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1410_34 | The side features a number of international players and is captained by England international Tammy Beaumont. They won the County Championship a record eight times during its existence, including the final tournament in 2019, and have won the Women's Twenty20 Cup three times, most recently in 2016. The team play the majority of their home matches at the County Cricket Ground, Beckenham. The Women's team is sponsored by Canterbury Christ Church University.
Gentlemen of Kent |
1410_35 | The Gentlemen of Kent side, generally made up of amateur "gentlemen" cricketers from the county, played 48 first-class matches between 1830 and 1880. These matches were played almost exclusively against MCC and Gentlemen of England sides and an annual first-class fixture took place during the Canterbury Cricket Week between 1842 and 1866. The Gentlemen would also regularly play a one-day match against I Zingari, an amateur wandering side, during the Week and other matches were played on occasion, including against the touring Australian aboriginal side in 1868. |
1410_36 | Sides named the Gentlemen of Kent had played cricket matches during the 18th century. The earliest known featuring a side using the name was a 1734 match against a Gentlemen of Sussex side at Sevenoaks Vine. The side was closely associated with the county side and had strong links to other amateur sides, including I Zingari and Band of Brothers, both of which would host tents during Canterbury Week, as well as to Old Stagers, an amateur drama group which performed during Canterbury Week.
Kent Cricket Academy |
1410_37 | Kent established an academy in 2003 with the aim of developing future first-class cricketers. The academy is based at the St Lawrence Ground in Canterbury and makes use of the Ames-Levett Sports Centre at the ground. It has produced over 25 first-term players for the county, including current club captain Sam Northeast and senior England internationals Tammy Beaumont, Sam Billings, Joe Denly, Natasha Farrant, Lydia Greenway and Jo Watts. The leading academy scholar is awarded the John Aitken Gray trophy each year. Past winners have included county First XI players Daniel Bell-Drummond, Alex Blake and Ollie Robinson. |
1410_38 | The academy was established by former wicket-keeper Simon Willis. Paul Farbrace and Philip Relf held lead coaching roles within the scheme until Willis was appointed as high performance director in 2011, serving in the role until May 2016 when he was appointed the high performance manager of Sri Lanka Cricket. Former Kent and England spin bowler Min Patel took over the running of the academy on an interim basis following Willis' departure before becoming Second XI coach in January 2017, with former Shropshire wicket-keeper Jason Weaver taking over the role as high performance director, the two jobs replacing Willis' former role. When Weaver left the club in 2019, Patel took over the role, becoming the club's Head of Talent Pathway and working alongside former women's coach Mark Dekker. |
1410_39 | Honours
Kent have won the County Championship seven times, including one shared title. Four of their wins came in the years before World War I between 1906 and 1913, Ted Dillon captaining the side to three of their titles. The county had to wait until the 1970s to win their other Championship titles, winning outright in 1970 and 1978 and sharing the title with Middlesex in 1977. Kent have finished as runner-up in the Championship on 12 occasions, most recently in 2004. The County Championship Second Division title was won by the county in 2009.
The county First XI has also won a number of limited overs competition trophies. Eight trophies were won between 1967 and 1978, six times by teams led by Mike Denness. Three more trophies have followed in 1995, 2001 and 2007 and, most recently, the team won the 2021 T20 Blast. Kent finished runners-up in the 2008 T20 competition, the 2008 Friends Provident Trophy and the 2018 Royal London One-Day Cup. |
1410_40 | The Second XI Championship title has been won nine times by the county, including one shared win in 1987. As of 2019 this represents a record number of victories in the competition. Four of the victories have occurred in the 21st century, with the most recent in 2012. The Second XI Trophy one-day competition was won in 2002 and 2019 and the county won the Minor Counties Championship twice in the 1950s when first-class Second XI's entered the competition.
Kent's women have won the Women's County Championship a record eight times, most recently in 2019, and have been runners-up five times since the competition was established in 1997. The women's side has also won the Twenty20 Championship three times, in 2011, 2013 and 2016. |
1410_41 | First XI honours
County Championship (6) – 1906, 1909, 1910, 1913, 1970, 1978; shared (1) – 1977Runners-up (12): 1988, 1908, 1911, 1919, 1928, 1967, 1968, 1972, 1988, 1992, 1997, 2004County Championship Division Two (1) – 2009Runners-up (2): 2016, 2018
County Championship Division Three (1) -2021
One-Day Cup (2) – 1967, 1974Runners-up (5): 1971, 1983, 1984, 2008, 2018
National League (5) – 1972, 1973, 1976, 1995, 2001Runners-up (4): 1970, 1979, 1993, 1997
Benson & Hedges Cup (3) – 1973, 1976, 1978Runners-up (5): 1977, 1986, 1992, 1995, 1997
Twenty20 Cup (2) – 2007, 2021Runners-up (1): 2008
Second XI honours
Minor Counties Championship (2) – 1951, 1956
Second XI Championship (8) – 1961, 1969, 1970, 1976, 2002, 2005, 2006, 2012; shared (1) – 1987
Second XI Trophy (2) – 2002, 2019 |
1410_42 | Women's honours
Women's County Championship winners (8) – 2006, 2007, 2009, 2011, 2012, 2014, 2016, 2019Runners-up (5) – 2004, 2005, 2008, 2010, 2015
Women's County Twenty20 Championship winners (3) – 2011, 2013, 2016
Notes
References
Further reading
Harris & Ashley-Cooper FS (1929) Kent Cricket Matches 1719–1880. Canterbury: Gibbs & Sons.
Moore D (1988) The History of Kent County Cricket Club. London: Christopher Helm.
Rice J (2019) Stories of Cricket’s Finest Painting. Worthing: Pitch Publishing.
External links
Official Kent County Cricket Club Website
Official Website of Kent Cricket Community Team
History of Kent
Cricket in Kent
1842 establishments in England
Cricket clubs established in 1842
English first-class cricket teams
Sport in the London Borough of Bromley
City of Canterbury
Borough of Maidstone
Sport in Royal Tunbridge Wells |
1411_0 | The Moldavian Democratic Republic (MDR; , ), also known as the Moldavian Republic, was a state proclaimed on by the Sfatul Țării (National Council) of Bessarabia, elected in October–November 1917 following the February Revolution and the start of the disintegration of the Russian Empire.
The Sfatul Țării was its legislative body, while the "Council of Directors General", renamed the "Council of Ministers" after the Declaration of Independence, was its government. The Republic was proclaimed on 2/15 December 1917, as a result of the Declaration of the Rights of the Peoples of Russia.
The anthem of the country was Deșteaptă-te, române!.
