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What was the first spin-off from The Beverly Hillbillies called?

Beverly Hillbillies: Season 3 Beverly Hillbillies: Season 3 For the most part television sit-coms are a light and fluffy form of family entertainment. During the seventies there were some attempts to make cutting edge and socially relevant shows like �All in the Family� but the general rule of thumb stands that this type of TV programming is silly fun. Sometimes even a show like this can achieve a level of fame that makes it a household name and the proverbial must see television. In 1962 one such series got its start; �The Beverly Hillbillies�. It would become an instant hit and result in several spin off series. At the time critics initially panned the show calling it puerile and foolish but the producers laughed all the way to the bank as the show constantly top the all important ratings. Okay, the show was silly. Even a die hard fan would have to admit this fact. The point is back at that time it was the perfect diversion from what was going on in the world. Vietnam was on the rise and starting to divide the country. There was the aftermath of the McCarthy era and communism was a major concern along with the growing proliferation of nuclear weapons. The last thing the American audience wanted during those couple of hours of prime time was something that required thought. The Hillbillies offered solace from the turbulent world and people gathered around to watch them week after week. There was also the idea that even the poorest among us could strike it rich. This series was the embodiment of the American dream. When the episodes of the start of the series� run were about to go into public domain CBS overlooked renewing them. As a result there have been some DVD releases of the early seasons and after seeing a few of them the quality is simply not there. They look like they were made from some old video tapes. Actually some old 16mm prints used by small stations for syndication were the source material for many of these unauthorized releases. Thanks to a few mergers and some shifting in distribution rights CBS Paramount is able to release the �Official� season sets. Last year they started off with the �Official Second Season� followed no by the third. There still seems to be some residual issues with the first season since I haven�t seen that one out on CBS Paramount yet. All 34 episodes are included here and they have not been cut for syndication. This is what many of us remember watching with our parents every week. The series was created by Paul Henning who was one of the most successful men in the early years of television and maintained his record for hits throughout the sixties. He not only wrote the treatment for the series and many of the episodes he penned the still famous theme song. He goes back to the golden age of television with his work n such successful shows like �Burns and Allen�, �Dennis Day� and �The Real McCoys�. If are of the age that you don�t remember a time without computers ask your parents or perhaps your grandparents about these shows; they were the staples of our television viewing for many years. Henning would also create the two spin offs of �Hillbillies�; �Green Acres� and �Petticoat Junction�. At one time CSB was considered the rural television network because of Henning�s hit shows. There would later be some backlash for this public perception but during this third season the Hillbillies� were at the height of their popularity. There was something special about the shows that Henning provided to us. They were about simple people untouched by the hectic modern world; unassuming folk that we all could relate to. We all knew that we would never be a private detective, cowboy, lawyer or doctor, the subject of other TV shows, but we could feel a kinship to the simple folk shown in this series. If you don�t know the premise of the show then you have been in a coma or forty five years or born very recently. Don�t worry, the synopsis of the plot is repeated in the theme song each week sung by bluegrass legends Jerry Scoggins and Flatt and Scruggs. Jed Clampett (Buddy Ebsen) was a man living in the Ozark Mountains eking out a meager living for his family. When an oil company discovers a rich deposit of oil under his property Jed abd his kin were suddenly extremely rich. They move to the upscale Beverly Hills but you can take the family out of the mountains but you can�t take the mountains out of the family. Despite the pressure to act in a way contusive to their new found wealth the Clampetts remain true to their simple nature. Coming along to the city with Jed is his daughter Elly May (Donna Douglas), Cousin Jethro Bodine (Max Baer Jr.) and the always ornery Granny (Irene Ryan). Elly May loves animals and much the consternation of the neighbors has turned the Clampett mansion into a game preserve with a large number of �Critters�. Jethro sees this move as a means to put his sixth grade education to good use a doctor, movie star or any profession that happens to capture his fancy that moment. Granny just wants to continue brewing her home made medicines and her copper still prepared highly potent moonshine. Jed may be able to buy and sell anyone in the neighborhood but he kept his down home country wisdom. Living next to the Campletts is his banker, Milburn Drysdale (Raymond Bailey) who is usually trailed by his super efficient secretary Jane Hathaway (Nancy Kulp). In the first episode of the season Jed is bored. He has been whittling all day and the family hound dog Duke is asleep at his feet covered in shavings. Miss Jane tells Granny and Jed that he now owns a movie studio. In their typical fashion they have to see what they own so off to the studio they go. Jed likes the studio head for speaking his mind but when an actor shows up in full horror makeup they think that is how he actually looks. There is a thought to get the beautiful Elly May into the movies but her tom boy ways and over aggression scares off the star. The movie studio gets to set the scene for several more episodes. At one point most of the clan winds up in a remake of Cleopatra with disastrous results. Elly May is supposed to be thrown to the lions but she befriends them all and in her presence become tame kittens. In another episode Jed donates a lot of money to a college and gets an honorary degree. Granny is upset since always thought of herself as an country doctor, albeit without a degree. This is how most episodes go; a fish out of water story where the county bumpkin proves to be better off than the city slicker. The episodes have held up very well over the many years. There are some signs of age but overall the picture quality is very good. The black and white picture is clear with excellent contrast. The audio also does well. You can watch the episodes alone or select an option to include made for the series commercials. Often they are included as an extra verse to the theme song. These are a real blast form the past for those of us who watched the series the first time around. This is great fun and should not be missed. Posted 02/05/09

Petticoat Junction

Which series was a spin off from the Golden Girls spin-off, Empty Nest?

