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1335_2	The railway boom of northern England led to the formation of the London and Birmingham Railway (L&BR) by Robert Stephenson in 1833, with the intention of meeting Joseph Locke's Grand Junction Railway at Birmingham, creating a north–south route. Though the rail line was initially planned to go through Buckingham, where carriage works would have been built, it was altered to Wolverton due to objection from the Duke of Buckingham. A line to Buckingham would later open in 1850. Construction of the L&BR began in November 1833 and the section from London Euston to Boxmoor in Hertfordshire opened in 1837. The line to Bletchley was completed by the summer of 1838; from there passengers took a stagecoach shuttle from a temporary station called to Rugby where the railway continued north. The line through what is now Milton Keynes opened several months later on 17 September 1838. Wolverton later became famous as the site of Wolverton railway works which produced rolling stock for over a
1335_3	century—the last new carriage was built there in 1962. The site now houses a supermarket.
1335_4	At the same time, another railway company, the Great Western Railway (GWR) was formed in 1833, with the intention of linking London and the growing port of Bristol. Isambard Kingdom Brunel was appointed as engineer the same year. Construction began in the mid-1830s. The line from Paddington through Buckinghamshire was opened on 4 June 1838 terminating at Maidenhead Bridge station until Maidenhead Railway Bridge was completed. The line west into Berkshire opened on 1 July 1839. The line became notable for its use of broad gauge (which was favoured by Brunel) as opposed to standard gauge, which was preferred by most other railway engineers including George and Robert Stephenson. Other railways using standard gauge later met the GWR resulting in the gauge war which the GWR eventually lost. The section through Bucks had a third rail laid on 1 October 1861 allowing both standard and broad gauge trains to run. The broad gauge was removed throughout the country in 1892. The line through
1335_5	Buckinghamshire was quadrupled in late 19th century.
1335_6	In 1839, a branch line opened from Cheddington on the L&BR to Aylesbury, the county town of Buckinghamshire as a way of transporting goods, in particular the Aylesbury Duck to London. This however required a change at Cheddington, as the line was built connecting north towards Bletchley. The Aylesbury Railway, or Cheddington to Aylesbury Line was independent but operated by the L&BR up to 1846, when the L&BR and two other railway companies merged to form the London and North Western Railway (LNWR). From then onwards, the line was owned by the LNWR.
1335_7	On 17 November 1846, another line was opened: the Oxford and Bletchley Railway, which ran between Bedford and Bletchley. Part of the railway was built on land belonging to the Duke of Bedford, as he was an enthusiastic supporter of its construction, and that part of the railway was important: one of the stations located on the Duke's land, Woburn Sands, had a brickyard that used the railway to transport its products, and the depot itself was used as the line's coal depot. The Oxford and Bletchley Railway merged with the Buckingham and Brackley Junction Railway in 1847 to form the Buckinghamshire Railway, which was extended a year later in 1850 to Banbury. A junction was formed in 1851 at Verney for the line from there to Oxford. The Buckinghamshire Railway was worked by the LNWR from July 1851 on, and it was later absorbed by the LNWR in 1879.
1335_8	In July 1846, the Wycombe Railway was incorporated by an Act of Parliament, allowing the construction of a branch line from Maidenhead, in Berkshire on the GWR to High Wycombe, a major furniture producing town. Construction began in 1852 and was completed two years later in 1854. Building works included a new bridge over the River Thames; the Bourne End Railway Bridge was wooden when first built, but replaced by an iron truss bridge in 1895. The line was single track and used the broad-gauge. The Wycombe Railway was extended in 1862 to Thame with another branch from Princes Risborough to Aylesbury in 1863. The line to Oxford was completed a year later in 1864. The Wycombe Railway was leased to the GWR, and bought outright by the GWR in 1867. The line was converted to standard gauge in 1870.
1335_9	Two lines serving Windsor in Berkshire opened in 1849—both competing for traffic from the Royalty and tourists. The Windsor, Staines and South Western Railway was authorised in 1847, the Staines to Windsor Line opening its first section from Staines-upon-Thames in Middlesex to Datchet in Buckinghamshire on 22 August 1848. Due to opposition from both Windsor Castle and Eton College, the line into Windsor was delayed- the line into Windsor & Eton Riverside opened on 1 December 1849. The Windsor, Staines and South Western Railway was absorbed by the London and South Western Railway (LSWR) in 1848. In the same year, 1849, the Slough to Windsor & Eton Line opened from Slough in Buckinghamshire to Windsor & Eton Central again receiving opposition from Eton College. Originally laid as broad-gauge, dual gauge, allowing standard and broad gauge trains to run was laid in 1862. For a brief period between 1883 and 1885, the District Railway ran services between London and Windsor & Eton Central
1335_10	via Ealing Broadway over the GWR tracks from Slough.
1335_11	The Aylesbury and Buckingham Railway was formed next in August 1860 to build a line between Aylesbury and Verney Junction on the LNWR Buckinghamshire Railway. It opened in 1868 but trains never ran to Buckingham- even though Verney Junction had a connection to Banbury via Buckingham. From 1871, services to Waddesdon Road operated over the Brill Tramway began. Known initially as the Wooton Tramway, it was built primarily for the use of the Third Duke of Buckingham and extended to Brill in 1872, terminating quite a distance from the village itself. The Watlington and Princes Risborough Railway opened in 1872 from the existing junction at Princes Risborough to the town of Watlington in Oxfordshire. It was operated by the GWR which originally intended to extend the line to meet the Cholsey and Wallingford Railway leading to the Great Western Main Line at Cholsey railway station, however funds were never found for the extension. Metroland
1335_12	The Metropolitan Railway had been the first underground mass-transit railway system in the world when it opened in 1863. In 1868 the Metropolitan and St John's Wood Railway opened a branch from Baker Street to Swiss Cottage, that company being taken over by the Metropolitan Railway in 1879. The line was extended several times from then onwards. The line first entered Buckinghamshire on 8 July 1889 to Chesham<ref name=Metland>Metro-land''' by John Betjeman, BBC Television 1973</ref> but further extension into the Chiltern Hills took place via Amersham in 1892, turning the Chesham route into a branch line. The extension of 1892 terminated at the GWR station in Aylesbury which had opened in 1863.
1335_13	The Metropolitan Railway was now stretching deep into Buckinghamshire, over land termed Metroland by the Met itself in 1915. In 1891, the Metropolitan had absorbed the Aylesbury & Buckingham Railway which had run from Aylesbury to Verney Junction. On 1 January 1894, the Metropolitan Railway was extended over the A&BR to Verney Junction meeting the LNWR owned Buckinghamshire Railway which had opened in 1850. The Metropolitan Railway (popularly called the 'Met') thus ran express services from central London to Verney Junction, in the middle of rural Buckinghamshire—a testament to this being that the terminus was so rural that the station was named after the local landowner, Sir Harry Verney. The Met's final extension in Buckinghamshire was over the Brill Tramway which was absorbed on 1 December 1899, almost fifty miles out of central London. Indeed, the extent of the Metropolitan line was so great that for many years the line could not be accommodated into the London Underground Tube
1335_14	map.
1335_15	The last main line The next railway to weave its way through Buckinghamshire was the Manchester, Sheffield and Lincolnshire Railway which had formed a network of railways in the north of England. In 1897, it changed its name to become the Great Central Railway in anticipation of its London extension. The MS&LR had been a modest company, until Sir Edward Watkin became general manager in 1854. His ambition was to build a rail tunnel under the English Channel in which his trains would run. He was determined to build a line south to London and the South Coast- to do this he became chairman of both the South Eastern Railway which ran between London and Dover and the Metropolitan Railway. Both companies were of use to Watkin as they provided a clear route between Dover and the already existing MS&LR near Nottingham.
