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Also in 1989 Iron Maiden guitarist Adrian Smith leaves the band and is replaced by ex-Gillan guitarist Janick Gers who had most recently worked with Bruce Dickinson on his solo project. Ars Musica, an annual contemporary music international festival, founded Bands formed See Musical groups established in 1989 Bands disbanded See Musical groups disestablished in 1989 Bands reformed Cluster Luv' Plasmatics Albums released All releases are an LP record unless otherwise stated. Multiple entries for the same day are arranged alphabetically by the album's name. Release dates may vary in different countries. January–March April–June July–September October–December Release date unknown
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A Word from the Wise – Pennywise (EP) Ain't Gonna Cry – Juice Newton All Aboard the Mind Train – The Modern Art All or Nothing – Milli Vanilli All That Jazz – Ella Fitzgerald Animal Logic - Animal Logic At Peace – Jade Warrior Avalon Sunset – Van Morrison Best of Ozz – Ozzy Osbourne (Compilation) Beyond Hell's Gate – Final Axe Big Talk – Edin-Ådahl Blast – Holly Johnson Blow – Red Lorry Yellow Lorry Bringing It Back Home – The Clark Sisters Brotherly Love – Daniel Winans Cantemos Juntos – Lynda Thomas (EP) Christmas Is... – Johnny Maestro & the Brooklyn Bridge Complete Discography – Minor Threat Century Flower – Shelleyan Orphan Come Together As One – Will Downing The Complete Sham 69 Live – Sham 69 Cyborgs Revisited – Simply Saucer Desert Wind – Ofra Haza Different – Thomas Anders Don't Dance with Danger - Scarlet Red Door Into Summer - Jacob's Trouble Down on the River - John Hartford Drowning in Limbo – Lydia Lunch Early Music – Santana Enter the Realm – Iced Earth (demo EP)
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Face of Despair – Mortal Sin Fight the Power... Live! – Public Enemy – (live, released on VHS) FIrst Watch – Guardian (band) Freedom – White Heart Funk-O-Metal Carpet Ride – Electric Boys Get Yer Jujus Out – Chief Commander Ebenezer Obey & His Inter-Reformers Band Getahead – Curiosity Killed the Cat Ghostbusters II – Various Artists Godhead – Lowlife Hallelujah – Happy Mondays Hard Volume – Rollins Band Heroes – New Jersey Mass Choir Helter Stupid – Negativland Human Soul - Graham Parker I Remember Mama – Shirley Caesar I Can See You – Black Flag Immigrant's Daughter – Margaret Becker In Your Face – Shout Innocent Blood – REZ It's a Jungle Out There! - Mastedon Jaya – Jaya Just Like Heaven – Dinosaur Jr. Les Rythmes Automatiques (fr) – Telex Liaison – Liaison Live ED – Étienne Daho Liberation – Bunny Wailer Michigan Rain – Gregg Alexander (debut) Modern – Hijokaidan Mother Nature's Kitchen – Kevin McDermott Never Picture Perfect – Rich Mullins Night of Rage – Kraut Niki Nana – Yanni
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No More Blues – Susannah McCorkle No Room in the Middle – Greg X. Volz On Fire – Galaxie 500 Once We Were Scum, Now We Are God – No Outdoor Elvis – The Swirling Eddies Ozma – Melvins Piretos tou erota – Vicky Leandros The Pledge – DeGarmo and Key Post-Mersh Vol. 3 – Minutemen Powertrip – Ludichrist (final album) Prime 5 – Ween Rasta Souvenir – Manu Dibango Return of the Ugly – Bad Manners The Road to Hell – Chris Rea Rockland – Kim Mitchell Sittin' Pretty – The Pastels Stronger – Cliff Richard Samiam – Samiam Searchlight – Runrig The Singular Adventures of The Style Council: Greatest Hits Vol.1 – The Style Council – (Compilation) Some Disenchanted Evening – The Verlaines Something Inside So Strong – Kenny Rogers State of Control – Barren Cross Special – The Temptations Strange Cargo – David Van Tieghem Special – The Temptations Strong Medicine – Bryan Duncan The Symphony Sessions – Red Rider Tragedy Again – D.I. Tweez – Slint The Twelve Commandments of Dance – London Boys
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Western Shadows – Carole Laure When Dream and Day Unite – Dream Theater Wrong – Nomeansno Yellow Moon – The Neville Brothers
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Biggest hit singles The following songs achieved the highest chart positions in the charts of 1989. Top hits Published popular music "Kiss the Girl" m. Alan Menken, w. Howard Ashman, from The Little Mermaid "Part of Your World" m. Alan Menken, w. Howard Ashman, from The Little Mermaid "Under the Sea" m. Alan Menken, w. Howard Ashman, from The Little Mermaid "We Didn't Start the Fire" w.m. Billy Joel "You Got It"     w.m. Roy Orbison, Jeff Lynne & Tom Petty
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Classical music Elliott Carter Three Occasions for Orchestra (1986–89) Violin Concerto Peter Maxwell Davies – Symphony No. 4 Anders Eliasson – Symphony No. 3, for alto saxophone and orchestra Einar Englund – Wind Quintet Karel Goeyvaerts Aquarius, stage cantata, for eight sopranos and 15 instrumentalists ...want de tijd is nabij (Because the Time Is Near), for male chorus and strings Ingram Marshall – Sinfonia Dolce far Niente Toshirô Mayuzumi Mukyūdō, for orchestra Rokudan, for harp John McCabe – String Quartet No. 5 Einojuhani Rautavaara – Piano Concerto No. 2 Robert Simpson String Quartet No. 13 Vortex for Brass Band John Tavener – The Protecting Veil I Nyoman Windha – Puspanjali Opera Conrad Cummings – Photo-Op Anthony Davis – Under the Double Moon Lorenzo Ferrero Charlotte Corday Le Bleu-blanc-rouge et le noir Alexander Vustin – The Devil in Love (opera) (not performed) Jazz
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Musical theatre Aspects of Love (Andrew Lloyd Webber) – London production City of Angels – Broadway production opened at the Virginia Theatre and ran for 897 performances Grand Hotel – Broadway production opened at the Martin Beck Theatre and ran for 1017 performances Gypsy (Jule Styne and Stephen Sondheim) – Broadway revival Meet Me in St. Louis – Broadway production based on the 1944 film, ran for 252 performances Miss Saigon (Claude-Michel Schönberg and Alain Boublil) – London production Pacific Overtures (Stephen Sondheim and John Weidman) – London production Starmites (Stuart Ross and Barry Keating) - Broadway production opened at Criterion Center Stage Right and ran for 60 performances Musical films 101-Depeche Mode Eddie and the Cruisers II: Eddie Lives! The Fabulous Baker Boys ChaalBaaz Juke-Bar (animation) The Little Mermaid — animated feature film Little Nemo: Adventures in Slumberland Polly (TV film) Sons of Steel
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Births January 3 – Julia Nunes, American singer-songwriter January 4 – Labrinth, English singer-songwriter, musician, rapper and record producer January 7 – Wrabel, American singer-songwriter January 9 – Kyle Craft, American southern blues glam rock singer-songwriter and musician January 13 – Triinu Kivilaan, Estonian singer and model January 14 – Frankie Sandford, British singer-songwriter (S Club Juniors, The Saturdays) January 16 – Kiesza, Canadian singer-songwriter and multi instrumentalist January 20 – Joel Pott, English musician (Shura) January 24 Calvin Goldspink, British singer (S Club Juniors) Trace Cyrus, American musician (The Cyrus Family (Miley Cyrus, Billy Ray Cyrus, Noah Cyrus)) (Metro Station) January 25 – Yasmien Kurdi, Filipina singer and actress January 28 – Carly Paoli, British mezzo-soprano February 3 – Ryne Sanborn, American actor, singer and dancer February 10 – Olga Korsak, Latvian singer-songwriter, actress, and former competitive figure skater