History |
1411_1 | Summarized |
1411_2 | The brief history of the 1917-1918 Moldavian Democratic Republic can be divided into three periods: the period of autonomy within Russia, the period of independence, and the period of federation with Romania. On 2/15 December, Moldavia proclaimed itself a constituent republic of the Russian Federative Democratic Republic. On 1/14 January 1918, the Front Section of the Rumcherod Bolsheviks entered Chișinău, the capital of the nascent republic. After the nationalist faction of the Sfatul Țării requested military assistance from Romania, the Romanian Army crossed the republic's border on 10/23 January, taking the capital within days. With the Romanian Army in full control, on 24 January/6 February, the Moldavian Democratic Republic proclaimed its independence. On 27 March/9 April, Moldavia entered a conditioned union (essentially a federation) with the Kingdom of Romania, retaining its provincial autonomy as well as its legislative body (the Sfatul Țării). On 27 November/10 December, |
1411_3 | after the end of World War I, a secret meeting of Sfatul Țării members renounced all conditions and proclaimed the unconditional union of Bessarabia with Romania, effectively amounting to an annexation by the latter. This was its last act, as it was subsequently dissolved and prominent unionists were invited to Bucharest. During its 1-year existence, the Moldavian Democratic Republic had three Prime Ministers: Pantelimon Erhan, Daniel Ciugureanu and Petru Cazacu. |
1411_4 | Detailed
When the February Revolution occurred in Petrograd in 1917, the governor of the Bessarabia Governorate stepped down and passed his legal powers to Constantin Mimi, the President of the Gubernial Zemstvo, which was named the Commissar of the Provisional Government in Bessarabia, with Vladimir Cristi his deputy. Similar procedures took place in all regions of the Russian Empire: the chiefs of the Tsarist administrations passed their legal powers to the chiefs of the County and Governorate Zemstvos, which were then called County/Governorate Commissars. |
1411_5 | The Peasants' Congress, which took place in October 1917, voted Mimi out and Ion Inculeț in as the new Commissar. This move was planned by Alexander Kerensky, who sent Inculeț, an associate professor at the University of Petrograd, to Bessarabia to take hold of the situation. As soon as the Peasants' Congress, which had no legal power, voted, Kerenski formally replaced Mimi with Inculeț. When Inculeț arrived in Chișinău to take power, he faced the quiet opposition of the nobility, so he agreed to take the position of deputy commissar to Vladimir Cristi. When the republic was proclaimed, Cristi stepped down and passed his legal powers to Inculeț.
The Sfatul Țării (National Council) of Bessarabia was elected in October–November 1917, and started to work in December 1917. It proclaimed the Moldavian Democratic Republic as a federal subject (autonomous republic) of the Russian Democratic Federative Republic. |
1411_6 | In the context of the October Revolution, the Russian Army on the Romanian Front disintegrated. The large number of retreating soldiers increased the level of anarchy in Bessarabia, leaving the National Council with only minimal authority over the territory. To further complicate matters, as the council was delaying a decision on the agrarian question, peasants across the region started to break up the estates of the large landowners and divide them among themselves. As the General Staff of the Romanian Front was unable to send any troops, attempts were made to organize a Moldavian National Guard, but the results were far from expectations. Furthermore, most of the army corps nominally subjected to the National Council came under Bolshevik influence. However, in mid-January Romanians entered the country, engaged in battles with the Moldavian and Bolshevik troops and within a couple of weeks controlled much of the country. Among the leaders of Moldavian troops that offered resistance |
1411_7 | were also figures formerly loyal to the National Council, such as captain Anatolie Popa. |
1411_8 | Following the signing of separate peace armistices by Imperial Germany with Romania, Ukraine and Bolshevik Russia the Sfatul Țării, with 86 votes in favour, 3 against and 36 abstentions, proclaimed the Union of Bessarabia with the Kingdom of Romania on , with the condition of local autonomy and the continuation of Bessarabian legislative and executive bodies, legally ending the Moldavian Democratic Republic. Discouraged by the fact that the Romanian troops were already present in Chișinău, many minority deputies abstained from voting. The union was confirmed in the Treaty of Paris (1920).
Leadership |
1411_9 | The leadership of the Moldavian Republic was composed of Ion Inculeț, the president of the Sfatul Țării and President of the Republic; and Pantelimon Erhan, the President of the Council of Directors General. The new leadership and Council was put in place after the country was declared independence by Daniel Ciugureanu, as President of the Council of Ministers. The Sfatul Țării was initially composed of 120 elected members, although member numbers were later increased to 135 and then 150. For example, on 9 April, there were 138 legislators, of which 125 took part in the vote, and 13 were absent. |
1411_10 | On , the Sfatul Țării elected the government of the Moldavian Democratic Republic - the Council of Directors General, with nine members, seven Moldavians, one Ukrainian, and one Jew:
Pantelimon Erhan, President of the council, and Director General for Agriculture.
Vladimir Cristi, Director General for Internal Affairs.
Ștefan Ciobanu, Director General for Education.
Teofil Ioncu, Director General for Finance.
Nicolae N. Codreanu, Director General for Railways.
Major Teodor Cojocaru, Director General for Armed Forces.
Mihail Savenco, Director General for Justice.
E. Grinfeld, Director General for Industry and Trade.
Ion Pelivan, Director General for Foreign Affairs. |
1411_11 | In its first decree, the Council set forward the aim to "introduce order in all the aspects of life of the country, to eliminate anarchy and disaster, to organize all the aspects of state administration". An Executive Clerk Office (Cancelarie) of the Council of Directors General was set up, and all state, public and private institutions were required to communicate through the Executive Clerk Office to the corresponding Director General for all questions regarding the government of the country. All acts in the domain of public administration made without the previous consent of the respective Directors-General were declared legally void, while the director freed from responsibility for such acts.
Gallery
See also
Union of Bessarabia with Romania
Soviet occupation of Bessarabia and Northern Bukovina
Russian Revolution of 1917
Odessa Soviet Republic
Iona Yakir
Former countries in Europe after 1815
References |
1411_12 | History of Bessarabia
1917 in Russia
Aftermath of World War I in Russia and in the Soviet Union
Post–Russian Empire states
Moldavian Democratic Republic, 1917
States and territories established in 1917
States and territories disestablished in 1918 |
1412_0 | Phet Utong Or.Kwanmuang (; born 11 February 1995) is a Thai Muay Thai fighter, from Buriram Province, in the Northeast region of Thailand.
Biography and career
Phet Utong started training Muay Thai at the age of 6 at the Sor Thaveekit camp owned by his father. He moved to Bangkok at the age of 14 and joined the Sor Sommai Gym.
Phet Utong is a two-time Rajadamnern Stadium Super Featherweight champion, winning the first title against Superlek Kiatmuu9 in 2016 and the second time in 2017 against Kaonar P.K.SaenchaiMuaythaiGym.
In November 2018, Phet Utong Or. Kwanmuang was ranked the #9 Super-feather weight ranked on Rajadamnern Stadium by muaythai2000.com.
In December 2018, Phet Utong was ranked the #10 Super-feather weight on Lumpinee Stadium by muaythai2000.com.
