical retelling of comedian George Carlin's seven dirty words routine, and "Blow Job", a celebration of oral sex. Throughout the performance, DeLonge and Hoppus alternate vocally portraying Satan through a voice changer, and parody their own lyrics. Nearly every song concludes with long, improvised repartee between the two musicians, often starting with DeLonge shouting "Hey Mark!" and punctuated by belching. "I always hated bands that just sit there and play," DeLonge said to disc jockey Michael Halloran. "I think us interacting with the audience is different, and original, and it's fun to do." The LP concludes with nearly eleven minutes of this collected banter, in which DeLonge references the duo's off-color tendency: "Hey, how come every time we say a joke, it has to be about fucking, sex, masturbation, incest, or anything gross like that? [...] There's nothing else to talk about!" These tracks, |
510_14 | collectively known as "Words of Wisdom", are culled from DAT recordings of thirty shows across the Mark, Tom and Travis Show Tour, and were compiled by a member of band's entourage. Hoppus called it "the worst, most obscene, foul-language. On that tour me and Tom were really trying to see who could outdo the other and say the most ridiculous thing on stage." DeLonge expressed surprise at audience members' potential offense to their humor, noting that the scene the group came up in included acts like Guttermouth, whose frontman Mark Adkins was known to stick a drum stick up his rear on-stage—so their dialogue certainly felt tame in comparison. |
510_15 | Barker, who voted against including the 26-track collection of crosstalk, takes no part in the silliness, and communicates solely in rimshots. "Probably 60 percent of the time, what they’re saying between songs is genuinely funny," he told Heller. "But the other times... that’s when I'm kicking or doing something behind the drum set to say, 'Let's go. Let's play the next song.' They tried before [to get me involved]: 'Get a mic. Tell a joke.' But that's just not my style. I'd just rather play a song." This type of between-song dialogue has been compared to Paul Stanley's stage banter on the Kiss live album Alive!, as well as the Slayer bootleg album Do You Dig Older Women?. Allmusic reviewer MacKenzie Wilson dismissed this humor as "immature, [but] harmless." In contrast to their crude humor, the duo were fairly straight-laced behind-the-scenes, compared to many rockstars. A 2000 Rolling Stone profile by writer Gavin Edwards details the band: "They say they don't use drugs. Their tour |
510_16 | rider mandates a supply of beer, which they routinely donate to the road crew. [...] Hoppus’ and DeLonge's antics mask a mature streak that, given their fondness for fart jokes and references to one another’s penises, in itself seems shocking." Nevertheless, the band's tendency to celebrate audience members flashing their breasts drew criticism. Hoppus responded to these critiques in the Rolling Stone story; "I just get super bummed-out when 13-year-old girls show their boobs. [...] Now, we’re the first show for a lot of kids, so I just want them to have fun and get out safe." |
510_17 | Commercial performance
The Mark, Tom, and Travis Show was first alluded to in an August 2000 article on MTV News, which reported the band were back in the studio to record a studio track accompanying the album, "Man Overboard". The song debuted online, streaming exclusively on MTV.com, KROQ.com and the band's official website on September 2, 2000. The song was later serviced to radio on September 18, where it quickly rose up Billboard Modern Rock Tracks chart. The song peaked at number two on November 18, 2000, its eighth week on the chart, representing another hit single for the band. The live version of "Dumpweed" was also issued as a promotional single to support the album. |
510_18 | The Mark, Tom, and Travis Show was released on compact disc and cassette worldwide on November 7, 2000, with a suggested list price of $12.98 in the US. It was marketed as a limited edition release, and was only available for two months in stores. The album premiered with sales of between 110,000–128,000 copies, according to Nielsen SoundScan, debuting at number eight on the Billboard 200 chart in the issue dated November 25, 2000. It charted highest in Canada, where it peaked at number four, and in Australia, where it debuted on the ARIA Charts at number six. It was quickly certified gold in several regions; in Canada, the album was certified platinum by Music Canada for sales of over 100,000 copies; overseas, in the United Kingdom, it similarly attained 100,000 sales, resulting in a gold certification from the British Phonographic Industry.