1335_16	The London extension was planned to European standards and had virtually no sharp corners or steep inclines. There was to be no level crossings- everything was carried above or below the railway. Work began in 1894 still under the MS&LR name. The estimated coast was approximately £3 million and would take four years to complete; the project being in two halves, the southern section running from Rugby in Warwickshire to Quainton Road which was the Metropolitan Railway's junction for Brill and Verney Junction. From there, trains would share tracks with the Met to a new terminus at Marylebone in London. The line officially opened on 9 March 1899, although the first passenger service did not run until 16 March. The GCR main line was the last main line to be completed in Britain until the Channel Tunnel Rail Link over a century later in 2003.
1335_17	Although the GCR route of 1899 was the last Victorian main line to be built, one last railway line was to be built in Buckinghamshire. The Great Western and Great Central Joint Railway was a joint venture between the GWR and GCR. It was of use to the Great Western Railway as it provided a shorter route between London Paddington and Birmingham as opposed to the much longer route via Reading and Oxford. It also provided the Great Central Railway of a route by-passing the lines shared with the Metropolitan railway. Authorised in 1898, the actual joint line ran from Northolt Junction in Middlesex to Ashenden Junction in Buckinghamshire. At Northolt, the GWR route from Paddington (splitting at Old Oak Common Junction from the GWR main line) and the GCR route from Marylebone (splitting at Neasden Junction from the GCR main line) joined at a flying junction. From there the joint line entered Buckinghamshire and met the GWR 'Wycombe Railway' at High Wycombe railway station. The line then
1335_18	followed the route of the Wycombe Railway as far as Princes Risborough. It then preceded north-west towards Ashenden Junction, where the GWR and GCR split, the Great Western continuing through Bicester to join the existing Oxford-Birmingham line at Aynho Junction. The Great Central went northward, re-joining the main line at Grendon Underwood. The line opened in 1906 and involved considerable improvements to the existing section of the GWR 'Wycombe Railway' between High Wycombe and Princes Risborough including double track throughout and a new tunnel.
1335_19	The Big Four Between 1906 and 1936, the railway system of Buckinghamshire was at its largest. Up to 1922, it was operated by five companies, the LNWR, the LSWR, the GWR, the GCR and the Metropolitan Railway. The First World War saw the government take over control of the railway network, leading to calls for nationalisation of the railways. Both the Conservative government and the railway companies rejected the idea. A compromise was reached in the form of the Railways Act 1921, also known as the Grouping Act, which grouped all the existing companies into four new companies, known as the Big Four. Due to its position, Buckinghamshire was one of few counties to be served by all four. The act came into operation in 1923. London, Midland and Scottish Railway The LMS took over the London and North Western Railway, serving the West Coast Main Line. As it absorbed all of the LNWRs lines, it ran over the Buckinghamshire Railway and the Cheddington to Aylesbury Line.
1335_20	Great Western Railway The GWR was the only member of the Big Four to retain its pre-grouping identity. It operated the Great Western Main Line, as well as the Slough to Windsor & Eton Line and Wycombe Railway. London and North Eastern Railway The LNER took over running of the Great Central Railway over the Great Central Main Line. Southern Railway The SR took over operation of the London & South Western Railway, hence the only line run by the company in Buckinghamshire was the Staines to Windsor Line.
1335_21	Towards nationalisation, privatisation and HS2
1335_22	The Big Four ran the railways for twenty-five years. The 1920s and 1930s saw for the first time competition from the motor car. High enemployment after the First World War had caused the government to give money to county councils to improve the road network. The cash inflow allowed a large increase in car ownership and road mileage. The railways were still popular however and in 1930, the Staines to Windsor Line'', run by the SR became the first railway in Buckinghamshire to be electrified, on the 660 V third rail system. During the Second World War, the railways suffered heavy damage due to bombing by the Luftwaffe. Little money was invested into the railways and maintenance was not carried out. At the end of the war in 1945, the new labour government realised that the private sector could no longer afford the railway system and so in 1947, the Transport Act 1947 was passed, which nationalised almost all forms of mass transit in the United Kingdom from 1 January 1948.
1335_23	Nationalisation divided the railways into six state-owned regions, operated by British Rail. Those covering Buckinghamshire were: the Western region, which took over all GWR routes in the county the Southern region, which took over routes from SR the London Midland region which took over routes from the LMS. the Eastern region which took over routes from the LNER The Beeching report saw closure of the former Great Central line north of Aylesbury (1966), and the Oxford-Bletchley 'Varsity Line' closed in 1967 (despite escaping listing by Beeching). Almost all other surviving stations and branch and connecting lines in the north of the county were also closed to passengers. But most lines in the south survived as busy London commuter routes, and new stations subsequently opened at Milton Keynes new town on the West Coast Main Line (1982); and at Haddenham & Thame Parkway (1987).
1335_24	Privatisation in the 1990s placed most Bucks services under the Chiltern Railways franchise, one of the most innovative of the new companies. In 2010 Chiltern opened Aylesbury Vale Parkway two miles northwest of Aylesbury; and Chiltern announced that in 2013 they would start a fast Marylebone-Oxford service via Wycombe, Risborough and a new Bicester chord. In 2011 the government announced financial support for re-opening of Aylesbury and Oxford to Milton Keynes/Bedford services, with new stations at Winslow and perhaps Newton Longville, using parts of the former Varsity and Great Central lines. Controversial proposals for High Speed 2, the new 230 mph high-speed line under the Chilterns and via the Great Central corridor, were announced by the Labour government in 2010, then enthusiastically taken up by the incoming Coalition despite strong opposition along parts of the route. The current plan is for opening in 2025, but without stations in Bucks. Notes References Bibliography
1335_25	Rail transport in Buckinghamshire
1336_0	There is an extensive and varied belief in ghosts in Mexican culture. The modern state of Mexico is inhabited by peoples such as the Maya and Nahua. Their beliefs in a supernatural world has survived and evolved, combined with the Catholic beliefs of the Spanish conquest. The Day of the Dead incorporates pre-Columbian beliefs with Christian elements. Mexican literature and movies include many stories of ghosts interacting with the living. Aztec beliefs
1336_1	After death the soul of the Aztec went to one of three places: Tlalocan, Mictlan, and the sun. The Aztec idea of the afterlife for fallen warriors and women who died in childbirth was that their souls would be transformed into hummingbirds that would follow the sun on its journey through the sky. Those who drowned would go to Tlalocan, the first level of the upper worlds. Souls of people who died from less glorious causes would go to Mictlan, the lowest level of the underworld, taking four years and passing through many obstacles to reach this place. The Cihuateteo, spirits of human women who died in childbirth, were not benevolent. On five specified days of the Aztec calendar they descended to earth and haunted crossroads, hoping to steal children whom they had not been able to have themselves.