In October 2019, Phet Utong was ranked the #8 Super-feather weight in Rajadamnern Stadium by muaythai2000.com. He was also ranked the #4 Super-feather weight in Lumpinee Stadium by muaythai2000.com. |
1412_1 | Titles and accomplishments
2017 Rajadamnern Stadium Super-FeatherWeight Champion (130 lbs)
2016 Sports Writers Association of Thailand Fighter of the Year
2016 Rajadamnern Stadium Super Featherweight Champion (130 lbs)
Fight record
|- style="background:#;"
| 2022-03-11|| ||align=left| Siwakorn Kiatcharoenchai || || Songkhla, Thailand || || || |
1412_2 | |- style="background:#cfc"
| 2022-01-23|| Win ||align=left| Rambolek Tor.Yotha || Channel 7 Stadium || Bangkok, Thailand || Decision || 5 ||3:00
|- style="background:#fbb"
| 2021-11-06|| Loss ||align=left| Siwakorn Kiatcharoenchai || Omnoi Stadium || Samut Sakhon, Thailand || Decision ||5 ||3:00
|-
! style=background:white colspan=9 |
|- style="background:#cfc"
| 2021-09-25|| Win ||align=left| Thanonchai Fairtex || Kiatpetch, Lumpinee GoSport Studio || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb"
| 2020-10-03 || Loss||align=left| Superball Teeded99 || Omnoi Stadium || Samut Sakhon, Thailand || Decision || 5|| 3:00
|- style="background:#cfc"
| 2020-02-28 ||Win ||align=left| Rungkit Wor.Sanprapai || Ruamponkonchon Pratan Super Fight || Pathum Thani, Thailand || Decision|| 5||3:00
|- style="background:#CCFFCC;"
| 2019-12-23|| Win ||align=left| Panpayak Sitchefboontham || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00 |
1412_3 | |- style="background:#CCFFCC;"
| 2019-10-10|| Win ||align=left| Rungkao Wor.Sanprapai || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2019-07-18 || Loss ||align=left| Mongkolpetch Petchyindee || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2019-05-29 || Loss ||align=left| Rungkit Wor.Sanprapai || Rajadamnern Stadium || Bangkok, Thailand || TKO (Low Kick)|| 3 ||
|- style="background:#CCFFCC;"
| 2019-04-30|| Win ||align=left| Suakim PK Saenchaimuaythaigym || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2019-02-07|| Loss ||align=left| Superball Teeded99 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2019-01-10|| Loss ||align=left| Jamsak Supermuay || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;" |
1412_4 | | 2018-12-21|| Loss ||align=left| Superball Teeded99 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2018-11-29|| Loss ||align=left| Superball Teeded99 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2018-11-09|| Win||align=left| Arthur Meyer|| Best of Siam 14 || France || Decision|| 3 || 3:00
|- style="background:#CCFFCC;"
| 2018-07-25|| Win||align=left| Yamin P.K.SaenchaiMuaythaiGym || Rajadamnern Stadium || Bangkok, Thailand || KO (Right High Kick)|| 4 ||
|- style="background:#c5d2ea;"
| 2018-06-14|| Draw ||align=left| Superlek Kiatmuu9|| Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2018-03-22|| Win||align=left| Extra Sitworrapat || Rajadamnern Stadium || Bangkok, Thailand || TKO (Referee Stop./Arm Injury)|| 4 ||
|- style="background:#CCFFCC;" |
1412_5 | | 2018-02-20|| Win||align=left| Phetwason Or.Daokrajai || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2018-01-25|| Loss ||align=left| Superlek Kiatmuu9 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2017-12-21|| Win||align=left| Kaonar P.K.SaenchaiMuaythaiGym || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|-
! style=background:white colspan=9 |
|- style="background:#CCFFCC;"
| 2017-09-09 || Win ||align=left| Nuenglanlek Jitmuangnon || || Thailand || TKO || 4 ||
|- style="background:#CCFFCC;"
| 2017-08-07|| Win ||align=left| Theppabuth Sit-Au-Ubon || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2017-06-28|| Loss ||align=left| Kaonar P.K.SaenchaiMuaythaiGym || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;" |
1412_6 | | 2017-05-25|| Loss ||align=left| Panpayak Sitjatik || Rajadamnern Stadium || Bangkok, Thailand || KO (Left Elbow)|| 3 ||
|- style="background:#fbb;"
| 2017-04-06|| Loss ||align=left| Panpayak Jitmuangnon || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2017-03-02|| Win ||align=left| Panpayak Jitmuangnon || Rajadamnern Stadium || Bangkok, Thailand || TKO (Referee Stoppage/Right Hook) || 1 ||
|- style="background:#CCFFCC;"
| 2017-02-02|| Win ||align=left| Kaimukkao Por.Thairongruangkamai|| Rajadamnern Stadium || Bangkok, Thailand || KO ( Right Elbow)|| 2 ||
|- style="background:#CCFFCC;"
| 2016-12-22|| Win ||align=left| Superlek Kiatmuu9 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|-
! style=background:white colspan=9 |
|- style="background:#CCFFCC;"
| 2016-09-29|| Win ||align=left| Kaewkungwan Piwwayo || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;" |
1412_7 | | 2016-07-18|| Win ||align=left| Bangpleenoi 96Penang || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2016-04-29|| Win ||align=left| Saen Parunchai|| Lumpinee Stadium || Bangkok, Thailand || KO (Right Uppercut) || 3 ||
|- style="background:#CCFFCC;"
| 2016-03-10|| Win ||align=left| Panpayak Sitjatik || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2016-01-29|| Loss ||align=left| Panpayak Sitjatik || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2015-11-19|| Loss ||align=left| Thanonchai Thanakorngym || Rajadamnern Stadium || Bangkok, Thailand || KO (Left Cross) || 3 ||
|- style="background:#fbb;"
| 2015-10-14|| Loss ||align=left| Muangthai PKSaenchaimuaythaigym || Onesongchai Anniversary Show, Rajadamnern Stadium || Bangkok, Thailand || KO (Right Upper Elbow)|| 3 || 2:18
|- style="background:#fbb;" |
1412_8 | | 2015-09-10|| Loss ||align=left| Thanonchai Thanakorngym || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2015-07-15|| Win ||align=left| Superlek Kiatmuu9 || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2015-06-04 || Loss ||align=left| Sangmanee Sor Tienpo || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2015-05-07|| Win ||align=left| Thaksinlek Kiatniwat || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2015-03-30 || Loss ||align=left| Sangmanee Sor Tienpo || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2015-02-12 || Win ||align=left| Thaksinlek Kiatniwat || Rajadamnern Stadium || Bangkok, Thailand || KO (Left Hook)|| 4 ||
|- style="background:#CCFFCC;" |
1412_9 | | 2014-12-24|| Win ||align=left| Yokwithaya Petchsimuan || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2014-11-25|| Loss ||align=left| Kwankhao Mor.Ratanabandit || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2014-10-28|| Win ||align=left| Superlek Kiatmuu9 || Lumpinee Stadium || Bangkok, Thailand || TKO (Doctor Stoppage/Cut)|| 4 || 1:49
|- style="background:#CCFFCC;"
| 2014-10-08 || Win||align=left| Singtongnoi Por.Telakun || Rajadamnern Stadium || Bangkok, Thailand || TKO || 3||
|- style="background:#fbb;"
| 2014-05-02 || Loss ||align=left| Songkom Sakhomsin || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2013-10-29 || Loss ||align=left| Phetmorakot Petchyindee Academy || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;" |
1412_10 | | 2013-09-11 || Win||align=left| Superbank Mor Ratanabandit || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5|| 3:00
|- style="background:#CCFFCC;"
| 2013-08-15 || Win||align=left| Nongbeer Chokngamwong || Lumpinee Stadium || Bangkok, Thailand || Decision || 5|| 3:00
|- style="background:#CCFFCC;"
| 2013-07-12 || Win||align=left| Nongbeer Chokngamwong || Lumpinee Stadium || Bangkok, Thailand || Decision || 5|| 3:00
|- style="background:#fbb;"
| 2013-06-07 || Loss||align=left| Sam-A Kaiyanghadaogym|| Lumpinee Stadium || Bangkok, Thailand || TKO (Low kick) || 2 ||
|- style="background:#CCFFCC;"