It was certified gold by the Recording Industry Association of America on January 17, 2001, denoting shipments of over 500,000 copies. |
510_19 | Critical reception
The Mark, Tom and Travis Show received mixed reviews from critics at the time of its release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 56, based on eight reviews, indicating a "mixed or average" response. Wilson of Allmusic dubbed the album "a real rock show [and] high-speed energy at finest [...] in the midst of teen pop mediocrity and post-grunge rollickers, it's good to see a band such as blink-182 enjoying its time on top of the world." Alex Pappademas of Spin was appreciative of Hoppus and DeLonge's "smirky, self-deprecating one-liners [that] can't conceal the music's winning wistfulness." Rob Sheffield of Rolling Stone opined that "DeLonge is one terrific little guitar player, the comic chitchat interludes are a sweet bonus for fans, and Blink-182 steal enough moronic hooks to make The Enema Strikes Back! a hoot." |
510_20 | Mike Pace of PopMatters wrote that "the recording sounds bright and full, and while the suits at MCA surely had something to do with that production-wise, one can't fault Tom Delonge for coming into his own as a guitar player, and probably getting more mileage out of the C,G,A,F and G,C,D chord progressions than any band thus far." A reviewer for Melody Maker observed that the album "obeys the First Three Laws of Rock: have a good time; maintain the generation gap; keep it simple." The more negative reviews came from NME, with writer Siobhan Grogan deriding the album as "the tragic sound of three men so desperately trying to avoid growing up." Tom Sinclair, reviewing for Entertainment Weekly, found the collection to be "wholly unwarranted," criticizing the "laughably obvious" marketing strategy of "quickly flood[ing] the market with blink-182 product before their fans outgrow 'em." Retrospective reviews have since become more positive. Consequence of Sound contributor Alex Young |
510_21 | retrospectively reviewed the album in 2008, praising the band's energy and considering it a part of that "timeless teenage tradition of offending parents and pushing the boundaries." |
510_22 | Legacy and availability |
510_23 | The Mark, Tom, and Travis Show (The Enema Strikes Back!) proved influential to a generation of pop punk musicians. The New Jersey band Man Overboard named themselves after the album's lead single, while the members of Baltimore-based pop punk outfit All Time Low first bonded over listening to the album. Still, re-releases and availability of The Mark, Tom, and Travis Show have proven scarce. The original CD was only in stores for two months; it was pulled in January 2001. In the US, Universal Music Group first issued the album on vinyl in 2011 through mall chain Hot Topic, while Canadian independent label SRC reissued it on high-fidelity audiophile vinyl and cassette in 2015 and 2016. It has been infrequently available for digital download or on streaming services; in 2017, upon its latest removal, it prompted Man Overboard guitarist Zac Eisenstein to publicly bemoan its absence. It became re-available on Spotify and Apple Music in 2019, but only in certain regions. |
510_24 | Track listing
Personnel
Blink-182
Mark Hoppus – vocals, bass guitar
Tom DeLonge – vocals, guitar
Travis Barker – drums
Additional musicians
Jerry Finn – rhythm guitar
Mark Trombino – keys
Production
Sean O'Dwyer – engineer
Tom Lord-Alge – mixing
Brian Gardner – mastering
Jerry Finn – Producer
Charlie Bouis, Joe Marlett – assistant engineers
Management
Rick DeVoe – Management
Darryl Eaton & Brian Greenbaum – US booking agent
Mike Dwedney – International booking agent
Gary Ashley – A&R
Jeanne Venton & Alexa Sita – A&R administration
Artwork
Tim Stedman – art direction, design
TJ River – assisted design
Glen Hanson – illustration
Justin Stephens – photography
Skye Everly, Thomas Noto, Tim Stedman – additional photography
Charts
Weekly charts
Year-end charts
Certifications
References
Footnotes
Sources
External links
The Mark, Tom, and Travis Show (The Enema Strikes Back!) at YouTube (streamed copy where licensed) |
510_25 | Blink-182 albums
MCA Records live albums
Albums produced by Jerry Finn
2000 live albums
Live pop punk albums
Live punk rock albums
Skate punk albums |
511_0 | Margaret Theresa of Spain (, ; 12 July 1651 – 12 March 1673) was, by marriage to Leopold I, Holy Roman Empress, German Queen, Archduchess of Austria and Queen of Hungary and Bohemia. She was the daughter of King Philip IV of Spain and the elder full-sister of Charles II, the last of the Spanish Habsburgs. She is the central figure in the famous Las Meninas by Diego Velázquez, and the subject of many of his later paintings.