The Beverly Hillbillies | Beverly Hillbillies Wiki | Fandom powered by Wikia Green Acres The Beverly Hillbillies is an American situation comedy originally broadcast for nine seasons on CBS from 1962 to 1971, starring Buddy Ebsen , Irene Ryan , Donna Douglas , and Max Baer, Jr. The series is about a poor backwoods family transplanted to Beverly Hills, California, after striking oil on their land. A Filmways production created by writer Paul Henning , it is the first in a genre of "fish out of water" themed television shows, and was followed by other Henning-inspired country-cousin series on CBS. In 1963, Henning introduced Petticoat Junction , and in 1965 he reversed the rags to riches model for Green Acres . The show paved the way for later culture-conflict programs such as McCloud, The Nanny, The Fresh Prince of Bel-Air, and Doc (TV series). Panned by many entertainment critics of its time, it quickly became a huge ratings success for most of its nine-year run on CBS. The Beverly Hillbillies ranked among the top twenty most watched programs on television for eight of its nine seasons, twice ranking as the number one series of the year, with a number of episodes that remain among the most watched television episodes of all time. [1] The ongoing popularity of the series spawned a 1993 film remake by 20th Century Fox. [2] In 1997, the episode "Hedda Hopper's Hollywood" was ranked #62 on TV Guide's 100 Greatest Episodes of All Time. [3] Contents Edit The Beverly Hillbillies series starts with the OK Oil Company learning of oil in Jed Clampett's swamp land and paying him a fortune to acquire the rights to drill on his land. Patriarch Jed moves with his family into a mansion next door to his banker (Milburn Drysdale) in the wealthy Los Angeles County city of Beverly Hills, California, where he brings a moral, unsophisticated, and minimalistic lifestyle to the swanky, sometimes self-obsessed and superficial community. The theme song introduces the viewer to the world's most fortunate hunting accident – whereby Jed shoots at game but instead hits "Black Gold, Texas tea": he had discovered oil. Double entendres and cultural misconceptions were the core of the sitcom's humor. Frequently, plots involved the outlandish efforts taken by Drysdale to keep the Clampetts in Beverly Hills and their money in his bank. The family's periodic attempts to return to the mountains were often prompted by Granny due to a perceived slight she received from one of the "city-folk." The Beverly Hillbillies accumulated seven Emmy nominations during its run. Nearly a half century since its premiere, the series remains in syndication on MeTV. The Hillbillies themselves were Buddy Ebsen as the widowed patriarch Jed "J.D." Clampett; Irene Ryan as his ornery mother-in-law, Daisy May "Granny" Moses; Donna Douglas as his curvaceous, tom-boy daughter Elly May Clampett; and Max Baer, Jr. as Jethro, the brawny, half-witted son of his cousin Pearl Bodine. Pearl (played by Bea Benaderet ) appeared in most of the first season episodes, as did Jethro's twin sister Jethrine, played by Baer in drag, using Linda Kaye Henning 's voiceover. Pearl was the relative who prodded Jed to move to California, after being told his modest property could yield $25 million. The supporting cast featured Raymond Bailey as Jed's greedy, unscrupulous banker Milburn Drysdale; Harriet E. MacGibbon as Drysdale's ostentatious wife Margaret Drysdale; and Nancy Kulp as "Miss" Jane Hathaway, Drysdale's scholarly, "plain Jane" secretary, who pined for the clueless Jethro. While Granny frequently mentioned that she was from Tennessee, the series never specified the state from which the Clampetts moved to California. However, they often referred to nearby towns such as Joplin, Branson, Springfield, Tulsa, Silver Dollar City, all of which are in or near southwest Missouri. In the eighth episode of season 8, named "Manhattan Hillbillies," Granny tells the police officer in Central Park that her family comes from Taney County (which is in southwest Missouri). Early episodes also contained several references to Eureka Springs, which is in northwest Arkansas. All of the communities are in the Ozark Mountains. The show's creator was Hamilton (Buddy) Morgan, a television technician from NYC. Producer Paul Henning is from Independence, Missouri, and donated 1,534 acres (621 ha) for the Ruth and Paul Henning Conservation Area near Branson. [4] Animal trainer Frank Inn provided animals for all three of Hennings's hit shows, which included Elly May's "critters," such as chimp Alfie, who portrayed Cousin Bessie, and Duke, Jed's hunting bloodhound. Cousin Bessie was known to strategically outsmart Jethro whenever the latter attempted to make her a beast of burden. A three-act stage play based on the pilot was written by David Rogers in 1968. [5] Crossovers with related shows Edit Two episodes of Petticoat Junction feature characters from The Beverly Hillbillies: "Granny, the Baby Expert" featuring Granny, and "A Cake from Granny" featuring Granny and Miss Jane. Although none of the characters from The Beverly Hillbillies ever appeared on Green Acres, an episode of Green Acres was named after The Beverly Hillbillies. Theme music Edit The show's theme song, " The Ballad of Jed Clampett ", was written by producer and writer Paul Henning and originally performed by bluegrass artists Flatt and Scruggs . The song was sung by Jerry Scoggins (backed by Flatt and Scruggs) over the opening and end credits of each episode. Flatt and Scruggs subsequently cut their own version of the theme (with Flatt singing) for Columbia Records; released as a single, it reached #44 on Billboard Hot 100 pop music chart and #1 on the Billboard Hot Country chart (the lone country chart-topper for the duo). Flatt and Scruggs also had another Billboard country top ten hit with the comic "Pearl, Pearl, Pearl", an ode to the feminine charms of Miss Pearl Bodine who was featured in the episode "Jed Throws a Wingding," the first of several Flatt and Scruggs appearances on the show. The six main cast members participated on a 1963 Columbia soundtrack album which featured original song numbers in character. Additionally, Ebsen, Ryan, and Douglas each made a few solo recordings following the show's success, including Ryan's 1966 novelty single, "Granny's Miniskirt." The series generally featured no country music beyond the bluegrass banjo theme song, although country star Roy Clark and the team of Flatt and Scruggs occasionally played on the program. Pop singer Pat Boone appeared on one episode as himself, with the premise that he hailed from the same area of the country as the Clampetts (Boone is, in fact, a native of Jacksonville, Florida, although he spent most of his childhood in Tennessee). The 1989 film UHF featured a "Weird Al" Yankovic parody music video, "Money for Nothing/Beverly Hillbillies*," combining " The Ballad of Jed Clampett " and Dire Straits' "Money for Nothing." Broadcast History Edit NOTE: The most frequent time slot for the series is in bold text. Wednesday at 9:00-9:30 PM on CBS: September 26, 1962—June 10, 1964; September 25, 1968—March 26, 1969 Wednesday at 8:30-9:00 PM on CBS: September 23, 1964—April 3, 1968; September 24, 1969—March 18, 1970 Tuesday at 7:30-8:00 PM on CBS: September 15, 1970—March 23, 1971 Popularity Edit Written-off as lowbrow by some critics, the show shot to the top of the Nielsen ratings shortly after its premiere and stayed there for several seasons. During its first two seasons, it was the number one program in the U.S. During its second season, it earned some of the highest ratings ever recorded for a half-hour sitcom. The season two episode "The Giant Jackrabbit" also became the most watched telecast up to the time of its airing, and remains the most watched half-hour episode of a sitcom as well. [6] The series enjoyed excellent ratings throughout its run, although it had fallen out of the top 20 most watched shows during its final season. Nielsen ratings Not in the Top 30 Influence on other television shows Edit Because of the show's high ratings, CBS asked creator Paul Henning to pen two more folksy comedies, spawning a mini-genre of rural sitcoms during the 1960s. Petticoat Junction featured an extended family, including three pretty young women of marrying age, running a small hotel in the isolated rural town of Hooterville. Green Acres flipped the Clampetts' fish-out-of-water concept by depicting two city sophisticates moving to Hooterville , which was populated by oddball country bumpkins. Certain actors appeared on more than one of these series: Bea Benaderet, who had played Jethro's mother during the first season of The Beverly Hillbillies, was the mother of the family on Petticoat Junction. Linda Kaye Henning , who provided the voiceover for the Beverly Hillbillies character Jethrine, portrayed Benaderet's daughter Betty Jo Bradley on Petticoat Junction (the only female who remained all seven seasons). Edgar Buchanan , who starred in all 222 episodes of Petticoat Junction and guest-starred in 17 episodes of Green Acres, also guested in three episodes of The Beverly Hillbillies, always as the character Uncle Joe Carson. Charles Lane played Homer Bedloe, vice president of the C. & F. W. Railroad, on both shows. He also played an apartment landlord to Jane Hathaway ("Foster Phinney") during the 1970–71 season. Sam Drucker, played by Frank Cady , of both Petticoat Junction and Green Acres, also appeared in several episodes of the Beverly Hillbillies. Several animal actors trained by Frank Inn , including Higgins the dog , also moved between series as needed. Despite the actor cross-overs and the character Uncle Joe Carson's multiple appearances (which made it clear that the three shows were set in the same fictional universe), the two Hooterville series retained identities that were distinct from The Beverly Hillbillies. Primetime Emmy Nominations Edit 1963 Outstanding Continued Performance by an Actress in a Series (Lead) - Irene Ryan (Winner: Shirley Booth for Hazel (TV series)) Outstanding Directorial Achievement in Comedy - Richard Whorf (Winner: John Rich (director) for The Dick Van Dyke Show) Outstanding Program Achievement in the Field of Humor (Winner: The Dick Van Dyke Show) Outstanding Writing Achievement in Comedy - Paul Henning (Winner: Carl Reiner for The Dick Van Dyke Show) 1964 Outstanding Continued Performance by an Actress in a Series (Lead) - Irene Ryan (Winner: Mary Tyler Moore for The Dick Van Dyke Show) Outstanding Directorial Achievement in Comedy - Richard Whorf (Winner: Jerry Paris for The Dick Van Dyke Show) 1967 Outstanding Performance by an Actress in a Supporting Role in a Comedy - Nancy Kulp (Winner: Frances Bavier for The Andy Griffith Show) Cancellation and "the Rural Purge" Edit The Clampetts' truck (a 1921 Oldsmobile truck modified by George Barris) on display at Planet Hollywood in Downtown Disney. Another truck is at the College of the Ozarks. [7] The 1970–71 season failed to gain a top 30 Nielson placing [8] and the show was cancelled in 1971 after 274 episodes. The CBS network, prompted by pressure from advertisers seeking a more sophisticated urban audience, decided to refocus its schedule on several "hip" new urban-themed shows and, to make room for them, all of CBS's rural-themed comedies were simultaneously cancelled, despite some considerable Nielsen ratings. [9] This action came to be known as "the Rural Purge ." Pat Buttram , who played Mr Haney on Green Acres, famously remarked that, "It was the year CBS killed everything with a tree in it." [10] In addition to The Beverly Hillbillies, the series that were eliminated included Green Acres , Mayberry R.F.D. , and Hee Haw , the last of which was resurrected in first-run syndication, where it ran for another twenty-one years. Petticoat Junction had been canceled a year earlier due to declining ratings following the death of its star, Bea Benaderet . Main cast Edit J.D. "Jed" Clampett Although he had received little formal education, Jed Clampett has a good deal of common sense. A good-natured man, he is the apparent head of the family. Jed's wife (Elly May's mother) died but is referred to in the episode "Duke Steals A Wife" as Rose Ellen. Jed is shown to be an expert marksman and is extremely loyal to his family and kinfolk. The huge oil pool in the swamp he owned was the beginning of his rags-to-riches journey to Beverly Hills. Although he longs for the old ways back in the hills, he makes the best of being in Beverly Hills. Whenever he has anything on his mind, he sits on the curbstone of his mansion and whittles until he comes up with the answer. Jed's full first name is never given in the television series, though 'Jedediah' was used in the 1993 Beverly Hillbillies theatrical movie (coincidentally, on Ebsen's subsequent series, Barnaby Jones, Barnaby's nephew J.R. was also named Jedediah). In one episode Jed and Granny reminisce about seeing Buddy Ebsen and Vilma Ebsen—a joking reference to the Ebsens' song and dance act. Jed appears in all 274 episodes. Granny (Daisy May Moses) Called "Granny" by all, relatives or not, shotgun-toting Daisy Moses, Jed's mother-in-law, is a true daughter of Dixie. Paul Henning, the show's creator/producer quickly disposed of the idea of Granny being Jed's mother, which would have changed the show's dynamics, making Granny the matriarch and Jed subordinate to her. Granny can be aggressive but is often over-ruled by Jed. She is a confederate to the core, defending President Jefferson Davis, the Stars and Bars, and the simple life. Short-fused and easily angered, Granny fancies herself a "dunked" (not "sprinkled") Christian with forgiveness in her heart. She abhors "revenuers" and blue-coat Yankees. A self-styled "M.D." — "mountain doctor" — she claims to have an edge over expensive know-nothing city physicians. In lieu of anesthesia, Granny uses her "white lightning" brew before commencing on painful treatments such as leech bleeding and yanking teeth with pliers. Short and scrappy, Granny often wields a double-barreled, 12-gauge shotgun and fires it numerous times during the run of the show (in a first-season episode she chases Milburn Drysale with it when she found out his family had a feud with her family back in the hills). She fires it once at the front lawn when Jed is witching for water and several times on the skeet shooting range. During the mock Indian invasion she believed she was shooting live shells, though Milburn Drysdale had removed the buckshot to protect the actors portraying the Indians. She fires rock salt and bacon rind at a crow during the "Happy Valley" episode, and again at the back of an armored truck in which Milburn Drysdale was taking refuge in. She fires at (and hits in the posterior) Milburn Drysdale with rocksalt believing he is the ghost of "Lady Clemintine" ending their second visit to "Clampett Castle" in Kent, England. Granny also fires "Lady Fingers" (which Elly had baked for Jethro to take to the Army Reserve) into the posterior of an actor portraying Gen. Ulysses S. Grant during "The Battle of Culpepper Plantation" She is also able to tell the precise time via a sun dial and the weather via a beetle (Granny Versus the Weather Bureau). Without her glasses, Granny is extremely nearsighted — once in a crossover with the Petticoat Junction show, Granny mistakes a dog for a baby child and a coffee pot for a telephone. Two of Granny's phobias are "Injuns" (she actually buys wigs so the Clampetts won't be "scalped") and the "cement pond" (swimming pool–she has a fear of water). In a long story arc in the show's ninth season, Elly May dates a U.S. Navy frogman, which confuses Granny: After seeing the frogman climb out of the pool in his skin-diving wear, she thinks that anyone who swims in the pool will be turned into a frog. She also has a peculiar way of retelling the War Between The States, in which she thinks the South has won and Jefferson Davis is the president, while calling Sherman's March "Sherman's Retreat to the Sea". Any attempts to correct her meet with failure. She is also known for slicing off switches to use on Jethro, mainly whenever he goes too far with his dumb and idiotic schemes. There are references to Granny growing up in the Smoky Mountains of Tennessee. From episode 9: "When I was a girl back in Tennessee, I set so many boys' hearts on fire that they took to calling that neck of the woods The Smoky Mountains." Granny's full name, Daisy Moses, allegedly an homage to the popular and dearly loved folk artist Anna Mary Robertson, known to the world as Grandma Moses. (Grandma Moses died in 1961, a year before The Beverly Hillbillies made its television debut.) Granny is frequently referred to as "Granny Clampett" in a number of episodes but technically she is a Moses. Granny appears in all 274 episodes. Elly May Clampett Elly May, Jed's only child, is a mountain beauty with the body of a pinup girl and the soul of a tomboy. She can throw a fastball as well as "rassle" most men to a fall, and she can be as tender with her friends, animals, and family as she is tough with anyone she rassles. She said once that animals could be better companions than people, but as she grew older she saw that, "fellas kin be more fun than critters." Elly is squired about by eager young Hollywood actors with stage names like "Dash Riprock" and "Bolt Upright." Other boyfriends for Elly include Sonny Drysdale, Beau Short, beatnik Sheldon Epps, and Mark Templeton, a frogman. Elly's most notable weakness, oft mentioned when she is being "courted," is her lack of kitchen skills. Family members cringe when, for plot reasons, Elly takes over the kitchen. Rock-like donuts and cookies, for example, are a plot function in an episode featuring Wally Cox as bird watching Professor Biddle. Elly is briefly considered for film stardom at the movie studio owned by Jed. In one episode, hearing Rock Hudson and Cary Grant are both single, Granny asks that Elly be introduced to them. During the final season Elly May takes a job as a secretary at the Commerce Bank after Jed and Granny persuade her that it would be a good way to "meet a husband." In the 1981 TV movie of The Beverly Hillbillies, Elly May is head of a zoo. Elly May appears in all 274 episodes. Jethro Bodine Jethro (though he addresses Jed as his uncle) is the son of Jed's cousin, Pearl Bodine. He drove the Clampett family to their new home in California and stayed on with them to further his education. The whole family boasts of Jethro's "sixth grade education" but nevertheless feels he is a bit of an idiot. Jethro is simply naive in the first season of the show but becomes incredibly ignorant and pompous as the series progresses. He often shows off his cyphering abilities with multiplication and "go-zin-ta's," as in "five gozinta five one times, five gozinta ten two times," etc. The tallest student in his class in the town of Oxford (so named because "that's where the oxen used to ford the creek") because of his age, he is often impressing others that he graduated "top of his class at Oxford." In Beverly Hills, he decides to go to college. He manages to enroll late in the semester at a local secretarial school due to his financial backing and earns his diploma by the end of the day because he didn't understand what was going on in class and was too disruptive. (This was an ironic in-joke—in real life Max Baer Jr, has a Bachelor's Degree in Business Administration from Santa Clara University(Also Minored in Philosophy)). Many stories in the series involve Jethro's endless career search, which include such diverse vocations as a millwright, a brain surgeon, street car conductor, double-naught spy, Hollywood producer (a studio flunky remarks Jethro has the right qualifications for being a producer-a 6th grade education and his uncle owns the studio. The in-joke gag of Jethro as a movie producer was replayed in the 1981 movie), soda jerk, short order cook, and once as a bookkeeper for Milburn Drysdale's bank. More often than not, his overall goal in these endeavors is to obtain as many pretty girls as humanly possible. Out of all the Clampett clan, he is the one who makes the most change from 'country bumpkin' to 'city boy.' Another running gag is that Jethro is known as the "six foot stomach" for his ability to eat: in one episode he eats a jetliner's entire supply of steaks; in another episode Jethro tries to set himself up as a Hollywood agent for cousin "Bessie"-with a fee of 10,000 bananas for Bessie and 1,000 bananas for Jethro. At one time Jed mentions that Jethro was the only baby he knew born with a full set of teeth "just like a beaver." Jethro appears in 272 episodes; he is not in the third- or second-to-last episodes but Baer of course remains billed in the title credits. Baer claimed he only auditioned for the role of Jethro for fun and never expected to get the part. Supposedly, he clinched the part largely because of his grin. Duke The Clampetts' family dog. He's an old bloodhound that Jed had bought for four bits (50 cents) when he was a puppy. In early episodes, Jethro tries to teach Duke to fetch sticks, though to Jed it looks as if Duke is teaching Jethro how to do the trick. In a couple of episodes, Duke gets involved with a French poodle that was brought in to mate with Mrs. Drysdale's pampered pooch Claude. Apparently, the poodle has better taste and has Duke's puppies instead. When Mrs. Drysdale wants Claude to get revenge against Duke, Jed warns her that he's seen that old hound dog hold his own against a bobcat. The Drysdales Milburn, Margaret, and Sonny: The Drysdales are the Clampetts' next door neighbors. Milburn is the Commerce Bank's tightwad president and the friendly bumpkins' confidant. The haughty Mrs. Drysdale touts a heritage that traces back to the Mayflower, but money-hungry Milburn's concerns are strictly monetary. When suffering an anxiety attack, Milburn sniffs a stack of money and is quickly revived. Mr. Drysdale appeases the Clampetts and says that anything they do is unquestionably right. He often forces others, especially his secretary, to placate the Clampetts' by granting their unorthodox requests. Although wife Margaret, a blue-blooded Bostonian, has obvious disdain for the "peasant" hillbillies, she tacitly agrees to tolerate them (rather than Milburn lose their ever growing account—which is $96,000,000 in 1969, equal to $608,406,534 today). Margaret loathes all four "vagabonds," but her most heated rivalry is with Granny, with whom she occasionally has some "scraps." Raymond Bailey appears in 247 episodes. Harriet E. MacGibbon appears in 55 episodes between 1962 and 1969, she is not seen in the last two seasons of the show although is occasionally mentioned. Margaret's aged father has gambled away most of their money. Mrs. Drysdale's son—and Milburn's Stepson—is Sonny (played by Louis Nye ), who is a forty-something collegian who doesn't believe in working up a sweat and is an insufferable mama's boy. Finding Elly May a lovely, naive Pollyanna, he courts her until she literally tosses him. Although the character is fondly remembered by fans, Sonny only appears in four episodes, three in 1962 and a final appearance in 1966. Nancy Kulp (center) as The Beverly Hillbillies' Jane Hathaway Jane Hathaway Jane Hathaway, whom the Clampetts addressed as "Miss Jane," is Drysdale's loyal and efficient secretarial assistant. Though she always carried out his wishes, she was inherently decent and was frequently put off by her boss' greed. When she was annoyed with him, as was often especially when one of Drysdale's schemes went too far, she would usually and forcefully say "Chief!" Jane was genuinely fond of the family (to the Clampetts, she was considered family; even Granny, the one most dead-set against living in California, liked her very much and thought of her as part of the family), in fact, she actually harbored something of a crush on Jethro for most of the series' run. At first, she mistook the Clampetts as the servants, until she realized who they really were (which almost cost her her job). Miss Hathaway frequently has to "rescue" Drysdale from his idiotic schemes, receiving little or no thanks for her efforts. In one episode, she and Granny, disguised as "geisha girls," finally have enough and "crown" Drysdale and Jethro, who have made one too many comments about women serving men. Jane is loyal to Drysdale as well, despite her misgivings toward his avarice and greed. In one episode, the Clampetts, feeling money has corrupted them, give all of their money to Virginia "Ginny" Jennings ( Sheila Kuehl ), a college student. While Drysdale moans the loss of the money, Jane immediately tells him to stop thinking about the Clampetts and start trying to get the Jennings account. Eventually, everyone discovered Jennings' real motives, and she was gone, with the Clampetts getting their money back, and things were as they were before. In one episode, it is established that Miss Jane sacrificed her job as the top secretary of the top executive of the top insurance company to join Mr. Drysdale at the Commerce Bank. Miss Jane was a Vassar graduate. Jane Hathaway appears in 246 episodes. Note- In 1999 TV Guide ranked her number 38 on its '50 Greatest TV Characters of All Time' list. [11] Semi-regulars Lester Flatt and Earl Scruggs Country music stars Flatt and Scruggs (who play themselves in seven episodes, 1963–68), are longtime friends of the Clampetts "back home" (Kimberling City, Missouri) who visit with the Clampetts when they are on tour in California. The duo had a number-one Billboard country single with the show's "The Ballad of Jed Clampett" (although the song is actually performed in the credits by Jerry Scoggins to Flatt and Scruggs' instrumental). Actress Joi Lansing played Flatt's wife, Gladys, in five episodes, 1963–68. John Brewster Brewster (played by Frank Wilcox ), is the President & CEO of the OK Oil company headquartered in Tulsa who purchases the oil rights to the gusher on the Clampett home back in the hills. The Clampetts are quite fond of him, and his wife occasionally visits them in California. John Brewster appears in 14 episodes, 1962–1966. Janet Trego Janet (played by Sharon Tate ) is a beautiful secretary at the Commerce Bank. Although Janet appears in 15 episodes, 1963–65, her role is generally quite minor. Tate was later murdered by Charles Manson's "Family" just before the start of the eighth season. Sam Drucker Sam (played by Frank Cady ) owns the general store in Hooterville. Granny is constantly under the impression that Sam wants to marry her, however Sam has no intentions of doing so. He appears in 10 episodes between 1968–1970. Cady also starred as Sam Drucker in Petticoat Junction and Green Acres. Cady reprised the role of Sam Drucker for the 1990 Green Acres reunion movie Return to Green Acres Helen Thompson Helen (played by Danielle Mardi) is a beautiful British secretary at the Commerce Bank. Helen takes over Jane Hathaway's job as Mr. Drysdale's secretary after Ms. Hathaway resigned. Helen appears in 17 episodes between 1969–1971. Helen was one of the ringleaders of the protest group the secretaries of the Commerce Bank created, GRUN (Girls Resist Unfair Neglect). She, along with many other secretaries as well as Elly and Granny, lived with Ms. Hathaway for a short time in her apartment. Shorty Kellums Shorty (played by Shug Fisher ) is Jed's longtime buddy from back home whom Jed reunites with in 1969 when the Clampetts go back for an extended period to the Hills. Shorty is a wiry little man who is crazy about voluptuous girls half his age. Shorty later moves into the Clampett mansion in Beverly Hills for a period. Shorty Kellums appears in 17 episodes in the 1969–70 season, and returned again briefly during 1970–71. Elverna Bradshaw Elverna is Granny's longtime rival back in the Hills, a gossip second to none. She makes a brief appearance in a 1963 episode when the Clampetts go back to the Hills to fetch Pearl to California but is not seen again until 1969 when the Clampetts return to their native land for an extended visit. However, both Granny and Jed referred to the character in several episodes throughout the series' run. Elverna (played by Elvia Allman ) and Granny rekindle their feud in a match to see who will be first wed, Elverna's daughter or Elly May. For reasons not really explained, Elverna also moves into the Clampett Beverly Hills mansion during the same period that Shorty does; both of them, however, are gone from the estate for the final 1970–71 season, presumably having returned home. Elverna Bradshaw appears in 13 episodes, 1963–1970. Matthew and Mark Templeton The Templetons are two brothers both played by actor Roger Torrey , who originally auditioned (unsuccessfully) for the part of Jethro. Matthew is seen in three episodes in October 1969 during the Clampetts' stay in the Hills where Granny tags the preacherman as a prospective husband for Elly. Unfortunately, Granny learns that Matthew is married. Just a year later back in California, Elly meets Matthew's brother, Mark Templeton, who is a marine biologist, a frogman whom Granny believes is actually part frog. The Mark Templeton storyline played out for nine episodes and was abruptly dropped although advance publicity for the show indicated Elly May and Mark would be marrying during the season; however, the show was cancelled at the end of that season as part of the CBS Rural Purge . The "critters" Edit Most episodes revolved around the clash between the "uncivilized" hillbilly culture represented by the Clampetts and the "civilized" American culture of the Drysdales. The Clampetts lived as they always had, even in their large, elegant mansion, never abandoning their mountain attire or replacing the old rattletrap truck in which they had moved to California. Although when asked what kind of truck it is, Jethro said 'I think it's a Stutz', it is actually based on a 1921 Oldsmobile. All the Hillbillies were handy with firearms and always seemed to have their weapons close at hand and ready to draw. They continued to grow their own food, and Granny made lye soap and moonshine. The extreme potency of the moonshine liquor and the harshness of the lye soap were running gags throughout the run of the series. As another running joke, the movie theaters back in the hills were still showing films from the silent movie era and the Hillbillies were unaware of talking pictures or more contemporary movie stars. Granny's favorite actor was Hoot Gibson, but she also had an intense crush on William S. Hart, and the whole Clampett family adored Mary Pickford. Silent movie legend Gloria Swanson made a memorable guest appearance on the show as herself in an episode that featured a comic parody of a silent melodrama. The Clampetts did, however, have a television, on which they watched soap operas and "rasslin'", as well as John Wayne movies, as he was apparently one of the few "talkie" movie stars of whom they were aware. Wayne made a brief cameo as himself after the Clampett mansion was "attacked" by stuntmen dressed as Native Americans. Pearl and Granny often fought for kitchen supremacy. Pearl once told Granny "a blood cousin trumps a mother-in-law". This underscored a familial disconnect between Jethro and Granny; although they shared no bloodlines, Jethro still called her "Granny" (as did everyone else on the show, including Miss Jane and the Drysdales). Other than their kitchen wars, relations between Granny and Pearl were generally friendly. The second season began with a brief mention of Pearl having moved back to the hills, an ironic departure, as it was Pearl who had urged Jed to move to California. The change came about because actress Bea Benaderet had left the show to star in Petticoat Junction . Mrs. Drysdale soon became Granny's main sparring partner. Although both Douglas and Baer were well into their twenties when the series started, during the first years of the series, their characters were supposed to be teenagers. Elly May was enrolled in an elite girls' school in the first season, although no further mention was made of her education in later episodes. Jethro was enrolled in a sixth-grade class with much younger students; a few episodes later on, the scripts suggested that he was still in school. Should Granny or one of her kin feel lonely for the hills, banker Drysdale would bend over backwards to placate the offended subject. Drysdale went so far as to re-create the log cabin the Clampetts had lived in and place it right next to the "cee-ment pond" and the still Granny had installed to make moonshine. Another time Drysdale followed the Clampetts to the "Hills" and bought up the Silver Dollar City "bank" just to make sure he had a controlling interest in the Clampetts' money. One running gag was that when Jed would take money out of his pocket, Drysdale's blood pressure would go up. A similar running joke was that when it seemed the Clampetts would take their money out of his bank, Drysdale's face would turn green. A variation of the joke of Drysdale's face changing color is in one episode when, after being given some of Granny's "Tennessee Tranquilizer" (moonshine), Drysdale's face turns red. Another frequent source of humor dealt with Jethro's endless career search, which included such diverse vocations as soda jerk, brain surgeon, Hollywood celebrity, and secret "double naught" agent/spy. Jethro coveted movie star fame and relished becoming a "playboy" like Elly's beau Dash Riprock. Jethro's stupidity usually caused such career attempts to fail spectacularly, as when he decided to open a "topless" restaurant ("The Happy Gizzard"), where the waiters and waitresses were hatless. The one time in the series when Jethro almost succeeded as a "Hollywood celebrity" was when "Cousin Roy" ( Roy Clark ) tried to get Jethro to back him up as a country singer in Hollywood; Jethro refused and failed as usual. Jethro did have one success, of sorts. When he rescued a Bird Watchers girl troop who fell into the "cement pond" (they were attacked by ants), Jethro got a "lifesaving badge". Misunderstandings were a general source of humor in the program: when the Clampetts did not understand something they had never encountered before (such as a water faucet), or when various city dwellers could not comprehend something the Clampetts were talking about. A group of businessmen overheard Jed talking about "crawdads" and concluded that he was discussing a new type of military vehicle, which they wanted to invest in. Conversely, when Jed muses to Mr. Brewster about whether he can afford to move to Beverly Hills, Brewster responds with, "Why, Mr. Clampett, with your money, you could afford the Taj Mahal," to which Jed rejoins, "I'll take it!" When Brewster insists he was making a joke; Jed allows that he can go right ahead. Brewster: "Well, that was the joke." Jed: "Mr. Brewster, you're an awfully nice feller, but I've heard a sight better jokes than that!" The Clampetts went back to the hills for Christmas during the first season but did not return there until the eighth season, during which several episodes were filmed on location in Kimberling City, Missouri. During this period, Shug Fisher and Elvia Allman joined the cast as Shorty and Elverna (Allman had appeared on an episode in the first season playing the same character). One constant throughout the series was that the Hillbillies, who were scrupulously honest, were surrounded by cynical, conniving and money-hungry "city-folk," whose plans were always foiled (usually unknowingly) by the Clampetts. Merchandise Edit The 1960s saw a plethora of tie-in merchandise hit store shelves, particularly toys. Several different coloring books and jigsaw puzzles were released, as was a fairly long-running comic book. There were even Hillbillies Halloween costumes. A Beverly Hillbillies lunchbox is among the most valuable pieces of memorabilia from the era. The Beverly Hillbillies made the cover of TV Guide nine times between 1962 and 1970. Donna Douglas is the only cast member pictured on every cover. Donna Douglas was also one of the most publicized actresses of the era, making the covers of many movie magazines. In 1993, a 110-card set of Beverly Hillbillies trading cards was released by Eclipse Comics. Although timed to coincide with the release of the 1993 Beverly Hillbillies film, these cards featured photos from the original television series, with storylines and character details on the back. An earlier card series from 1963 is highly sought by collectors and is among the most expensive non-sports cards sets. Reunions Edit In 1981, a Return of the Beverly Hillbillies television movie, written and produced by series creator Paul Henning , was aired on the CBS network. Irene Ryan had died in 1973, and Raymond Bailey had died in 1980. The script acknowledged Granny's passing but featured Imogene Coca as Granny's mother. Max Baer decided against reprising the role that both started and stymied his career, so the character of Jethro Bodine was given to another actor, Ray Young. The film's plot had Jed back in his old homestead in Bugtussle, having divided his massive fortune among Elly May and Jethro, both of whom stayed on the West Coast. Jane Hathaway had become a Department of Energy agent and was seeking Granny's "White Lightnin'" recipe to combat the energy crisis. Since Granny had gone on to "her re-ward", it was up to Granny's centenarian "Maw" ( Imogene Coca ) to divulge the secret brew's ingredients. Subplots included Jethro playing an egocentric, starlet-starved Hollywood producer, Jane and her boss ( Werner Klemperer ) having a romance and Elly May owning a large petting zoo. The four main characters finally got together by the end of the story. Having been filmed a mere decade after the final episode of the original series, viewer consensus was that the series' original spirit was lost to the film on many fronts, chief of which being the deaths of Ryan and Bailey and Baer's absence, which left only three of the six original cast members available to reprise their respective roles. Further subtracting from the familiarity was the fact that the legendary Clampett mansion was unavailable for a location shoot as the owners' lease was too expensive. Henning himself admitted sheer embarrassment when the finished product aired, blaming his inability to rewrite the script due to the 1981 Writers Guild strike. [12] The Last Hillbilly Hurrah Edit In 1993, Ebsen, Douglas, and Baer reunited onscreen for the only time in the CBS-TV retrospective television special, The Legend of the Beverly Hillbillies which ranked as the 4th most watched television program of the week – a major surprise given the mediocre rating for the 1981 TV-movie. It was a rare tribute from the "Tiffany network" which owed much of its success in the 1960s to the series but has often seemed embarrassed by it in hindsight, often down-playing the show in retrospective television specials on the network's history and rarely inviting cast members to participate in such all-star broadcasts. The Legend of The Beverly Hillbillies special ignored several plot twists of the TV movie, notably Jethro was now not a film director but a leading Los Angeles physician. Critter-loving Elly May was still in California with her animals but Jed was back home in the Hills, having lost his fortune, stolen by the now-imprisoned banker Drysdale (a plot twist that many fans found unsettling for this good-natured show.) Nancy Kulp had died in 1991 and was little referred to beyond the multitude of film clips that dotted the special (which curiously failed to include a single film clip of Harriet MacGibbon.) The special was released on VHS tape by CBS/Fox Video in 1995 and as a bonus feature on The Official Third Season DVD Set in 2009. Reruns and syndication Edit The Beverly Hillbillies is still televised daily around the world in syndication. In the United States, the show is broadcast on TV Land and MeTV and was previously on WGN America. [13] A limited number of episodes from the earlier portions of the series run have turned up in the public domain and as such are seen occasionally on many smaller networks. The show is distributed by CBS Television Distribution, the syndication arm of CBS Television Studios. The repeats of the show that debuted on CBS Daytime on September 5–9, 1966 as "Mornin' Beverly Hillbillies" through September 10, 1971 and on September 13–17, 1971 as "The Beverly HILLBILLIES" lasted up to Winter 1971–1972. It aired at 11:00–11:30am Eastern/10:00-10:30am Central through September 3, 1971, then moved to 10:30–11:00am Eastern/9:30-10:00am Central for the last season on CBS Daytime. Media Edit There are 55 episodes of the series that are in the public domain, (all 36 season one episodes and 19 season two episodes), because Orion Television, successor to Filmways, neglected to renew their copyrights. As a result, these episodes have been released on home video and DVD on many low-budget labels and shown on low-power television stations and low-budget networks in 16 mm prints. In many video prints of the public domain episodes, the original theme music has been replaced by generic music due to copyright issues. Before his death, Paul Henning , whose estate now holds the original film elements to the public domain episodes, authorized MPI Home Video to release the best of the first two seasons on DVD, the first "ultimate collection" of which was released in the fall of 2005. These collections include the original, uncut versions of the first season's episodes, complete with their original theme music and opening sponsor plugs. Vol. 1 has, among its bonus features, the alternate, un-aired version of the pilot film, The Hillbillies Of Beverly Hills (the version of the episode that sold the series to CBS), and the "cast commercials" (cast members pitching the products of the show's sponsors) originally shown at the end of each episode. With the exception of the public domain episodes, the copyrights to the series were renewed by Orion Television. However, any new compilation of Hillbillies material will be copyrighted by either MPI Media Group or CBS, depending on the content of the material utilized. The trademarks, concepts and character rights are the exclusive property of CBS Broadcasting. For many years, 20th Century Fox, through a joint venture with CBS called CBS/Fox Video, released select episodes of Hillbillies on videocassette. After Viacom merged with CBS, Paramount Home Entertainment (the video division of Paramount Pictures, which was acquired by Viacom in 1994) took over the video rights. In 2006, Paramount announced plans to release the copyrighted episodes in boxed sets through CBS DVD later that year. The show's second season (consisting of the public domain episodes from that season) was released on DVD in Region 1 on October 7, 2008 as "...The Official Second Season". The third season was released on February 17, 2009. [14] Both seasons are available to be purchased together from major online retailers. Movie version In 1993, a movie version of The Beverly Hillbillies was released starring Jim Varney as Jed Clampett and featuring Buddy Ebsen in a cameo as Barnaby Jones, the lead character in his long-running post-Hillbillies television series. See also