| 2013-05-17 || Win||align=left| Nongbeer Chokngamwong || Lumpinee Stadium || Bangkok, Thailand || Decision || 5|| 3:00
|- style="background:#fbb;"
| 2013-04-09 ||Loss ||align=left| Sam-A Kaiyanghadaogym || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;" |
1412_11 | | 2013-03-07 || Win||align=left| Phetmorakot Petchyindee Academy || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2013-02-05 || Win||align=left| Mongkolchai Kwaitonggym || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2012-12-24||Loss ||align=left| Kaotam Lookprabaht || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#c5d2ea;"
| 2012-10-11|| Draw ||align=left| Yodtongthai Por.Telakoon|| Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2012-09-18 || Win||align=left| Luknimit Singklongsi || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;"
| 2012-08-08 || Win||align=left| Auisiewpor Sujibamikiew || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#CCFFCC;" |
1412_12 | | 2012-07-17 || Win||align=left| Tiankhao Tor.Sangtiennoi || Lumpinee Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|- style="background:#fbb;"
| 2012-05-17||Loss ||align=left| Dung Sor.Ploernjit || Rajadamnern Stadium || Bangkok, Thailand || Decision || 5 || 3:00
|-
| colspan=9 | Legend: |
1412_13 | References
PhetUtong Or.Kwanmuang
Living people
1995 births |
1413_0 | {{Infobox television
| name = Chespirito
| alt_name = Los Supergenios de la Mesa Cuadrada (1970)Chespirito y la Mesa Cuadrada (1970–1971)
| image = LogoCH93.PNG
| runtime = 30 minutes (1970–1971; 1993-1994; 1994-1995); 45 minutes (1971); 60 minutes (1971-1973; 1980–1993; 1994)
| camera = Multi-camera
| creator = Roberto Gómez Bolaños |
1413_1 | | starring = Roberto Gómez Bolaños (1970-1973; 1980-1995)María Antonieta de las Nieves (1970-1973; 1980-1994)Carlos Villagrán (1971–1973) Florinda Meza (1972–1973; 1980–1990; 1991–1995) Ramón Valdés (1970–1973; 1981–1982)Rubén Aguirre (1970–1972; 1980–1995)Angelines Fernández (1972–1973; 1980–1991)Edgar Vivar (1972–1973; 1980–1992; 1992–1995) Horacio Gómez Bolaños (1980–1995)Raúl 'Chato' Padilla (1980; 1982–1994)Aníbal de Mar (1968-1970)Benny Ibarra (1980-1982)Roberto Gómez Fernández (1984-1985; 1987-1988)Carlos Pouliot (1987-1992)Anabel Gutiérrez (1970); 1987–1989; 1991-1995) Moisés Suárez (1980-1985; 1990; 1992–1995)Paulina Gómez (1992-1995)Arnoldo Picazzo (1994-1995)
| opentheme =
"A Blessed Event", by Riz Ortolani (1970-1973)
"The Elephant Never Forgets", by Jean-Jacques Perrey (1980-1981)
"El Chapulín Colorado", by Víctor Arcos (1981-1993)
"El Chapulín Colorado", by Rodolfo 'Popo' Sánchez (1993-1995) |
1413_2 | | director = Sergio Peña and Alberto del Bosque (1970-1973) / Roberto Gómez Bolaños and Roberto Gómez Fernández (1980-1995)
| company = TIM (1970-1973); Televisa (1973, 1980-1995)
| country = Mexico
| language = Spanish
| network = XHTM-TV(1970-1973); XEW-TV (1980-1995)
| first_aired =
| last_aired =
| num_seasons = 20
| num_episodes = 693 approximately (1980-1995)
| website = www.chespirito.com
}}Chespirito is a Mexican sketch comedy show created by and starring comedian and actor Roberto Gomez Bolaños, whose nickname gave the show its title. |
1413_3 | Two series were produced with the same title. The first premiered as Los Supergenios de la Mesa Cuadrada on Televisión Independiente de México on October 14, 1970, after a two-year span of this sketch being part of the Sábados de la Fortuna/Sábados con Neftalí/Carrousel con Neftalí show (hosted by Neftalí Lopez Paez), aired in the same channel, since October 1968, during the 1968 Summer Olympics in Mexico City; the independent series adopted the Chespirito y La Mesa Cuadrada and later the Chespirito title in 1971, and aired until February 1973. The second series, which aired on the TIM's successor, Televisa, premiered on 4 February 1980 and aired until 25 September 1995. |
1413_4 | Alongside Bolaños, other famous Mexican actors starred in the sketches. In the two periods, characters like El Chavo del Ocho, El Chapulín Colorado, Los Caquitos, Dr. Chapatín, Los Chifladitos, El Ciudadano Gómez, La Chicharra, Chespirito (character), Los Chiripiojos and the parodies of Chaplin and Laurel and Hardy starred in sketches 2–15 minutes long. The 1980-1995 period also featured special 40-minute episodes, even consisting of two or three 40-minute long parts.
The show's first seasons featured a canned laugh track, but Bolaños made the then-controversial decision to drop it, in 1982, after the departure of Ramón Valdés. From 1982 to 1985, most presentations of the show include the announcer's warning that, out of respect for the audience's intelligence, there was no laugh track.
History
First period (1968–1973) |
1413_5 | In 1968, Roberto Gómez Bolaños created and starred in a segment named Los Supergenios de la Mesa Cuadrada, in the show Sábados de la Fortuna of Televisión Independiente de México's XHTM-TV channel 8. The segment eventually became a separate show of its own due to its success. In this show, Chespirito read "letters" sent by the show's audience, most of which made fun of current events. Alongside him, Ramón Valdés, Rubén Aguirre, Aníbal de Mar (who left the cast after a short time), and Barbara Ramson (who was later replaced by María Antonieta de las Nieves) also starred in the show, not only about the "letters", but also playing characters in other sketches eventually created by Bolaños. Los Supergenios was presented by Dr. Chespirito Chapatín (Bolaños), El Ingeniebrio Ramón Valdés Tirado Alanis (Valdés), El Profesor Rubén Aguire Jirafales (Aguirre), Anibal and a “secretary” first played by Barbara Ramson and later replaced by La Mococha Pechocha, or, La Marioneta (played by Ma. |
1413_6 | Antonieta, who also went on to read the letters upon Anibal de Mar's departure) at a square table where they read the letters and comment about them. Sometimes the letters were answered by sketches. In one sketch, a viewer of the show asked what to do when a crazed person put a giant rock in the door of his house, then a sketch starring María Antonieta de las Nieves, Rubén Aguirre and Ramón Valdes showed the solution to his problem. |
1413_7 | In 1970, Carlos Villagrán and Florinda Meza were added to the show's cast, playing secondary characters. In the same year, Bolaños decided to end the run of the ‘supergenios’ sketch and rename the show as Chespirito, and created the successful sketches of El Chapulín Colorado and Los Caquitos to replace it. From then on the sketches featured in the show were El Chapulín Colorado, Dr. Chapatín, Los Caquitos, Chespirito and Los Chifladitos.
In 1971, Rubén Aguirre left the cast of Chespirito to host another show El Club de Shory in a rival network; El Shory was a nickname of Aguirre. Bolaños then created his most successful character, El Chavo del Ocho, to fill in the void left by the sketch Los Chifladitos, starring Bolaños and Aguirre, that had to be eliminated when Aguirre left. |
1413_8 | By 1972, the show was almost entirely made of El Chavo del Ocho and El Chapulín Colorado. Then Bolaños decided to end the Chespirito show to star in the half-hour weekly series of El Chavo del Ocho, El Chapulín Colorado, and also a short lived series called Ciudadano Gomez, a parody of Citizen Kane. Aguirre returned to the show in the last episodes of Chespirito. That same year, channel 8 Television Independiente de Mexico was acquired by rival network Telesistema Mexicano and the new company resulting from the merger was renamed as Televisa. Then Bolaños’ shows were all moved to Televisa's channel 2 and El chavo del Ocho was renamed simply as El Chavo (though the original name was still constantly repeated by the characters in every episode of the series).