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February 16 Danielle Haim, American multi-instrumentalist, singer and songwriter (Haim) Bry (singer), Irish singer-songwriter February 17 Stacey McClean, British singer (S Club Juniors) Chord Overstreet, American actor, Glee cast member, singer, musician and composer February 22 – Anna Sundstrand, Swedish singer and model February 24 – Lauren Brant, South African-Australian television personality, singer-dancer and actress February 27 Sam Sweeney, English folk musician Shota Shimizu, Japanese singer March 1 – Sonya Kitchell, American jazz singer-songwriter March 9 – TaeYeon, member of South Korean pop girl group Girls' Generation March 11 – Shin Soohyun, member of South Korean pop boy group U-KISS March 21 – Rochelle Wiseman, British singer (S Club Juniors & The Saturdays) March 23 – Mike Will Made It, American record producer, rapper, singer and songwriter (Miley Cyrus, Kendrick Lamar) March 25 – Alyson Michalka, American singer-songwriter and actress
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March 30 – Eden xo, American singer-songwriter and actress April 8 Alexander DeLeon, American singer-songwriter (The Cab) Matt Healy, British singer-songwriter, musician of The 1975 (halsey) Hitomi Takahashi, Japanese rock singer April 11 – Zola Jesus, American singer/songwriter April 18 – Jessica, member of Girls' Generation April 24 – Thomas Sanders, American singer, songwriter, youtuber, playwright, scriptwriter and internet personality (Dodie, Joan, Ben J Pierce) May 1 – Tim Urban, American singer-songwriter and guitarist May 3 – Mary Lambert (singer), American country singer/songwriter and poet May 5 – Chris Brown, American May 9 – Katy B, English singer and songwriter May 15 – Sunny, member of Girls' Generation May 24 – G-Eazy, American rapper, producer, singer (Britney Spears, Babe Rexha) May 28 – Asuca Hayashi, J-pop singer May 30 – Kevin Covais, American Idol finalist June 3 – Jillette Johnson, American singer/songwriter, musician
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June 9 – Chloë Agnew, Irish multi lingual singer and songwriter (Celtic Women) June 13 – Lisa Tucker, American singer June 14 – Lucy Hale, American actress and singer June 17 – Simone Battle, American actress, singer and dancer (G.R.L) (died 2014) June 18 – Renee Olstead, American actress and jazz singer June 20 Benyamin Nuss, German pianist Christopher Mintz-Plasse, American actor, comedian and musician June 27 – Kelley Jakle, American actress and singer-songwriter July 2 – Dev (singer), American singer-songwriter, rapper, model, musician and radio host July 3 – Elle King, America singer-songwriter July 5 – Joseph King, American singer-songwriter and guitarist (Canvas and Deadbeat Darling) July 11 – Hana Pestle, American singer, songwriter and record producer (HANA) (Collaborator with Grimes and band member) TĀLĀ – musician, singer-songwriter, record producer July 13 – Sayumi Michishige, Japanese musician and longest running member of Morning Musume
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July 20 – Brooke Candy, American rapper, singer-songwriter, director, activist, and dancer July 21 – Jasmine Cephas Jones, American stage and screen actress-singer July 26 – Travis Garland, American singer and dancer July 31 – Alexis Knapp, American actress and singer August 1 – Tiffany, member of Girls' Generation August 2 Priscilla Betti, French singer Jonas Blue, English DJ, record producer, songwriter and remixer August 4 – Jessica Mauboy, Australian singer, songwriter and actress (Young Divas) August 9 - Tainy, Puetro Rico record producer August 15 Belinda Peregrin, Spanish Mexican singer, songwriter and actress Joe Jonas, American vocalist, singer/songwriter, musician (DNCE, Jonas Brothers) {Taylor Swift, Sophie Turner} August 18 – Anna Akana, American actress, musician, filmmaker, author, youtuber and comedian. August 19 – Lil' Romeo, American entertainer August 21 – Hayden Panettiere, American actress, model, singer and activist
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August 23 – Lianne La Havas, British singer, songwriter and multi-instrumentalist August 30 – Bebe Rexha, American singer/songwriter, record producer September 1 – Bill and Tom Kaulitz of Tokio Hotel September 2 – Zedd, Russian-German record producer, DJ, musician, multi-instrumentalist and songwriter (Foxes, Hayley Williams, Selena Gomez, Kesha) September 4 – Ryota Kohama, Japanese musician September 7 – Loren Allred, American musician September 8 – Avicii, Swedish musician, DJ, remixer and record producer (d. 2018) September 10 – Sanjaya Malakar, American Idol finalist September 14 – Logan Henderson, Actor, singer (Big Time Rush) September 21 – Jason Derulo, American singer/songwriter/dancer September 22 – HyoYeon, member of Girls' Generation September 24 – Kreayshawn, American rapper, creative director of OK 1984 and music video director October 4 Rich Homie Quan, American singer, songwriter and rapper Tei Shi, Colombian-Canadian singer, songwriter, and record producer
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October 15 – Fedez, Italian rapper and musician (Zara Larsson) October 20 – Jess Glynne, English soul-pop singer/songwriter October 22 – JPEGMafia, American rapper, songwriter, and producer October 30 – Jay Asforis, British singer (S Club Juniors) November 2 – Katelyn Tarver, American singer-songwriter and actress November 3 – Paula DeAnda, American singer-songwriter November 11 – Reina Tanaka, Japanese pop singer (Morning Musume) November 17 – Ali Tamposi, American songwriter November 22 – Candice Glover, American R&B singer and actress November 30 – Daisy Evans, British singer (S Club Juniors) December 5 – Yuri, member of Girls' Generation December 12 Janelle Arthur, American singer Marcel "Shin" Gothow of Cinema Bizarre, German drummer December 13 – Taylor Swift, American singer-songwriter, musician, multi instrumentalist and businesswoman, sometimes actress December 17 – Taylor York, American musician, songwriter and musician (Paramore, Hayley Williams)
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December 22 – Jordin Sparks, American Idol Season 6 winner December 27 – Calyssa Davidson, American violinist December 31 – Andrew Taggart, producer and vocal (The Chainsmokers) Unknown: Jihae (rock musician), South Korean singer and actress Miya Folick, American Musician (K Flay)
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Deaths January 12 – Chellapilla Satyam, Indian film music director, 65 January 20 – Beatrice Lillie, Canadian actress and singer, 94 January 21 – Billy Tipton, American jazz musician, 74 February 5 – Joe Raposo, composer and lyricist, "Bein' Green", 51 (non-Hodgkin's lymphoma) February 6 – King Tubby Jamaican DJ and composer, father of dub reggae, 48 (gunshot wounds) February 14 – Vincent Crane (The Crazy World of Arthur Brown), 45 (drug overdose) February 23 – Florencio Morales Ramos, singer and composer, 72 March 19 – Alan Civil, horn player, 59 March 20 – Archie Bleyer, US arranger and bandleader, 79 April 8 – A. M. Rajah, Indian playback singer and composer, 59 (rail accident) April 26 – Lucille Ball, US actress and singer, 77 May 9 – Keith Whitley, American singer, guitarist, and producer, 34 May 10 – Woody Shaw, jazz musician, 44 (kidney failure) May 15 – Johnny Green, composer, conductor and arranger, 80 May 30 – Zinka Milanov, operatic soprano, 83
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June 2 – Guido Agosti, Italian pianist and piano teacher, 87 June 14 – Pete de Freitas, drummer with Echo & the Bunnymen, 27 (motorcycle accident) June 22 – Henri Sauguet, composer, 88 June 24 – Hibari Misora, Japanese enka singer, 52 (hepatitis) July 5 – Ernesto Halffter, Spanish composer and conductor, 84 July 16 – Herbert von Karajan, conductor, 81 July 21 – Mushtaq Ali Khan, Indian sitar, surbahar and pakhawaj player, 78 August 1 – John Ogdon, pianist, 52 (diabetes-related) August 2 – Luiz Gonzaga, Brazilian musician, 76 August 21 – Raul Seixas, singer and songwriter, 44 (diabetes-related) August 25 – Gunnar Berg, Danish composer September 7 – Mikhail Goldstein, violinist and composer, 71 September 14 – Perez Prado, Cuban bandleader and composer, 72 September 15 – Jan DeGaetani, mezzo-soprano, 56 (leukemia) September 22 – Irving Berlin, composer, lyricist, 101 September 24 – Jean Perrin, pianist and composer, 79 September 30 – Virgil Thomson, composer, 92