Biography
Early years
Margaret Theresa was born on 12 July 1651 in Madrid as the first child of King Philip IV of Spain born from his second marriage with his niece Mariana of Austria. Because of this avunculate marriage, Margaret's mother was nearly thirty years younger than her father.
Margaret's paternal grandparents were King Philip III of Spain and his wife Archduchess Margaret of Austria. Her maternal grandparents were Ferdinand III, Holy Roman Emperor and his wife Infanta Maria Anna of Spain, the daughter of her paternal grandparents. |
511_1 | The marriage of her parents was purely made for political reasons, mainly the search for a new male heir for the Spanish throne after the early death of Balthasar Charles, Prince of Asturias in 1646. Besides him, the other only surviving child of Philip IV's first marriage was the Infanta Maria Theresa, who later became the wife of King Louis XIV of France. After Margaret, between 1655 and 1661, four more children (a daughter and three sons) were born from the marriage between Philip IV and Mariana of Austria, but only one survived infancy, the future King Charles II of Spain. |
511_2 | Margaret did not develop the serious health issues and disabilities (because of the close consanguinity of her parents) that her younger brother had shown since his birth. During her childhood she was once seriously ill, but survived. According to contemporaries, Margaret had an attractive appearance and lively character. Her parents and close friends called her the "little angel". She grew up in the Queen's chambers in the Royal Alcazar of Madrid surrounded by many maids and servants. The Infanta loved candies, which she constantly hid from the physicians who cared for the health of her teeth. Both Margaret's father and maternal grandfather Emperor Ferdinand III loved her deeply. In his private letters King Philip IV called her "my joy". At the same time, Margaret was brought up in accordance with the strict etiquette of the Madrid court, and received a good education.
Betrothal and marriage |
511_3 | In the second half of the 1650s at the imperial court in Vienna the necessity developed for another dynastic marriage between the Spanish and Austrian branches of the House of Habsburg. The union was needed to strengthen the position of both countries, especially against the Kingdom of France. At first the proposals were for Maria Theresa, the eldest daughter of Philip IV, to marry the heir of the Holy Roman Empire, Archduke Leopold Ignaz. But in 1660 and under the terms of the Treaty of the Pyrenees, the Infanta was married to the French King; as a part of her marriage contract, she was asked to renounce her claims to the Spanish throne in return for a monetary settlement as part of her dowry, which was never paid. |
511_4 | Then began discussion about a marriage between Margaret and the Holy Roman Emperor Leopold I (who was her maternal uncle and paternal cousin). However, the Madrid court hesitated to agree to this proposal, because the infanta could inherit the Spanish crown if her little brother died. The count of Fuensaldaña, Spanish ambassador in France, suggested the infanta as a possible bride for King Charles II of England. However, King Philip IV rejected this idea, replying that the King of England should look for a wife in France. |
511_5 | In October 1662, the new Imperial ambassador in the Spanish Kingdom, Count Francis Eusebius of Pötting, began one of his main diplomatic assignments, which was the celebration of the marriage between the Infanta and the Emperor. Negotiations by the Spanish side were led by Ramiro Núñez de Guzmán, Duke of Medina de las Torres. On 6 April 1663, the betrothal between Margaret and Leopold I was finally announced. The marriage contract was signed on 18 December. Before the official wedding ceremony (which, according to custom, had to take place in Vienna) another portrait of the Infanta was sent, in order for the Emperor to know his bride. |