Second period (1980–1995) |
1413_9 | After the end of the half-hour series of El Chavo and El Chapulín Colorado in 1979, as well as the flop of La Chicharra, Bolaños decided to return the successful sketch comedy format of Los Supergenios in 1980 with the second version of the Chespirito show. The show featured the famous characters of Chespirito in a 60-minute show, El Chavo, El Chapulín Colorado, Los Caquitos, Los Chifladitos, La Chicharra, and the late introduction of Don Calavera in 1994, alongside the remake of El Ciudadano Gómez. The parodies of Chaplin and Laurel and Hardy were also introduced in 1980. |
1413_10 | Ramón Valdés returned to the show in 1981, playing only Don Ramón in El Chavo and Súper Sam and the villains in El Chapulín Colorado. He also acted in other sketches with secondary characters (with the exception of Vicente Chambón and Laurel and Hardy). Valdés left the show in late 1981 for unknown reasons (rumored to be for disliking Bolaños relinquishing directive control to Florinda Meza) and went on to star in a couple of shows along with Carlos Villagran. In 1981, Benny Ibarra starred in some sketches as a secondary character. |
1413_11 | In 1982, Benny Ibarra returned playing a secondary character in the sketch "Los Piratas" of El Chapulín Colorado and "Sr. Hurtado" in El Chavo. Raúl "Chato" Padilla returned to the show after to substitute for Valdés. The character "Jaimito, el cartero", of El Chavo, became "Señor Jaimito" and started living in the vecindad. His character got all the characteristics of Don Ramón, a change which was heavily criticized by fans.
In 1984, Roberto Gómez Fernández, Bolaños' son, became another member of the cast.
In 1986, Roberto Gómez Fernández and his uncle, Horacio Gómez Bolaños, became directors of the show. Horacio now starred only as Godínez in El Chavo, as well as secondary characters in other sketches. |
1413_12 | In 1987, various guest actors played secondary characters in sketches of the show. Also, El Chavo and El Chapulín Colorado became less important to the show. The same happened to the other characters, and with Bolaños giving attention to the sketch Chómpiras, the sketch virtually became a half-hour series inside the show.
On August 9, 1988, Ramón Valdés died of stomach cancer, after a long agony in the hospital. Bolaños was the only friend of Valdés who didn't attend the funeral. Carlos Villagrán, Edgar Vivar, Rubén Aguirre and Angelines Fernández were some of his friends from El Chavo who attended the funeral. María Antonieta de las Nieves became very worried of not knowing of his condition in his last moments of life, and sad not to have been able to attend his funeral, due to her being on tour in Peru at the time of his death (Peru was also where she had last seen him a year before). |
1413_13 | In 1991, Florinda Meza left the show to star the telenovela Milagro y magia. After the end of the telenovela, she returned to the cast of the show. Angelines Fernández left the show at the end of the year due to her lung cancer.
In 1992, Bolaños ended the sketches of El Chavo, since he was too old to play the role of an 8-year-old boy. Also, Edgar Vivar left the show temporarily because of his obesity.
In 1993, the sketch of El Chapulín Colorado ended.
In 1994, the sketch El Ciudadano Gómez, parody of Citizen Kane returned to Dr. Chapatín, Chómpiras and Los Chifladitos in the show. Raul "Chato" Padilla left the show, passing away on February 3 of that year. On March 25, Angelines Fernández also died of lung cancer; Angelines was an acknowledged tobacco smoker. |
1413_14 | In September 1995, Televisa decided to eliminate all comedy and sitcom shows airing on weeknights at 8 o’clock and use that timeslot for more telenovelas (Mexican soap operas), while offering to transfer only the Chespirito comedy show and Silvia Pinal's TV show to a timeslot on weekends. Because of this, Bolaños preferred to end the 15-year-old Chespirito show.
After the show
Roberto Gómez Bolaños and Florinda Meza continued for some years the theater play 11 y 12 (also created and produced by Bolaños), which became very successful in Mexico and Latin America.
In 1997, the show was dubbed in Portuguese, especially to Brazil, renamed Clube do Chaves.
On November 21, 1999, Horacio Gómez Bolaños (younger brother of Roberto) died of a heart attack.
On November 19, 2004, Roberto married Florinda Meza after dating for a long time.
In 2006, an animated series featuring the characters of El Chavo premiered. It ran for several seasons until 2014. |
1413_15 | In 2007, the channel Clásico TV reran "Chespirito" episodes dating from 1980 to 1995. The series finale was broadcast in July 2012. In October 2012 the channel was renamed Distrito Comedia. The series was transmitted on the weekends (2007–2011) and Monday to Friday (2011–present).
In 2008, the channel Clásico TV returned with Los Supergenios de la Mesa Cuadrada, the first period of the Chespirito'' show, which was transmitted on Wednesdays. The series finale was broadcast in 2009.
On November 28, 2014, Roberto Gómez Bolaños passed away at age 85.
In 2015, an animated series featuring El Chapulín Colorado premiered.
Opening
Sketches |
1413_16 | El Chavo (1971–1973; 1980–1992)
El Chapulín Colorado (1970–1973; 1980–1993)
Dr. Chapatín (1972–1973; 1980–1992; 1993; 1994–1995)
Los Caquitos (1970–1973)
El Chómpiras, Los Caquitos reboot (1980–1990; 1991–1995)
Vicente Chambón, La Chicharra reboot (1980–1984)
Chespirito (Sketch) (1970–1972; 1980–1992; 1994–1995)
Los Supergenios de la Mesa Cuardada (1970–1972)
Los Chifladitos (1971–1972; 1980–1992; 1993; 1994–1995)
Chaplin (1980–1983; 1991)
Laurel and Hardy (1980–1982; 1984; 1988)
Don Calavera (1993–1994)
Ciudadano Gómez, parody of Citizen Kane (1970; 1973; 1993–1994)
Al Estilo del Cine Mudo (1993–1995)
Mini Teatro (1993–1995)
Increible Pero Ciento Por Ciento (1993–1995)
La Noticia Rebelde (1993–1995)
Con Humor al estilo... Chespirito (1993–1994)
La Noticia Rebelde (1993–1994)
Cast
The cast of the show in both periods.
See also
El Chavo del Ocho
El Chapulín Colorado
Sketch comedy
References |
1413_17 | External links
Unofficial websites:
Chespirito.org
Web-site of El Chavo del Ocho
Web-site of El Chapulín Colorado
Mexican sketch comedy television series
TV series
1960s Mexican television series
1970s Mexican television series
1980s Mexican television series
1990s Mexican television series
1968 Mexican television series debuts
1973 Mexican television series endings
1980 Mexican television series debuts
1995 Mexican television series endings
El Chavo del Ocho
Chespirito characters |
1414_0 | (February 26, 1866 – February 24, 1945) was a Japanese Buddhist monk who was famed for his four journeys to Nepal (in 1899, 1903, 1905 and 1913) and two to Tibet (July 4, 1900–June 15, 1902, 1913–1915). He was the first recorded Japanese citizen to travel to either country.