1336_2	The Cantares Mexicanos is an important collection of lyric poetry transcribed from Náhuatl into Roman letters around 1550 CE, about 30 years after the fall of Tenochtitlan. In his 1985 edition of these poems, interprets the poems as "ghost songs" that were intended to summon the spirits of dead Aztec warriors back to earth to help their descendants under Spanish rule. If the songs were successful the ghosts would descend from heaven fully armed and ready to fight, demanding payment in human sacrifice. This interpretation is, however, controversial. Maya beliefs
1336_3	The traditional Maya live in the continual presence of the "(grand)fathers and (grand)mothers", the usually anonymous, bilateral ancestors, who, in the highlands, are often conceived of as inhabiting specific mountains, where they expect the offerings of their descendants. In the past, too, the ancestors had an important role to play, with the difference that, among the nobility, genealogical memory and patrilineal descent were much more emphasized. Thus, the Popol Vuh lists three genealogies of upper lords descended from three ancestors and their wives.
1336_4	These first male ancestors - ritually defined as "bloodletters and sacrificers" - had received their private deities in a legendary land of origins called "The Seven Caves and Seven Canyons" (Nahua Chicomoztoc), and on their disappearance, left a sacred bundle. In Chiapas, at the time of the Spanish conquest, lineage ancestors were believed to have emerged from the roots of a ceiba tree. Comparable beliefs still exist amongst the Tz'utujiles. Day of the Dead The Day of the Dead (), is a holiday celebrated in Mexico and by Mexicans and Central Americans living in the United States and Canada. The holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died. The celebration occurs on November 2 in connection with the Catholic holidays of All Saints' Day (November 1) and All Souls' Day (November 2).
1336_5	Traditions connected with the holiday include building private altars honoring the deceased using sugar skulls, marigolds, and the favorite foods and beverages of the departed, and visiting graves with these as gifts. Due to occurring shortly after Halloween, the Day of the Dead is sometimes thought to be a similar holiday, although the two actually have little in common. The Day of the Dead is a time of celebration, where partying is common. The Day of the Dead celebrations in Mexico can be traced back to the indigenous cultures. Rituals celebrating the deaths of ancestors have been observed by these civilizations perhaps for as long as 2500–3000 years. The festival that became the modern Day of the Dead fell in the ninth month of the Aztec calendar, about the beginning of August, and was celebrated for an entire month. The festivities were dedicated to the god. known as the "Lady of the Dead," corresponding to the modern Catrina.
1336_6	People go to cemeteries to communicate with the souls of the departed who are paying a holiday visit home. The descendants build private altars, containing the favorite foods and beverages, as well as photos and memorabilia, of the departed. The intent is to encourage visits by the souls, so that the souls will hear the prayers and the comments of the living directed to them. In most regions of Mexico, November 1 honors children and infants, whereas deceased adults are honored on November 2. This is indicated by generally referring to November 1 mainly as "Día de los Inocentes" (Day of the Innocents) but also as "Día de los Angelitos" (Day of the Little Angels) and November 2 as "Día de los Muertos" or "Día de los Difuntos" (Day of the Dead). Modern ghost legends La Llorona
1336_7	"La Llorona" is Spanish for "The Weeping Woman" and is a popular legend in Spanish-speaking cultures in the colonies of the Americas, with many versions extant. The basic story is that La Llorona was a beautiful woman who killed her children to be with the man that she loved and was subsequently rejected by him. He might have been the children's father who had left their mother for another woman, or he might have been a man she loved but who was uninterested in a relationship with a woman with children, and whom she thought she could win if the children were out of the way. She drowned the children and then, after being rejected anyway, killed herself. She is doomed to wander, vainly searching for her children for all eternity. Her constant weeping is the reason for her name. In some cases, according to the tale, she will kidnap wandering children or children who misbehave. La Pascualita
1336_8	La Popular Store in Chihuahua, Chihuahua: is a wedding boutique which is home to a mannequin that is allegedly an embalmed corpse. According to many witnesses, it moves, blinks and sometimes walks on its own. The story dates back to the 1930s. The mannequin is known as "Pascualita", or "Chonita". According to the legend, a bride was bitten by a spider or scorpion on the day before her wedding, causing her death. The bereft mother (who is the one named "Pascualita"), saddened beyond consolation, hired the best funerary services money could buy and had her daughter embalmed, dressed in the wedding gown, and later displayed the corpse, passing it off as a mannequin. Some versions claim that it was her fiancé that had her embalmed. It is common for late night taxi drivers to notice the mannequin take life, as the bride's intended was a taxi driver himself. In 2017, the mannequin was taken out of the wedding boutique for the first time and displayed in Mexico City, Mexico as part of
1336_9	Hotel de Leyendas Victoria tour.
1336_10	La Planchada "La Planchada" is Spanish for "the ironed lady". Contrary to what people may assume because of the legend's title, La Planchada was not a woman who was crushed, rather it is similar to La Llorona. Legend says it was a nurse who was attracted to a doctor and he rejected her, or a disgruntled nurse, or a nurse who killed her patient. Many variations of how she was created exist, but one consistent theme is that her ghost appears in many hospitals, though mainly in the metropolitan areas, especially in Mexico City.
1336_11	Many hospitals such as Hospital Juárez claim she appears there in her old 1930s/60s nurse uniform, which is perfectly ironed (hence the name "La Planchada") and heals patients in the emergency sections. Just as there are claims about how she was turned into a ghost, there are many others in which eyewitnesses claim she appears. Some say she emits a sort of glow. Others say she looks like a normal nurse. Others say she floats, while others say she walks normally, but her steps are never heard. This happens at night and the next morning patients feel better and are taken to another room for further recovery. When asked why they feel better, patients say that "a nurse came in and healed me", but no one in the hospital was either guarding the room or no nurse came at the time the incident happened. Vanishing hitchhiker
1336_12	In the Mexican version of the Vanishing hitchhiker urban legend, the hitchhiker is a beautiful woman, who chats with a stranger in a taxi. When she leaves as a normal person she leaves her address. When the person tries to reach the woman at her home, he is informed the woman is dead and that it is also the anniversary of her death. Cemetery hauntings Often there are ghost legends associated with the older cemeteries. For example, the Panteón de Belén (also Santa Paula Cemetery), a historical cemetery located in Guadalajara, Mexico, is the site of legends and night tours. The cemetery was opened in 1848 and it was formally closed in 1896. Legends that are part of the local folklore include the Vampire, The Pirate, The Lovers, The Monk, The Child afraid of the Dark, The Story of José Cuervo, The Nun and many more.
1336_13	El Charro Negro The Charro Negro is a spectrum of Mexican folklore that, according to popular tradition, is described as a tall man, with an elegant appearance, in an impeccable black suit consisting of a short jacket, a shirt, tight pants and a wide-brimmed hat. who wanders in the depth of the night in the streets of Mexico on the back of a huge jet-colored horse. He is of Mexican origin, and is related to the Devil. It has also served as Mexican cultural inspiration for literature and cinema such as La Leyenda del Charro Negro.
1336_14	Origin According to some, the legend arises from the syncretism in 1920 between indigenous and European beliefs. El Charro Negro represents the dark side of the human soul, a story that warns of blinding greed. This character was transmuted into dark deities by ethnic groups such as the Wixárika. Among the Huichol deities, which are linked to a dark part are defined as "Neighbors" or "Mestizos", the one that stands out the most within these deities is the god Tamatsi Teiwari Yuawi, which in Spanish is called "Our Big Brother the Dark Blue Mestizo". The result of the meeting of these two cultures, also unites two religions; the Mesoamerican (specifically the Huichol) and from Spain, the result will be a Mestizo popular culture, which creates a figure of Ibero-American folklore, that is, the "Charro Negro".