511_6 | King Philip IV died on 17 September 1665. In his will, he did not mention Margaret's betrothal; in fact, the context in which the document was prepared suggests that the late monarch still hesitated to marry his daughter to his Austrian relative because he sought to ensure her rights as sole ruler of the Spanish crown in case of the extinction of his male line. Mariana of Austria, now Dowager Queen and Regent of the Kingdom on behalf of her minor son Charles II, delayed the wedding of her daughter. The marriage was agreed upon only after intense Imperial diplomacy efforts. On 25 April 1666, the marriage by proxy was finally celebrated in Madrid, in a ceremony attended not only by the Dowager Queen, King Charles II and the Imperial ambassador but also by the local nobility; the groom was represented by Antonio de la Cerda, 7th Duke of Medinaceli. |
511_7 | On 28 April 1666 Margaret traveled from Madrid to Vienna, accompanied by her personal retinue. The Infanta arrived at Denia, where she rested for some days before embarking on the Spanish Royal fleet on 16 July, in turn escorted by ships of the Order of Malta and the Grand Duchy of Tuscany. Then (after a short stop in Barcelona because Margaret had some health issues) the cortege sailed to the port of Finale Ligure, arriving on 20 August. There, Margaret was received by Luis Guzman Ponce de Leon, Governor of Milan. The cortege left Finale on 1 September and arrived in Milan ten days later, although the official entry was not celebrated until 15 September. After spending almost all September in Milan, the Infanta continued the journey through Venice, arriving in early October in Trento. At every stop Margaret received celebrations in her honor. On 8 October the Spanish retinue arrived at the city of Roveredo, where the head of Margaret's cortege, Francisco Fernández de la Cueva, 8th |
511_8 | Duke of Alburquerque officially handed the Infanta to Ferdinand Joseph, Prince of Dietrichstein and Count Ernst Adalbert von Harrach, Prince-Bishop of Trento, representants of Leopold I. On 20 October the new Austrian cortege left Roveredo, crossing the Tyrol, through Carinthia and Styria, and arrived on 25 November at the district of Schottwien, twelve miles from Vienna where the Emperor came to receive his bride. |
511_9 | Holy Roman Empress and German Queen
The Infanta formally entered Vienna On 5 December 1666. The official marriage ceremony was celebrated seven days later. The Viennese celebrations of the imperial marriage were among the most splendid of all the Baroque era, and lasted almost two years.
The Emperor ordered the construction of an open-air theatre near the present Burggarten, with a capacity of 5,000 people. For Margaret's birthday in July 1668, the theatre hosted the premiere of the opera Il pomo d'oro (The Golden Apple). Composed by Antonio Cesti, the opera was called the "staging of the century" by contemporaries due to its magnificence and expense. The year before, the Emperor gave an equestrian ballet where he personally mounted on his horse, Speranza; due to technical adaptations, the ballet gave spectators the impression that horses and carriages were hovering in the air. |
511_10 | Despite the age difference, Leopold I's unattractive appearance and Margaret's health problems, according to contemporaries they had a happy marriage. The Empress always called her husband "Uncle" (de: Onkel), and he called her "Gretl". The couple had many common interests, especially in art and music.
During her six years of marriage, Margaret gave birth to four children, of whom only one survived infancy:
Ferdinand Wenceslaus Joseph Michael Eleazar (28 September 1667 – 13 January 1668), Archduke of Austria.
Maria Antonia Josepha Benedicta Rosalia Petronella (18 January 1669 – 24 December 1692), Archduchess of Austria, who inherited her mother's claims to the Spanish throne, married Maximilian II Emanuel, Elector of Bavaria and was the mother of Joseph Ferdinand of Bavaria.
John Leopold (born and died 20 February 1670), Archduke of Austria.