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October 17 – Morteza Hannaneh, composer, 66 October 19 – Alan Murphy, guitarist, member of Level 42 and Go West, 35 (AIDS-related) October 22 – Ewan MacColl, folk singer, 74 October 31 – Conrad Beck, Swiss composer, 88 November 5 – Vladimir Horowitz, pianist, 86 November 15 – Alejo Durán, composer of vallenatos, 80 December 6 Billy Lyall, keyboardist of Pilot and Bay City Rollers, 46 (AIDS-related) Sammy Fain, US composer, 87 December 21 – Ján Cikker, Slovak composer, 78 December 26 – Sir Lennox Berkeley, composer, 86
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Awards The following artists are inducted into the Rock and Roll Hall of Fame: Dion, Otis Redding, The Rolling Stones, The Temptations and Stevie Wonder Grammy Awards of 1989 Country Music Association Awards Eurovision Song Contest 1989 31st Japan Record Awards Charts List of Hot 100 number-one singles of 1989 (U.S.) See also 1989 in British music Record labels established in 1989 References External links ARIA Top 50 Singles of 1989 20th century in music Music by year
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Delleker is a census-designated place (CDP) in Plumas County, California, USA. The population was 705 at the 2010 census, up from 674 at the 2000 census. Geography Delleker is located at (39.811343, -120.497651). According to the United States Census Bureau, the CDP has a total area of , of which, 99.93% of it is land and 0.07% is water. Demographics 2010 At the 2010 census Delleker had a population of 705. The population density was 254.4 people per square mile (98.2/km). The racial makeup of Delleker was 503 (71.3%) White, 7 (1.0%) African American, 23 (3.3%) Native American, 3 (0.4%) Asian, 0 (0.0%) Pacific Islander, 133 (18.9%) from other races, and 36 (5.1%) from two or more races. Hispanic or Latino of any race were 186 people (26.4%). The whole population lived in households, no one lived in non-institutionalized group quarters and no one was institutionalized.
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There were 267 households, 103 (38.6%) had children under the age of 18 living in them, 126 (47.2%) were opposite-sex married couples living together, 40 (15.0%) had a female householder with no husband present, 12 (4.5%) had a male householder with no wife present. There were 25 (9.4%) unmarried opposite-sex partnerships, and 1 (0.4%) same-sex married couples or partnerships. 67 households (25.1%) were one person and 22 (8.2%) had someone living alone who was 65 or older. The average household size was 2.64. There were 178 families (66.7% of households); the average family size was 3.22. The age distribution was 199 people (28.2%) under the age of 18, 51 people (7.2%) aged 18 to 24, 181 people (25.7%) aged 25 to 44, 194 people (27.5%) aged 45 to 64, and 80 people (11.3%) who were 65 or older. The median age was 37.3 years. For every 100 females, there were 95.3 males. For every 100 females age 18 and over, there were 85.3 males.
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There were 330 housing units at an average density of 119.1 per square mile, of the occupied units 188 (70.4%) were owner-occupied and 79 (29.6%) were rented. The homeowner vacancy rate was 5.5%; the rental vacancy rate was 6.9%. 474 people (67.2% of the population) lived in owner-occupied housing units and 231 people (32.8%) lived in rental housing units.
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2000 At the 2000 census there were 674 people, 264 households, and 180 families in the CDP. The population density was 246.2 people per square mile (95.0/km). There were 299 housing units at an average density of 109.2 per square mile (42.1/km). The racial makeup of the CDP was 86.05% White, 0.74% Black or African American, 4.45% Native American, 0.30% Asian, 2.67% from other races, and 5.79% from two or more races. 16.17% of the population were Hispanic or Latino of any race. Of the 264 households 32.6% had children under the age of 18 living with them, 54.9% were married couples living together, 11.0% had a female householder with no husband present, and 31.8% were non-families. 27.3% of households were one person and 11.0% were one person aged 65 or older. The average household size was 2.55 and the average family size was 3.12.
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The age distribution was 28.5% under the age of 18, 7.0% from 18 to 24, 26.1% from 25 to 44, 26.3% from 45 to 64, and 12.2% 65 or older. The median age was 36 years. For every 100 females, there were 103.0 males. For every 100 females age 18 and over, there were 99.2 males. The median household income was $37,500 and the median family income was $40,573. Males had a median income of $34,286 versus $16,406 for females. The per capita income for the CDP was $15,848. About 11.2% of families and 13.8% of the population were below the poverty line, including 25.2% of those under age 18 and none of those age 65 or over. Politics In the state legislature, Delleker is in , and . Federally, Delleker is in . References Census-designated places in Plumas County, California Census-designated places in California
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Stagecoach Manchester is a major bus operator in Greater Manchester. It is the largest UK bus subsidiary of Stagecoach Group outside of Greater London, as well as the largest within the metropolitan county of Greater Manchester by passenger numbers, carrying up to 96.2 million passengers in 2019/20. It is made up of three brands: Stagecoach and Magic Bus. History In December 1993, GM Buses was split in two, GM Buses North and GM Buses South. It was planned that the two companies would compete against one another, but in reality they stuck to the sides of Manchester as indicated by their names. In April 1994, GM Buses South was sold to a management buyout. It faced an uphill struggle as over 40 competitors were operating GM Buses routes following deregulation, although most of those competed with GM Buses (North). However Bee Line and MTL Manchester did go south, and Finglands Coachways, Mayne and Walls were established competitors on lucrative South Manchester routes.
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GMBS suffered from operating an elderly fleet. As a stand-alone (nil subsidy) arms length company, GM Buses had not been able to buy new buses, and thus Daimler Fleetlines and Leyland Atlanteans - the newest by then 15 years old - had to soldier on. Competitors were expanding and GMBS could not make the investment needed. Stagecoach set up Stagecoach Manchester as a Ribble Motor Services subsidiary, to compete on GMBS's main route 192 with brand new Volvo B6 buses that were far more appealing than GMBS's rundown fleet. In response to increasing competition by Merseyside Transport, GMBS set up Birkenhead & District in Liverpool, running Daimler Fleetlines in Birkenhead Corporation livery.
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Throughout 1994 GMBS bought a large number of second hand buses, mainly Atlanteans and Leyland Nationals. Stagecoach responded with more new buses in the shape of new Alexander PS bodied Volvo B10M-55s. GMBS used its Charterplan coach fleet to compete with Stagecoach Ribble's route X43 to Burnley. By the end of 1994 everything turned peaceful, Stagecoach agreed to no further competition on route 192, and hired 20 Volvo B6s to GMBS. In February 1996 Stagecoach purchased the business and rebranded it Stagecoach Manchester. The original Stagecoach Manchester was sold to Finglands Coachways. On 21 January 2008, Stagecoach Manchester purchased the bus operations of A Mayne & Son with 38 buses all transferred to Hyde Road garage.