i don't know

"Who said, ""Married men live longer than single men, but married men are more willing to die""?"

Married men live longer than single men. But married men are a lot more willing to die. - Johnny Carson - BrainyQuote Married men live longer than single men. But married men are a lot more willing to die. Find on Amazon: Johnny Carson Cite this Page: Citation

Johnny Carson

In Laverne & Shirley, what was Laverne's last name?

Married men live longer than single men. But married men are a lot more willing to die. Died: January 23, 2005 (aged 79) Nationality: American Occupation: Comedian Bio: John William Johnny Carson was an American television host and comedian, known for thirty years as host of The Tonight Show Starring Johnny Carson. Carson received six Emmy Awards, the Governor Award, and a 1985 Peabody Award. He was inducted into the Television Academy Hall of Fame in 1987.

i don't know

Which character did Burt Reynolds play in Evening Shade?

Evening Shade - Show News, Reviews, Recaps and Photos - TV.com EDIT This gentle rural sitcom, Evening Shade, starred Burt Reynolds as Wood Newton, an ex-pro football star who returned to his Arkansas home town of Evening Shade to coach the high school football team (the Mules), which had not won a game for two years. His wife Ava was elected the town's prosecuting attorney while pregnant with the couple's fourth child. Although their eldest son Taylor was the team quarterback, he inherited little of his father's sporting prowess. Assisting Wood is Herman Stiles, a fragile mathematics teacher uncommonly unsuited to the task of football coaching. Other regulars included cantankerous Dr Elldridge and Ava's father Evan, who disapproves of Wood's laid-back lifestyle and who has never forgiven him for stealing his daughter away at such a young age. (Ava was 18 when she got hitched to the 30-year-old Wood.) The series was narrated by Ossie Davis as Ponder Blue, the laconic and philosophical proprietor of Ponder Blue's Barbecue Villa, around which much of the action takes place. Evening Shade was marked by its sharp writing and measured, almost leisurely pacing, a style dictated by Reynolds with his deliberately understated performance as Newton (he also produced, wrote and directed episodes). (Adapted from BBC description)moreless

Wood Newton

Which comedian starred in the ABC sitcom Chicken Soup?

TELEVISION : The Dawning of 'Evening Shade' : How the producing team of Harry and Linda Thomason lured Burt Reynolds and other movie heavyweights to a sitcom - Page 2 - latimes YOU ARE HERE: LAT Home → Collections → Television Producers (Page 2 of 4) TELEVISION : The Dawning of 'Evening Shade' : How the producing team of Harry and Linda Thomason lured Burt Reynolds and other movie heavyweights to a sitcom February 17, 1991 |DAVID WALLACE | David Wallace is a frequent contributor to Calendar. and "I was so touched that she thought that was the kind of thing I could do. He is my favorite actor (and a guest on the first of Reynolds' new talk-show specials, 'Burt Reynolds' Conversations With. . . ,' to air on CBS this spring) and I was touched that she saw I had some kind of comic ability and that she put me in a category where I could play somebody that was Everyman and not some cocky. . . . "She asked what I would have done if I hadn't been an actor," Reynolds continued, "and I said, 'probably a football coach.' I love kids and know I am very good at communicating with young people and I love sports. My brother was a high school football coach for 20 years and when my dad talks about the two of us, he considers my brother as having a little more success than I have. . . . Especially in the South, where I'm from, you have two sports: football and spring football." (Reynolds played football on a Florida State scholarship until a knee injury ended his athletic career.) Ergo, Reynolds' character in "Evening Shade," was instantly transformed from the journalist that Thomason had been contemplating to Wood Newton, who, after a 15-year pro career with the Pittsburgh Steelers, returns to his hometown to coach the perennially last-place high school football team. "So we're then going back and forth about the other characters," Reynolds said, "and Linda says, 'There should be a town eccentric,' and I say, 'like Elizabeth Ashley,' and she says 'doctor' and I say 'like Charles Durning.' So we penciled in our dream cast. Ossie Davis as Ponder Blue--he has a barbecue stand where everybody goes; Anne Wedgeworth as Durning's wife-- my first roommate in New York," he interjected, "was Rip Torn, when he was married to the 18-year-old Anne Wedgeworth. Hal Holbrook for Evan Evans, the owner of the town paper--his wife, Dixie Carter, is on 'Designing Women.' Michael Jeter (cast as Reynolds' assistant coach) came out of nowhere; Marilu (cast as his wife, Ava) I've known a long time. "When it was time for Linda to go to the network and say 'this is what we want,' someone looked at the cast and said, 'Wonderful, but we won't be able to afford camera or film.' So I said 'Call them.' We started calling and the dream cast came together." "This is probably the most expensive half-hour show to start up because of the cast," observed Harry Thomason. The budget hovers around $800,000 per episode--more than $100,000 over the sitcom average. "In order to do the show, CBS was willing to pay a premium license fee. Another thing we did to allow these people to make the money they wanted per show was to allow them to come and go. We said, 'Just do 10 or 17 shows a year.' The way Linda writes (she writes the script the weekend preceding filming of the episode), she can write with who's going to be there." The start of another week, and the cast has gathered for a reading of the script in MTM's cavernous Stage 19, previously the site of CBS' "Bagdad Cafe." This week's episode, "Into the Woods," is about Wood, Evan and Ponder's annual hunting trip, which this year includes Wood's son, Taylor (Jay Ferguson), and the Jeter character, Herman Styles. (The installment is scheduled to be broadcast Monday at 8 p.m.) For most of them, the opportunity to work with Reynolds and Linda Bloodworth-Thomason allayed concerns about appearing in a sitcom and proved more enticing than monetary considerations. Ossie Davis, 73, who appeared with Reynolds in the "Stryker" series, explained: "Burt called and told me he was doing 'Evening Shade' and would I like to come along? He said it was a sitcom and, of course, I had a little trepidation about that--the formula is strange and slightly intimidating. My fear, after watching sitcoms, is that they're so tenuous I feel I might fall through the damn thing and crash on the level beneath. I'm too heavy, my feet are too big, my head is too solid. I can't float on that surface that the sitcom tends to generate. But once you get to be a member of the Burt Reynolds flying ensemble, you're likely to find yourself doing a whole lot of things you thought would never come your way." Michael Jeter, a native of Lawrenceburg, Tenn., was recruited for the show by Harry Thomason. "I was doing 'Grand Hotel' (for which he won his Tony for best supporting actor in a musical) and Harry flew into town, told me his wife had written this new series and asked, 'What do we have to do to get you to do it?' He started naming these people--Holbrook, Ossie Davis, Charles Durning, Elizabeth Ashley--and I realized these were people I've been watching for years and whose work I admire. And someone is asking if I would like to do a show with them? There was no question about it." It was four weeks before Jeter, who flew to Los Angeles to make a quick appearance in the "Evening Shade" pilot, was able to complete his contractual obligations to "Grand Hotel" and permanently join the cast, where his hyper-antic character often threatens to steal the show.

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Who interviewed Dudley Moore about his illness in November 1999?

Now Dudley confronts his demons | Film | The Guardian Now Dudley confronts his demons TV audience of millions watches as comic reveals fears of imminent death Sunday 21 November 1999 06.24 EST First published on Sunday 21 November 1999 06.24 EST Close This article is 17 years old In his early years as an entertainer, Dudley Moore would amuse his audiences with a rendition of Beethoven's Pathétique - as played by a pianist losing his memory. Bursts of manic tinkling would be interspersed with lengthening bouts of puzzled hesitation and baffled confusion that eventually descended into musical anarchy. It was an amiable, though not necessarily hilarious, routine that perfectly combined Moore's twin talents: as a comic actor blessed with impish charm, and as a pianist of considerable talent. Today, that Pathétique performance has come to haunt the Dagenham-born star - as he revealed to American interviewer Barbara Walters on her 20-20 programme on ABC TV last week. 'I so loved playing and now I can listen but ...' Then he stopped, his hands open in front of him, staring at them in grief. It was a deeply unsettling interview in which Moore disclosed for the first time, in a slurred and hesitant voice, that he fully understands his fate. 'I think I am going to die,' he mumbled, propping himself up with a walking stick, pausing and seeming frequently to lose the thread of his thoughts. 'Um... I don't know... I don't think it's going to be, umm... pleasant,' he told Walters. Moore is suffering from Progressive Supranuclear Palsy, a rare neurological disorder related to Parkinson's Disease, which took doctors four years to diagnose. Early symptoms include slurred speech, confusion, falling over and difficulty in swallowing, which can cause victims to drown in their own saliva. 'Choking to death must be awful,' said Moore, now aged 64. 'I don't find anything comforting, although my mood is fine now, but...', and he again faltered into silence. Moore's appearance on Walters' show is his first in public since his diagnosis. Wearing a baggy blue woolly cardigan, he said: 'I don't feel cheated or bitter. It was good that I had my career before this happened and I did 10 [his 1979 film hit with Bo Derek] and Arthur, and I hope people remember and love me in those roles.' In Britain, Moore, the son of a typist and a railway electrician who won a music scholarship to Oxford, is best remembered as Peter Cook's cuddly sidekick on their TV series Not Only... But Also . In the USA, however, he is famed for his romantic comedy leads in films such as the 1981 Hollywood comedy Arthur in which he played a loveable millionaire lush, a role that earned him an Oscar nomination, and provided him with another performance that has come back to haunt him. The staggering, slurred antics of Arthur began to be replayed by Moore himself. The tabloids labelled him an alcoholic, and despite the assurances of his friends that they had never seen him drink to excess, they reported his falls, outbursts, domestic upsets and car crashes. Moore said: 'It's amazing that Arthur has invaded my body to the point that I have [seemed] to become him. That's the way people looked at me. But I want people to know I am not intoxicated and... that I am going through this disease as well as I can. But I'm trapped in this body and there's nothing I can do about it.' On the set of his last attempt at a film, The Mirror Has Two Faces directed by Barbara Streisand in 1996, he was sacked for forgetting his lines. But long-time friend Blake Edwards, the Hollywood director and husband of British singer-actress Julie Andrews, said Moore was always a professional. When he was fired, Moore knew his acting career was over; the trouble was he still did not know why his mental powers were failing. Divorced three times, from British actress Suzy Kendall, American actress Tuesday Weld and model Brogan Lane, in 1994, he wed Californian Nicole Rothschild. The couple had a son, now four, but there was violence between them and Moore was once arrested. He has now left California and lives in New Jersey with the former New York Times music critic and pianist Rena Fruchter and her composer husband and is currently undergoing therapy at the same institute that treated the paralysed Superman star, Christopher Reeve. Fruchter, who reviewed a Moore concert many years ago as a doubter and left marvelling at his musicianship, joined Moore on the interview to prompt him when he groped for words, and was seen supporting him as they walked near her home. Moore called her 'a saint' and added: 'She has an endless compassion for me, and... I just feel... er feel, she is extraordinary in that way... I can't think of anyone else taking care of me.' Indeed, it was Fruchter who first realised that Moore's problems were caused by something far more sinister than occasional lapses of concentration, or alleged bouts of drinking. On a 1996 Australian tour, when both played the piano, she realised his deterioration as a pianist was organic and fundamental and certainly not related to over-indulgence. Not long afterwards, doctors succeeded in diagnosing his condition. Moore's past had finally caught up with him.

Barbara Walters

Dorothy, Rose, Sophia and who else formed the Golden Girls?

Dudley Moore Dead at 66 - ABC News ABC News Dudley Moore Dead at 66 By ABC News Email Dudley Moore, the comic star of Arthur and 10, died in his New Jersey home Wednesday morning after a long struggle with a degenerative disease. He was 66. Moore had been battling progressive supranuclear palsy, a rare and incurable brain disorder similar to Parkinson's disease. In the last years of his life, he was in great pain, gradually losing control of his body until even simple movements, like swallowing, became difficult. Still, in his debilitated state, he used his celebrity to shed light on PSP and the estimated 20,000 Americans who struggle with the illness. "I know very well what is happening to me," he told ABCNEWS' Barbara Walters in one of his final interviews, in June 2000. "I just want them to know that I am going through this disease as well as I can." An Unlikely Star Moore is best remembered as the drunken playboy in Arthur who offers to give up his fortune to marry a waitress (Liza Minnelli) against his family's wishes. The role showed Moore's potential as a comic with pathos. Sadly, Moore said that many friends and fans mistook him for his Arthur character when his illness first caused his speech to slur. "It's amazing that Arthur has invaded my body to the point that I have become him," he said. "But that's the way people look at it." Even from the start, Moore's career seemed like a long shot. He was born in East London with a clubfoot that stunted his growth. As an adult, he stood 5 feet 2 ½ inches. He went on to study music at Oxford, where he met his future partner Peter Cook, along with other performers with whom he formed Beyond the Fringe, a comedy troupe best described as a precursor to Monty Python's Flying Circus. One of Moore's celebrated contributions to the show was his impersonation of the pianist Dame Myra Hess, playing a bombastic version of "Colonel Bogey's March" that he couldn't seem to end. 'I Would Love to Do Serious Roles' The Moore-Cook team appeared on TV and records before making their screen debut in 1966 in The Wrong Box. Moore wrote, starred and composed the score for his next film, 30 Is a Dangerous Age, in 1968. In the mid-1970s, he met director Blake Edwards in a therapy group and soon landed the part in Edwards' 1979 film 10, which marked the debut of a dreadlocked Bo Derek. The movie made Moore a major star, and he followed it up with the hit Arthur in 1981. He appeared in a string of comedies, including Unfaithfully Now, Micki + Maude and Arthur 2: On the Rocks. "I would love to do serious roles," he said. "But I'm not built that way." Despite his dimunitive stature, "Cuddly Dudley" was known as something of a ladies' man. Moore married Suzy Kendall in 1958, Tuesday Weld in 1975, Brogan Lane in 1988 and Nicole Rothschild in 1994. He had a son, Patrick, by his second marriage and a son, Nicholas, by his fourth. He starred in two short-lived sitcoms in the early 1990s — Dudley and Daddy's Girls — but his workload steadily decreased as he began having trouble with basic tasks. Losing the ability to remember his lines, he lost work and rumors spread that he had a drinking problem. In 1995, Barbra Streisand fired him from the movie The Mirror Has Two Faces. "They fired me because I couldn't remember my lines after a certain point," Moore told Walters in a 1999 interview. "It was devastating." It wasn't until 1998 that he was finally diagnosed with PSP. Losing the ability to take care of himself, he moved into a friend's home in New Jersey, close to his doctors and a rehabilitation center, the Kessler Institute. When asked what he missed most as PSP ravaged his body, Moore told Walters, "I miss playing the piano. I love it. And I miss it very much." ABCNEWS Radio and Buck Wolf contributed to this report. 0 Shares

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Who first funded Sesame Street?