1336_15	The coexistence between the indigenous and mestizo culture resulted in economic conflicts, where they took over land to use it for their own benefit, for trade, etc. According to sociological records, the god "Mestizo Azul", within the indigenous culture, specifically within the Huichol culture, represents the stereotype of the colonizer who threatens his culture. This god "Mestizo Azul" is more powerful than the Huichol gods themselves, however, he is a despot, a collector and does not know forgiveness.
1336_16	From a Mixtec perspective, it is said that he is the "patron of the place" lives on the top of the mountain, caretaker of the region, this individual does not have indigenous aspects, on the contrary, he tells us about characteristics of the colonizers, that is, a white man, tall and mounted on horseback. The Mixtecos speak of how dangerous it can be to find it, that is why they have the belief of carrying garlic, to be able to drive it away. This "lord of the hill" punishes those who cause destruction in the forests, guards the treasures and punishes those who commit greed. Such is the importance of the "Lord of the Hill" that the indigenous people asked for permission with offerings in order to obtain permission to work on their lands. The offerings consisted of cigarettes, mezcal, and food.
1336_17	There is an anecdote recorded, in the Sierra del Norte de Puebla, where the indigenous people stopped working on a highway, since the permission of the "lord of the hill" had not been requested.
1336_18	San Martín de Caballero, is known in the cities as a saint who is asked for money with the phrase "San Martín de Caballero, give me a little money" while alfalfa is offered to his horse. While in the Mazatec culture he becomes a nocturnal being, where they explain that he is not a saint. He is known as the owner of the lands and the mountains. His characteristics are those of colonizers, he is white and greets in Castilian. Some nights he comes down to visit his animals and watch over the buried treasures. Those who wish to obtain money from this being, must go in a state of indulgence (sexual abstinence) and offer cocoa or a turkey. San Martín de Caballero, gives them instructions, which include, take his horse by the tail to the applicant's house and not say anything in 4 years, if this promise is broken then the applicant's soul is condemned, he dies instantly and San Martín de Caballero takes his body and soul to take them to work with him.
1336_19	In practically all societies the concept of "the dark" has been conceived, which is even presented as an essential element for balance to exist. And this, the dark, is a kind of constant temptation, linked to human passions, which could make man lose his reason, and as a consequence, lose himself or the luminous part of him . In the Mexica worldview we have the unforgettable cosmic battle between day and night, between light and darkness symbolized by Tezcatlipoca, one of the four sons of Ometéotl, lord of the night; and Quetzalcóatl (also called the white Tezcatlipoca) . With the arrival of Christianity in Mexico, dualism was also propelled with the figure of God and Lucifer, and in this cultural bifurcation myths and legends arose about the perennial temptation that is capable of making the soul perish.
1336_20	Legend According to legend, the black charro continues to appear at night, on the streets of cities or on rural roads. Being mysterious, he sometimes accompanies walkers, but if the person agrees to get on the horse or receives coins from it, his luck is given. It is an evil entity that receives this name for its dark clothing. He always appears dressed in an elegant black charro suit with fine details in gold and silver. He can be seen riding on his horse, the same color, an animal whose eyes look like balls of fire. Fortunately, the Charro Negro only appears to people who walk alone, mainly at night.
1336_21	In Popular Culture There is not much about inspirations about this evil entity. However, it has appeared in the literature within the story Macario, from which it was used and inspired to create a film with the same name. In 2018, the animated film La Leyenda del Charro Negro was released, created by Anima Studios, based on the legend, where he appears as the main antagonist of the film, as well as of the franchise in general.
1336_22	In the arts Woman Hollering Creek and Other Stories is a book of short stories published in 1991 by San Antonio-based Mexican-American writer Sandra Cisneros. The title story is a modern version of the legend of La Llorona. Hasta el viento tiene miedo (Even the Wind has Fear or Even the Wind is Scared) is a 1968 Mexican horror film, written and directed by Carlos Enrique Taboada. The film is about a ghost that seeks revenge in a school for girls. A remake was released for the Halloween season of 2007 with Martha Higareda as the protagonist. Kilometer 31 (Kilómetro 31 or km 31) is a 2007 Mexican horror film, written and directed by Rigoberto Castañeda. The film is inspired by the Crying Woman legend (La Llorona) and legends about highway ghosts. The Cartoon Network series Victor and Valentino features many depictions of classic Latin and Mesoamerican culture in a more comedic and family oriented manner:
1336_23	La Llorona appears in the episode "Lonely Haunts Club 3: La Llorona" and is depicted as suffering from empty nest syndrome. She is simply lonely and wants people to visit her which the titular characters and their friends agree to do once a month. La Planchada appears in her self-titled episode and is depicted as a two dimensional ghostly apparition that can summoned by leaving an iron out at night and coughing three times. She lays herself on the ill and soothes them back into wellness. However, she has a moral standing as she threatened to flatten Victor out due to him inconsiderately spreading chicken pox to the other kids.
1336_24	See also Folktales of Mexico Santa Muerte List of reportedly haunted locations in Mexico References Ghosts Mexican culture Mexican folklore
1337_0	Kangaroo (also known as The Australian Story) is a 1952 American Western film directed by Lewis Milestone. It was the first Technicolor film filmed on location in Australia. Milestone called it "an underrated picture." Kangaroo was remade in Africa as The Jackals in 1967. Plot summary In 1900 Australia, Dell McGuire worries about her missing father Michael. She asks Trooper Len for help. Michael is drunk in Sydney, staying at a boarding house. He meets Richard Connor (Peter Lawford), a desperate young man trying to find the money to return home to America. Michael is looking for his long-lost son, Dennis, whom McGuire had abandoned to an orphanage as a child, a deed for which he now deeply blames himself. Later that night, Connor attempts to rob John Gamble (Richard Boone) outside a gambling house, but after he finds him equally broke, he is talked into assisting him in robbing the establishment, during which the owner is shot.
1337_1	Connor and Gamble make off with the loot, stopping at the boarding house to get Connor's gear, whereupon McGuire, still drunk, pursues his "son" down the street until he collapses. They find on his person information regarding his extensive station (for which he was trying to secure loans in Sydney) and his boat ticket, and decide to pose as his business partners to get on the boat and away to hide out with him in the Outback. The next day, the now sober McGuire does not remember anything, and is at first suspicious of them, until he finds he has the £500 they claimed to have paid him for cattle (planted on him from the stolen loot). Along the way - first by boat, then by horse - they subtly drop hints that Connor (now calling himself Dennis Connor) may be McGuire's lost son, without letting on that McGuire himself had talked about his missing offspring. In this way, Connor and Gamble hope to gain possession of McGuire's station.
1337_2	Arriving at the station, they are both smitten by his daughter Dell (Maureen O'Hara), but held in some suspicion by the local trooper Len (Chips Rafferty), who has been Dell's local beau. Gamble does his best to scotch a budding attraction between Dell and Connor, because it will spoil the plan to pass him off as her lost brother. Biding their time, both to develop their plan and hide out from the law, they end up helping the station get back on its feet, rescuing stray cattle, heading off a stampede, and culminating in a daring repair of an out-of-control windmill during a windstorm. McGuire is finally convinced that Connor is his son, and seeing the romantic interest of his daughter in him, tells her his conclusion. Overhearing her despair at this news, Connor feels he must confess, and Gamble sees their plan fail on the brink of success because of the annoying conscience of his partner.
1337_3	Having not only confessed his true identity, but also the fact that both he and his companion are wanted in the murder of the gambling house owner, Connor and Gamble are forced to flee the station, with trooper Len in hot pursuit. When Len catches up to them, Gamble is about to shoot him when Connor pulls the gun away with a bullwhip. The two partners in crime now have a vicious bullwhip fight. Gamble retrieves the gun and shoots at Connor, but Len fatally shoots Gamble. Len then takes Connor back to the McGuire station, where he recovers from his injuries, being promised clemency for saving Len's life, and with the promise of a future with Dell.