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On 10 August 2008, Stagecoach Manchester purchased the bus operations of Bullocks Coaches. Bullocks retained their coach hire business, and route 147 Oxford Road Link operated as a subsidised university and hospital link. Bullocks' services included route 157 between Woodford and Manchester, which has since been renumbered X57 and made limited stop between East Didsbury and Manchester. In March 2011, Stagecoach started running the Stockport Metroshuttle service. On 2 December 2012, Stagecoach Manchester purchased First Greater Manchester's Wigan operation. The transaction saw 300 employees, 120 vehicles (although 20 were owned by Transport for Greater Manchester) and the Wigan depot purchased by the former Mayne legal entity. The business was rebranded Stagecoach in Wigan although it is managed by Stagecoach Manchester.
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On 3 March 2013 Stagecoach purchased Bluebird with 40 buses, 80 staff and its depot lease at Greengate. On 26 April 2014 Stagecoach took over the business of JPT Bus Company with 41 buses. The first autonomous bus trial in the United Kingdom commenced in mid-2019, with an Alexander Dennis Enviro200 MMC single-decker bus modified with autonomous software from Fusion Processing able to operate in driverless mode within Stagecoach Manchester's Sharston bus depot, performing tasks such as driving to the washing station, refuelling point and then parking up at a dedicated parking space in the depot.
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Franchising In 2019, it was announced that the Greater Manchester Combined Authority (GMCA) would be looking into improving the public transport network in Greater Manchester with bus franchising as the preferred option by both itself and Transport for Greater Manchester (TfGM). This announcement concerned bus operators including Stagecoach who alongside OneBus started to publish their own facts and research into Manchester's bus network with a detailed partnership proposal to work with the GMCA and TfGM to improve the bus network at no cost to local taxpayers as the investment would come from the private sector. In September 2019, Stagecoach decided to increase their advertising of their Partnership proposal with bus advertising and a dedicated website.
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Depots Ashton-under-Lyne (Riverside, Clarence Street) Manchester (Hyde Road, Ardwick) Manchester (Sharston) Middleton (Greengate) - Bluebird operations taken over 3 March 2013 Stockport (Daw Bank) Wigan (Bryn Lockett Road) - First Greater Manchester's Wigan operations taken over 2 December 2012 Services Stagecoach Manchester operates the largest number of services of any bus operator in Greater Manchester. It is primarily dominant in southern areas of the county but in recent years has gradually expanded its operations north of Manchester city centre operating some cross-city services. Stagecoach in Manchester
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Stagecoach in Manchester mainly run services in the southern areas of Greater Manchester, serving Stockport, Trafford, Tameside and south and central Manchester. They also run some local services in Glossop. Stagecoach does run some services outside these areas: 50 East Didsbury - Manchester - Salford Quays, which became Manchester's first cross-city service for nearly two decades 76 Oldham - Manchester 156 Middleton-Crumpsall-Blackley-Manchester From March 2013, Stagecoach moved further into north Manchester by purchasing Bluebird. Since 23 July 2017, the 22 route (Bolton – Stockport) that Stagecoach Manchester shared with First Greater Manchester has been separated into two routes. The 2 route operates between Bolton and the Trafford Centre and is operated by First Greater Manchester. The 25 route operates between Stockport and the Trafford Centre, and is operated by Stagecoach Manchester and Manchester Community Transport. Stagecoach in Wigan
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Since December 2012, Stagecoach has operated services in the Wigan area under the brandname Stagecoach in Wigan, following the purchase of First Greater Manchester's Wigan operation. Services from Wigan depot mainly run in the Wigan and Leigh areas, whilst also serving Manchester and Salford on routes 33 and 34/X34 (the former being shared with First Greater Manchester), while route 7 (formally 540) runs to Bolton, which is also served by Stagecoach Lancashire route 125. Route 113 is operated from both Stagecoach Manchester's Wigan depot and Stagecoach Lancashire's Chorley depot.
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Magic Bus The Magic Bus brand was introduced by Stagecoach Manchester to the Wilmslow Road bus corridor to compete against other cheaper bus brands. It offered lower fares than on regular Stagecoach liveried services by using older bus type fleets. The Manchester Magic Bus fleet currently consists of older Alexander Dennis Enviro 400s transferred from the Stagecoach in Manchester fleet, operating on Wilmslow Road routes 142, 143 and 147. In 2006 the Magic Bus brand was introduced in Manchester on route 192 to counter a bus war started by UK North. Following UK North being de-licensed, the Magic Bus ceased operating on route 192 with all services provided by Stagecoach liveried buses. Nightbus Stagecoach Manchester offer several night bus services in Manchester and Wigan every Friday and Saturday night. The services run every 30 minutes or every hour from 00:00 until 03:00 and the routes are mainly the same as the normal routes with some exceptions.
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Stagecoach also operates night bus services in Wigan. The network is largely based on the main Wigan services with some running an amended route to its normal routes. Wigan's Nightbus network runs on Friday nights/Saturday mornings and Saturday nights/Sunday mornings. The services also operate on New Year's Eve with additional journeys during the evening between 19:00 and 23:00, along with journeys on Arriva North West's route 352 to Orrell and 362 to Standish and on Wigan Buses/Maytree Travel route 612 to Wrightington Hospital. 53 and 88 are examples even though at daytime they are First Greater Manchester buses. Fleet Stagecoach Manchester currently operate a fleet of 812 buses and 37 coaches (run on school services), which includes one of the largest fleet of Alexander Dennis Enviro400 double-decker buses for any bus operator in the UK. These also include a range of Hybrid variants:
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32 Zero emission, electric double decker buses 138 Euro 4 and 5 Hybrid buses 1 Euro 6 Hybrid bus 172 Euro 6 buses(as of April 2019). Most Stagecoach Manchester vehicles are branded in the now 20-year-old Beach Ball design corporate livery, originally launched in 2000. The livery consists of vehicles painted white, with a blue skirt, and red and orange swoops. The new Stagecoach livery was launched in January 2020, and features three different liveries, based on the type of service operated: local, long-distance and specialist. These new designs are to be applied beginning in the latter half of 2020. See also Timeline of public passenger transport operations in Manchester Publications Celebrating 100 Years of Princess Road Manchester: Stagecoach April 2010 References External links Company website Bus operators in Greater Manchester Stagecoach Group bus operators in England Transport companies established in 1996 Transport in Manchester 1996 establishments in England
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The Royal Opera House (ROH) is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply Covent Garden, after a previous use of the site. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House. The first theatre on the site, the Theatre Royal (1732), served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later, the first season of operas, by George Frideric Handel, began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.
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The current building is the third theatre on the site, following disastrous fires in 1808 and 1856 to previous buildings. The façade, foyer, and auditorium date from 1858, but almost every other element of the present complex dates from an extensive reconstruction in the 1990s. The main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is wide, with the stage of the same depth and high. The main auditorium is a Grade I listed building. History Davenant patent
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The foundation of the Theatre Royal, Covent Garden lies in the letters patent awarded by Charles II to Sir William Davenant in 1662, allowing Davenant to operate one of only two patent theatre companies (The Duke's Company) in London. The letters patent remained in the possession of the patentees' heirs until the 19th century. Their whereabouts were unknown for some time, but as of 2019 they are held in the Rosenbach Museum & Library, Philadelphia. First theatre
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In 1728, John Rich, actor-manager of the Duke's Company at Lincoln's Inn Fields Theatre, commissioned The Beggar's Opera from John Gay. The success of this venture provided him with the capital to build the Theatre Royal (designed by Edward Shepherd) at the site of an ancient convent garden. Inigo Jones had developed part of this property in the 1630s with a piazza and St Paul's church (now known as the actors' church). In addition, a Royal Charter had created a fruit and vegetable market in the area, a market which survived in that location until 1974. At the opening of the theatre on 7 December 1732, Rich was carried by his actors in procession into the building for its inaugural production of William Congreve's The Way of the World.
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During its first century, the theatre was operated primarily as a playhouse, with the Letters Patent granted by Charles II giving the Theatre Royal, Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. Despite the frequent interchangeability between the two companies, competition was intense, and the companies often presented the same plays at the same time. Rich introduced pantomime to the repertoire, performing himself, under the stage name John Lun, as Harlequin. A tradition of seasonal pantomime continued at the modern theatre until 1939.