Early life and journey
From an early age Kawaguchi, whose birth name was Sadajiro, was passionate about becoming a monk. In fact, his passion was unusual in a country that was quickly modernizing. He gave serious attention to the monastic vows of vegetarianism, chastity, and temperance even as other monks were happily abandoning them. |
1414_1 | As a result, he became disgusted with the worldliness and political corruption of the Japanese Buddhist world. Until March, 1891, he worked as the Rector of the Zen in Tokyo (a large temple that contains 500 rakan icons). He then spent about three years as a hermit in Kyoto studying Chinese Buddhist texts and learning Pali, to no use, and he ran into political squabbles even as a hermit. Finding Japanese Buddhism too corrupt, he decided to go to Tibet instead although the region was officially off limits to all foreigners. In fact, unknown to Kawaguchi, Japanese religious scholars had spent most of the 1890s trying to enter Tibet to find rare Buddhist sutras with the backing of large institutions and scholarships, but had invariably failed. |
1414_2 | He left Japan for India in June, 1897, without a guide or map, simply buying his way onto a cargo boat. He had a smattering of English but did not know a word of Hindi or Tibetan. Also, he had no money since he had refused the donations of his friends. Instead, he made several fishmonger and butcher friends pledge to give up their professions forever and become vegetarian, he claimed that the good karma would ensure his success. Success appeared far from guaranteed, but arriving in India with very little money, he somehow entered the good graces of Sarat Chandra Das, an Indian British agent and Tibetan scholar, and was given passage to northern India. Kawaguchi would later be accused of spying for Das, but there is no evidence for that, and a close reading of his diary makes it seem quite unlikely. Kawaguchi stayed in Darjeeling for several months and lived with a Tibetan family by Das's arrangement. He became fluent in the Tibetan language, which was then neither systematically |
1414_3 | taught to foreigners nor compiled, by talking to children and women on the street. |
1414_4 | Crossing over the Himalayas on an unpatrolled dirt road with an untrustworthy guide, Kawaguchi soon found himself alone and lost on the Tibetan plateau. He had the good fortune to befriend every wanderer he met in the countryside, including monks, shepherds, and even bandits, but he still took almost four years to reach Lhasa after stopovers at a number of monasteries and a pilgrimage around the sacred Mount Kailash, in western Tibet. He posed as a Chinese monk and gained a reputation as an excellent doctor, which led to him having an audience with the 13th Dalai Lama, Thubten Gyatso (1876 to 1933). He spent some time living in Sera Monastery. |
1414_5 | Kawaguchi devoted his entire time in Tibet to Buddhist pilgrimage and study. Although he mastered the difficult terminology of the Classical Tibetan language and was able to pass for a Tibetan, he was surprisingly intolerant of Tibetans' minor violations of monastic laws and of the eating of meat in a country with very little arable farmland. As a result, he did not fit in well in monastic circles but instead found work as a doctor of Chinese and Western medicine. His services were soon in high demand. |
1414_6 | Kawaguchi spent his time in Lhasa in disguise and, following a tip that his cover had been blown, had to flee the country hurriedly. He almost petitioned the government to let him stay as an honest and apolitical monk, but the intimations of high-ranking friends convinced him otherwise. Even so, several of the people who had sheltered him were horribly tortured and mutilated. Kawaguchi was deeply concerned for his friends, and despite his ill health and lack of funds, he used all of his connections after he had left the country to petition Nepalese Prime Minister Chandra Shumsher Rana for help. On the Prime Minister's recommendation, the Tibetan government released Kawaguchi's loyal Tibetan friends from jail. |
1414_7 | Reporting in Japan
When Kawaguchi finally returned to Japan, he caused a sensation and an instant surge of interest in the distant Tibet. His travelogue, quickly published based on talks he gave, shows his shock at the lack of hygiene by Tibetans, the filth of Tibetan cities, and many Tibetan customs, including sexual practices, monastic immoderation, corruption and superstitious beliefs. On the other hand, he had great admiration for many Tibetans ranging from great religious and political leaders to common people, and he made many friends in Tibet. Ironically given Kawaguchi's faithful background, newspapers criticized his lectures to the public about Tibetan hygiene and sexual practices as being a hodge-podge of lowbrow humor and dirty stories unbecoming of a monk. |
1414_8 | Narita Yasuteru, a Japanese spy who was secretly dispatched to Tibet in the late 1890s, anonymously accused Kawaguchi of having never been there, but that accusation was quickly debunked by the Japanese newspapers. In fact, internal documents show that Narita himself had never reached Tibet on his expensive spy mission, which made Kawaguchi the first person who had actually arrived there. |
1414_9 | Further travels
Partly as a result of hearing about the discovery of an Ashoka Pillar in 1896 identifying Lumbini as the birthplace of Gautama Buddha, he visited Lumbini with other Japanese pilgrims in 1912. He then returned to Tibet a final time in 1913. While his more mature narrative of that trip was mainly occupied with Japanese poems about the beauty of the land, he could not resist some final criticisms of the monks' lax attitude towards monastic rules. He brought back to Japan a large collection of Tibetan scriptures, but he had a lengthy and public dispute with the other pilgrims about the Dalai Lama's intentions for them, which caused him to lose some face in the Buddhist world. He assisted the German Theravada monk Nyanatiloka in the 1920s. |
1414_10 | Kawaguchi then became an independent monk, lived with his brother's family for the rest of his life, and earned an income from scholarly publications. He refused to assist the military police when they sought intelligence on Tibet and died in 1945.
He was a friend of Mrs. Annie Besant, the president of the Theosophical Society, who encouraged him to publish the English text of his book Three Years in Tibet.
The Nepalese government issued a postage stamp in 2003 commemorating Kawaguchi's visits to the country. He is also said to have planted two saplings of Himalayan cicada trees (also called: Riang Riang; Ploiarium alternifolium), which he had brought back with him, near the gate of the Obaku-san Manpukuji Zen Buddhist temple on the outskirts of Kyoto, where he had studied as a young man. |
1414_11 | Buddhist doctrinal reformer
Kawaguchi was disturbed by the confusing messages of the main objects of veneration based on a pantheon of deities, spirits, historical and mythological figures. Instead, he called for a return to veneration of Shakyamuni and lay-centered practice.
References
Sources
Also published as A Stranger in Tibet: Adventures of a Zen Monk by HarperCollins (1990) .
Hopkirk, Peter (1997): Trespassers on the Roof of the World: The Secret Exploration of Tibet. Kodansha Globe (Pbk). .
Reprint: Book Faith India (1995), Delhi. .
Subedi, Abhi: Ekai Kawaguchi:The Trespassing Insider. Mandala Book Point. Kathmandu, 1999.