1337_4	Cast Maureen O'Hara as Dell McGuire Peter Lawford as Richard Connor Finlay Currie as Michael McGuire Richard Boone as John W. Gamble Chips Rafferty as Trooper "Len" Leonard Letty Craydon as Kathleen, McGuire's Housekeeper Charles 'Bud' Tingwell as Matt Henry Murdoch as Piper Ron Whelan as Fenner John Fegan as Burke Guy Doleman as Pleader Reg Collins as Ship's officer Frank Ransom as Burton Marshall Crosby as Priest Clyde Combo as Aborigine stockman Reg Wyckham as Archibald, flophouse clerk George Sympson-Little as Bluey Development
1337_5	Script In November 1948 20th Century Fox announced they wanted to make a films set in Australia at the turn of the century called The Australian Story. It would be based on an original story by Martin Berkley and produced by Robert Bassler. The film would be made using Fox funds "frozen" by the Australian government under post-war currency restrictions. Tyrone Power was the expected star, as he had made a number of romantic adventures for Fox shot on location outside Hollywood such as Prince of Foxes. Reports said "the picture will be themed in the documentary manner by events that happened at the turn of the century." Australian reports said the film may be about the construction of the transcontinental telegraph. Lewis Milestone, who eventually directed the film, later said "I suppose the idea of making it originated in the Fox sales department: they'd accumulated a lot of money in Australia and I suppose the only way they could move the money was to reinvest it there."
1337_6	In April 1949 it was reported "script writers at the Fox Studios are frantically reading Australian novels to get background material for a film courageously called "The Australian Story"." In June 1949 Fox said Dudley Nichols was going to write the script from Berkley's story, and may also direct. However by July Norman Reilly Raine was working on the script which had also been known as The Land Down Under and Sundowner. In 1949 November Fox said the film was going to be called The Land Down Under, with Power to star and Bassler to produce. By this stage Fox said the film would be about a bushranger who pretends to be the long lost son of a rich land owner. In December 1949 associate producer Robert Snody and art director Lee Kirk arrived in Sydney to line up locations. By then the film was called The Bushranger although Snody insisted it was more of a family saga.
1337_7	In January 1950 Fox said the project would be an "actor drama" called The Bushranger produced by Robert Snody and written by Norman Reilly Raine about a family running a cattle station in the northwest circa 1895–1900. By that month Charles Clarke was announced as cinematographer. Also that month Fox said they would make the film in Technicolour, and that three writers were working on the script. Filming was expected to begin in October. Other titles to the story were The Australian Story, The Bushranger, The Land Down Under and Sundowner. An early draft of the film reportedly featured reference to hordes of kangaroos wiping out a town, but this was deleted after input from the Australian crew.
1337_8	Director In June 1950 Fox announced that Louis King would direct the film under a new five-year contract with the studio. However the following month it was announced that Lewis Milestone would direct the movie. Milestone left for Australia on 15 August 1950. When he arrived, Milestone spoke highly to the Australian media about the quality of other Australian-shot films, The Overlanders and Bitter Springs. Casting Tyrone Power was the first star linked with the project. In February 1949 Hedda Hopper reported that Fox were pursuing Cary Grant and later report claimed Gregory Peck was also considered. In April 1949 Fox said Jean Peters would play the female lead.
1337_9	In November 1949 Fox announced that Tyrone Power would play the male lead if he liked the script. "It might be a good deal", said Power. "I've never been to Australia." By December it was reported Power was off the picture. In May 1950 there were reports the lead would go to a new Fox contract player like William Lundigan or Hugh Beaumount. In July 1950 it was reported that Power dropped out to appear in a stage version of Mister Roberts in London.
1337_10	In July 1950 Milestone said none of the four leads had been cast; he expressed interest in Richard Widmark or "a British star" as the hero, Jean Simmons as the female lead and Errol Flynn as "the bushranger"; the fourth lead part was the station owner, for which Milestone wanted an actor around 60 years of age. He had been told about Chips Rafferty and wanted to test him, and estimated that there were about 25 roles in the movie available for Australians to play. "Station hands, townspeople, tavern keepers, barmaids, stage coach drivers, passengers, atmosphere players", he said. Milestone added:
1337_11	The story concerns a group of people living on stations about 300 miles north-west of Sydney. If necessary we will rewrite the play to lit Australian conditions. I want Kangaroo to be a true dramatic portrait of life in Australia in the 1880s. We'll decide the district for filming within a month of arrival. We'll build sets on location and take interior shots in Ealing Studios. We expect to spend six months altogether in Australia. We'll engage experts and technical directors there. He estimated the budget would be £900,000.
1337_12	In August 1950 Fox announced they were borrowing Peter Lawford from MGM to play the male lead. By the end of the month the female lead was given to Constance Smith, who had just appeared in Fox's The Mudlark., (J Arthur Rank reportedly would not loan out Simmons.) In September the second male lead went to Richard Boone who had recently appeared in The Halls of Montezuma directed by Milestone. . Then Smith was assigned to star in The 13th Letter (1951) and her role was taken by Maureen O'Hara. O'Hara wrote in her memoirs that "I loved the script and asked Darryl Zanuck to cast me in the picture." She added that Zanuck "had already cast his then-current girlfriend in the part but dropped her from the picture as soon as I asked for the part." O'Hara's marriage was breaking down at the time and she says she had decided to divorce her second husband but was talked out of it by Mary and John Ford just before she left for Australia on 17 November 1950.
1337_13	Finlay Currie was the last of the four principals to be cast. He had recently made several films for Fox including The Black Rose and The Mudlark. When asked about Australia films Currie said, "I believe your own producers have concentrated too much on background and not enough on story. That is a pity. Even when your settings are interesting they can't compensate for a poor script. For it is the script that brings background alive. I think a really good story with an Australian setting should make a very good picture, and we in the unit are all hoping that is what Kangaroo will give you. Producer-director Lewis Milestone knows what he wants before he starts, and that is half the battle of production. Having him out here is a definite and important gesture to the vast potentialities of film production in your country."
1337_14	In December 1950 Hedda Hopper said Rod Cameron was a good chance of being cast "if he can travel". In December 1950 Letty Craydon was cast as Maureen O'Hara's housekeeper under a monthly contract with a daily option up until six weeks. She was chosen after her performance as Sister Josephine in the play Bonaventura. "It will be a wonderful break for me and of tremendous educational value", said Craydon. "I looked over my part the other day, and I love it, particularly as it has a touch of Irish about it. I have been studying it hard and getting ready to leave. My frocks have been prepared, and I have tried most of them on. It will be marvellous working with Maureen O'Hara and Peter Lawford; but, I'm not a star, and I doubt whether my name will be in big lights."
1337_15	The cast and crew went to Sydney via Hawaii where they had a six-day stop over in Honolulu. "Everywhere we go we get mobbed by teenagers", said Boone. Of course they're after Peter, and I get the backwash. I don't care so much for being hugged, kissed, petted and squeezed by hundreds of screaming youngsters." Preproduction Script revisions Milestone says he was "saddled" with a "weak story" by the studio. When he arrived in Australia he discussed the story with members of the Sydney Journalists Club, apologising for the story and asking for their help in tracking down locations. He was contacted by journalist and writer Brian Penton who offered the director the use of material from his books Landtakers and Inheritors. Milestone loved the books and felt "they would make marvellous pictures of their type."