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In 1734, the theatre presented its first ballet, Pygmalion. Marie Sallé discarded tradition and her corset and danced in diaphanous robes. George Frideric Handel was named musical director of the company at Lincoln's Inn Fields in 1719, but his first season of opera for the theatre was not presented until 1734. His first opera was Il pastor fido, followed by Ariodante (1735), and the première of Alcina, and Atalanta the following year. In 1743 there was a royal performance of Messiah; its success resulted in a tradition of Lenten oratorio performances. From 1735 until his death in 1759, Handel gave regular seasons at the theatre; many of his operas and oratorios were written for that venue or had their first London performances there. He bequeathed his organ to John Rich, and it was placed in a prominent position on the stage. It was among many valuable items lost in a fire that destroyed the theatre on 20 September 1808. In 1792 the architect Henry Holland rebuilt the auditorium; he
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expanded its capacity within the existing shell of the building.
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Second theatre Rebuilding began in December 1808, and the second Theatre Royal, Covent Garden (designed by Robert Smirke) opened on 18 September 1809 with a performance of Macbeth followed by a musical entertainment called The Quaker. The actor-manager John Philip Kemble, raised seat prices to help recoup the cost of rebuilding and the cost of an increased ground rent introduced by the landowner, the Duke of Bedford, but the move was so unpopular that audiences disrupted performances by beating sticks, hissing, booing and dancing. The Old Price Riots lasted over two months, and the management was finally forced to accede to the audience's demands.
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During this time, entertainments were varied; opera and ballet were presented, but not exclusively. Kemble engaged a variety of acts, including the child performer Master Betty; the great clown Joseph Grimaldi made his name at Covent Garden. Many famous actors of the day appeared at the theatre, including the tragediennes Sarah Siddons and Eliza O'Neill, the Shakespearean actors William Macready, Edmund Kean and his son Charles. On 25 March 1833 Edmund Kean collapsed on stage while playing Othello, and died two months later.
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In 1806, the pantomime clown Joseph Grimaldi (The Garrick of Clowns) had performed his greatest success in Harlequin and Mother Goose; or the Golden Egg at Covent Garden, and this was subsequently revived, at the new theatre. Grimaldi was an innovator: his performance as Joey introduced the clown to the world, building on the existing role of Harlequin derived from the Commedia dell'arte. His father had been ballet-master at Drury Lane, and his physical comedy, his ability to invent visual tricks and buffoonery, and his ability to poke fun at the audience were extraordinary.
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Early pantomimes were performed as mimes accompanied by music, but as Music hall became popular, Grimaldi introduced the pantomime dame to the theatre and was responsible for the tradition of audience singing. By 1821 dance and clowning had taken such a physical toll on Grimaldi that he could barely walk, and he retired from the theatre. By 1828, he was penniless; Drury Lane held a benefit concert for him after Covent Garden refused. In 1817, bare flame gaslight had replaced the former candles and oil lamps that lighted the Covent Garden stage. This was an improvement, but in 1837 Macready employed limelight in the theatre for the first time, during a performance of a pantomime, Peeping Tom of Coventry. Limelight used a block of quicklime heated by an oxygen and hydrogen flame. This allowed the use of spotlights to highlight performers on the stage.
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The Theatres Act 1843 broke the patent theatres' monopoly of drama. At that time Her Majesty's Theatre in the Haymarket was the main centre of ballet and opera but after a dispute with the management in 1846 Michael Costa, conductor at Her Majesty's, transferred his allegiance to Covent Garden, bringing most of the company with him. The auditorium was completely remodeled after an 1846 fire, during the following 1846–47 seasons, the company performed at the Lyceum Theatre. The theatre reopened as the Royal Italian Opera on 6 April 1847 with a performance of Rossini's Semiramide. In 1852, Louis Antoine Jullien the French eccentric composer of light music and conductor presented an opera of his own composition, Pietro il Grande. Five performances were given of the 'spectacular', including live horses on the stage and very loud music. Critics considered it a complete failure and Jullien was ruined and fled to America.
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Costa and his successors presented all operas in Italian, even those originally written in French, German or English, until 1892, when Gustav Mahler presented the debut of Wagner's Ring cycle at Covent Garden. The word "Italian" was then quietly dropped from the name of the opera house. On 5 March 1856, the theatre was again destroyed by fire. Third theatre Work on a third theatre, designed by Edward Middleton Barry, started in 1857, and the new building, which still remains as the nucleus of the present theatre, was built by Lucas Brothers and opened on 15 May 1858 with a performance of Meyerbeer's Les Huguenots.
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The Royal English Opera company under the management of Louisa Pyne and William Harrison, made their last performance at Theatre Royal, Drury Lane on 11 December 1858 and took up residence at Covent Garden on 20 December 1858 with the premiere of Michael Balfe's Satanella<ref>Reviews, "Drury-Lane Theatre", The Times, 13 December 1858, p. 10.</ref> – the first opera to have its world premiere at the new theatre – and continued there until 1865. The theatre became the Royal Opera House (ROH) in 1892, and the number of French and German works offered increased. Winter and summer seasons of opera and ballet were given, and the building was also used for pantomime, recitals and political meetings. During the First World War, the theatre was requisitioned by the Ministry of Works for use as a furniture repository.
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From 1934 to 1936, Geoffrey Toye was managing director, working alongside the Artistic Director, Sir Thomas Beecham. Despite early successes, Toye and Beecham eventually fell out, and Toye resigned. During the Second World War the ROH became a dance hall. There was a possibility that it would remain so after the war but, following lengthy negotiations, the music publishers Boosey & Hawkes acquired the lease of the building. David Webster was appointed General Administrator, and Sadler's Wells Ballet was invited to become the resident ballet company. The Covent Garden Opera Trust was created and laid out plans "to establish Covent Garden as the national centre of opera and ballet, employing British artists in all departments, wherever that is consistent with the maintenance of the best possible standards ..."
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The Royal Opera House reopened on 20 February 1946 with a performance of The Sleeping Beauty in an extravagant new production designed by Oliver Messel. Webster, with his music director Karl Rankl, immediately began to build a resident company. In December 1946, they shared their first production, Purcell's The Fairy-Queen, with the ballet company. On 14 January 1947, the Covent Garden Opera Company gave its first performance of Bizet's Carmen. Before the grand opening, the Royal Opera House presented one of the Robert Mayer Children's concerts on Saturday, 9 February 1946. Opera at the Royal Opera House after 1945 Ballet at the Royal Opera House after 1945 Reconstruction from the 1980s forward
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Several renovations had taken place to parts of the house in the 1960s, including improvements to the amphitheatre but the theatre clearly needed a major overhaul. In 1975 the Labour government gave land adjacent to the Royal Opera House for a long-overdue modernisation, refurbishment, and extension. In the early 1980s the first part of a major renovation included an extension to the rear of the theatre on the James Street corner. The development added two new ballet studios, offices, a Chorus Rehearsal Room and the Opera Rehearsal room. Dressing rooms were also added.
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By 1995, sufficient funds from the Arts Lottery through Arts Council England and private fundraising had been raised to enable the company to embark upon a major £213 million reconstruction of the building by Carillion, which took place between 1997 and 1999, under the chairmanship of Sir Angus Stirling. This involved the demolition of almost the whole site including several adjacent buildings to make room for a major increase in the size of the complex. The auditorium itself remained, but well over half of the complex is new. The design team was led by Jeremy Dixon and Edward Jones of Dixon Jones BDP as architects. The acoustic designers were Rob Harris and Jeremy Newton of Arup Acoustics. The building engineer was Arup with Stanhope as developer.