Maria Anna Josepha Antonia Apollonia Scholastica (9 February 1672 – 23 February 1672), Archduchess of Austria. |
511_11 | The Empress reportedly inspired her husband to expel the Jews from Vienna, because she believed that they were to blame for her children's deaths. During the Corpus Christi celebration of 1670, the Emperor ordered the destruction of the Vienna synagogue and a church was built on the site on his orders.
Even after her marriage, Margaret kept her Spanish customs and ways. Surrounded herself almost exclusively with her native retinue (which included secretaries, confessors and doctors), she loved Spanish music and ballets and therefore hardly learned the German language.
Death |
511_12 | Weakened due to four living childbirths and at least two miscarriages during her marriage, Margaret died on 12 March 1673, at the age of 21. She was buried in the Imperial Crypt, in Vienna. Only four months later, the widower Emperor – despite his grief for the death of his "only Margareta" (as he remembered her) – entered into a second marriage with Archduchess Claudia Felicitas of Austria, member of the Tyrol branch of the House of Habsburg. |
511_13 | After Margaret's death, her rights over the Spanish throne were inherited by her only surviving daughter Maria Antonia, who in turn passed them to her only surviving son Prince Joseph Ferdinand of Bavaria when she died in 1692. After Joseph Ferdinand's early death in 1699, the rights of inheritance were disputed by both Emperor Leopold I and King Louis XIV of France, son-in-law of King Philip IV. The outcome of the War of the Spanish Succession was the creation of the Spanish branch of the House of Bourbon in the person of King Philip V, Margaret's great-nephew.
Depictions in art |
511_14 | Shortly before the birth of Margaret, painter Diego Velázquez returned to the Spanish court on Madrid. From 1653 to 1659 a series of portraits of the Infanta were painted. Three of them – "Infanta Margarita in a pink dress" (1660), Infanta Margarita in a silver dress (1656) and Infanta Margarita in a blue dress (1659) were sent to the Imperial court in Vienna, and now are displayed in the Kunsthistorisches Museum. In the last paintings of the 8-year-old Infanta made by Velázquez, a more mature and formal attitude of Margaret can be seen, due to her upcoming marriage to the Emperor. |
511_15 | The most famous painting by Velazquez in the series of portraits of the Infanta was Las Meninas (1656), currently in the Museo del Prado in Madrid. In it, the artist painted the 5-year-old Infanta in his studio while working on a portrait of her parents. She is surrounded by her maids of honor and other courtiers, but her eyes are riveted to her parents, whose reflection is visible in the mirror on the wall. The canvas was the inspiration for Picasso, who in 1957 created more than forty variations of this pattern.
The image of Margaret in the paintings by Velázquez inspired not only painters. The poet Boris Pasternak mentions it in a poem of 1923 "Butterfly Storm", in which she appears to him as a vision during a thunderstorm in Moscow. The first image in this poem who Pasternak contrasted with the portraits of the Infanta was mentioned by Vyacheslav Vsevolodovich Ivanov, in his work "Eternal Childhood". |
511_16 | The Infanta Margarita Teresa in a Pink Dress (1660), formerly credited to Velázquez, is now considered one of the masterpieces of his son-in-law, Juan Bautista Martínez del Mazo. To Martínez del Mazo also belongs the latter "Portrait of the Infanta Margarita in mourning dress" (1666), in which she is depicted shortly after her father's death and shortly before her wedding. Both paintings are also included in the collection of the Museo del Prado. The authority of the "Portrait of the Infanta Margarita" (1655) currently at the Louvre, is still questioned by researchers. |
511_17 | There are portraits of an adult Margaret by a number of European artists, most of which are stored in the collections of the Kunsthistorisches Museum in Vienna. Among them, "a full-length portrait of the Infanta Margarita Teresa, the Empress" (1665) by Gerard Du Chateau and "Portrait of Empress Margarita Teresa in a theatrical costume" (1667) by Jan Thomas van Ieperen. One of the last portraits of Margaret is the "Portrait of Empress Margarita Teresa and her daughter Maria Antonia" (1671) by Benjamin Block, currently in the Hofburg Palace, where she is depicted with her only surviving child. Numerous copies of her portraits are also preserved, and are now kept in the museum collections around the world.