1337_16	When screenwriter Harry Kleiner arrived in Sydney he and Milestone tried to persuade Fox via long-distance telephone "to scrap the damned scenario they'd sent me out with, which was a joke, and substitute the Penton books" arguing it was better to make an Australian film written by an Australian. Fox refused. However Milestone used some material from the novels in the final script. He said "I fell back to my second line trenches and resolved to narrow down the human story to the minimum and concentrate on the animals plight in the drought. That way we came out of the venture with something whereas otherwise we would have had nothing." Among Milestone's additions was a bullwhip duel between the two leads. It was one of several set pieces in the new script, others including a corroboree, a dust storm, a battle with a windmill, a cattle stampede and a cattle drive.
1337_17	In September it was reported that: Australian authors working in the United States appear to have led Hollywood up the garden path with exciting tales about Australia. At present four American writers, assisted by an Australian, are working on the script... to eliminate inaccuracies. The first working script for Kangaroo should be ready within a week. It will be somewhat different from the original story. Authors of the first script let their heads go in a big way. They described kangaroos so big and ferocious that in dry weather they stormed bush homesteads in thousands and carried off the children... A hasty revisal of the story is now being made to eliminate the "too fierce" kangaroos and other inaccuracies. Kleiner called the rewritten script "a story about a man in conflict with his conscience. The people of the cattle country at the turn of the century provide the background."
1337_18	O'Hara later wrote "I was heartbroken when I was given the revised shooting script in Sydney and saw how it had been ruined... Milestone had rewritten Martin Barkley's story and made it about a man and his conscience struggling with the question, 'Are you a sinner if you only think about sinning or do you actually have to commit the sin to be guilty?' It was the worst piece of rubbish I had ever read. He had destroyed a good, straightforward western." O'Hara says she contacted her lawyer and tried to get out of the film but was told "I would be creating a huge political incident if I walked off the picture. I had no choice but to do it or be in serious trouble." She added "although I hated every minute of the work I absolutely loved Australia and the people."
1337_19	Port Augusta Milestone decided to relocate the film from New South Wales to Port Augusta, South Australia feeling the New South Wales locations looked no different from places in Southern Arizona and California. Fox built a base at Port Augusta In September Milestone said he had originally planned on a 61-day shoot but now planned to be in the country for seven months. Shooting was to commence on October 15, 1950 but this date had to be pushed back to November due to unexpected rain, lack of material and contractual requirements of Finlay Currie. Housing for cast and crew in Port Augusta was not ready. The producers negotiated with unions to try and get them to work six days a week. Milestone wanted to hold off filming to give a greater impression of drought.
1337_20	In addition, the script was being rewritten and the action was relocated from the 1880s to 1900. Originally the film opened with Connor (Peter Lawford) and his bushranger friend Gamble (Boone) holding up a stage coach on a lonely road where he met Dell (O'Hara) who was a passenger. The opening scene was rewritten to be set in Sydney. . The producer also revealed that he was forced to have all costumes made in Hollywood. "We simply couldn't find any theatrical tailors in Australia,' he explained. The studio also had to ship a large quantity of technical equipment from Hollywood because it felt the equipment in Australia was out of date. "Costs are piling up so fast, what with delays and other problems, that we really lave no idea what the final total will be", said producer Bassler.
1337_21	Bassler said he wanted to shoot a sequence where water starved kangaroos attached me. "The sequence will compare with any of the great cattle and horse stampedes filmed,"" he said. "It will be the most unique thing ever put on the screen. It could become the most talked-about scene in the history of movies. I hate the thought of giving it up and only hope the various Australian Governments will come to my rescue and see that we get our kangaroos." There was a studio at Pagewood but Milestone said it "ignored" it and "shot right inside houses, saloons, and natural interiors, utilizing as many historical locations as possible; in the country... we used little pubs and places like that, mainly in and around Port Augusta. We also shot on board a coastal ship." Production was delayed a further ten days when Henry Kleiner had an appendix operation in Sydney. Production
1337_22	Sydney Shooting started in Sydney in November, with work done at Millers Point near the end of the Sydney Harbour Bridge. Scenes where Lawford tries to rob Boone were shot by the sandstone walls of Hickson Street, and the two up sequence was shot over several days at Elizabeth Bay House Milestone said the Australian crew took instructions from his "half dozen key personnel, who ran it like a school. They Aussies blended in fine." Milestone said "one of the reasons I wanted to concentrate on Sydney's historic landmarks was to emphasize the fact we were actually in Australia: out in the wide open spaces you might as well have been in Arizona." Zanuckville Premier Thomas Playford of South Australia donated a housing estate at Port Augusta to the film unit for use of the cast and crew. This estate was dubbed "Zanuckville". It would house up to 150 people.
1337_23	O'Hara arrived in Adelaide from Sydney on November 30, and attended a reception at Government House hosted by Premier Playford. O'Hara said "I have been able to get down to reading my part in the film only during the past two days. I feel it is going to be wonderful. I really hope we will wind up with a 'picture 'which Australia will be proud of as well as us.' They went to Port Pirie then travelled by car to reside at the camp known as Hollywood Park, outside Port Augusta. They were met by a gala celebration. The press had to downplay reports that Lawford and Boone were unhappy with the flies and heat. The script was continually rewritten and Port Augusta shooting was delayed until Fox approved it. Most publicity of the film focused on O'Hara. The bulk of outdoor scenes ere shot at the foot of Mount Brown.
1337_24	Temperatures were very high in Port Augusta, the script was constantly being rewritten, the isolated unit (dubbed "Zanuckville") had trouble sourcing materials, and rain kept occurring at inopportune moments. Filming did not begin at Port Augusta until December 21. The shooting schedule was constantly revised due to weather. Scenes were shot at Woolundunga Station. A Christmas Eve concert was held on location by cast and crew. Lawford and Boone asked to be excused. Peter Lawford had a regular stand in, Noel Johnson, who had to leave during the shoot when his brother was killed in a shooting accident. He was replaced as stand in by Ian Jones, an arts student who had travelled from Melbourne to the unit hoping to find some stunt work. Jones later became a noted writer and director in Australian TV. Australian heavyweight champion Jack O'Malley played Finlay Currie's stand in. A sound technician was paralysed after being bitten by a spider.
1337_25	In January, Tingwell and Rafferty attended the premiere of Bitter Springs in Wilmington, South Australia. Boat scenes were shot on the Moonta. An aboriginal dance was especially recreated for the film using aboriginals from Ooldea. It was shot at Spear Creek near Port Augusta. Lawford reportedly lost twelve pounds during the shoot and his hair started to fall out (this stopped when he returned to Hollywood). In her 2004 autobiography Tis Herself, Maureen O'Hara claimed that Richard Boone and Peter Lawford were "rude and disrespectful to many Australians and to the press as a whole and the Australians came to dislike them both with a passion." She says they were arrested in a "brothel full of beautiful boys" in Sydney, but claims the studio managed to prevent this from being reported by having O'Hara make a personal plea to the press
1337_26	O'Hara recalled "publicity around the picture was remarkable. The Australians were so excited to have us there and were one of the most gracious people I have ever encountered on location." However she says "I cried many nights" during the shoot. "Lawford and Boone were horrible to me even though I had saved both their hides... I still had to fight off a swarm of flies for every mouthful of food. I was even clawed something awful by a cuddly little koala bear during a scheduled photo shoot." The drought was so bad that Milestone expected to have to film the movie's climactic scene – a downpour – back in Hollywood. The cast and crew attended a "native rain dance" on Saturday night and the next morning it rained. The unit shot the scene over five hours. Filming wrapped on 15 February 1952. O'Hara left by the end of February. An estimated £446,000 was spent in South Australia. Various props were auctioned off in March. Over 1,000 people attended.