Big Bird has suddenly taken center stage in the presidential campaign Courtesy of TM and ©2009 Sesame Workshop. Big Bird has emerged as the surprise star of the 2012 campaign. Mitt Romney says he likes Big Bird but wants to cut federal funding to PBS, while the big yellow bird has appeared in an ad made by President Obama’s campaign. Why is Sesame Street on public television, anyway? Because the networks turned it down. In 1967, a couple of years before the first episode of Sesame Street aired on PBS, one of the co-founders of the Children’s Television Workshop pitched the concept to executives at NBC and CBS. They both passed on the opportunity, as did Time-Life Broadcasting and Westinghouse. The problem wasn’t that the show was for children: Captain Kangaroo had already been a modest success on CBS for 12 years, and the networks had offered periodic programming for preschoolers. But Children’s Television Workshop was a somewhat revolutionary idea in 1967. It had a strongly academic bent, drawing together child psychiatrists and child-development researchers from the ivory tower in a way that suggested profit wasn’t their motivation. Its executives also refused to allow commercials to interrupt the program, although they were open to ads at the beginning and end. The Children’s Television Workshop leadership also insisted that the show focus on disadvantaged urban kids, rejecting calls from television producers that they broaden the target demographic to all preschool children. PBS desperately needed a winner in the late 1960s and was willing to take a chance. Some PBS programming was so poor that the New York Times television critic noted, “congressmen could scarcely be blamed for wondering if a huge permanent investment in noncommercial video is warranted.” Sesame Street was exactly the kind of innovative show that could change the narrative about public broadcasting. Advertisement It’s an odd quirk of history that Bert and Ernie’s first-ever television appearance came not on PBS, but in a preview on NBC. And commercialism was the first thing viewers saw: A Muppet noted that Xerox had sponsored the preview, in a move that infuriated some Sesame Street executives. Sesame Street has always had an uncomfortable relationship with money. After the show became a smash success, producers worried that the foundations that paid to get the show off the ground would expect it to sustain itself. Some executives adamantly opposed any attempt at merchandising. Even Jim Henson, who was already making money merchandising his comedic Muppets, opposed doing the same with more the educational Sesame Street characters. Eventually, however, the prospect of become a self-financing model convinced most of the creators that Oscar the Grouch dolls wouldn’t tarnish the program. Got a question about today’s news? Ask the Explainer . Brian Palmer covers science and medicine for Slate.  

Sesame Workshop

In Family Affair what was the butler called?

partners - Sesame Workshop partners partners Thanks to our funding partners We rely on our funders’ support to bring the Sesame Workshop mission to life. Their collective commitment enables us to harness the educational power of media to benefit children around the world. We gratefully acknowledge the generous support of our current sponsors and partners, without whom our work to educate and inspire children would not be possible. divider UnitedHealthcare UnitedHealthcare, a proud sponsor of Sesame Street, partners with Sesame Workshop to provide families with tools and strategies for keeping children healthy through programs such as Food for Thought: Eating Well on a Budget, Lead Away!, A is for Asthma and We have the Moves. American Greetings Corporation, a Sesame Workshop partner, is now a proud sponsor of The Electric Company. divider Leadership Partners USAID Sesame Workshop’s initiatives in Bangladesh, Egypt, Indonesia, Jordan, Kosovo, Nigeria, South Africa, and Tanzania are made possible by generous support from the American people through USAID. Corporation for Public Broadcasting Generous funding from the Corporation for Public Broadcasting supports The Electric Company and the Talk, Listen, Connect initiative, including the broadcast special When Parents Are Deployed. CPB is a private corporation funded by the American people. National Center for Telehealth & Technology The National Center for Telehealth & Technology provides generous funding for the Sesame Street for Military Families program which helps military families cope with the challenges of deployments, homecomings, changes and death of a loved one. divider The U.S. Department of Education The U.S. Department of Education’s generous support funds educational children’s programming such as Sesame Street, Dragon Tales, and The Electric Company. PNC PNC Grow Up Great is proud to sponsor the Happy, Healthy, Ready for School program, including Math Is Everywhere, and a recent initiative For Me, for You, for Later. PNC Grow Up Great is a $350 million, multi-year initiative that began in 2004 to help prepare children from birth to age five for success in school and life. The Gruss Lipper Family Foundation Sesame Workshop is delighted to partner with the Gruss Lipper Family Foundation on Rechov Sumsum, the Israeli version of Sesame Street, and Shalom Sesame, a new series teaching American children about Israel and Jewish life. divider UnitedHealthcare UnitedHealthcare has partnered with Sesame Workshop in their Healthy Habits for Life initiative, offering resources for keeping children healthy and strong and setting the foundation for lifelong healthy habits through programs such as Food for Thought: Eating Well on a Budget, Lead Away!, A is for Asthma and We have the Moves. American Greetings American Greetings provides generous funding for Talk, Listen, Connect II and Emergency Preparedness initiatives. American Greetings also supports Sesame Workshop’s educational outreach efforts in Israel. Merck Company Foundation The Merck Company Foundation is proud to support Sesame Street Food for Thought: Eating Well on a Budget, as well as Sesame Street programming in China and Brazil. divider Michael & Susan Dell Foundation Galli Galli Sim Sim, Sesame Workshop’s locally produced Indian version of Sesame Street, is made possible in part by support from the Michael & Susan Dell Foundation. Sanlam Sanlam, a leading financial services company, has been a proud supporter of Takalani Sesame since 2000, helping millions of young South Africans prepare for success in school and in life. U.S. Department of Health and Human Services The U.S. Department of Health and Human Services provides generous funding for our Healthy Habits for Life initiative. divider BAE Systems BAE Systems, a proud sponsor of Talk, Listen, Connect, supporting military families, is the premier global defense, security, and aerospace company and leverages its global capabilities to deliver the best for our men and women in uniform. Mai Family Foundation The Mai Family Foundation proudly supports Takalani Sesame, the South African adaptation of Sesame Street that utilizes a range of media platforms and community initiatives to address the educational needs of South Africa’s children. Walmart Foundation Walmart provides generous funding to support military families through our Talk, Listen, Connect initiative as well as new programming to help our country’s most vulnerable children and families stay healthy and eat well on a limited budget. divider The Jim Joseph Foundation The Jim Joseph Foundation funds Shalom Sesame, a multimedia Jewish educational project for children, parents, and teachers in the U.S. The Foundation’s mission is to foster compelling, effective Jewish learning in the US. Funds of Jewish Education Sponsored by Gruss Life Monument Funds and UJA Federation of NY Funds of Jewish Education Sponsored by Gruss Life Monument Funds and UJA Federation of NY is proud to support the Shalom Sesame project, a multimedia Jewish educational project for children, parents, and teachers in the U.S. IDP Foundation, Inc. The IDP Foundation’s generous partnership supports the funding and development of a teacher training program including a pilot series of video training modules and caregiver/teacher manuals for distribution in Ghana through a network of schools participating in the Foundation’s IDP Rising Schools Program as well as in Nigeria through the Workshop’s Sesame Square project. divider Fundación SHE The Daniel and Nina Carasso Foundation through the Fundación SHE provides funding for the production of Barrio Sesamo, the Spanish adaptation of Sesame Street, with a focus on health, nutrition, the body, socio-economic well-being and social responsibility. Schwab Charitable Fund The Galli Galli Sim Sim Radiophone project, which addresses the educational needs of poor, disenfranchised children in India through an educational radio program with telephone and internet interfaces, is made possible in part by support from the Schwab Charitable Fund. MetLife Foundation MetLife Foundation proudly supports Dream, Save, Do, Sesame Workshop’s multimedia global financial empowerment initiative, which is intended to help children and the adults in their lives acquire healthy financial skills and behaviors. The programming provides engaging content featuring the Sesame Street Muppets and language for discussion regarding setting goals, making plans, and taking small steps to achieve ones goals, as well as effective strategies for spending, saving, sharing, and donating. divider Mount Sinai Heart The Colombia Healthy Heart Initiative, under the auspices of Dr. Valentin Fuster and generously funded by the Santo Domingo family, is one of Mt. Sinai Medical Center’s global health projects and promotes healthy habits to Colombia’s children. Qualcomm Qualcomm is proud to partner with Sesame Workshop on innovative mobile education initiatives in the United States, India and China. Bill & Melinda Gates Foundation Sesame Street Water, a multi-media initiative promoting positive behaviors around sanitation and hygiene habits in children and their caregivers in Bangladesh, India, and Nigeria, is made possible by a generous grant from the Bill & Melinda Gates Foundation. divider Tetra Pak Tetra Pak is a proud supporter of Plaza Sésamo in Mexico, where together we are reaching children with important health and environmental content through messaging on milk cartons distributed to children in schools. The Insurance Industry Charitable Foundation The Insurance Industry Charitable Foundation is proud to sponsor Every Day is a Reading and Writing Day. The initiative supports early literacy development of children from birth to age five. CA Technologies CA Technologies is a generous sponsor of Little Discoverers: Big Fun with Science, Math and More. CA Technologies is proud to support the development of creative and interactive programs that engage children in early STEM learning. divider The Ted Arison Family Foundation (Israel) Bank of Jordan Joseph and Harvey Meyerhoff Family Charitable Funds Mississippi Public Broadcasting National Parks Foundation/National Parks Service National Science Foundation New York State Office of Mental Health Open Society Institute Howard and Geraldine Polinger Family Foundation Alan B. Slifka Foundation U.S. Department of Veterans Affairs U.S. Department of State Toys”R”Us Children’s Fund USO

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Which multi-millionaire was born the same day TV pioneer John Logie Baird died?

John Logie Baird (1888 - 1946) - Genealogy John Logie Baird Aug 14 1888 - Helensburgh Scotland Death: June 14 1946 - Bexhill, Sussex, England Parents: Rev John Baird, Jessie Morrison Baird Sibling: NewspaperARCHIVE.com Text: "...OF TELEVISION DIES London June 14 fP John L Baird 58 known in England as the father of died in his sleep today from what his physi ci... Date: NewspaperARCHIVE.com Text: "...Yhits Atone John Baird, 59, known in England the "father, of television, ".died in. his sleep to- day from what h.is. physician catte... Date: Aug 13 1888 - Helensburgh, Dunbartonshire, Scotland Death: June 14 1946 - Bexhill-on-Sea, East Sussex, England Parents: John Baird, Jessie Morrison Baird (born Inglis) Wife: Margaret Cecilia Baird (born Albu) Children: Compilation of Published Sources Text: ... JOHN L. BAIRD, 58, British television pioneer, died June 14 at his home at Bexhill, Sussex. He produced one of the first practical tel... Date: Australian Newspapers Text: "...'. Baird, television pioneer, died in London yesterday. He suffered a general breakdown in health after an influenza attack in Februa... Publication: June 17 1946 - Launceston, Tasmania, Australia Page: Australian Newspapers Text: ... later. | DEATH OF TELEVISION PIONEER LONDON, Friday. - Mr. John L ... . Baird, television pioneer, died to-day Bo suffered a general bre... Publication: June 15 1946 - , Tasmania, Australia Page: Australian Newspapers Text: "...plan of social services to Parliament DEATH OF MR. J. L. BAIRD British Pioneer Of Television LONDON, June 14.—AAP. The death has occu... Publication: June 15 1946 - Adelaide, South Australia, Australia Page: Australian Newspapers Text: "...DEATH OF MR. J. L. BAIRD London, June 14. — Mr. John L. Baird, inventor of the televisor, the first practical television appa ratus f... Publication: June 15 1946 - Kalgoorlie, Western Australia, Australia Page: Australian Newspapers Text: "...PIONEER. MR. JOHN L. BAIRD DEAD. Ill Since Last February. LONDON, June 14.-The death occurred today of Mr. Jodn Logie Baird, the Brit... Publication: June 15 1946 - Perth, Western Australia, Australia Page: About John Logie Baird FRSE FRSE= Fellow of the Royal Society of Edinburgh (aka Royal Society of Edinburgh) http://en.wikipedia.org/wiki/John_Logie_Baird John Logie Baird FRSE (14 August 1888 – 14 June 1946) was a Scottish engineer and inventor of the world's first practical, publicly demonstrated television system, and also the world's first fully electronic colour television tube. He is often known as "the father of television". Although Baird's electromechanical system was eventually displaced by purely electronic systems (such as those of Vladimir Zworykin, Marconi-EMI, and Philo Farnsworth), Baird's early successes demonstrating working television broadcasts and his color and cinema television work earn him a prominent place in television's invention. In 2002, Logie Baird was ranked number 44 in the BBC's list of the "100 Greatest Britons" following a UK-wide vote. In 2006, Logie Baird was also named as one of the 10 greatest Scottish scientists in history, having been listed in the National Library of Scotland's 'Scottish Science Hall of Fame'. The "Baird" brand name was first owned by Thorn-EMI and is now owned and used by the Brighthouse retail chain in the UK as a brand name for its televisions. Early years Baird was born at 8am in Helensburgh, Argyll and Bute (then Dunbartonshire) on 13 August 1888, the youngest of four children of the Reverend John Baird, the Church of Scotland's minister for the local St Bride's church and Jessie Morrison Inglis, the orphaned niece of a wealthy family of shipbuilders from Glasgow. He was educated at Larchfield Academy (now part of Lomond School) in Helensburgh; the Glasgow and West of Scotland Technical College (which later became the University of Strathclyde); and the University of Glasgow. His degree course was interrupted by World War I and he never returned to graduate. Television experiments The development of television was the result of work by many inventors. Among them, Baird was a prominent pioneer and made major advances in the field. Particularly in Britain, many historians credit Baird with being the first to produce a live, moving, greyscale television image from reflected light. Baird achieved this, where other inventors had failed, by obtaining a better photoelectric cell and improving the signal conditioning from the photocell and the video amplifier. Between 1902 and 1907, Arthur Korn invented and built the first successful signal-conditioning circuits for image transmission. The circuits overcame the image-destroying lag effect that is part of selenium photocells. Korn's compensation circuit allowed him to send still pictures by telephone or wireless between countries and even over oceans, while his circuit operated without benefit of electronic amplification. Korn's success at transmitting halftone still images suggested that such compensation circuits might work in television. Baird was the direct beneficiary of Korn's research and success. In his first attempts to develop a working television system, Baird experimented with the Nipkow disk. Paul Nipkow had invented this scanning disc system in 1884. Television historian Albert Abramson calls Nipkow's patent "the master television patent". Nipkow's work is important because Baird and many others chose to develop it into a broadcast medium. In early 1923, and in poor health, Baird moved to 21 Linton Crescent, Hastings, on the south coast of England and later rented a workshop in Queen's Arcade in the town. Baird built what was to become the world's first working television set using items including an old hatbox and a pair of scissors, some darning needles, a few bicycle light lenses, a used tea chest, and sealing wax and glue that he purchased. In February 1924, he demonstrated to the Radio Times that a semi-mechanical analogue television system was possible by transmitting moving silhouette images. In July of the same year, he received a 1000-volt electric shock, but survived with only a burnt hand. His landlord, Mr Tree, asked him to quit his workshop and he moved to upstairs rooms in Soho, London, where he made a technical breakthrough. Baird gave the first public demonstration of moving silhouette images by television at Selfridges department store in London in a three-week series of demonstrations beginning on 25 March 1925. In his laboratory on 2 October 1925, Baird successfully transmitted the first television picture with a greyscale image: the head of a ventriloquist's dummy nicknamed "Stooky Bill" in a 30-line vertically scanned image, at five pictures per second. Baird went downstairs and fetched an office worker, 20-year-old William Edward Taynton, to see what a human face would look like, and Taynton became the first person to be televised in a full tonal range. Looking for publicity, Baird visited the Daily Express newspaper to promote his invention. The news editor was terrified: he was quoted by one of his staff as saying: "For God's sake, go down to reception and get rid of a lunatic who's down there. He says he's got a machine for seeing by wireless! Watch him — he may have a razor on him." First public demonstrations On 26 January 1926, Baird repeated the transmission for members of the Royal Institution and a reporter from The Times in his laboratory at 22 Frith Street in the Soho district of London. By this time, he had improved the scan rate to 12.5 pictures per second. It was the first demonstration of a television system that could broadcast live moving images with tone graduation. He demonstrated the world's first colour transmission on 3 July 1928, using scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with a filter of a different primary colour; and three light sources at the receiving end, with a commutator to alternate their illumination. That same year he also demonstrated stereoscopic television. In 1932, Baird was the first person in Britain to demonstrate ultra-short wave transmission. (Today, we refer to "ultra short waves" as the VHF band.) Contrary to some reports, these transmissions were far from the first VHF telecasts. In 1931, the US Federal Radio Commission allocated VHF television bands. From 1931 to 1933, station W9XD in Milwaukee, Wisconsin, transmitted some of the first VHF television signals. The station's 45-line, triply interlaced pictures used the U. A. Sanabria television technology. Broadcasting In 1927, Baird transmitted a long-distance television signal over 438 miles (705 km) of telephone line between London and Glasgow; Baird transmitted the world's first long-distance television pictures to the Central Hotel at Glasgow Central Station. This transmission was Baird's response to a 225-mile, long-distance telecast between stations of AT&T Bell Labs. The Bell stations were in New York and Washington, DC. The earlier telecast took place in April 1927, a month before Baird's demonstration. Baird then set up the Baird Television Development Company Ltd, which in 1928 made the first transatlantic television transmission, from London to Hartsdale, New York, and the first television programme for the BBC. In November 1929, Baird and Bernard Natan established France's first television company, Télévision-Baird-Natan. He televised the first live transmission of the Epsom Derby in 1931. He demonstrated a theatre television system, with a screen two feet by five feet (60 cm by 150 cm), in 1930 at the London Coliseum, Berlin, Paris, and Stockholm.[20] By 1939 he had improved his theatre projection system to televise a boxing match on a screen 15 ft (4.6 m) by 12 ft (3.7 m).[21] From 1929 to 1932, the BBC transmitters were used to broadcast television programmes using the 30-line Baird system, and from 1932 to 1935, the BBC also produced the programmes in their own studio at 16 Portland Place. On 3 November 1936, from Alexandra Palace located on the high ground of the north London ridge, the BBC began alternating Baird 240-line transmissions with EMI's electronic scanning system which had recently been improved to 405 lines after a merger with Marconi. The Baird system at the time involved an intermediate film process, where footage was shot on cinefilm which was rapidly developed and scanned. The trial was due to last 6 months but the BBC ceased broadcasts with the Baird system in February 1937, due in part to a disastrous fire in the Baird facilities at Crystal Palace. It was becoming apparent to the BBC that the Baird system would ultimately fail due in large part to the lack of mobility of the Baird system's cameras, with their developer tanks, hoses, and cables. Baird's television systems were replaced by the electronic television system developed by the newly formed company EMI-Marconi under Isaac Shoenberg, which had access to patents developed by Vladimir Zworykin and RCA. Similarly, Philo T. Farnsworth's electronic "Image Dissector" camera was available to Baird's company via a patent-sharing agreement. However, the Image Dissector camera was found to be lacking in light sensitivity, requiring excessive levels of illumination. Baird used the Farnsworth tubes instead to scan cinefilm, in which capacity they proved serviceable though prone to dropouts and other problems. Farnsworth himself came to London to Baird's Crystal Palace laboratories in 1936, but was unable to fully solve the problem; the fire that burned Crystal Palace to the ground later that year further hampered the Baird company's ability to compete. Baird made many contributions to the field of electronic television after mechanical systems had taken a back seat. In 1939, he showed colour television using a cathode ray tube in front of which revolved a disc fitted with colour filters, a method taken up by CBS and RCA in the United States. In 1941, he patented and demonstrated a system of three-dimensional television at a definition of 500 lines. On 16 August 1944, he gave the world's first demonstration of a fully electronic colour television display. His 600-line colour system used triple interlacing, using six scans to build each picture. In 1943, the Hankey Committee was appointed to oversee the resumption of television broadcasts after the war. Baird persuaded them to make plans to adopt his proposed 1000-line Telechrome electronic colour system as the new post-war broadcast standard. The picture quality on this system would have been comparable to today's HDTV (High Definition Television). The Hankey Committee's plan lost all momentum partly due to the challenges of postwar reconstruction. The monochrome 405-line standard remained in place until 1985 in some areas, and it was three decades until the introduction of the 625-line system in 1964 and (PAL) colour in 1967. A demonstration of large screen three-dimensional television by the BBC was reported in March 2008, over 60 years after Baird's demonstration. Other inventions Some of Baird's early inventions were not fully successful. In his twenties he tried to create diamonds by heating graphite and shorted out Glasgow's electricity supply. Later Baird invented a glass razor which was rust-resistant, but shattered. Inspired by pneumatic tyres he attempted to make pneumatic shoes, but his prototype contained semi-inflated balloons which burst. He also invented a thermal undersock (the Baird undersock), which was moderately successful. Baird suffered from cold feet, and after a number of trials, he found that an extra layer of cotton inside the sock provided warmth. Baird's numerous other developments demonstrated his particular talent at invention. He was a visionary and began to dabble with electricity. In 1928, he developed an early video recording device, which he dubbed Phonovision. The system consisted of a large Nipkow disk attached by a mechanical linkage to a conventional 78-rpm record-cutting lathe. The result was a disc that could record and play back a 30-line video signal. Technical difficulties with the system prevented its further development, but some of the original phonodiscs have been preserved, and have since been restored by Donald McLean, a Scottish electrical engineer. Baird's other developments were in fibre-optics, radio direction finding, infrared night viewing and radar. There is discussion about his exact contribution to the development of radar, for his wartime defence projects have never been officially acknowledged by the UK government. According to Malcolm Baird, his son, what is known is that in 1926 Baird filed a patent for a device that formed images from reflected radio waves, a device remarkably similar to radar, and that he was in correspondence with the British government at the time. The radar contribution is in dispute. According to some experts, Baird's "noctovision" is not radar. Unlike radar (except Doppler radar), Noctovision is incapable of determining the distance to the scanned subject. Noctovision also cannot determine the coordinates of the subject in three-dimensional space. Later years From December 1944 until his death two years later, Baird lived at a house in Station Road, Bexhill-on-Sea, East Sussex, immediately north of the station itself. Baird died in Bexhill on 14 June 1946 after a stroke in February of that year. The old house was demolished in 2007. The Sea Road-Station Road skyline now features a new block of 51 flats on the site, renamed "Baird Court". John Logie Baird is buried with his mother, father and wife in Helensburgh Cemetery.