Ancestors
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|style="text-align: left;"|Notes:
References
Bibliography |
511_18 | Andics, Hellmut, Die Frauen der Habsburger (Vienna: Jugend und Volk, 1985). In German.
Beutler, Gigi, Die Kaisergruft (Vienna, 2001). In German.
Hamann, Brigitte, Die Habsburger: Ein Biografisches Lexicon (Munich: Piper, 1988). In German.
Ingrao, Charles W., Editor and author, In Quest and Crisis: Emperor Joseph I and the Habsburg Monarchy, Hardcover: 278 pages, Purdue University Press (June 1, 1979), in English, ,
Ingrao, Charles W., The Habsburg Monarchy, 1618-1815 (New Approaches to European History) [Paperback], # Paperback: 288 pages, Cambridge University Press; 2 edition (October 2, 2000), in English, ,
Kann, Robert A., A History of the Habsburg Empire, 1526-1918, Paperback, 661 pages, University of California Press, edition (November 26, 1980), in English .
Kann, Robert A., The Peoples of the Eastern Habsburg Lands, 1526-1918 (History of East Central Europe), [Hardcover],# 464 pages, Univ of Washington Press, (July 1984), in English, , |
511_19 | Magosci, Paul Robert, ´´Historical Atlas of Central Europe (History of East Central Europe, Vol. 1, 1), Paperback: 288 pages, University of Washington Press, in English, Revised Exp edition (October 2002), ,
Olivan Santaliestra, Laura, "My sister is growing up very healthy and beautiful, she loves me" – The Childhood of the Infantas Maria Teresa and Margarita Maria at Court'', pp. 165–185 in: Grace E. Coolidge – The Formation of the Child in Early Modern Spain, Farnham: Ashgate Publishing 2014,
Wheatcroft, Andrew, "The Habsburgs, Embodiyng Empire" [Paperback], 416 pages, Penguin Books, (Non-Classics) (May 1, 1997), in English, , |
511_20 | External links
Infanta Margarita Teresa in Blue Dress at the Kunsthistorisches Museum, Vienna
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Austrian royal consorts
Holy Roman Empresses
Spanish infantas
1651 births
1673 deaths
Burials at the Imperial Crypt
Deaths in childbirth
Nobility from Madrid
Philip IV of Spain
Austrian princesses
Bohemian queens consort
German queens consort
Hungarian queens consort
Italian queens consort
Duchesses of Teschen
Spanish people of Austrian descent
17th-century House of Habsburg
17th-century Austrian people
17th-century Spanish people
17th-century women of the Holy Roman Empire |
512_0 | Jason Belmonte (born 29 July 1983) is an Australian professional ten-pin bowler. He plays on the PBA Tour in the United States and in world events. He is known for being one of the first bowlers to gain media attention for using the two handed approach style to deliver his shot. He has won 27 PBA titles, including a record 14 major championships, four of these in the USBC Masters, which is also a record. He is one of two bowlers in PBA history to have won the Super Slam, winning all five PBA major titles (the other being Mike Aulby). He has been named PBA Player of the Year six times, one short of the record seven awards collected by Walter Ray Williams Jr. Belmonte accumulated $1 million (USD) in career PBA earnings faster than any player in history (131 tournaments), and surpassed the $1.5 million mark PBA earnings during the 2019 season. Belmonte has 25 career 300 games in PBA Tour events through 2020, including the PBA's 21st nationally televised 300 in 2012. |
512_1 | Belmonte is a member of the Storm, Dexter and Vise Grips pro staffs. Storm has collaborated with Belmonte to develop the "Trend" line of bowling balls, which bear the Belmo nickname and silhouette logo.