External links
Brief description and photo of the Obakusan Manpuku-ji Temple |
1414_12 | 1866 births
1945 deaths
Japanese Buddhist clergy
Tibetan Buddhists from Japan
Japanese expatriates in Nepal
Japanese expatriates in Tibet
History of Tibet
People from Sakai, Osaka
Explorers of the Himalayas
Japanese scholars of Buddhism
19th-century Buddhists
20th-century Buddhists
Explorers of Nepal |
1415_0 | Harold Marvin Shaw (also cited in some records as Henry Marvin Shaw; November 3, 1877January 30, 1926) was an American stage performer, film actor, screenwriter, and notable director of the silent era. A native of Tennessee, he worked professionally in theatrical plays and vaudeville for 16 years before he began acting in motion pictures for Edison Studios in New York City in 1910 and then started regularly directing shorts there two years later. Shaw next served briefly as a director for Independent Moving Pictures (IMP) in New York before moving to England in May 1913 to be "chief producer" for the newly established London Film Company. During World War I, he relocated to South Africa, where in 1916 he directed the film De Voortrekkers in cooperation with African Film Productions, Limited. Shaw also established his own production company while in South Africa, completing there two more releases, The Rose of Rhodesia in 1918 and the comedy Thoroughbreds All in 1919. After directing |
1415_1 | films once again in England under contract with Stoll Pictures, he finally returned to the United States in 1922 and later directed several screen projects for Metro Pictures in California before his death in Los Angeles in 1926. During his 15-year film career, Shaw worked on more than 125 films either as a director, actor, or screenwriter. |
1415_2 | Early life and stage career |
1415_3 | Born in Brownsville, Tennessee in 1877, Harold was the child of Oliver A. Shaw of Kentucky and his first wife, Zula Waggoner, who was also a native of Kentucky. By 1886, young Harold had relocated with his family to northern California, to the Oakland area in Alameda County, where his father worked as a telegraph operator and by the early 1900s as an automobile "tyre" salesman. Harold received his public education in Oakland, became interested in theatre productions there in his teenage years, and started acting professionally on stage in 1894. Over the next 16 years he traveled extensively performing with various stock companies and in vaudeville. By 1898 he had already established himself as a "high-class" and "genteel" entertainer, as one generally recognized in the print media as among "the dramatic favorites" of vaudeville audiences. The Kentucky Irish American, for example, the local newspaper in Louisville, informs its readers in its August 20, 1898 issue about Shaw's upcoming |
1415_4 | performances at the city's Buckingham Theater: |
1415_5 | Shaw's years of popular and critical success on the vaudeville stage led to more and more offers for leading roles in touring productions as well as supporting roles in the "legitimate" theatre, including Broadway productions. He performed in 1904 on Broadway in the romantic drama Olympe, which was presented at the Knickerbocker Theatre in January and February. In that play he performed in the supporting role of "Bompain", a hairdresser. During that time, Shaw's experience and continuing successes in all forms of stage production convinced him to form his own traveling group, Harold M. Shaw and Company, a venture that generated enough personal wealth for him that in San Francisco in August 1906 he bought a building on a two-acre site at 1303 East 14th Street and made plans to renovate the structure and convert it into a private hotel. |
1415_6 | Films |
1415_7 | By 1910, Shaw decided to expand his entertainment career into acting in motion pictures or, as they were often called in the early silent era, "photoplays". His first screen work was in shorts for Edison Studios, all filmed at the company's main production facility in the Bronx in New York City and on location elsewhere in the city or at nearby sites in New Jersey. While some modern film references include a pair of 1909 Edison releases in Shaw's filmographies, none of those references cite period sources or documents preserved in film archives that confirm he actually performed in those two productions. A profile of Shaw included in a 1912 issue of The Edison Kinetogram states that Shaw by then had been "appearing in our productions by special arrangement, for the past two years". The studio newsletter also notes that it was not until January 1912 when such special arrangements ended and the experienced performer became an official member of the Edison Stock Company, the studio's |
1415_8 | select lineup of full-time actors. Up to that point, during 1910 and 1911, Shaw continued to split his time between his projects for Edison and continuing his stage work in New York and in other locations across the country. |
1415_9 | Trade publications and other records, including a surviving print of the 1910 Edison film The Attack on the Mill, confirm Shaw's work at the studio that year. The 11-minute melodrama, which is set during the 1870 Franco-Prussian War, was originally released in the United Stares on August 12, 1910. Later, when Edison distributed theatrical prints to Europe, those in the Netherlands included Dutch intertitles and were advertised and screened under a different title, De Grootmoedige molenaar ("The Generous Miller"). One of those Dutch prints is preserved today in the Netherlands, in the archives of the Eye Film Institute. In the film's opening sequence, Shaw, who is in heavy "old-man's" makeup and attired in a padded light-colored trench coat, dominates the foreground action. |
1415_10 | Edison, like other studios in those early days of the silent period, produced films at seemingly breakneck speed, often completing productions in a matter of days and at times in a single day. Shaw's acting work in both uncredited and credited role was therefore equally prolific after joining Edison. He acted much more frequently in studio productions during the latter half of 1911, and in November that year was credited for his with role in Edison's adaptation of Robert Louis Stevenson's 1888 novel The Black Arrow. In that period he performed in a wide range of other screenplays. He portrayed, as a few examples, the title character's uncle in the light comedy Mary's Masquerade; starred in the historical drama The Death of Nathan Hale; played the title character in The Kid from the Klondike; was a major supporting player in The Reform Candidate; co-starred with Mary Fuller in The Modern Dianas; co-starred in an adaptation of British author Charles Reade's 1866 novel Foul Play; |
1415_11 | portrayed a Continental officer in How Mrs. Murray Saved the American Army; played a central character in The Awakening of John Bond, a story highlighting urban poverty and the scourge of tuberculosis; and starred in the holiday drama Santa Claus and the Clubman. |
1415_12 | Directing at Edison, for the World's Best Film Company, and at IMP, 19121913
Shaw in 1912 continued to act in Edison productions like The Corsican Brothers, The Bachelor's Waterloo, The Nurse, Tony's Oath of Vengeance, The Patent Housekeeper, A Man in the Making, and other assorted dramas and comedies, although the studio by mid-summer of that year elevated him to the full-time position of director. In the September 1, 1912 issue of its semimonthly newsletter The Edison Kinetogram, the company formally announces its recent promotion of Shaw: |
1415_13 | The film-industry journal Motography also reported about Shaw's promotion, noting that at a special "photoplay dinner" held on September 7 for studio personnel at New York's Coney Island, he was introduced as a speaker at that event and as a "director of Edison films". Some of the additional films he directed during the remainder of 1912 include A Question of Seconds, A Fresh Air Romance, A Romance of the Rails, The Governor, Hearts and Diamonds, The Grandfather, Mary in Stage Land, The Girl from the Country, and The Crime of Carelessness. However, Shaw's most acclaimed directorial work from that period is The Land Beyond the Sunset, a "'social conscience"' film released by Edison in October 1912. The film presents the tragic contemporary tale of a New York newsboy, who lives in dire poverty with his abusive grandmother and ends with the boy drifting out to sea in a small boat, desperately searching and likely dying in a doomed attempt to find a better, more humane life beyond the |
1415_14 | horizon. In recognition of the motion picture's importance to the United States' motion-picture heritage, the Library of Congress in December 2000 selected The Land Beyond the Sunset for addition to the National Film Registry, a collection of films that are deemed "'culturally, historically, or aesthetically significant'". |
1415_15 | Shaw finally left Edison in January 1913after the release of At Bear Track Gulchto direct The Wizard of the Jungle, filmed on location "in the wilds of the Florida jungleland" for the World's Best Film Company. He then completed screen projects for Independent Moving Pictures, a New York City studio most often referred to in trade publications and in general conversations within the film industry by its acronym, "Imp". During the early months of 1913 he directed The Old Melody and The Cub for that studio. Regarding the latter, the film critic for the trade journal The Moving Picture World described the production as a "a brisk, modern newspaper story, written and produced [directed] by Harold Shaw", adding that the IMP release was a "good offering". |
1415_16 | Working in England, 19131915 |