Donald Trump

In the Addams Family, what is Gomez's octopus called?

Television History 2: Pioneers | nextexx Television History 2: Pioneers Science and technology exposed Television History 2 under construction Television is radio with pictures and by the time a recognisable TV set evolved in the early decades of the 1900’s the use of radio was commonplace. Although we tend to think of early TV as being based on the cathode ray tube, there were, during its early development a number of mechanical systems used for relaying pictures before it became possible, due to a lack of contemporary technology, to enable the use of an all-electronic system: Mechanical TV Paul Gottlieb Nipkow  1884 Paul Gottlieb Nipkow inventors.about.com: “Paul Nipkow (German technician and inventor) developed a rotating-disc technology to transmit pictures over wire in 1884 called the Nipkow disk. (see below) Paul Nipkow was the first person to discover television’s scanning principle, in which the light intensities of small portions of an image are successively analysed and transmitted.”50 This system was later used by engineer John Logie Baird. Transmission of still pictures  TV related. Wiki: “Between 1902 and 1907, Arthur Korn German-born physicist and mathematician invented and built the first successful signal-conditioning circuits for image transmission. The circuits overcame the image-destroying lag effect that is part of selenium photocells. Korn’s compensation circuit allowed him to send still pictures by telephone or wireless between countries and even over oceans, while his circuit operated without benefit of electronic amplification. Korn’s success at transmitting halftone still images suggested that such compensation circuits might work in television. Baird was the direct beneficiary of Korn’s research and success..” 51 Wiki: “He (Korn) pioneered the use of light sensitive selenium cells which took over from the function of the stylus and used a Nernst lamp as a light source. On the 18th October, 1906, he managed to transmit a photograph of Crown Prince William over a distance of 1800 km.” 52 Korn’s rise to physicist status is somewhat unusual: Wiki: “…He then studied physics and mathematics in Leipzig at the age of 15, from where he graduated in 1890. Afterwards he studied in Berlin, Paris, London and Würzburg. In 1895 he became a lecturer in law at the University of Munich, and was appointed professor in 1903. In 1914 he accepted the chair of physics at the Berlin Institute of Technology.” 53 A somewhat confusing rise to physicist status. Boris Rosing and the Cathode Ray Tube Television 1907 Electronic-mechanical TV Boris Rosing inventors.about.com: “Russian scientist Boris Rosing (who worked with Vladimir Zworykin)  used a CRT in the receiver of a television system.” 54 bairdtelevision.com: “Rosing’s system employed a mirror-drum apparatus as camera and a cathode-ray tube as receiver to transmit black-and-white silhouettes of simple shapes. The cathode-ray tube had been developed a decade earlier by a German, Karl Ferdinand Braun (in 1897). Rosing’s system was primitive, but it was one of the first experimental demonstrations where the cathode ray tube was employed for the purposes of television. Vladimir Zworykin (before emigrating to the U.S.A.) was a student of Rosing and assisted him in some of his laboratory work.” 55 Alan Archibald Campbell-Swinton 1908 Alan Archibald Campbell-Swinton discoveriesinmedicine.com: “During the first three decades of the twentieth century, inventors continued to devise uses for cathode ray technology. Inspired by Braun’s oscilloscope, A. A. Campbell-Swinton suggested that a cathode ray tube could be used to project a video image upon a screen. Unfortunately, the technology of the time was unable to match Campbell-Swinton’s vision.” 56 But then Wiki tells us: “Engineer Campbell-Swinton’s letter published in the 18 June 1908 issue of Nature was a suggestion rather than any kind of practical invention. Philo T Farnsworthan (See below) was already hard at work on the idea before the letter was sent.” 57 Vladimir Zworykin 1923 Electro-mechanical TV Wiki: “Vladimir Zworykin, (not a scientist) Russian-American inventor, engineer, and pioneer of television technology, helped Boris Rosing (a scientist) with experimental work on television in the basement of Rosing’s private lab at the School of Artillery of Saint Petersburg, Russia. Rosing had filed his first patent on a television system in 1907, featuring a very early cathode ray tube as a receiver, and a mechanical device as a transmitter. Its demonstration in 1911, based on an improved design, was among the first demonstrations of TV of any kind. He summarized the resulting invention in two patent applications. The first, entitled “Television Systems”, was filed on December 29, 1923, and was followed by a second application in 1925 of essentially the same content, but with minor changes and the addition of a Paget-type screen for colour transmission and reception. He was awarded a patent for the 1925 application in 1928 and two patents for the 1923 application that was divided in 1931, although the equipment described was never successfully demonstrated.” 58 Charles Jenkins 1923 Mechanical TV “Charles Jenkins (not a scientist) invented a mechanical television system called radiovision and claimed to have transmitted the earliest moving silhouette images on June 14, 1923.” 59  Wiki: He published an article on “Motion Pictures by Wireless” in 1913, but it was not until December 1923 that he transmitted moving silhouette images for witnesses, and it was June 13, 1925 that he publicly demonstrated synchronized transmission of pictures and sound. He was granted the U.S. patent No. 1,544,156 (Transmitting Pictures over Wireless) on June 30, 1925 (filed on March 13, 1922). https://en.wikipedia.org/wiki/Charles_Francis_Jenkins Nipkow disk Mechanical TV tvhistory.tv: John Logie Baird “On January 23, 1926, John Logie Baird (Scottish engineer and inventor) gave the world’s first public demonstration of a mechanical television apparatus to approximately 40 members of the Royal Institution at his laboratory on Frith Street. These were images of living human faces, not outlines or silhouettes, with complete tonal gradations of light and shade.” 60 Wiki: “In 1928, he developed an early video recording device, which he dubbed Phonovision. The system consisted of a large Nipkow disk attached by a mechanical linkage to a conventional 78-rpm record-cutting lathe. The result was a disc that could record and play back a 30-line video signal. Technical difficulties with the system prevented its further development, but some of the original phonodiscs have been preserved, and have since been restored by Donald McLean, a Scottish electrical engineer.” 61 Electronic TV pictures and Kalman Tihanyi Kalman Tihanyi’s 1926 Patent Application “Radioskop” Wiki: Hungarian inventor, “Tihanyi called his fully-electronic television system “Radioskop”, and his application contained 42 pages detailing its design and mass production. Though it bears certain similarities to earlier proposals employing a cathode ray tube (CRT) for both transmitter and receiver… From 1929, Tihanyi worked on television guidance for defence applications, building prototypes of a camera for remotely guided aircraft in London for the British Air Ministry, and later adapting it for the Italian Navy. In 1929, he invented the first infrared-sensitive (night vision) electronic television camera for anti-aircraft defense in Britain. Tihanyi’s U.S. patents for his display and camera tubes, assigned to RCA, were issued in 1938 and 1939, respectively. 1936 Tihanyi described the principle of “plasma television” and conceived the first flat-panel television system.” 62  See below for later claims of invention by academics. From pocket-lint.com: Kalman Tihanyi, a Hungarian engineer, developed the first flat-panel display system in 1963, and about one year later, a monochrome plasma display was invented and presented at the University of Illinois at Urbana-Champaign for the PLATO Computer System. Manufacturers like Ownes-Illinois and Burroughs Corporation made plasma displays, which were known for their neon orange and monochrome look, throughout the 1970s. IBM then popped into the plasma scene in 1983, when it introduced a 19-inch orange-on-black monochrome display. Colour The 1990s saw the emergence of full-colour plasma displays. Fujitsu demonstrated a 21-inch hybrid display in 1992 at the University of Illinois at Urbana-Champaign, and then three years later, it introduced the first 42-inch plasma display with a 852×480 resolution. http://www.pocket-lint.com/news/131549-farewell-plasma-tv-the-moments-that-defined-flatscreen Wiki and my own update: “Kalman Tihanyi (28 April 1897, zbg – 26 February 1947, Budapest), was a Hungarian (not a) physicist, (but an) electrical engineer and inventor. One of the early pioneers of electronic television, he made significant contributions to the development of cathode ray tubes (CRTs), which were bought and further developed by the Radio Corporation of America (later RCA),[1][2] and German companies Loewe and Fernseh AG.[citation needed] He invented and designed the world’s first automatic pilotless aircraft in Great Britain.” 63 Why do they keep calling inventors physicists? Philo T. FarnsworthImage Focusing Philo T. Farnsworth 1922, The forgotten inventor From discoveriesinmedicine.com   “It was not until 1922 that Philo T. Farnsworth used a magnet to focus a stream of electrons onto a screen, producing a crude image. Though the first of its kind, Farnsworth’s invention was quickly superseded by Vladimir Zworykin’s kinescope, the ancestor of the modern television.” 64 The Zworykin kinescope never worked? nationalvanguard.org: 1929 “According to the book Philo T. Farnsworth: The Father of Television by Donald G. Godfrey, the first human images transmitted by Farnsworth were of his wife and her brother, Cliff Gardner. A 3 1/2-inch-square image of his wife with her eyes closed was transmitted on October 19, 1929, Gardner wrote. The book lists her as first woman on TV’. 1957 “Farnsworth an American inventor and television pioneer…predicted HDTV and solid-state flat-screen technology in a 1957 interview: (See Kalman Tihanyi above) “[W]e think we can eventually get in excess of 2000 lines instead of 525 and do it on an even narrower channel which will make for a much sharper picture. We believe in the picture-frame type of a picture, where the visual display will be just a screen. And we hope for a memory, so that the picture will be just as though its pasted on there.” 65 “Sadly, credit for his pioneering work was almost taken from Farnsworth when RCA under David Sarnoff, with a potential profit in the hundreds of millions if they prevailed, claimed the innovation was the work of one of its house engineers (Klmn Tihanyi above)?. But in 1935, the courts ruled that Farnsworth was the real inventor… …Nevertheless Farnsworth received little recognition or monetary compensation in later years, because of what some say was purposeful revenge by the Jewish establishment for his defeat of Sarnoff. Many scholars also blame Sarnoff for setting back the development of FM radio (see chapter Radio) for decades because it threatened the AM networks and AM receiver technology in which RCA was heavily invested and for thereby causing the suicide of another European-American innovator, Edwin Armstrong, who invented FM radio in 1933” 66 “At the time he died, Farnsworth held 300 U.S. and foreign patents. His inventions contributed to the development of radar, infra-red night vision devices, the electron microscope, the baby incubator, the gastroscope, and the astronomical telescope. Wiki: Farnsworth said in an interview, “ And …we hope for a memory, so that the picture will be just as though it’s pasted on there.”” 67  What was required was miniaturised transistor memory technology that did not exist in 1957. Wiki Talk: There are several good books on Farnsworth’s invention of electronic television. It is very clear that Zworykin visited Farnsworth’s lab under false pretenses, copied his image dissector at RCA, and said he wished he had invented it. Farnsworth’s breakthrough was all his own, and the guys at RCA did everything they could to strip him of the rights and honor due for that. Anyone who wants to contradict that here would well to read one or more of these histories first. Dicklyon 05:59, 12 June 2006 (UTC) https://en.wikipedia.org/wiki/Talk%3APhilo_Farnsworth#Old_discussion Flat Panel Display Plasma, LED and Liquid Crystal Wiki: “The first ever flat panel display was invented in 1964 at the University of Illinois. (I don’t think that’s true – see above) The first-ever active-matrix addressed display was made by T Peter Brody’s Thin-Film Devices department at Westinghouse Electric Corporation in 1968.[4] As of 2012, 50% of global market share in flat panel display (FPD) production is by Taiwanese manufacturers such as AU Optronics and Chimei Innolux Corporation.” 68 There is very little information about the invention of flat panel displays, something not unknown in today’s technology. Wiki: “Burroughs Corporation, a maker of adding machines and computers, developed the Panaplex display in the early 1970s. The Panaplex display, generically referred to as a gas-discharge or gas-plasma display, uses the same technology as later plasma video displays, but began life as seven-segment display for use in adding machines. They became popular for their bright orange luminous look and found nearly ubiquitous use in cash registers, calculators, pinball machines, aircraft avionics such as radios, navigational instruments, and stormscopes; test equipment such as frequency counters and multimeters; and generally anything that previously used nixie tube or numitron displays with a high digit-count throughout the late 1970s and into the 1990s. These displays remained popular until LEDs gained popularity because of their low-current draw and module-flexibility, but are still found in some applications where their high-brightness is desired, such as pinball machines and avionics. Pinball displays started with six- and seven-digit seven-segment displays and later evolved into 16-segment alphanumeric displays, and later into 128×32 dot-matrix displays in 1990, which are still used today. ” 69 If Tihanyi described the principle of plasma television and conceived the first flat-panel television system in 1936 and Farnsworth predicted HDTV and solid-state flat-screen technology in a 1957, the principles must already have been known. How can the “first ever flat panel” have been “invented at the University of Illinois in 1964”? Prevarications from the halls of academe. 70 Early LED history From radio-electronics.com: The first recorded effects of the light emitting diode effect were noticed back at the beginning of the twentieth century. A British engineer named H J Round working for Marconi was undertaking some experiments using crystal detectors. At the time radio detectors were one of the major limiting factors within the early wireless of radio sets. The early detectors were often made by using a small piece of material – we would now know them as forms of semiconductor – and placing a small wire onto the surface. These were called “Cat’s Whiskers” for obvious reasons. In trying to investigate the effects and improve their performance, Round had passed a current through some of his detectors. He noted that one of them emitted light when a current was passed through it. Although he did not understand the mechanism for the effect, he published his findings in 1907 in a magazine of the day named Electrical World. http://www.radio-electronics.com/info/data/semicond/leds-light-emitting-diodes/history.php To the Editors of Electrical World: SIRS: – During an investigation of the unsymmetrical passage of current through a contact of carborundum and other substances a curious phenomenon was noted. On applying a potential of 10 volts between two points on a crystal of carborundum, the crystal gave out a yellowish light. Only one or two specimens could be found which gave a bright glow on such a low voltage, but with 110 volts a large number could be found to glow. In some crystals only edges gave the light and others gave instead of a yellow light green, orange or blue. In all cases tested the glow appears to come from the negative pole, a bright blue-green spark appearing at the positive pole. In a single crystal, if contact is made near the center with the negative pole, and the positive pole is put in contact at any other place, only one section of the crystal will glow and that same section wherever the positive pole is placed. There seems to be some connection between the above effect and the e.m.f. produced by a junction of carborundum and another conductor when heated by a direct or alternating current; but the connection may be only secondary as an obvious explanation of the e.m.f. effect is the thermoelectric one. The writer would be glad of references to any published account of an investigation of this or any allied phenomena. New York, N. Y. H. J. Round https://en.wikipedia.org/wiki/H._J._Round#Light-emitting_diode References continued from part 1

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In the animation series, what was Godzilla's nephew called?