1337_27	Strong winds on location forced Milestone to rerecord much of the exterior dialogue. Postproduction Milestone said by the time he supervised the first cut "I'd fallen in love with the whole drama of the thing." He said he instructed the music department at Fox to accompany the cattle sequence, his favourite, with a soundtrack of Shostakovitch's Sixth Symphony and called it "really a masterpiece". Milestone says Zanuck enjoyed the sequence but would not let Milestone use the music as they had stolen it for a movie before. Milestone says Zanuck refused to preview the movie in Los Angeles and sent it out. A few months later, it was sent back after having played badly in the eastern states of the US and Zanuck demanded a new ending. Milestone says he "volunteered my services because I wanted to rescue as much as the film's quality as I could. But we had to do whatever Mr Zanuck wanted. He can be good but boy oh boy he can also be very very bad."
1337_28	Release When the movie was released in Australia, initial box office performance was strong, but reviews were bad and business soon tailed off. Milestone later claimed Boone's character was the basis of Paladin, the character he played in the TV series Have Gun – Will Travel (1957 – 1963). Milestone directed an episode of this show. Reception According to one book on Milestone, the director's "handling of the material was interesting in the extent of carrying sound and lack of dialogue to extremes, but the standard of playing was below par." Another book on the director called it "a curiously divided work, about half formula Western and half fictionalised travelogue" in which the cattle drive sequence "proves as good as anything in Ford's or Hawk's Westerns."
1337_29	Charles Higham said the movie had "first rate action scenes" including "a drought sequence and a cattle stampede that gave Harry Watt's The Overlanders quite run for its money", adding the film "once again demonstrated that, as a master of natural environments, Milestone was second to none, capturing the sweat and dust and saddle leather of Australia's outback to perfection." Filmink magazine said that "This film isn't as bad as its reputation (Richard Boone is excellent as Lawford's friend and there's some great visuals), it's just frustrating because it should have been better – it's flabby and goes all over the place, Lawford is a wet fish of a leading man, and it needs more action... It would have been more entertaining if it had embraced being a Western more." See also Cinema of Australia References Further reading External links Kangaroo at Oz Movies
1337_30	1952 films 1952 Western (genre) films 1950s adventure drama films American films English-language films Films set in 1900 Films set in Sydney Australian Western (genre) films 20th Century Fox films Films shot in Sydney Films shot in Flinders Ranges Films scored by Sol Kaplan 1952 drama films Films with screenplays by Harry Kleiner
1338_0	Edward Horace Fiennes-Clinton, 18th Earl of Lincoln (23 February 1913 – 7 July 2001) was an aristocratic Australian engineer, who succeeded to his family's earldom of Lincoln (cr. 1572) by primogeniture upon the death in 1988 of his 10th cousin, the last Duke of Newcastle. Life Born at Melbourne, Australia, in 1913, he was the elder son of Edward Henry Fiennes-Clinton, a Mate in the British Merchant Navy who emigrated to Australia in 1912 before serving with the 51st Battalion, Australian Imperial Force and being killed in action on 17 August 1916 during the First World War. His mother, Edith Annie, daughter of Captain Horace Guest, brought him up before remarrying, in 1923, Robert Johnston Lynn, a cousin of Deputy Speaker of the Northern Ireland House of Commons, Sir Robert Lynn.
1338_1	Educated at Hale School, an independent Anglican boarding school in Perth, Western Australia, Fiennes-Clinton then worked as a boilermaker, a welder's and machine-minder's assistant as well as a butcher at the Kalgoorlie Gold Mine. Story Fiennes-Clinton learned of his succession to the earldom of Lincoln during a telephone call from a journalist with The Daily Telegraph newspaper in London, who began "Lord Lincoln, if I may be the first to address you so..." He said he had known he might one day inherit the title, but had forgotten about it. Upon the journalist commenting that he seemed unexcited, Lincoln replied: "young man, I have lived for seventy-five years and I have learned to take things as they come". He did however seem disappointed to hear there was little else to inherit apart from the peerage itself.
1338_2	The Australian press was much more excited by the news, and three camera crews appeared outside the new peer's flat at Elanora Villas, Bunbury, Western Australia, before more reporters arrived by helicopter. Soon after inheriting the Earldom, the new Lord Lincoln travelled to England, where he was warmly received by (among others) leading citizens of the City of Lincoln. The story was soon fictionalized as a storyline in the Australian soap opera Neighbours.
1338_3	He later wrote an autobiography called Memoirs of an Embryo Earl, published in 1992, and set about putting on record his formal right to the peerage with a view to taking his seat in the House of Lords. After being briefed on the workings of the Upper House by Lord Deedes, and having been received at the College of Arms, Lincoln stated his intention of joining the Conservative benches in the House of Lords. However, there were delays in the process of claiming his seat, which was defeated by the reforms of the upper house in the House of Lords Act 1999. Lincoln thereafter had no automatic right to sit in the Lords, as all but 92 hereditary peers had been removed. His grandson, the 19th Earl, was later courted by New Labour. Lord Lincoln died in Western Australia on 7 July 2001.
1338_4	Family In 1940, Fiennes-Clinton married Leila Ruth Fitzpatrick, née Millen, and they had two children, Patricia Ruth Fiennes-Clinton (born 1 February 1941, now Lady Patricia Elrick), and Edward Gordon Fiennes-Clinton (1943–99; styled Lord Fynes, by courtesy). After his first wife died on 19 July 1947, Fiennes-Clinton on 3 December 1953 married Linda Alice, daughter of Rev Charles Creed and widow of James Anthony O'Brien; they had no children. When his 10th cousin, the 10th and last Duke of Newcastle, died on Christmas Day 1988, Fiennes-Clinton succeeded to His Grace's subsidiary title of Earl of Lincoln. His ancestor, Sir Henry Clinton, of Kirkstead, Lincolnshire, was the 2nd Earl of Lincoln's elder son by his second marriage; the 2nd Earl's eldest son's descendants went on to become Dukes of Newcastle.
1338_5	The family has served in public life since the 1st Baron Clinton was summoned to Parliament in 1299, and in the 18th century Thomas Pelham-Holles, 1st Duke of Newcastle twice-served as Prime Minister. The peerage of Baron Clinton, created by writ of summons, to which all descendants are in remainder, is now held by another distant branch of the Clinton family. Lord Lincoln's grandson Robert Edward Fiennes-Clinton (born 19 June 1972) is the 19th and present earl, a fellow of the Zoological Society of London, who lives in Perth. References External links 1913 births 2001 deaths 20th-century English nobility 21st-century English nobility Australian peers People from Bunbury, Western Australia People from Perth, Western Australia Engineers from Melbourne Edward Edward
1339_0	The Settlers II (10th Anniversary) (), is a city-building game with real-time strategy elements, developed by Blue Byte and published by Ubisoft. Released for Microsoft Windows in September 2006, it is a remake of The Settlers II (1996). In March 2007, Blue Byte released a German-language expansion, Die Siedler II: Die nächste Generation - Wikinger (), featuring new single-player campaign missions, new maps for both single-player and multiplayer modes, a random map generator, and minor gameplay tweaks. In September 2008, they released Die Siedler: Aufbruch der Kulturen (), a spiritual successor to Die nächste Generation. In 2013, the original 10th Anniversary game was released on GOG.com.