Early life
Jason Belmonte was born on 29 July 1983 in Orange, New South Wales, Australia. His father Aldo opened the Orange Ten Pin Bowl when Jason was a toddler. As a result, Jason started rolling a ball at 18 months old. Interviewed in 2009, he commented: "The only problem for me though was as an 18-month-old baby boy lifting a nine- to 10-pound (4–4.5 kg) bowling ball ... it was a little hard, so like all babies I pushed the ball with two hands." In doing so he developed a two-handed style which he uses today, placing only two fingers and no thumb in the ball to produce more revolutions.
Titles |
512_2 | Belmonte has won one European Bowling Tour title, the Brunswick Euro Challenge, held in Greece. He also won the World Tenpin Masters championship in 2007. In September 2010, he defeated American Sean Rash in the finals to earn the 2010 Korea Cup title. |
512_3 | On the PBA Tour, Belmonte owns 27 titles (9th on the PBA's all-time list), including his first title at the Bowling Foundation Long Island Classic (2009), and three titles in the 2011–12 season (GEICO Shark Open, World Series of Bowling Chameleon Open, and the Pepsi PBA Elite Players Championship). After making the televised finals in five of six PBA majors without winning, he defeated Wes Malott to capture his first PBA major title: the 2012–13 USBC Masters. (Belmonte would be retroactively awarded a major title for the 2011 Elite Players Championship, making the USBC Masters his second major.) He captured his third major at the 2014 Barbasol Tournament of Champions, again defeating Malott in the title match. On 8 February 2015, Belmonte became the first bowler to win three consecutive USBC Masters tournaments after defeating No. 1 seeded AJ Johnson. On 15 February 2015, he defeated No. 1 seed Rhino Page to capture his second consecutive Barbasol Tournament of Champions title, and |
512_4 | his second major title in two weeks. After winning three major titles in 2017, including an unprecedented fourth USBC Masters, Belmonte stood in second place on the all-time PBA majors list with nine, behind only Earl Anthony and Pete Weber, who both have ten. He won the first major of 2019, the PBA Tournament of Champions, to tie the record with ten majors. One month later, Belmonte won the 2019 PBA World Championship, making him the all-time major titles leader. In February 2020, Belmonte won the U.S. Open to claim the "super slam" (a title in all five PBA majors), the second in PBA history after Mike Aulby. |
512_5 | Bowling career
Amateur and international accomplishments |
512_6 | Aged seventeen, Belmonte became the first Junior Australian to bowl a 300 game overseas. He also took five gold medals at the 2000 Junior National Championships, was selected for the Youth Australia team, and also held a place in this team in 2002 and 2004. Belmonte was awarded the 2001 Orange Junior Sportsperson of the Year and won the 2002 Senior Award. He also was awarded the Orange Sportsperson of the Year award in both 2002 and 2003. Belmonte won one gold, one silver and two bronze medals at the 2002 Commonwealth Championships in Scotland. Belmonte competed in Fédération Internationale des Quilleurs (FIQ) tournaments (the governing body of the sport and now known as International Bowling Federation (IBF)) such as the World Tenpin Bowling Association (WTBA) and Asian FIQ championships. He won a silver medal at the WTBA World Youth Championships in Thailand. Later in the year, he was selected in the Australian Open men's team, where he remains to the present time. |
512_7 | In 2004, Belmonte took three gold, one silver and one bronze the Asian Youth FIQ in Hong Kong and followed this up in the World Youth FIQ titles in Guam with a gold in the singles and a gold in all events. He won the prestigious 2004 Bowler of the Year award, voted by the Board of Directors of the World Bowlers Writers' Association. |
512_8 | Belmonte was invited to participate in the 2005 World Tenpin Masters in England where he was defeated in the semi-finals. In this event, he made history by bowling the first-ever 300 game in the event. The game was filmed by Matchroom Sport. In 2007, Belmonte was once again invited to take part in the World Tenpin Masters, held at the Barnsley Metrodome. After defeating the defending champion Chris Barnes of the United States in the semi-finals, Belmonte went on to defeat England's Paul Moor in the finals where he rolled the event's second-ever 300 game. Belmonte rolled 23 out of a possible 24 strikes to win the event with a 566 score for two games, against Moor's 524. |
512_9 | Belmonte represented Australia in the 2006 World Youth Championships in Berlin. He was part of the team to take the gold medal in the Team Event and went on to make the Masters after finishing in sixth place in the All Events. He was defeated in the second step of the Masters by the eventual winner, Mads Sandbaekken from Norway. He also competed in the adult version on the same year at Men's World Championship at the Asiad Bowling Center in Busan, Korea and went on to make the Masters match-play after finishing 4th. He lost to eventual winner Biboy Rivera from Philippines to take the bronze medal.