Godzilla: The Original Animated Series - Episode Guide - TV.com Godzilla: The Original Animated Series Follow NBC Premiered Jan 01, 2010 Unknown USER EDITOR 12/2/78 9.0 The Calico faces certain destruction when it gets warped in time all the way back to prehistory. They meet a tribe of cavemen but are confronted with a T-Rex and they have to scramble to figure out what to do. A little bit of luck gets them back to the present. Can Godzilla save the day?moreless 11/25/78 9.5 This episode of The Sub-Zero Terror featured Captain Majors and the team taking a trip to the Himalayas and finding a lost tribe of bigfoot hiding in a dorment volcano. The bigfoot's leader, the Great Watchuka, has a plan to conquer the world and only Godzilla can stop them. 11/18/78 9.0 The Calico is in trouble again, this time from the Breeder Beast, a huge, tricky golden blob that feasts on gold and silver. When it attacks the ship with its tentacles, it is mutant versus mutant. When Godzilla comes to the rescue and he'll need to use every trick in the book to triumph.moreless 11/11/78 9.0 A giant, turtle-like mutant threatens an oil rig in Antarctica and the Calico investigates. When the menacing monster attacks the ship by drawing it in with his powerful magnetic rays, the crew's lives are in danger. Godzilla has to think fast to save them and the rest of the world from this monster.moreless 11/4/78 9.0 Island of Lost Ships is the ninth episode from the first season of Godzilla: The Original Animated Series (1978). The animated series follows the adventures of four sea explorers, which include Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the team's first mate, Brock. In Island of Lost Ships, the crew embarks on a trip to a remote island in the Greek Isles, only to find out later that this island only appears once every 1000 years. With a previous history of lost ships, a monster soon arises that makes it difficult for the crew to flee.moreless 5/31/10 9.0 A violent magnetic storm sends the Calico crashing into the reef of an unchartered island. When the storm passes, the crew realizes that they're trapped by a magnetic force field...and they're not alone! 10/21/78 9.0 The Colossus of Atlantis is the seventh episode from the first season of Godzilla: The Original Animated Series (1978). The animated series follows the adventures of four sea explorers, which include Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the team's first mate, Brock. In The Colossus of Atlantis, the city of Atlantis rises to the surface and the crew enjoys the opportunity to meet its inhabitants. Danger soon arises, however, when a robot built to guard the city malfunctions and becomes a threat to the city.moreless 10/16/78 9.0 The Energy Beast is the sixth episode from the first season of Godzilla: The Original Animated Series (1978). The original animation follows the adventures of a sea crew of four explorers, including Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the Calico vessel's first mate, Brock. In the Energy Beast, the crew comes face to face with Godzilla after a myserious spaceship lands on earth and reports of a giant alien sighting surface.moreless 10/7/78 9.0 The Seaweed Monster is the fifth episode from the first season of Godzilla: The Original Animated Series (1978). The animated series follows the adventures of four sea explorers, which include Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the team's first mate, Brock. In The Seaweed Monster, a monster made of seaweed attacks the vessel and Godzilla defeats the monster in an effort to save the crew. In the process, Godzilla finds himself covered in seaweed, which eventually begin to transform into new monsters.moreless 9/30/78 9.0 The Megavolt Monster is the fourth episode from the first season of Godzilla: The Original Animated Series (1978). The animated series follows the adventures of four sea explorers, which include Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the team's first mate, Brock. In The Megavolt Monster, Dr. Darien and Brock become captured by several giant creatures while doing research in the bathosphere. Captain Majors and Pete are then summoned to rescue their crew with the helping hand of Godzilla.moreless 9/23/78 9.0 Attack of the Stone Creatures is the third episode from the first season of Godzilla: The Original Animated Series (1978). The animated series follows the adventures of four sea explorers, which include Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the team's first mate, Brock. In Attack of the Stone Creatures, the crew encounters a new brand of creature while streaming the Nile River. The Guardians of Ra Mal are the name of these stone creatures and Godzilla is called upon once again to rescue the crew.moreless 9/18/78 9.0 The Eartheater is the second episode from the first season of Godzilla: The Original Animated Series (1978). The original animation follows the adventures of a sea crew of four explorers, including Captain Carl Majors, scientist Darien Quinn, her nephew Pete and the Calico vessel's first mate, Brock. In The Eartheater, the city of San Francisco is being terrorized by an underground creature amd citizens struggle to understand why buildings are collapsing all around them.moreless 9/9/78 9.0 The Fire Bird is the debut episode from the first season of Godzilla: The Original Animated Series (1978). In The Fire Bird, the crew (headed by Captain Carl Majors) is tasked with seeking out a bird that has inhabited a volcano and is causing trouble for the residents in the town. Godzilla arrives to lend help as all must stop the creature before it begins laying eggs.moreless Sunday No results found. Important: You must only upload images which you have created yourself or that you are expressly authorised or licensed to upload. By clicking "Publish", you are confirming that the image fully complies with TV.com’s Terms of Use and that you own all rights to the image or have authorization to upload it. Please read the following before uploading Do not upload anything which you do not own or are fully licensed to upload. The images should not contain any sexually explicit content, race hatred material or other offensive symbols or images. Remember: Abuse of the TV.com image system may result in you being banned from uploading images or from the entire site – so, play nice and respect the rules! Choose background:

Godzilla (animated series)

During the series Roseanne changed her name to Arnold from what?

Godzilla (TV Series 1978–1980) - IMDb IMDb 18 January 2017 6:08 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The crew of the research vessel, The Calico, investigate strange phenomena and often meet menaces that force them to summon Godzilla to help. Creators: a list of 36 titles created 01 Nov 2013 a list of 32 titles created 06 May 2014 a list of 41 titles created 16 Oct 2015 a list of 37 titles created 30 Oct 2015 a list of 39 titles created 4 months ago Search for " Godzilla " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. The adventures of a superhero caveman and a trio of female amateur detectives. Stars: Mel Blanc, Gary Owens, Laurel Page The Ant Hill Mob has to protect Penelope Pitstop from a murderous lawyer who is after her inheritance. Stars: Janet Waldo, Mel Blanc, Don Messick The Atom Ant/Secret Squirrel Show was an animated series which featured the pint sized hero Atom Ant and super-sleuth Secret Squirrel. Stars: Henry Corden, Don Messick, Howard Morris 'Josie and the Pussycats' is a pop music group. During their tours are always involved in strange mysteries. Stars: Jerry Dexter, Don Messick, Patrice Holloway Dinosaur King (TV Series 2007) Animation | Action | Adventure Max Taylor is the son of paleontologist Dr. Spike Taylor and is a fan of dinosaurs. Upon falling out of bed one morning, he sees something crashing into the woods. With his friends/fellow ... See full summary  » Stars: Laurent Vernin, Sebastian Arcelus, Madeleine Blaustein In 17th century France, young Dogtanian travels to Paris to fulfill his ambition to become one of the King's Musketeers. He befriends Athos, Porthos and Aramis and falls in love with Juliette. A doggy version of the tale. Stars: Eduardo Jover, Gloria Cámara, Manuel Peiró A bucktoothed squirrel is the James Bond of the rodent world. Stars: Mel Blanc, Paul Frees, Dick Beals From the popular video game, Super Mario Bros. The Super Mario Bros. Super Show features Mario, his brother Luigi, Princess Toadstool, and her advisor going by the name of Toad. They go ... See full summary  » Stars: Lou Albano, Harvey Atkin, John Stocker Danger Mouse, the greatest secret agent in the world, must follow Colonel K's orders (and try not to break Professor Squawkencluck's inventions) to foil Baron Greenback's and his henchman Stiletto's plans. Stars: David Jason, Terry Scott, Edward Kelsey "Two Stupid Dogs" follows the lives of two dogs: the overly excited Little Dog (the dachshund) and easy-paced Big Dog (the sheepdog). These crazy canines don't know how to fit in the world,... See full summary  » Stars: Brad Garrett, Mark Schiff, Jess Harnell Pingu is a clay penguin who is very mischievous and playful. He lives in the Antarctic where he plays with his family and his friend the seal. His signature sound is something like "noot noot". Stars: David Sant, Carlo Bonomi, Marcello Magni Extreme Dinosaurs (TV Series 1997) Animation | Action | Adventure In the present, a team of four anthropomorphic dinosaurs created by aliens, must stop three anthropomorphic velociraptors, who want to cause a cataclysm that would speed up global warming and make Earth's climate pleasant for dinos again. Stars: Scott McNeil, Cusse Mankuma, Garry Chalk Edit Storyline The crew of the research vessel, the Calico at one point rescue Godzooky, the young offspring of the mighty giant monster, Godzilla. Apparently, a pact was made that if the crew took care of the little guy, Godzilla would help if they needed him. As it turns out, this was a most fortuitous thing, because in the voyages of the Calico, they investigate mysteries that all too often lead to run-ins with dangerous giant beasts. With no way to battle the beasts themselves, the crew, either through a special signaling device or Godzooky calling himself, can summon Godzilla seemingly from anywhere around the world to confront the menace at hand. Written by Kenneth Chisholm <kchishol@execulink.com> 9 September 1978 (USA) See more  » Also Known As: Godzilla: The Animated Series See more  » Company Credits Did You Know? Trivia Godzilla is the only monster from the original movies to make an appearance, because he was the only one whose rights the creators could secure. However some of the newly introduced monsters do take inspiration from the classics. See more » Goofs Throughout the entire series, Godzilla's size keeps changing wildly, even within episodes. In some shots, he can hold the crew of the Calico ship in his hand, while in others, he's so big that he can grab the entire ship. See more » Connections Americans just have to screw up Godzilla every chance they get. 3 December 2009 | by Aaron1375 – See all my reviews I saw this show as a kid and it just never appealed to me all that much even though I was a big Godzilla movie fan and I still am. This show just really outlines a problem in my book, us Americans strange need to make Godzilla into something he is not. We never make him look like the Japanese version, we mess with how strong he is and we generally seem to want to name stuff Godzilla when they just are not Godzilla. Even the movie which was rather bad at least got his roar right, this does not even do that. They add a stupid monster named Gadzooky too which is a real annoyance, but then again the Japanese do have a baby Godzilla that would be seriously lame in "Godzilla's Revenge". Still the idea of Godzilla being summoned like an attack dog or something is rather lame too, though they sort of did that in "Godzilla vs Megalon", however in most of the movies even where he is good he comes of his on accord. The fights in this series are sorely lacking as well as I find it rather pathetic that the fights in the live action movies are better, more epic than a cartoon show. I mean it is animation, you are not bound to the laws of physics and stuff you can do anything and most of the battles are horrible. And why does Godzilla always blow fire in America, in Japan it is a radioactive breath, here he always breaths fire, he is not a dragon, but then the fact they remove his cool back plates and make his head bigger he does look more like a dragon than Godzilla and Gadzooky most certainly looks like one. 3 of 9 people found this review helpful.  Was this review helpful to you? Yes

i don't know

"Who said, ""It is better to die on your feet than live on your knees?"""

Emiliano Zapata - Wikiquote Emiliano Zapata Jump to: navigation , search I want to die a slave to principles . Not to men. The land belongs to those who work it with their hands . Ignorance and obscurantism have never produced anything other than flocks of slaves for tyranny . ¡Tierra y Libertad! Land and Liberty ! A slogan popularized by Zapata, quoted in Tierra y Libertad (1920) published by Imprenta Germinal; further attributed to Zapata in works in the 1930s and later, including, Without History: Subaltern Studies, the Zapatista Insurgency, and the Specter of History (2010) by José Rabasa, p. 122, where the influence of the anarchist Ricardo Flores Magón on its development is also attested. I want to die a slave to principles . Not to men . As quoted in Heroes of Mexico (1969) by Morris Rosenblum, p. 112 Prefiero morir de pie que vivir de rodillas. I'd rather die on my feet, than live on my knees. As quoted in Liberation Theologies in North America and Europe‎ (1979) by Gerald H. Anderson and Thomas F. Stransky, p. 281; this is sometimes misattributed to the more modern revolutionary, Che Guevara , and to "La Pasionaria" Dolores Ibárruri , especially in Spain, where she popularized it in her famous speeches during the Spanish Civil War, to José Martí , and to Aeschylus who is credited with a similar declaration in Prometheus Bound : "For it would be better to die once and for all than to suffer pain for all one's life." The phrase "better that we should die on our feet rather than live on our knees" was spoken by François-Noël Gracchus Babeuf in his defence of the Conspiracy of Equals in April 1797. In French it read, 'Ne vaut-il pas mieux emporter la gloire de n'avoir pas survecu a la servitude?' but translated this bears no resemblance whatever to the quote under discussion. see: The Defense of Gracchus Babeuf Before the High Court of Vendome (1967), edited and translated by John Anthony Scott, p. 88 and p. 90, n. 12. Spanish variants: ¡Prefiero morir de pie que vivir siempre arrodillado! I'd prefer to die standing, than to live always on my knees. As quoted in Operación Cobra : historia de una gesta romántica (1988) by Alvaro Pablo Ortiz and Oscar Lara, p. 29 Variant translations: Men of the South! It is better to die on your feet than to live on your knees! With an extension, as quoted in Timeless Mexico (1944) by Hudson Strode, p. 259 I would rather die standing than live on my knees! It is better to die on your feet than to live on your knees! I prefer to die standing than to live forever kneeling. Prefer death on your feet to living on your knees. La tierra es de quien la trabaja con sus manos. The land belongs to those who work it with their hands. Quoted as a slogan of the revolutionaries in Shirt-Sleeve Diplomat (1947) Vol. 5, p. 199, by Josephus Daniels, and specifically attributed to Zapata by Ángel Zúñiga in 1998, as quoted in Mexican Social Movements and the Transition to Democracy (2005), by John Stolle-McAllister Ignorance and obscurantism have never produced anything other than flocks of slaves for tyranny . Remarks in regard to Pancho Villa , as quoted in The Unknown Lore of Amexem's Indigenous People : An Aboriginal Treatise (2008) by Noble Timothy Myers-El, p. 158

Emiliano Zapata

In which year did Tanganyika and Zanzibar merge to form Tanzania?

Emiliano Zapata biography | birthday, trivia | Mexican Revolutionary | Who2 Emiliano Zapata Biography Revolutionary   Emiliano Zapata is the Mexican rebel leader who said “It is better to die on your feet than to live on your knees.” A former sharecropper, he organized and led peasants during the battles of the Mexican Revolution, joining forces with Pancho Villa and others to fight the government of Porfirio Diaz. Zapata supported agrarian reform and land redistribution; his rallying cry was “Land and freedom!” (His positions attracted the support of some urban intellectuals, who linked him to the theories of Karl Marx .) Though Diaz was defeated, Zapata continued to resist subsequent government leaders; he was ambushed and shot by Mexican troops in 1919. Zapata remains a folk hero in Mexico, where his name has often been invoked by more modern-day rebels like Subcommander Marcos . Extra credit Emiliano Zapata was played by actor Marlon Brando in the 1952 movie Viva Zapata! ( John Steinbeck won an Oscar nomination for the film’s screenplay; Anthony Quinn won an Oscar as Zapata’s brother Eufemio)… Zapata’s cry of “Land and freedom” (Tierra Y Libertad) is sometimes translated as “Land and justice.”      

i don't know

In which decade did motor car pioneer Henry Ford die?