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The new building has the same traditional horseshoe-shaped auditorium as before, but with greatly improved technical, rehearsal, office, and educational facilities. Additionally, a new studio theatre, the Linbury, as well as more public space was created. The inclusion of the adjacent old Floral Hall, which had fallen into disrepair and was used as a scenery store before redevelopment, created a new and extensive public gathering place. The venue is now claimed by the ROH to be the most modern theatre facility in Europe. Surtitles, projected onto a screen above the proscenium, have been used for all opera performances since they were introduced for school matinees in 1984. Since the reopening of the theatre in 1999 an electronic libretto system provides translations onto small video screens for some seats, and additional monitors and screens are to be introduced to other parts of the house.
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In 2014 design work, known as the Open Up Project, began with the aim of improving the entrances, lobby areas and the Linbury Theatre.Elizabeth Hopkirk, "Stanton Williams unveils £37m Royal Opera House revamp", 3 November 2014, on architectnews.co.uk. (with images) As part of the Open Up Project, IQ Projects were tasked with the renovation of the upper floor bar area and restaurant utilising various elements of bespoke glazing.
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In October 2020, the BBC reported that the Royal Opera House has lost 60% of its income as a result of restrictions implemented in response to the COVID-19 pandemic. As a consequence, the 1971 "Portrait of Sir David Webster" by David Hockney, which had hung in the opera house for several decades, was put up for auction at Christy's. It eventually sold for £12.8 million. The funds raised from the sale were needed to ensure the survival of the institution. "Significant redundancies" and an appeal for public donations have also been made. In addition, the opera house has applied for a loan to the Culture Recovery Fund. Facilities Paul Hamlyn Hall The Paul Hamlyn Hall is a large iron and glass structure adjacent to, and with direct access to, the main opera house building. The hall now acts as the atrium and main public area of the opera house, with a champagne bar, restaurant and other hospitality services, and also providing access to the main auditorium at all levels.
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The building was formerly known as Floral Hall. It was originally built by the Opera House to house a flower market (also selling fruits and vegetables), hence the name. It was designed by Edward Middleton Barry and opened in 1860. After being used as a concert hall, it became part of the Covent Garden Market in 1887. A fire broke out in the building in 1956, after which it sat derelict. It was acquired by the Opera House in 1977 and used as storage space. The redevelopment of the Floral Hall as part of the 1990s redevelopment project involved lifting up the cast iron structure to accommodate new public areas for the opera house underneath. The southern side of the hall now connected with another building, so the cast iron south portico was dismantled and rebuilt in Borough Market, where it is separately Grate II heritage listed.
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The redevelopment had gone ahead on the strength of a pledge of £10m from the philanthropist Alberto Vilar and for a number of years, it was known as the Vilar Floral Hall; however Vilar failed to make good his pledge. As a result, the name was changed in September 2005 to the Paul Hamlyn Hall, after the opera house received a donation of £10m from the estate of Paul Hamlyn, towards its education and development programmes. As well as acting as a main public area for performances in the main auditorium, the Paul Hamlyn Hall is also used for hosting a number of events, including private functions, dances, exhibitions, concerts, and workshops.
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Linbury Studio Theatre The Linbury Studio Theatre is a flexible, secondary performance space, constructed below ground level within the Royal Opera House. It has retractable raked seating and a floor which can be raised or lowered to form a studio floor, a raised stage, or a stage with orchestra pit. The theatre can accommodate up to 400 patrons and host a variety of different events. It has been used for private functions, traditional theatre shows, and concerts, as well as community and educational events, product launches, dinners and exhibitions, etc., and is one of the most technologically advanced performance venues in London with its own public areas, including a bar and cloakroom. Royal Opera House on everything2.com Retrieved 24 March 2012
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The Linbury is most notable for hosting performances of experimental and independent dance and music, by independent companies and as part of the ROH2, the contemporary producing arm of the Royal Opera House. The Linbury Studio Theatre regularly stages performances by the Royal Ballet School and also hosts the Young British Dancer of the Year competition. The venue was constructed as part of the 90s redevelopment of the Royal Opera House. It is named in recognition of donations made by the Linbury Trust towards the redevelopment. The Trust is operated by Lord Sainsbury of Preston Candover and his wife Anya Linden, a former dancer with the Royal Ballet. The name Linbury is derived from the names Linden and Sainsbury. It was opened in 1999 with a collaboration from three Croydon secondary schools (including Coloma Convent Girls' School and Edenham High School) in an original performance called About Face. Royal Opera House, Manchester
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In 2008 the Royal Opera House and Manchester City Council began planning stages a new development known as Royal Opera House, Manchester. The proposal would have seen the Palace Theatre in Manchester refurbished, to create a theatre capable of staging productions by both the Royal Ballet and the Royal Opera. It was intended that the Royal Opera House would take residence of the theatre for an annual 18-week season, staging 16 performances by the Royal Opera, 28 performances by the Royal Ballet and other small-scale productions. A year later The Lowry sent an open letter to the then Secretary of State for Culture, Olympics, Media and Sport, Ben Bradshaw, Arts Council England, Manchester City Council and the ROH, calling for the scheme, in its current form, to be scrapped. In 2010 it was announced that the project was being shelved as part of larger arts-funding cuts. High House Production Park (High House, Purfleet)
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The Royal Opera House opened a scenery-making facility for their operas and ballets at High House, Purfleet, Essex, on 6 December 2010. The building was designed by Nicholas Hare Architects. The East of England Development Agency, which partly funded developments on the park, notes that "the first phase includes the Royal Opera House's Bob and Tamar Manoukian Production Workshop and Community areas". The Bob and Tamar Manoukian Costume Centre, also designed by Nicholas Hare Associates, opened in September 2015, and provides a costume-making facility for the Royal Opera House and a training centre for students of costume-making from South Essex College. The building also houses the Royal Opera House's collection of historically important costumes.
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Other elements at High House, Purfleet, include The Backstage Centre, a new technical theatre and music training centre which is currently run by the National College for Creative Industries and was formally opened by Creative & Cultural Skills in March 2013, alongside renovated farm buildings. Acme studios opened a complex of 43 artist studios in Summer 2013. Other uses In addition to opera and ballet performances, the Royal Opera House has hosted a number of other events including: British Academy Film Awards – 2008 to 2016 Laurence Olivier Awards – 2012 to 2016 See also Owners, lessees and managers of the Royal Opera House, Covent Garden European Route of Historic Theatres References Notes Cited sources
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Further reading Allen, Mary, A House Divided, Simon & Schuster, 1998. Beauvert, Thierry, Opera Houses of the World, The Vendome Press, New York, 1995. Donaldson, Frances, The Royal Opera House in the Twentieth Century, Weidenfeld & Nicolson, London, 1988. Earl, John and Sell, Michael Guide to British Theatres 1750–1950, pp. 136–8 (Theatres Trust, 2000) . Haltrecht, Montague, The Quiet Showman: Sir David Webster and the Royal Opera House, Collins, London, 1975. Isaacs, Jeremy, Never Mind the Moon, Bantam Press, 1999. Lebrecht, Norman, Covent Garden: The Untold Story: Dispatches from the English Culture War, 1945–2000, Northeastern University Press, 2001. Lord Drogheda, et al., The Covent Garden Album, Routledge & Kegan Paul, London, 1981. Mosse, Kate, The House: Inside the Royal Opera House Covent Garden, BBC Books, London, 1995.
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Robinson, Terry F. National Theatre in Transition: The London Patent Theatre Fires of 1808–1809 and the Old Price Riots. BRANCH: Britain, Representation, and Nineteenth-Century History. Web. 29 March 2016. Tooley, John, In House: Covent Garden, Fifty Years of Opera and Ballet, Faber and Faber, London, 1999. Thubron, Colin (text) and Boursnell, Clive (photos), The Royal Opera House Covent Garden'', Hamish Hamilton, London, 1982.