Belmonte participated in the 2007 World Ranking Masters and after qualifying in second position, was defeated in the quarter finals by eventual runner-up Peter Ljung from Sweden, 2–0 (190–258, 158–279), finishing in sixth place.
In 2011, in the World Bowling Tour, Belmonte defeated good friend and PBA Player Mike Fagan, 511–505, to win the Thailand Open.
AMF World Cup |
512_10 | Jason Belmonte competed in the 2004 AMF World Cup in Singapore and led all five days of qualifying events. He finished in fifth place after being knocked out in the quarter final.
Belmonte competed again in the 2007 AMF World Cup in St. Petersburg, Russia where he was also lead qualifier. He finished runner-up after he was defeated in the final by Bill Hoffman (USA). As a result, Belmonte won the country rankings for Australia with Ann-Maree Putney, who won the trophy in the women's world cup. |
512_11 | In his third appearance in the 2011 AMF World Cup in Johannesburg, South Africa he was crowned as AMF Bowling World Cup champion.
His first match was against Mykhaylo Kalika (Ukraine). Belmonte won the first game 237–203 and Kalika won the second game 248–266. Belmonte would win the deciding game 266–185.
Jason Belmonte then came up against first seed Tommy Jones (USA). Jones would win the first game 259–279 with Belmonte winning the second, 247–216. After Jones opened in the eighth frame, Belmonte defeated him in the third game 259–236 and became the first Australian man to take the title.
His three-game total of 765 was a new finals record, beating the previous mark of 764 by Petter Hansen (Norway), set in Singapore in 2004.
Belmonte stated "I was a long way in the lead in 2004 in Singapore, and got knocked in the quarters," he said, "and again I led the field in St Petersburg in 2007 and then I lost in the final. So I was happy to go in as number two seed this time".
PBA Tour |
512_12 | 2008–09: Rookie of the Year
In 2009, Belmonte won the Bowling Foundation Long Island Classic PBA Tour event in his PBA TV finals debut. As the second seed, he defeated Bill O'Neill, and went on to defeat number one seed Mike Fagan 215–201 for his first PBA title. The title earned Belmonte "exempt" status for the 2009–10 PBA Tour, and he was also named the 2008–09 PBA Rookie of the Year. |
512_13 | 2009–10
2009–10 marked his first season as an exempt PBA bowler. Belmonte qualified for the TV finals in three events, but did not win a tournament. He came close at the GEICO Mark Roth Plastic Ball Championship on 28 March 2010. Finishing as the top qualifier, he faced Brian Ziesig in the finals. Ziesig was a non-exempt amateur who had to qualify via the TQR round. The two were tied at the end of the regulation game, 247–247, which sent the championship to a sudden-death, one-ball rolloff. Belmonte's shot on his first attempt left a solid 7-pin standing. Ziesig then threw a strike to take the title. |
512_14 | 2010–11
In the 2010–11 season, Belmonte appeared in 10 of 12 PBA events, making match-play nine times and appearing on TV four times. Without a victory, he had earnings of 62,950, while averaging 218.82 pins per game. In his first three years on tour, Belmonte cashed in 33 of 37 tournaments, making match-play a total of 25 times, with eight television appearance; and earnings of US$187,420. |
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