Henry Ford Is Dead at 83 in Dearborn Henry Ford Is Dead at 83 in Dearborn By THE ASSOCIATED PRESS DETROIT, April 7--Henry Ford, noted automotive pioneer, died at 11:40 tonight at the age of 83. He had retired a little more than a year and a half ago from active direction of the great industrial empire he founded in 1903. When he retired Mr. Ford was in excellent health, but turned over the management of the vast empire to his grandson. Henry Ford 2d, because, he said, he wanted to devote more time to personal interests. Death came to the famed industrialist at his estate in Fairlane, in suburban Dearborn, not far from where he was born in 1863. At the Ford Company news bureau offices it was said that the exact cause of death would not be known until Henry Ford 2d, his grandson, could reach the family home, perhaps within an hour. Mr. Ford was reported to have been in excellent health when he returned only a week ago from his annual winter visit to the Ford estate in Georgia. Kept Interest in Research The automobile industry leader dropped completely out of the management of the far-flung Ford Company when he resigned as president late in 1945. He had been able to spend some time each week at the Ford engineering laboratory, where he maintained a private office and workshop, but was rarely seen about the administration building, where affairs of the big company were directed. There were many reports that the elder Ford had given up his leadership of the Ford interests at the insistence of other members of his family, particularly the widow of his only son, the late Edsel B. Ford. Although never confirmed officially, reports had it that she was dissatisfied with the course of company affairs. He leaves a widow, the former Clara Bryant, whom he married in 1887, and two grandsons, Henry 2d and Benson. Father of Mass Production Henry Ford was the founder of modern American industrial mass production methods, built on the assembly line and the belt conveyor system, which no less an authority than Marshal Josef Stalin testified were the indispensable foundation for an Allied military victory in the Second World War. Mr. Ford had many other distinctions. As the founder and unchallenged master of an industrial empire with assets of more than a billion dollars, he was one of the richest men in the world. He was the apostle of an economic philosophy of high wages and short hours that had immense repercussions on American thinking. He was a patron of American folkways and in later years acquired a reputation as a shrewd, kindly sage. But these were all relatively minor compared with the revolutionary importance of his contribution to modern productive processes. His career was one of the most astonishing in industrial history. Nearing the age of 40 he was looked upon as a failure by his acquaintances--as a day-dreaming mechanic who preferred to tinker with odd machines than to work steadily at a responsible job. Yet within a dozen years he was internationally famous, and his Model T automobile was effecting changes in the American way of life of profound importance. He lived to see the Ford Motor Company, which he founded with an initial investment of $28,000 put up by a few friends and neighbors who had faith in him, produce more than 29,000,000 automobiles before the war forced the conversion of its gigantic production facilities to weapons of war. Then he directed its production of more than 8,000 four-motored Liberator bombers, as well as tanks, tank destroyers, jeeps and amphibious jeeps, transport gliders, trucks, engines and much other equipment. Struck a cruel blow shortly before his eightieth birthday by the death of his only son, Edsel Ford, on May 26, 1943, Mr. Ford unfalteringly returned to the presidency of the Ford Motor Company, which he had yielded to his son twenty-four years previously. He remained at its helm as it reached the peak of its gigantic war production, directing the war-expanded force of 190,000 workers. Mr. Ford was born on July 30, 1863, on a farm near Dearborn, nine miles west of Detroit. He was the eldest of six children. His mother died when he was 12 years of age. He went to school until he was 15. Throughout his schooldays he worked on the farm after school hours and during vacations. His mechanical bent first showed itself in an intense interest in the mechanism of watches. When he was 13 he took a watch apart and put it together again so that it would work. He had to do this work secretly at night, after he had finished his chores on the farm, because his father wanted to discourage his mechanical ambitions. His tools were home-made and were limited to a screwdriver and a pair of tweezers, fashioned respectively from a knitting needle and an old watch spring. In 1879, at the age of 16, he took the step that foreshadowed his remarkable career. He ran away from home. Walking all the way to Detroit, almost penniless, he went to work as an apprentice in a machine shop. He did this in order to learn all he could of the making of machinery. He received $2.50 a week for ten hours a day, six days a week--a far cry from the wages paid in the Ford factories today. As he had to pay $3.50 a week for board and lodging, he took another job, working from 7 to 11 o'clock every night for a jeweler, for $2 more a week. Built a Steam Tractor Returning to his father's farm to live, he spent his spare time for several years endeavoring to evolve a practical farm tractor of relatively small size and cost. He succeeded in building a steam tractor with a one-cylinder engine, but was unable to devise a boiler light enough to make the tractor practicable. For several years he confined himself to cutting the timber on forty acres his father had given him; operating a sawmill and repairing farm machinery for his neighbors. Convinced that the steam engine was unsuited to light vehicles, he turned to the internal combustion engine, which he had read about in English scientific periodicals, as a means of locomotion for the "horseless carriage" of which he and other automobile inventors had dreamed. For several years he spent most of his spare time reading about and experimenting with the gasoline engine. In 1890 he got a job as engineer and machinist with the Detroit Edison Company at $45 a month, and moved to Detroit. He set up a workshop in his backyard and continued his experiments after hours. He completed his first "gasoline buggy" in 1892. It had a two-cylinder engine, which developed about four horsepower, and he drove it 1,000 miles. The first, and for a long time the only automobile in Detroit, it was too heavy to suit Mr. Ford, who sold it in 1896 for $200, to get funds to experiment on a lighter car. Later, when he became successful, he repurchased his first car for $100 as a memento of his early days. Named Chief Engineer Meanwhile, he had become chief engineer of the electric company at $125 a month, but his superiors had no more use for his gas engine experiments than had his father. They offered to make him general superintendent of the company, but only on condition that he give up gasoline and devote himself entirely to electricity. He had the courage of his convictions, and he quit his job at the age of 36, on Aug. 15, 1899--a most important date, in view of later developments, in the automotive industry. Mr. Ford had no money, but he persuaded a group of men to organize the Detroit Automobile Company to manufacture his car. The company made and sold a few cars on his original model, but after two years Mr. Ford broke with his associates over a fundamental question of policy. He already had envisioned the mass production of cars which could be sold in large quantities at small profits, while his backers were convinced that the automobile was a luxury, to be produced in small quantities at large profits per unit. Rented One-Story Shed Built Car for Barney Oldfield Which Won All Its Races Renting a one-story brick shed in Detroit, Mr. Ford spent the year 1902 experimenting with two- cylinder and four-cylinder motors. By that time the public had become interested in the speed possibilities of the automobile, which was no longer regarded as a freak. To capitalize on this interest, he built two racing cards, the "999" and the "Arrow," each with a four-cylinder engine developing eighty horsepower. The "999," with the celebrated Barney Oldfield at its wheel, won every race in which it was entered. The resulting publicity helped Mr. Ford to organize the Ford Motor Company, which was capitalized at $100,000, although actually only $28,000 in stock was subscribed. From the beginning Mr. Ford held majority control of this company. In 1919 he and his son, Edsel, became its sole owners, when they bought out the minority stockholders for $70,000,000. In 1903 the Ford Motor Company sold 1,708 two-cylinder, eight horsepower automobiles. Its operations were soon threatened, however, by a suit for patent infringement brought against it by the Licensed Association of Automobile Manufacturers, who held the rights to a patent obtained by George B. Selden of Rochester, N.Y., in 1895, covering the combination of a gasoline engine and a road locomotive. After protracted litigation, Mr. Ford won the suit when the Supreme Court held that the Selden patent was invalid. From the beginning of his industrial career, Mr. Ford had in mind the mass production of a car which he could produce and sell at large quantity and low cost, but he was balked for several years by the lack of a steel sufficiently light and strong for his purpose. By chance one day, picking up the pieces of a French racing car that had been wrecked at Palm Beach, he discovered vanadium steel, which had not been manufactured in the United States up to that time. With this material he began the new era of mass production. He concentrated on a single type of chassis, the celebrated Model T, and specified that "any customer can have a car painted any color he wants, so long as it is black." On Oct. 1, 1908, he began the production of Model T, which sold for $850. The next year he sold 10,600 cars of this model. Cheap and reliable, the car had a tremendous success. In seven years he built and sold 1,000,000 Fords; by 1925 he was producing them at the rate of almost 2,000,000 a year. He established two cardinal economic policies during this tremendous expansion: the continued cutting of the cost of the product as improved methods of production made it possible, and the payment of higher wages to his employes. By 1926 the cost of the Model T had been cut to $310, although it was vastly superior to the 1908 model. In January, 1914, he established a minimum pay rate of $5 a day for an eight-hour day, thereby creating a national sensation. Up to that time the average wage throughout his works had been $2.40 a nine-hour day. Devised Conveyor Line Each Workman Performed One Specialized Operation These policies were made feasible by the revolutionary organization of production devised by Mr. Ford. Under the old factory system, a single workman constructed an entire spring, using several different tools and performing many different operations in the process. Mr. Ford substituted an arrangement under which each worker performed a single specialized operation, which was simplified to the utmost by scientific study. To make a single leaf of a spring, for instance, eleven workmen stood in line, each using a single tool. A moving conveyor belt carried the steel from which the leaf was made along the line, at waist-high level. The workers never had to stoop or move to get anything, and the speed at which they worked was controlled by the speed of the conveyor rather than the desires of the workmen. Every part of the automobile had its own conveyor line, carefully integrated to bring the various parts to completion in the proper ratio. In later years Mr. Ford found it wasteful to assemble the cars at the great River Rouge plant in Dearborn, Mich., which instead was limited to the manufacture of parts. These were shipped to assembly plants scattered throughout the United States and in many foreign countries. Bought Own Mines and Forests In order to reduce costs and eliminate intermediate profits on raw materials and transportation, Mr. Ford purchased his own coal mines, iron mines and forests, his own railways and his own lake and ocean steamships, all of which he operated on the Ford system of high wages, high production and low cost. Ownership of these collateral industries enabled Mr. Ford to keep down waste in men, time and material. At the River Rouge plant, for example, iron from the furnace goes directly into the foundries and is poured without reheating. The slag from the furnace is used in a cement plant and all the steel scrap is converted by a combination of electric furnaces and a large rolling mill. In the Ford sawmills the parts are sawed directly from the logs, instead of converting the logs into lumber first. All the wood-working is done at the forest mill, the waste goes to a wood-distillation plant, and there is no waste in shipment. The phenomenal success of the new system of production made Mr. Ford not only fabulously rich, but internationally famous, within a comparatively few years. His own very positive and often unusual opinions added to his reknown. In the winter of 1915-16 he was convinced by a group of pacifists, of whom Rozika Schwimmer was the best known, that the warring nations in Europe were ready for peace and that a dramatic gesture would be enough to end the war. Chartered Peace Liners Mr. Ford chartered an ocean liner, the Oskar II, with the avowed purpose of "getting the boys out of the trenches by Christmas," and sailed from New York on Dec. 4, 1915, with a curiously assorted group of companions. The mission was ridiculed and failed to achieve anything. Mr. Ford himself left the party at Christiania, now Oslo, and returned home. "We learn more from our failures than from our successes," was his comment. When the United States declared war on Germany in April, 1917, Mr. Ford placed the industrial facilities of his plants at the disposal of the Government, although he had previously refused orders from belligerent countries. During the war he produced large quantities of automobiles, trucks, ambulances, Liberty airplane motors, munitions, whippet tanks and Eagle submarine chasers. President Wilson persuaded Mr. Ford to become a candidate for United States Senator in 1918, although the manufacturer had never before displayed any particular interest in party politics. Going before the voters in the primaries on both the Democratic and Republican tickets, he received the Democratic nomination, but was defeated in the election by Truman H. Newberry, Republican, whose majority was reduced from 7,567 to 4,000 in a Senate recount. Previously Michigan had normally returned a Republican majority of 100,000 so that the closeness of the 1918 election showed Mr. Ford's personal popularity with the voters. Mr. Ford retired as active head of the Ford Motor Company in 1918, at the age of 55, turning over the presidency to his son, Edsel, and announcing his intention of devoting himself thereafter to the development of his farm tractor, the Fordson, and to the publication of his weekly journal, The Dearborn Independent. Sued Chicago Tribune In 1919 Mr. Ford sued The Chicago Tribune for $1,000,000 on the ground of libel, because of an editorial which was headed "Ford Is an Anarchist," and which accused him of having been pro- German during the war. The jury awarded him a verdict of 6 cents, but only after counsel for the defense had subjected him to a pitiless cross-examination which revealed him to be almost without knowledge of subjects outside his own field. His activities as publisher of The Dearborn Independent involved him in another highly publicized libel suit. The weekly published a series of articles, which were widely criticized as anti-Semitic. Aaron Sapiro, a Chicago lawyer, brought suit for $1,000,000 on the ground that his reputation as an organizer of farmers' cooperative marketing organizations had been damaged by articles which charged that a Jewish conspiracy was seeking to win control of American agriculture. On the witness stand Mr. Ford disclaimed animosity toward the Jews. "It was brought out that, although a column in the paper was labeled as his, he did not write it nor did he read the publication. The editor wrote articles expounding Mr. Ford's economic and social ideas after consulting with him. Mr. Ford settled the suit without disclosing the terms of settlement and discontinued the paper. He appeased his critics by making a public apology, in which he explained he had discovered the articles were doing harm by the prejudice they created. Weathered 1921 Crisis Refused Assistance of Bankers And Proved Resourcefulness The 1921 business depression brought the Ford Motor Company its most severe financial crisis, and served to demonstrate both Mr. Ford's antipathy to bankers, and his resourcefulness. When it became acute the company had obligations of $58,000,000 due between Jan. 1 and April 18, and only $20,000,000 with which to meet them. Investment bankers were convinced that he would have to go to them "hat in hand," and an officer of one large New York bank journeyed to Detroit to offer Mr. Ford a large loan on the condition that a representative of the bankers be appointed treasurer of the Ford Motor Company with full control over its finances. Mr. Ford silently handed him his hat. He loaded up Ford dealers throughout the country with all the cars they could possibly handle and compelled them to pay cash, thereby adding nearly $25,000,000 to the funds in hand. Then, by purchasing a railroad of his own, the Detroit, Toledo & Ironton, and by other economies, he cut one-third from the time his raw materials and finished products were in transit. Thereby he was able to decrease by one-third the inventory of goods he needed on hand for uninterrupted production, and to release $28,000,000 from capital funds to ready cash. Raised More than Needed In addition he realized nearly $8,000,000 from the sale of Liberty bonds, nearly $4,000,000 from the sale of by-products and $3,000,000 in collections from Ford agents in foreign countries. On April 1, consequently, he had more than $87,000,000 in cash, or $27,000,000 more than he needed to wipe out all the indebtedness. Furthermore, by rigid economies of labor and materials hitherto thought impossible, he cut the overhead cost on each car from $146 to $93. The crisis over, Mr. Ford severed all connections with the banks, except as a depositor. In fact, he became a competitor of the banks, frequently loaning several millions on call in the New York money market. He made a practice of carrying tremendous amounts on deposit in banks throughout the United States and in other countries. Bankers reported that he invariably drove a hard bargain in placing these funds. He often exacted a special rate of interest when his balance was to be above a certain amount for a certain time. During the calm and increasingly prosperous years of the middle Nineteen Twenties Mr. Ford's business continued to grow, but more and more of his energies were devoted to his outside interests. He attempted in vain to interest the younger generation in old-fashioned dances and fiddlers. In 1923 he purchased the Wayside Inn at South Sudbury, Mass., which had been the subject of Longfellow's "Tales of a Wayside Inn," and restored it. Mr. Ford startled the country late in 1926 by announcing the permanent adoption of the five-day week for his factories, after trying it out for some time. He declared that the five-day week would open the way to greater prosperity than that which the country then enjoyed and which he attributed to the eight-hour day and high wages, because they gave people time and money to consume the goods they produced. Without the five-day week, he said, the country would not be able to absorb the results of mass production and remain prosperous. Developed Model A Met Chevrolet Competition by Turning Out New Car Late that same year Mr. Ford met his greatest industrial crisis. In 1924 the Ford company had manufactured about two-thirds of all the automobiles produced in this country, but by 1926 the Chevrolet car, manufactured by the General Motors Corporation, had become a serious competitor. Its production mounted from 25,000 in January, 1926, to 77,000 in November, while Ford sales dropped. Mr. Ford closed his plants late in 1926 while he experimented with a six-cylinder model. He finally abandoned the Model T the next year, substituting the Model A, which became almost as well known. To produce the new model Mr. Ford had to make over almost his entire system of production, retooling his plants and retraining his workers, a feat of industrial renovation which many experts had contended would prove impossible. The new model proved popular with the buying public, and the Ford Motor Company continued to expand. In 1928 Mr. Ford organized the British Ford Company, and subsequently began operations in other European countries. In Germany the German Ford Company was organized with the German dye trust as one of its principal stockholders. Aided Soviet Industrialization Mr. Ford had long regarded Soviet Russia as a potential market of great importance. By agreeing to aid in the construction of an automobile factory at Nizhni-Novgorod, and by providing technological assistance in the development of the automobile industry in the Soviet Union, Mr. Ford sold $30,000,000 worth of products to Russia, and, incidentally, gave added impetus to the industrialization of that country, which was to prove of such importance in later years. When the stock market collapse of October, 1929, precipitated the great depression, Mr. Ford was one of the business and industrial leaders who were summoned to the White House by President Hoover. Unlike some industrialists who favored deflation of wages, Mr. Ford argued that the maintenance of purchasing power was of paramount importance. Although the Ford Motor Company lost as much as $68,000,000 in a single depression year, Mr. Ford maintained his wage policy until the autumn of 1932, when it announced a readjustment from "the highest executive down to the ordinary laborer," including a new minimum wage scale of $4 a day, $1 less than that which he had put into effect eighteen years before. As the depression waned, however, he reverted to his high-wage policy and in 1935 established a minimum of $6 a day. Mr. Ford was a central figure in the banking crisis which led to the closing of the Detroit banks in February, 1933, which in turn precipitated the chain of events that resulted in the national bank holiday when President Roosevelt was inaugurated the next month. When the collapse came the Ford Motor Company had about $32,500,000 on deposit in various banks of the Guardian Detroit Union group, and Edsel Ford personally and the Ford Motor Company had made loans of about $12,000,000 in cash and securities to try to stave off the closing. How much the Ford interests lost because of the closing was never publicly revealed, but Edsel Ford subsequently helped to organize and capitalize a new national bank, the Manufacturers National Bank of Detroit, which took over most of the assets and obligations of the Guardian National group. Meanwhile the General Motors Company, Mr. Ford's closest business rival, aided by the Reconstruction Finance Corporation, opened another new bank, the National Bank of Detroit. Early Foe of New Deal Mr. Ford, who had supported Herbert Hoover for re-election in 1932, was regarded as one of the leading foes of the New Deal in the early days of President Roosevelt's Administration, and he refused to sign the automobile code of the National Recovery Administration, which stipulated that employees had a right to organize. In 1936 he supported Gov. Alf M. Landon, stating that the election would "determine if labor and industry in this country can continue under a system of free enterprise." Despite Mr. Roosevelt's triumphant re-election with the strong support of the Committee for Industrial Organization, then headed by John L. Lewis, Mr. Ford remained outspokenly antagonistic to unions. In an interview on Feb. 19, 1937, he advised all workers to "stay out of unions." At the same time he declared that no group of strikers would ever take over a Ford plant. The United Automobile Workers, a CIO union, began a vigorous drive to organize the workers in the Ford plants. The opening blow was a sit-down strike in the Ford plant in Kansas City, ended only by the promise of officials there to treat with the union, a step the Ford company had never taken before. Other sporadic strikes occurred in Ford plants in other sections of the country. Mr. Ford fought back with the argument that his policy of high wages and short hours was satisfactory to the bulk of the workers in his plants. He charged that a group of international financiers had gained control of the unions and were utilizing their power to exploit labor and management alike. His Trouble With Union UAW Won 70% Votes After NLRB Ordered Election On May 26, 1937, a group of UAW organizers, including Richard T. Frankensteen and Walter Reuther, were distributing organizing literature outside the gate of the Ford plant at River Rouge, when they were set upon and badly beaten. The union charged that the beatings were administered by Ford company police. The Ford Motor Company denied this. After lengthy hearings the National Labor Relations Board found the Ford Motor Company guilty of unfair labor practices. The Ford company fought the issue through the courts to the United States Supreme Court, which, in effect, upheld the finding by refusing to review it. In April, 1941, the UAW called a strike in the Ford plants and the NLRB held an election under the Wagner Act to determine the collective bargaining spokesman for the employes. When the votes were counted in June, 1941, the UAW was found to have won about 70 per cent of them. With characteristic vigor, Mr. Ford, long looked upon as perhaps the strongest foe of unionism, did a complete about face. He signed a contract with the union which gave them virtually everything for which they had asked, including a union shop and a dues check-off system. In the early days of the second World War, Mr. Ford opposed our entry into it and, true to his pacifist convictions, refused to manufacture airplane motors for Great Britain. He compelled the cancellation of a contract made by his son, Edsel, calling for the production of 6,000 Rolls- Royce engines for Great Britain, and 3,000 of the same type for the United States. To support his contention that the United States was in no danger Mr. Ford, in May, 1940, stated that if it should become necessary the Ford Motor Company could "under our own supervision, and without meddling by Government agencies, swing into the production of a thousand airplanes of standard design a day." As the pressure for re-armament became greater, Mr. Ford was compelled by public opinion to agree to build planes for the United States. The net result was the celebrated Willow Run plant for the construction of four-motored bombers. At its construction it was the largest single manufacturing establishment in the world, occupying a building 3,200 feet long and 1,280 feet wide, with 2,547,000 feet of floor space. In addition there were hangars with another 1,200,000 feet of floor space, and an adjacent air field larger than La Guardia Field in this city. Produced 8,000 B-24's Plant at Willow Run Turned Out One Bomber an Hour Ground was broken for the plant on April 18, 1941, and the first of the thirty-ton B-24-E bombers came off its assembly line a little more than a year later, in May, 1942. For a time the plant was under severe criticism on the ground that it was not producing at the rate that had been anticipated, but this was eventually stilled when the gigantic factory began turning out bombers at the rate of one an hour, twenty-four hours a day. By the spring of 1945, when the War Department announced that the production of Liberator bombers would be discontinued, Willow Run had produced more than 8,000 of them. In May, 1945, a spokesman for the company revealed that it had no plans for the post-war utilization of the gigantic factory, and that it planned to turn it back to the Defense Plant Corporation, the Government agency which had put up the $100,000,000 it cost. When Mr. Ford resumed the active management of the company, after the unexpected death of his son, Edsel, he began a series of changes in its high officials. In March, 1944, Charles E. Sorenson, who had been considered for years as its greatest production expert, announced his retirement from the company. Not long after that Mr. Ford's personal secretary, Ernest G. Liebold, was dismissed, after having been one of the company's top executives for many years. The Ford company asked for and obtained the release of Henry Ford 2d, son of Edsel Ford, from the Navy, in which he had served for two and a half years and had risen to the rank of lieutenant, on the ground that he was needed in the executive end of the business. Mr. Ford let it be known that he was grooming his grandson and namesake, then 26 years old, for the eventual leadership of the business. From time to time Mr. Ford gave interviews in which he emphasized his favorite beliefs: the folly of war, the need for world federation, the decentralization of industry, the advantages of hard work, utilitarian education, abstemiousness and simple pleasures. He was opposed to the use of tobacco and liquor, and he hated idling. In a characteristic interview in September, 1944, he made known his adherence to his old doctrine of high wages for his employes. Declaring his intention of raising the wages of his workers as soon as the Government would allow him to do so, Mr. Ford said: "As long as I live I want to pay the highest wages in the automobile industry. If the men in our plants will give a full day's work for a full day's pay, there is no reason why we can't always do it. Every man should make enough money to own a home, a piece of land and a car." Mr. Ford was an ardent collector of Americana. In 1928 he established, and endowed with $5,000,000 a museum at Dearborn to commemorate the inventions of his old friend, Thomas A. Edison. The Menlo Park Laboratory, in which Mr. Edison perfected the electric light, was completely restored in the museum. Mr. Ford also built Greenfield Village, a reproduction of the community in which Mrs. Ford, who was Clara Bryant before their marriage in 1887, was born. There he brought the original log cabin in which McGuffey, author of the celebrated reader, was born; the court house in which Abraham Lincoln first practiced law, and the home of Stephen Foster's parents, as well as momentos of his own youth. One of his lifelong interests was in the training of youth to earn a livelihood, and he established various vocational schools for the purpose. He also made it a policy to employ a fixed proportion of blind persons and other handicapped individuals in his plants, and took a keen interest in the rehabilitation of wounded war veterans. At its convention in September, 1944, the American Legion awarded to him its Distinguished Service Medal for his efforts in behalf of disabled veterans of both world wars.

1940s

Ed Gagliardi, Al Greenwood and Dennis Elliot have all been in which group?