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External links Royal Opera House Collections Online (Archive Collections Catalogue and Performance Database) Royal Opera House elevation The Royal Ballet School official website Select Committee on Culture, Media and Sport's 1998 Report on funding and management issues at the Royal Opera House Theatre History Articles, Images, and Archive Material West End theatres The Royal Ballet Opera houses in England Opera in London Grade I listed buildings in the City of Westminster Grade I listed theatres Theatres in the City of Westminster 1660 establishments in England Music venues completed in 1858 Ballet venues in the United Kingdom Covent Garden Theatres completed in 1732 Theatres completed in 1809 Theatres that have burned down Burned buildings and structures in the United Kingdom Edward Middleton Barry buildings
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Ricardo Duchesne is a Puerto Rican-born Canadian historical sociologist and former professor at the University of New Brunswick. His main research interests are Western civilization, the rise of the West, and multiculturalism. Duchesne's views on immigration and multiculturalism have been described as racist and white nationalist. He has denied being a racist to the mainstream press, but has described himself as being "the only academic in Canada, and possibly the Western world, who questions the ideology of diversity while advocating white identity politics."
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Biographical Information and Career Overview
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Duchesne was born in Puerto Rico; his mother Coralie Tattersall Duchesne was a British citizen born in Calcutta, his father Juan Duchesne Landrón a medical doctor of Afro-Puerto Rican and French heritage. His parents met when his mother was studying at the Sorbonne; they were wed in Tangier, had three children while living in Madrid, and three more, including Ricardo, after they moved to Puerto Rico in 1956. His parents divorced in 1970 and Ricardo Duchesne's mother moved to Montreal, where she became active in the local cultural scene as an actress and playwright; he joined her there in the mid-1970s when he was 15 years old. In Montreal he studied History at McGill University, and later at Concordia University under the supervision of George Rudé. In 1996, he received a doctorate in Social & Political Thought at York University for his 1994 Dissertation, "All Contraries Confounded: Historical Materialism and the Transition-to-Capitalism Debate". In 1995, Duchesne was appointed
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assistant professor in the department of social science at the University of New Brunswick. He took an early retirement from his position in 2019, following complaints of racism and hate speech.
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Of his siblings, his older brother, Juan Ramón Duchesne Winter, has become a professor of Latin American Literature at the University of Pittsburgh with a special interest in indigenous cultures. Their sister Giselle Duchesne is a Spanish-language poet. Another sister, Rossana Duchesne, has helped document the history of Duchesne family members who were notable jazz musicians, including Puerto Rican relatives who played in New York during the Harlem Renaissance. Their grandfather Rafael Duchesne Mondriguez was a significant jazz clarinetist and composer who played as a soloist with the Harlem Hellfighters, the American regimental band that introduced jazz music to Europe, as part of his military service during the First World War. After the war he returned to live in Puerto Rico where he taught music and continued to perform and compose. Ricardo Duchesne's uncle, José "Keko" Luis Duchesne Landrón, was a saxophonist and a member of El Gran Combo de Puerto Rico from 1969 to 1980.
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Ricardo Duchesne is married to the dance choreographer Georgia Rondos. They have two children. Ideas The Uniqueness of Western Civilization
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Themes
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Duchesne's first book, The Uniqueness of Western Civilization, published in 2011, criticizes the work of world historians, such as Immanuel Wallerstein and Andre Gunder Frank, who he argues portray history in terms that support the egalitarian idea that all cultures are equally significant, devaluing Western civilization and its contributions in the process. Duchesne challenges historians, such as Kenneth Pomeranz and Roy Bin Wong, whose work posits Chinese economic and intellectual pre-eminence prior to 1800, and maintains that the culture of the West has always been "in a state of variance from the world" at least since classical antiquity, characterized by multiple divergences, successive revolutions, and continuous creativity in all fields of human endeavor. He traces the West's restlessness and creative spirit to what he characterizes as the unique aristocratic culture of Indo-Europeans, with its ethos of heroic individualism, weaker kinship ties, war bands bound together
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by voluntary oaths of loyalty and fraternity, and its original pastoral package of wheeled vehicles, horse-riding, and chariots.
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Reception A number of academics and historians praised Duchesne's writing in The Uniqueness of Western Civilization, noting in particular the breadth of scholarship demonstrated throughout the book. However, many reviews went on to criticize the conclusions made in the book, with one reviewer stating that the themes of the book were "several orders of magnitude more speculative than the tracts of early modern history where Duchesne fences with the most fashionable of the revisionists". Reviews also criticized the book's understanding of non-western history and cultures, with one historian expressing "[alarm] that such scholarship has had positive reviews".
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Kevin McDonald, an evolutionary psychiatrist and white supremacist, wrote a 22 page review in which he praised the book as "a brilliant work written by an exceptionally wide-ranging scholar and thinker." McDonald would go on to publish much of Duchesne's subsequent work in The Occidental Quarterly, which McDonald edits. Gerald Russello, writing in The Dorchester Review, praised "Duchesne's marshalling of enormous amounts of data and his obviously wide reading...", saying that "His thesis about the Indo-Europeans and the differences he perceives between the West and other cultures is based on solid historical and archeological research".
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In a review in the journal The European Legacy, right-wing academic Grant Havers wrote that Duchesne "Ricardo Duchesne demonstrates his mastery of anthropology, philosophy, religion, economics, and especially world history". Havers also criticised Duchesne's work for attributing the prominence of the West to an aristocratic "Nietzschian ideal of pagan greatness", and for de-emphasising the importance of Christianity, which Havers sees as the "founding faith" of the West, "whose egalitarianism in undermining aristocratic pride made the modern democratic West possible". Subsequent work
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Duchesne has voiced vehement criticisms of political correctness, multiculturalism, and immigration. He has bemoaned what he describes as a "relentless occupation of the West by hordes of Muslims and Africans", and states that "only out of the coming chaos and violence will strong White men rise to resurrect the West." Duchesne also criticizes some conservatives for advancing the idea that Western political identity is based only on universal liberal democratic values that are true for all human beings. He argues that liberalism is uniquely Western and that Western identity is also deeply connected to the ethnic character of Europeans. More recently, Duchesne has argued that civic nationalism is consistent with a strong collective sense of ethnic national identity.
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In mid-2014, he created the blog "Council of European Canadians" with the stated purpose that "Canada should remain majority, not exclusively, European in its ethnic composition and cultural character [because] Canada is a nation created by individuals with an Anglo/French-European heritage, not by individuals from diverse races and cultures." He has denied being a racist to the mainstream press, but has nonetheless become more comfortable with white identity politics in the articles he writes for his blog.
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Duchesne claims in his book, Canada in Decay: Mass Immigration, Diversity, and the Ethnocide of Euro-Canadians (2017), to support identity politics for whites, within the constitutional framework of Canadian multiculturalism. A critic of the overall philosophy of multiculturalism and of immigration to Canada, Duchesne shares with white nationalism the belief that "Euro-Canadians" should maintain both a demographic majority and dominance of Canada’s culture and public life. He has shown support for white nationalism, including by providing a positive endorsement and cover blurb for a book entitled The White Nationalist Manifesto. He has appeared as a featured guest on various white supremacist media outlets and he spoke at a forum of the National Citizens Alliance, a fringe political party known for its advocacy of white nationalism and far-right conspiracy theories.
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Duchesne’s 2017 book, Faustian Man In A Multi-Cultural Age (portions of which had been first published in the white nationalist magazine The Occidental Quarterly), further advanced the presence of white nationalism in Duchesne’s writing, connecting his assertions about the uniqueness of the Western spirit to theories about the genetic characteristics of European man. Whereas his first book had been published by an academic press, this one was published by Arktos Media, a frequent distributor of far-right extremist writing. In the preface and first chapters of the book Duchesne describes himself as following an intellectual journey from liberal preconceptions of racial equality to explicit avowal of Western race-based identity. The first chapter credits this transformation in part to “visiting… forbidden places”, listing the names of a series of journals and websites associated with white nationalism, neo-nazism and the alt-right.