1339_1	In the game's single-player campaign, the player controls a group of Romans who are shipwrecked on an uncharted island after fleeing Rome in the wake of a series of natural disasters and the mysterious disappearance of every Roman woman. Stranded and without hope of rescue, they must use a series of magical portals to try to find their way back to the Empire. During their travels, they come into conflict with Nubians and Chinese, learning that both races have also experienced the loss of their female population. Wikinger takes place centuries later, when the portals are commonly used by various races to facilitate trade with one another. However, when the Vikings' portal is sabotaged by a group of pirates led by a man known as "The Wolf", all other portals throughout the world cease to function. Initially operating independently of one another, but ultimately joining forces, the Romans, Nubians, Chinese and Vikings set out to learn why the portal was destroyed and defeat The Wolf.
1339_2	Although featuring updated 3D graphics and sound effects, and a new storyline, the gameplay and game mechanics remain relatively unchanged from the original Settlers II. The overriding design principal for 10th Anniversary was to renovate the original rather than reinvent it, and as a result, the designers elected to make only minor changes to the core template. For example, the different races now have aesthetically differentiated buildings; military buildings can now be upgraded, and soldiers evacuated from each building at any time; when the player demolishes a building, they now get back half the construction costs; and a day/night cycle has been added. The game also features an online multiplayer mode, and a map editor, which allows players to both create new maps and import maps from the original.
1339_3	The Settlers II (10th Anniversary) received relatively little attention in the gaming press outside Germany, with mixed reviews. Whilst the graphics and sound effects were generally praised, and the designers were lauded for retaining so much of the original game's mechanics, some critics felt it was too reverential to the original, and, as a result, seemed dated. Other criticisms included a lack of mission variety and repetitive gameplay, with several critics opining that it should have been a budget title rather than a full-price release.
1339_4	Gameplay The Settlers II (10th Anniversary) is a city-building game, with real-time strategy elements, controlled via a point and click interface. The gameplay and game mechanics are nearly identical to the original Settlers II, and the primary goal on each map is to build a settlement with a functioning economy, producing sufficient military units so as to conquer rival territories, ultimately gaining control of either the entire map, or a certain predetermined section of it. To achieve this end, the player must engage in economic micromanagement, construct buildings, and generate resources.
1339_5	Game modes The game can be played in one of two modes; single-player or multiplayer. In single-player mode, the player can play either campaign missions or individual non-campaign games ("Freeplay"). In Campaign mode, the player must complete a series of missions, the goal of each of which is to defeat the computer controlled opponent or opponents by gaining possession of the territory in which the mission objective is located. In the original release of the game, there were ten missions, with the player limited to controlling the Romans. The Wikinger expansion added a new campaign of twelve missions, with the player able to control the three races from the original game (Romans, Nubians, and Chinese), plus the newly added Vikings.
1339_6	In Freeplay and multiplayer modes, which can be played via a LAN or online, the player chooses a map on which to play, and then refines the game in various ways, such as selecting the number of players (from two to six) and the difficulty level of computer controlled races, choosing which race to control, selecting the victory conditions, refining the amount of raw materials available to each player at the start of the game, selecting whether to turn fog of war on or off, and choosing whether each player begins from a predetermined position on the map or is instead placed randomly. As well as including numerous predesigned maps for use in Freeplay and multiplayer modes, the game also features a map editor, which allows players to both create their own maps and import maps from the original Settlers II.
1339_7	Settlers and transportation Whether playing in single-player or multiplayer mode, each game begins the same way; the player has one building, a warehouse/headquarters, in which are a set amount of raw materials and tools. The basic gameplay revolves around serfs (the titular "settlers") who transport materials, tools and produce, and who populate and perform the requisite task of each building. As the player constructs buildings and thus requires settlers to occupy them, the settlers automatically emerge from the warehouse as needed. As the settlement continues to grow in size, the warehouse's quota of settlers will eventually be reached, and the player will need to build an additional warehouse to generate more settlers. At no point does the player directly control any individual settler - instead, general orders are issued (such as ordering the construction of a building), with the AI handling the delegation of orders to specific settlers.
1339_8	An important game mechanic is the construction of a road network so as to allow for an efficient transportation system, as any settlers transporting goods must use roads. To build a road, the player must place a flag, select the "build road" option, and then select where they wish the road to end. The computer will then automatically find the best route between the two and build the road, although the player is also free to build the road manually. To maximize distribution, the player must set as many flags as possible on each road. Flags can only be set a certain distance apart, and serve as transport hubs; a settler will carry an item to a flag and set it down, at which point the next settler along will pick up the item and continue, freeing the first settler to return and pick up another item at the previous flag. The more flags the player has, the more settlers will operate on a given road, cutting down the distance each settler must travel, and reducing the time to transport one
1339_9	item and return for the next, thus avoiding item congestion at each flag. When more than one item is placed at a flag, the game has an adjustable goods priority system, which determines the order in which items are transported. Players can also build shipyards, which allow for the manufacture of rafts (can transport goods over small stretches of water), and ships (can transport goods across oceans).
1339_10	Economy The economy is under the player's control throughout the game, and is adjustable in multiple ways. For example, the player can control the distribution of goods by selecting how much of a given resource is transported to a given building, under six separate headings; food, grain, iron, coal, planks and water. In a similar manner, the player can select what tools are made when; by increasing the significance of a particular tool, that tool will be produced before others. Tool production is important insofar as all buildings require raw materials and a worker with the right tool. For example, if the player has built a bakery, and the building is still empty despite idle settlers in the headquarters, a rolling pin must be manufactured in the toolsmith. The game also uses a notification system that alerts the player if a building cannot be occupied either due to a lack of the right tool or the absence of available settlers.
1339_11	Military The player's territory can only be expanded by building a military complex near the territory border. Each complex must have at least one soldier garrisoned for the territory to expand. Soldiers are automatically created from the pool of existing settlers in the headquarters, with each individual soldier requiring a sword, shield, and one unit of beer. Once soldiers are garrisoned, gold coins can be transported to the building to increase their rank. The player can also build lookout towers, which can see for great distances, but don't grant new territory. A new feature of the gameplay in 10th Anniversary is that military buildings can be upgraded; for example, a barracks can be replaced by a guard house without having to demolish the barracks and then build the guard house.
1339_12	The player also has control over the structure of their military, and is free to change the rank of first-line defence soldiers, how many soldiers from each building can be used offensively, how many soldiers counter the enemy if nearby buildings are attacked, and how many soldiers take up positions in buildings in the settlement's centre, further out, and on the borders. New to the 10th Anniversary is that the player can order garrisoned soldiers to evacuate any given military complex and redeploy them to any other, allowing the player to move soldiers to where they are needed most.
1339_13	In order for the player to attack an enemy building, they must click on that building, and select both the number of units and what rank they wish to use to carry out the attack. If the player's units defeat all soldiers stationed in the building, they will occupy it, with the player's territory increasing according to the building's radius. The player can also use catapults to attack enemy military buildings. Catapults are immobile, and fire stones at enemy buildings within their range, with each successful hit killing one occupying soldier. If all soldiers are killed, the building burns down, and the enemy loses the territory controlled by that building. Defense of the player's military buildings is automatic; as enemies attack, any soldiers stationed in the building defend.

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