1415_17 | Having gained significant production experience managing his own theatre company and then acting in and directing screen projects for Edison and IMP, Shaw accepted an offer in May 1913 to proceed immediately to England to be "director-in-chief"" for the newly established London Film Company, which was in the final stages of completing Twickenham Studios, its large production facilities in the London suburb of St. Margarets. His first film completed there is The House of Temperley (1913), a drama produced in collaboration with Arthur Conan Doyle, the author of Rodney Stone, the 1896 novel on which the motion picture is based. In fact, that adaptation directed by Shaw was the first feature released by the London Film Company as well as the first picture completed at Twickenham. The House of Temperley proved to be a commercial success in both Britain and overseas markets, prompting the London studio to assign Shaw to direct more than 30 additional projects for the company between 1913 |
1415_18 | and 1915. |
1415_19 | After the outbreak of World War I in late July 1914, Shaw was described as an enthusiastic, "firm supporter" of the Allied cause during the conflict. He immediately volunteered for the Canadian army to support the British empire but was turned down for service. Despite that rejection, Shaw at London Films began writing and directing additional screen projects, many with stirring "military-patriotic" themes as well as short dramas with scenarios about "German spies and intrigues". One of his widely distributed and most effective wartime releases is You!, a military-recruitment drama released in January 1916. Commissioned by the Parliamentary Recruitment Committee, it is considered to be one of the most significant World War I propaganda films by British film historians. Those war-related, propaganda projects appear to have created personal links and associations with officials in the United Kingdom's Foreign Office. Over the next two years, Shaw also continued to direct comedies and |
1415_20 | romance dramas aimed at general audiences. Many of those films included his future wife, American actress Edna Flugrath, who by 1915 had become a popular lead with British theatergoers for her performances in an array of Shaw-directed productions, a few examples being The Ring and the Rajah (1914), England's Menace (1914), Liberty Hall (1914), The Heart of a Child (1915), and The Derby Winner (1915). |
1415_21 | South Africa, 19161919 |
1415_22 | In May 1916with the approval if not the encouragement of Foreign Office officials in LondonShaw moved to South Africa after accepting a job offer from African Film Productions (AFP) to be that company's "chief producer-director". Central to that assignment was for Shaw to direct De Voortrekkers, a planned historical epic to be filmed in KwaZulu-Natal. The project proposed to portray from the perspective of that region's white minority the "Great Trek" made by Dutch-speaking Voortrekkers or "pioneers" in the 1830s, a time when South Africa was a colony of Great Britain. AFP and other backers of the film envisioned a production of "Griffith-like scale" that hoped "to capture white Afrikaner (Boer) patriotic pride and to earn possible super-profits from export overseas." The film ultimately completed by Shaw later in 1916 features in its extensive cast Dick Cruikshanks |
1415_23 | Percy Marmont and Edna Flugrath and includes an elaborate recreation of the Battle of Blood River of 1838, when a few hundred armed Dutch-speaking Boers defeated thousands of Zulu warriors. |
1415_24 | According to actress Flugrath, who married Harold Shaw a month after the film's release, location work on De Voortrekkers took its toll on cast and crew, especially on the director and on scores of native African extras injured during the battle re-enactment. Simulated fights between black and white performers during filming quickly escalated to genuine, near deadly off-camera altercations after some of the extras portraying the Dutch settlers "secretly filled their guns with pebbles" instead of firing empty barrels at their Zulu counterparts. The situation quickly "got out of hand", recalled Flugrath, with one Zulu extra getting so enraged after being wounded by pebbles that he "threw his assegai [spear] at Mr. Shaw", which only missed him "by a few inches." "It was a miracle", she added, "that he was not killed." |
1415_25 | De Voortrekkers premiered in South Africa on December 16, 1916 for "Dingaan's Day" celebrations at Krugersdorp, marking at the time the 78th anniversary of the battle. The screen drama then circulated to major cities, where it proved to be extremely popular with white audiences. By March 1917, even American trade papers were reporting that Shaw's "Boer film" in Pretoria was "drawing big houses". The original print distributed to South African cinemas reportedly had a runtime of "some two hours", although much shorted versions of the picture were later presented in foreign markets. |
1415_26 | After the release of De Voortrekkers and the end of his association with AFP, Shaw in late January 1917 embarked on an extended international journey, leaving South Africa and traveling for months to India, Ceylon, the Far East, Egypt, and to other destinations. The tour, conducted for both business-related reasons and as a honeymoon trip after marrying Edna Flugrath, consumed most of the year, but Shaw returned to South Africa near the end of 1917. At that time he decided to establish his own motion picture company there, selecting Sea Point, a suburb of Cape Town, as the site to build his production facilities. The company's first studio building, which was constructed around a renovated "abandoned carbarn", was surrounded by attractive seascapes and landscapes that provided Shaw a wide assortment of convenient filming locations, ranging from Table Bay with its broad stretches of beach to diverse higher elevations distinguished by Lion's Head Mountain. In March 1918, the widely read |
1415_27 | American trade paper Variety reported a few details about the new studio's principal employees: Under the administration of his new company, Shaw completed two more releases before leaving South Africa and returning to England: The Rose of Rhodesia in 1918, the first production filmed at Sea Point, and the comedy Thoroughbreds All in 1919. |
1415_28 | Later films in England, 19201922 |
1415_29 | Shaw returned to London in the final weeks of 1919 after closing his studio facilities in Cape Town. Once re-established in the English capital, he initially worked on a few pictures for the financially struggling London Film Company, which finally ceased operations late in 1920. Soon, though, the experienced filmmaker accepted a commission offered by Basil Thomson, the chief of intelligence for Britain's Home Office, to direct a proposed production, one with a storyline set within the ongoing civil war in Russia between Bolshevik forces and anti-communists. The film, titled The Land of Mystery, was to be shot on location in and around "Kovno", Lithuania, and intended in part to present a thinly veiled, unflattering portrayal of the Russian revolutionary Vladimir Lenin. With Shaw's wife Edna Flugrath and English actor Norman Tharp in co-starring roles, the project proved to be a grueling experience for cast and crew while traveling and filming for weeks in the late-winter conditions |
1415_30 | of far-off Lithuania. Tharp, who closely resembled Lenin, portrayed in the production the dissolute character "Lenoff", who falls desperately in love with a ballerina (Flugrath), becomes a ruthless Bolshevik revolutionary, and ultimately commits suicide when she elopes with a Russian prince. |
1415_31 | On both sides of the Atlantic, film-industry publications periodically reported on Shaw's progress on the "anti-Bolshevik film". Variety in the United States, in its March 26, 1920 issue, updates its readers:
The Land of Mystery was released in the United Kingdom in July 1920 and was presented "week after week" in London and elsewhere in England. Despite the film's commercial success, the logistical challenges of shooting the drama in Lithuania and the ensuing political controversies connected to the British government's association with its production may have influenced Shaw's decision to accept an offer in the fall of 1920 from Stoll Pictures in London to join its staff of directors. Stoll at the time was the largest motion-picture studio in England, employing over a 1000 people at its operations in Cricklewood, where the company had a sprawling complex of buildings formerly used by an aircraft factory that had closed after World War I. |
1415_32 | Shaw for two years directed a series of dramas and comedies at Stoll. His first for the studio is Kipps (1921), an adaptation of H. G. Wells' 1905 novel. During that film's production, Motion Picture News reported that Shaw went on location for one day to the prestigious Savoy Hotel in central London and "took over the lounge and grill room" of the building to shoot scenes. It was further reported that H. G. Wells himself was present at that filming, which occurred during the hotel's less-congested hours between "midnight until seven in the morning". Kipps was another critical and commercial success for Shaw, who completed at Cricklewood and on location in various English counties at least six more films for Stoll: The Woman of His Dream (1921); A Dear Fool (1921); General John Regan (1921); False Evidence (1922); The Wheels of Chance (1922), another adaptation of a work by Wells; and Love and a Whirlwind (1922).
Return to the United States and final films, 19221925 |
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