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In his other 2017 book, Canada in Decay: Mass Immigration, Diversity, and the Ethnocide of Euro-Canadians, he argues that Canada is not a "nation of immigrants" but a nation created by Anglo and French pioneers and settlers. The book questions what Duchesne argues are double standards of multiculturalism in granting both collective ethnic rights and individual rights to minorities and immigrant groups while, in his view, suppressing the ethno-cultural rights of Canadians of European descent. Public Activities, Controversy and Retirement
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Vancouver controversy
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In a May 26, 2014 blogpost, Duchesne criticized a motion of the Vancouver council to investigate discriminatory policies imposed on Chinese immigrants in the city before 1947 as an exercise in manipulating "white guilt", claiming they have "the goal of taking Canada away from the Europeans and transforming the nation into a multicultural and multiracial society." He attacked one city councillor, Kerry Jang, personally, saying that Jang "is exploiting White ideas to advance the ethnic interests of the Chinese, utilizing the same white guilt our educational institutions inflict on White children.” Duchesne sent an email to Jang and other Vancouver City councilors of Asian descent containing a link to the blogpost; he has acknowledged that he did so in order to provoke them, saying he “wanted a debate”. The comments in the blogpost then sparked controversy with Jang saying he was shocked that the city council’s move would be taken this way, that he considered Duchesne's comments to be
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hate speech, and that "I don't think he should be teaching." In a follow-up post, Duchesne responded by saying about Chinese Canadians that " “We are thus talking about a very powerful demographic group that also happens to be very wealthy with deep ingrained connections to Communist China. This group has been allowed to alter radically the formerly elegant, serene, community-oriented, British city of Vancouver, turning it into a loud, congested Asian city (still attractive only because of the architectural and institutional legacy of past white generations).” His remarks prompted an op-ed piece in The Globe and Mail which stated that Professor Duchesne "glorifies scholarship and writing that fuels xenophobia and provides fodder for white supremacy. Mr. Duchesne is a unicultural ideologue... [whose] rants are an apostasy to sociological thinking."
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At the time, the University of New Brunswick publicly defended Duchesne's right to express his views on the grounds of academic freedom, but the University also prohibited Duchesne from using the University's name or his university affiliation when expressing his political opinions on his blog or in emails. The University advised Jang, the city councillor whom Duchesne had attacked, that Duchesne would not be allowed to use his university affiliation to encourage people to read his posts about race matters and that the university would look at Duchesne’s courses to ensure that he presented a balanced and scholarly perspective. Duchesne had been reprimanded by the University in response to at least one complaint made to them regarding posts on the Council of European Canadians blog.
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Public lectures and criticism In September 2015, a group of ten University of New Brunswick professors penned an open letter to the Toronto Star newspaper criticizing Duchesne for claiming that immigration undermines the European character of Western civilization. The letter described Duchesne's views as "devoid of academic merit". In June 2017, Duchesne was the guest of honor at a private speaking event held by a Montreal alt-right group, according to people who were at or organized the meeting. The group was the Montreal Daily Stormer Book Club, started by neo-Nazi Gabriel Sohier Chaput as part of his efforts to organize a network of white supremacists. In response to later inquiries from journalists, Duchesne has acknowledged speaking at an event in Montreal at that time, but denied that the group which invited him identified as "alt-right" and stated that he would never speak at a meeting organized by the neo-Nazi website the Daily Stormer.
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In the Spring of 2018, Duchesne was invited to lecture at the University of Waterloo together with Faith Goldy, a journalist associated with the alt-right and ideas of white supremacy. The invitation to them came from a student group co-founded by Lindsay Shepherd. Goldy's participation in the event drew strong protest and it was cancelled after Waterloo police advised the university that ever-increasing security costs for the event would reach $28,500.00.
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Shannon Dea, who was Vice-President of the Faculty Association of the University of Waterloo at the time, expressed concern that the event was one of a series of "repeated efforts by fringe groups to lay traps for universities by organizing on-campus events featuring speakers calculated to provoke a response," through which the organizers benefit from the prestige of the university if it is held but can claim they are victimized by excessive "political correctness" if it is not. The Faculty Association chose not to object to the holding of the event, responding instead by using it as an occasion to fundraise for university groups devoted to Indigenous, racialized, and international students. Duchesne stirred further controversy by appearing as a guest on Faith Goldy's podcast.
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Upon the invitation of UBC Students For Academic Freedom, Ricardo Duchesne gave a lecture at the University of British Columbia in the Fall of 2018, introduced by Lindsay Shepherd, entitled "Critical Reflections on Canadian Multiculturalism", in which he asserted the right of "Euro-Canadians" to "white identity politics" within the framework of Canada's official multiculturalism. While visiting Vancouver to present the lecture, Duchesne courted controversy and publicity, walking around the university campus together with a camerawoman and challenging random passers-by to debate him on immigration, gay rights and the merits of a white ethnostate.
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In May 2019, Ricardo Duchesne was indirectly linked to an attempt that had been made to embarrass the People’s Party of Canada, a fringe right wing Canadian political party. Fake emails containing explicitly racist content were sent out, in the names of two senior party executives, to a former party member who had quit in protest against what he had considered to be the party’s racist turn, apparently with the intention that the recipient would then publicize the disturbing messages. Some of the suspect content of the emails was plagiarized from posts made by Ricardo Duchesne on his Council of European Canadians website and falsely attributed to the two executive officers. The webpage by Duchesne from which the content was copied has since been deleted from the Council of European Canadians blog.
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On October 9, 2019, Ricardo Duchesne and Mark Hecht spoke at the UBC-Vancouver campus at an event hosted by the UBC Students for Freedom of Expression. The event, titled "Academic Freedom to Discuss the Impact of Immigrant Diversity", was met by dozens of protesters claiming that the university should not give a platform to "far right" hate speech.
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Investigation and retirement
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In May 2019, The University of New Brunswick announced that it would review further complaints related to Duchesne's public comments and views on race after it was reported that he had written blog posts alleging that immigration was part of a conspiracy to advance white genocide. A group of over 100 of Duchesne's colleagues at the University of New Brunswick signed an open letter of complaint stating that Duchesne’s blog posts, and even at times his classroom teachings, had no merit, and qualified as hate speech that should not be protected under university policies of academic freedom. The Canadian Historical Association also wrote a letter denouncing Duchesne's work in similar terms. In response, Duchesne stated that the signatories did not have "any scholarly background" in immigration or multiculturalism, and that the charge of racism "has been overused beyond reason...and is used against anyone who questions this diversity." His response was disputed, as at least two of the
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signatories did specialize in aspects of multiculturalism and immigration to Canada. Mark Mercer, president of the Society for Academic Freedom and Scholarship questioned the school's decision to review Duchesne, and argued that Duchesne's work should be protected in the name of academic freedom.
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The following month, on June 4, 2019, the University announced that Duchesne was taking early retirement. The terms of his settlement with them prohibit him from speaking publicly about the circumstances leading to his retirement.
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Kenneth Westhues, a sociologist who has written or edited five books on "academic mobbing", while acknowledging that he had "not studied this case in enough detail to identify all the factors that precipitated it", believes that Duchesne experienced a "collegial mobbing" by academics who objected to the ideas he espoused. Westhues hypothesized that the "envy of excellence" was another factor in the "mobbing" of Duchesne. Westhues was of the opinion that Duchesne excelled over most of his colleagues in volume of academic output. Noting Duchesne's "marked Spanish accent", Westhues added that according to his observations “Foreign birth and upbringing, especially as signaled by a foreign accent" is one of the "conditions that heighten the risk of being mobbed" by ones academic peers. More recently, Westhues stated that "One of my books on mobbing is entitled The Envy of Excellence. Duchesne's case is archetypal."