Henry Ford Is Dead at 83 in Dearborn Henry Ford Is Dead at 83 in Dearborn By THE ASSOCIATED PRESS DETROIT, April 7--Henry Ford, noted automotive pioneer, died at 11:40 tonight at the age of 83. He had retired a little more than a year and a half ago from active direction of the great industrial empire he founded in 1903. When he retired Mr. Ford was in excellent health, but turned over the management of the vast empire to his grandson. Henry Ford 2d, because, he said, he wanted to devote more time to personal interests. Death came to the famed industrialist at his estate in Fairlane, in suburban Dearborn, not far from where he was born in 1863. At the Ford Company news bureau offices it was said that the exact cause of death would not be known until Henry Ford 2d, his grandson, could reach the family home, perhaps within an hour. Mr. Ford was reported to have been in excellent health when he returned only a week ago from his annual winter visit to the Ford estate in Georgia. Kept Interest in Research The automobile industry leader dropped completely out of the management of the far-flung Ford Company when he resigned as president late in 1945. He had been able to spend some time each week at the Ford engineering laboratory, where he maintained a private office and workshop, but was rarely seen about the administration building, where affairs of the big company were directed. There were many reports that the elder Ford had given up his leadership of the Ford interests at the insistence of other members of his family, particularly the widow of his only son, the late Edsel B. Ford. Although never confirmed officially, reports had it that she was dissatisfied with the course of company affairs. He leaves a widow, the former Clara Bryant, whom he married in 1887, and two grandsons, Henry 2d and Benson. Father of Mass Production Henry Ford was the founder of modern American industrial mass production methods, built on the assembly line and the belt conveyor system, which no less an authority than Marshal Josef Stalin testified were the indispensable foundation for an Allied military victory in the Second World War. Mr. Ford had many other distinctions. As the founder and unchallenged master of an industrial empire with assets of more than a billion dollars, he was one of the richest men in the world. He was the apostle of an economic philosophy of high wages and short hours that had immense repercussions on American thinking. He was a patron of American folkways and in later years acquired a reputation as a shrewd, kindly sage. But these were all relatively minor compared with the revolutionary importance of his contribution to modern productive processes. His career was one of the most astonishing in industrial history. Nearing the age of 40 he was looked upon as a failure by his acquaintances--as a day-dreaming mechanic who preferred to tinker with odd machines than to work steadily at a responsible job. Yet within a dozen years he was internationally famous, and his Model T automobile was effecting changes in the American way of life of profound importance. He lived to see the Ford Motor Company, which he founded with an initial investment of $28,000 put up by a few friends and neighbors who had faith in him, produce more than 29,000,000 automobiles before the war forced the conversion of its gigantic production facilities to weapons of war. Then he directed its production of more than 8,000 four-motored Liberator bombers, as well as tanks, tank destroyers, jeeps and amphibious jeeps, transport gliders, trucks, engines and much other equipment. Struck a cruel blow shortly before his eightieth birthday by the death of his only son, Edsel Ford, on May 26, 1943, Mr. Ford unfalteringly returned to the presidency of the Ford Motor Company, which he had yielded to his son twenty-four years previously. He remained at its helm as it reached the peak of its gigantic war production, directing the war-expanded force of 190,000 workers. Mr. Ford was born on July 30, 1863, on a farm near Dearborn, nine miles west of Detroit. He was the eldest of six children. His mother died when he was 12 years of age. He went to school until he was 15. Throughout his schooldays he worked on the farm after school hours and during vacations. His mechanical bent first showed itself in an intense interest in the mechanism of watches. When he was 13 he took a watch apart and put it together again so that it would work. He had to do this work secretly at night, after he had finished his chores on the farm, because his father wanted to discourage his mechanical ambitions. His tools were home-made and were limited to a screwdriver and a pair of tweezers, fashioned respectively from a knitting needle and an old watch spring. In 1879, at the age of 16, he took the step that foreshadowed his remarkable career. He ran away from home. Walking all the way to Detroit, almost penniless, he went to work as an apprentice in a machine shop. He did this in order to learn all he could of the making of machinery. He received $2.50 a week for ten hours a day, six days a week--a far cry from the wages paid in the Ford factories today. As he had to pay $3.50 a week for board and lodging, he took another job, working from 7 to 11 o'clock every night for a jeweler, for $2 more a week. Built a Steam Tractor Returning to his father's farm to live, he spent his spare time for several years endeavoring to evolve a practical farm tractor of relatively small size and cost. He succeeded in building a steam tractor with a one-cylinder engine, but was unable to devise a boiler light enough to make the tractor practicable. For several years he confined himself to cutting the timber on forty acres his father had given him; operating a sawmill and repairing farm machinery for his neighbors. Convinced that the steam engine was unsuited to light vehicles, he turned to the internal combustion engine, which he had read about in English scientific periodicals, as a means of locomotion for the "horseless carriage" of which he and other automobile inventors had dreamed. For several years he spent most of his spare time reading about and experimenting with the gasoline engine. In 1890 he got a job as engineer and machinist with the Detroit Edison Company at $45 a month, and moved to Detroit. He set up a workshop in his backyard and continued his experiments after hours. He completed his first "gasoline buggy" in 1892. It had a two-cylinder engine, which developed about four horsepower, and he drove it 1,000 miles. The first, and for a long time the only automobile in Detroit, it was too heavy to suit Mr. Ford, who sold it in 1896 for $200, to get funds to experiment on a lighter car. Later, when he became successful, he repurchased his first car for $100 as a memento of his early days. Named Chief Engineer Meanwhile, he had become chief engineer of the electric company at $125 a month, but his superiors had no more use for his gas engine experiments than had his father. They offered to make him general superintendent of the company, but only on condition that he give up gasoline and devote himself entirely to electricity. He had the courage of his convictions, and he quit his job at the age of 36, on Aug. 15, 1899--a most important date, in view of later developments, in the automotive industry. Mr. Ford had no money, but he persuaded a group of men to organize the Detroit Automobile Company to manufacture his car. The company made and sold a few cars on his original model, but after two years Mr. Ford broke with his associates over a fundamental question of policy. He already had envisioned the mass production of cars which could be sold in large quantities at small profits, while his backers were convinced that the automobile was a luxury, to be produced in small quantities at large profits per unit. Rented One-Story Shed Built Car for Barney Oldfield Which Won All Its Races Renting a one-story brick shed in Detroit, Mr. Ford spent the year 1902 experimenting with two- cylinder and four-cylinder motors. By that time the public had become interested in the speed possibilities of the automobile, which was no longer regarded as a freak. To capitalize on this interest, he built two racing cards, the "999" and the "Arrow," each with a four-cylinder engine developing eighty horsepower. The "999," with the celebrated Barney Oldfield at its wheel, won every race in which it was entered. The resulting publicity helped Mr. Ford to organize the Ford Motor Company, which was capitalized at $100,000, although actually only $28,000 in stock was subscribed. From the beginning Mr. Ford held majority control of this company. In 1919 he and his son, Edsel, became its sole owners, when they bought out the minority stockholders for $70,000,000. In 1903 the Ford Motor Company sold 1,708 two-cylinder, eight horsepower automobiles. Its operations were soon threatened, however, by a suit for patent infringement brought against it by the Licensed Association of Automobile Manufacturers, who held the rights to a patent obtained by George B. Selden of Rochester, N.Y., in 1895, covering the combination of a gasoline engine and a road locomotive. After protracted litigation, Mr. Ford won the suit when the Supreme Court held that the Selden patent was invalid. From the beginning of his industrial career, Mr. Ford had in mind the mass production of a car which he could produce and sell at large quantity and low cost, but he was balked for several years by the lack of a steel sufficiently light and strong for his purpose. By chance one day, picking up the pieces of a French racing car that had been wrecked at Palm Beach, he discovered vanadium steel, which had not been manufactured in the United States up to that time. With this material he began the new era of mass production. He concentrated on a single type of chassis, the celebrated Model T, and specified that "any customer can have a car painted any color he wants, so long as it is black." On Oct. 1, 1908, he began the production of Model T, which sold for $850. The next year he sold 10,600 cars of this model. Cheap and reliable, the car had a tremendous success. In seven years he built and sold 1,000,000 Fords; by 1925 he was producing them at the rate of almost 2,000,000 a year. He established two cardinal economic policies during this tremendous expansion: the continued cutting of the cost of the product as improved methods of production made it possible, and the payment of higher wages to his employes. By 1926 the cost of the Model T had been cut to $310, although it was vastly superior to the 1908 model. In January, 1914, he established a minimum pay rate of $5 a day for an eight-hour day, thereby creating a national sensation. Up to that time the average wage throughout his works had been $2.40 a nine-hour day. Devised Conveyor Line Each Workman Performed One Specialized Operation These policies were made feasible by the revolutionary organization of production devised by Mr. Ford. Under the old factory system, a single workman constructed an entire spring, using several different tools and performing many different operations in the process. Mr. Ford substituted an arrangement under which each worker performed a single specialized operation, which was simplified to the utmost by scientific study. To make a single leaf of a spring, for instance, eleven workmen stood in line, each using a single tool. A moving conveyor belt carried the steel from which the leaf was made along the line, at waist-high level. The workers never had to stoop or move to get anything, and the speed at which they worked was controlled by the speed of the conveyor rather than the desires of the workmen. Every part of the automobile had its own conveyor line, carefully integrated to bring the various parts to completion in the proper ratio. In later years Mr. Ford found it wasteful to assemble the cars at the great River Rouge plant in Dearborn, Mich., which instead was limited to the manufacture of parts. These were shipped to assembly plants scattered throughout the United States and in many foreign countries. Bought Own Mines and Forests In order to reduce costs and eliminate intermediate profits on raw materials and transportation, Mr. Ford purchased his own coal mines, iron mines and forests, his own railways and his own lake and ocean steamships, all of which he operated on the Ford system of high wages, high production and low cost. Ownership of these collateral industries enabled Mr. Ford to keep down waste in men, time and material. At the River Rouge plant, for example, iron from the furnace goes directly into the foundries and is poured without reheating. The slag from the furnace is used in a cement plant and all the steel scrap is converted by a combination of electric furnaces and a large rolling mill. In the Ford sawmills the parts are sawed directly from the logs, instead of converting the logs into lumber first. All the wood-working is done at the forest mill, the waste goes to a wood-distillation plant, and there is no waste in shipment. The phenomenal success of the new system of production made Mr. Ford not only fabulously rich, but internationally famous, within a comparatively few years. His own very positive and often unusual opinions added to his reknown. In the winter of 1915-16 he was convinced by a group of pacifists, of whom Rozika Schwimmer was the best known, that the warring nations in Europe were ready for peace and that a dramatic gesture would be enough to end the war. Chartered Peace Liners Mr. Ford chartered an ocean liner, the Oskar II, with the avowed purpose of "getting the boys out of the trenches by Christmas," and sailed from New York on Dec. 4, 1915, with a curiously assorted group of companions. The mission was ridiculed and failed to achieve anything. Mr. Ford himself left the party at Christiania, now Oslo, and returned home. "We learn more from our failures than from our successes," was his comment. When the United States declared war on Germany in April, 1917, Mr. Ford placed the industrial facilities of his plants at the disposal of the Government, although he had previously refused orders from belligerent countries. During the war he produced large quantities of automobiles, trucks, ambulances, Liberty airplane motors, munitions, whippet tanks and Eagle submarine chasers. President Wilson persuaded Mr. Ford to become a candidate for United States Senator in 1918, although the manufacturer had never before displayed any particular interest in party politics. Going before the voters in the primaries on both the Democratic and Republican tickets, he received the Democratic nomination, but was defeated in the election by Truman H. Newberry, Republican, whose majority was reduced from 7,567 to 4,000 in a Senate recount. Previously Michigan had normally returned a Republican majority of 100,000 so that the closeness of the 1918 election showed Mr. Ford's personal popularity with the voters. Mr. Ford retired as active head of the Ford Motor Company in 1918, at the age of 55, turning over the presidency to his son, Edsel, and announcing his intention of devoting himself thereafter to the development of his farm tractor, the Fordson, and to the publication of his weekly journal, The Dearborn Independent. Sued Chicago Tribune In 1919 Mr. Ford sued The Chicago Tribune for $1,000,000 on the ground of libel, because of an editorial which was headed "Ford Is an Anarchist," and which accused him of having been pro- German during the war. The jury awarded him a verdict of 6 cents, but only after counsel for the defense had subjected him to a pitiless cross-examination which revealed him to be almost without knowledge of subjects outside his own field. His activities as publisher of The Dearborn Independent involved him in another highly publicized libel suit. The weekly published a series of articles, which were widely criticized as anti-Semitic. Aaron Sapiro, a Chicago lawyer, brought suit for $1,000,000 on the ground that his reputation as an organizer of farmers' cooperative marketing organizations had been damaged by articles which charged that a Jewish conspiracy was seeking to win control of American agriculture. On the witness stand Mr. Ford disclaimed animosity toward the Jews. "It was brought out that, although a column in the paper was labeled as his, he did not write it nor did he read the publication. The editor wrote articles expounding Mr. Ford's economic and social ideas after consulting with him. Mr. Ford settled the suit without disclosing the terms of settlement and discontinued the paper. He appeased his critics by making a public apology, in which he explained he had discovered the articles were doing harm by the prejudice they created. Weathered 1921 Crisis Refused Assistance of Bankers And Proved Resourcefulness The 1921 business depression brought the Ford Motor Company its most severe financial crisis, and served to demonstrate both Mr. Ford's antipathy to bankers, and his resourcefulness. When it became acute the company had obligations of $58,000,000 due between Jan. 1 and April 18, and only $20,000,000 with which to meet them. Investment bankers were convinced that he would have to go to them "hat in hand," and an officer of one large New York bank journeyed to Detroit to offer Mr. Ford a large loan on the condition that a representative of the bankers be appointed treasurer of the Ford Motor Company with full control over its finances. Mr. Ford silently handed him his hat. He loaded up Ford dealers throughout the country with all the cars they could possibly handle and compelled them to pay cash, thereby adding nearly $25,000,000 to the funds in hand. Then, by purchasing a railroad of his own, the Detroit, Toledo & Ironton, and by other economies, he cut one-third from the time his raw materials and finished products were in transit. Thereby he was able to decrease by one-third the inventory of goods he needed on hand for uninterrupted production, and to release $28,000,000 from capital funds to ready cash. Raised More than Needed In addition he realized nearly $8,000,000 from the sale of Liberty bonds, nearly $4,000,000 from the sale of by-products and $3,000,000 in collections from Ford agents in foreign countries. On April 1, consequently, he had more than $87,000,000 in cash, or $27,000,000 more than he needed to wipe out all the indebtedness. Furthermore, by rigid economies of labor and materials hitherto thought impossible, he cut the overhead cost on each car from $146 to $93. The crisis over, Mr. Ford severed all connections with the banks, except as a depositor. In fact, he became a competitor of the banks, frequently loaning several millions on call in the New York money market. He made a practice of carrying tremendous amounts on deposit in banks throughout the United States and in other countries. Bankers reported that he invariably drove a hard bargain in placing these funds. He often exacted a special rate of interest when his balance was to be above a certain amount for a certain time. During the calm and increasingly prosperous years of the middle Nineteen Twenties Mr. Ford's business continued to grow, but more and more of his energies were devoted to his outside interests. He attempted in vain to interest the younger generation in old-fashioned dances and fiddlers. In 1923 he purchased the Wayside Inn at South Sudbury, Mass., which had been the subject of Longfellow's "Tales of a Wayside Inn," and restored it. Mr. Ford startled the country late in 1926 by announcing the permanent adoption of the five-day week for his factories, after trying it out for some time. He declared that the five-day week would open the way to greater prosperity than that which the country then enjoyed and which he attributed to the eight-hour day and high wages, because they gave people time and money to consume the goods they produced. Without the five-day week, he said, the country would not be able to absorb the results of mass production and remain prosperous. Developed Model A Met Chevrolet Competition by Turning Out New Car Late that same year Mr. Ford met his greatest industrial crisis. In 1924 the Ford company had manufactured about two-thirds of all the automobiles produced in this country, but by 1926 the Chevrolet car, manufactured by the General Motors Corporation, had become a serious competitor. Its production mounted from 25,000 in January, 1926, to 77,000 in November, while Ford sales dropped. Mr. Ford closed his plants late in 1926 while he experimented with a six-cylinder model. He finally abandoned the Model T the next year, substituting the Model A, which became almost as well known. To produce the new model Mr. Ford had to make over almost his entire system of production, retooling his plants and retraining his workers, a feat of industrial renovation which many experts had contended would prove impossible. The new model proved popular with the buying public, and the Ford Motor Company continued to expand. In 1928 Mr. Ford organized the British Ford Company, and subsequently began operations in other European countries. In Germany the German Ford Company was organized with the German dye trust as one of its principal stockholders. Aided Soviet Industrialization Mr. Ford had long regarded Soviet Russia as a potential market of great importance. By agreeing to aid in the construction of an automobile factory at Nizhni-Novgorod, and by providing technological assistance in the development of the automobile industry in the Soviet Union, Mr. Ford sold $30,000,000 worth of products to Russia, and, incidentally, gave added impetus to the industrialization of that country, which was to prove of such importance in later years. When the stock market collapse of October, 1929, precipitated the great depression, Mr. Ford was one of the business and industrial leaders who were summoned to the White House by President Hoover. Unlike some industrialists who favored deflation of wages, Mr. Ford argued that the maintenance of purchasing power was of paramount importance. Although the Ford Motor Company lost as much as $68,000,000 in a single depression year, Mr. Ford maintained his wage policy until the autumn of 1932, when it announced a readjustment from "the highest executive down to the ordinary laborer," including a new minimum wage scale of $4 a day, $1 less than that which he had put into effect eighteen years before. As the depression waned, however, he reverted to his high-wage policy and in 1935 established a minimum of $6 a day. Mr. Ford was a central figure in the banking crisis which led to the closing of the Detroit banks in February, 1933, which in turn precipitated the chain of events that resulted in the national bank holiday when President Roosevelt was inaugurated the next month. When the collapse came the Ford Motor Company had about $32,500,000 on deposit in various banks of the Guardian Detroit Union group, and Edsel Ford personally and the Ford Motor Company had made loans of about $12,000,000 in cash and securities to try to stave off the closing. How much the Ford interests lost because of the closing was never publicly revealed, but Edsel Ford subsequently helped to organize and capitalize a new national bank, the Manufacturers National Bank of Detroit, which took over most of the assets and obligations of the Guardian National group. Meanwhile the General Motors Company, Mr. Ford's closest business rival, aided by the Reconstruction Finance Corporation, opened another new bank, the National Bank of Detroit. Early Foe of New Deal Mr. Ford, who had supported Herbert Hoover for re-election in 1932, was regarded as one of the leading foes of the New Deal in the early days of President Roosevelt's Administration, and he refused to sign the automobile code of the National Recovery Administration, which stipulated that employees had a right to organize. In 1936 he supported Gov. Alf M. Landon, stating that the election would "determine if labor and industry in this country can continue under a system of free enterprise." Despite Mr. Roosevelt's triumphant re-election with the strong support of the Committee for Industrial Organization, then headed by John L. Lewis, Mr. Ford remained outspokenly antagonistic to unions. In an interview on Feb. 19, 1937, he advised all workers to "stay out of unions." At the same time he declared that no group of strikers would ever take over a Ford plant. The United Automobile Workers, a CIO union, began a vigorous drive to organize the workers in the Ford plants. The opening blow was a sit-down strike in the Ford plant in Kansas City, ended only by the promise of officials there to treat with the union, a step the Ford company had never taken before. Other sporadic strikes occurred in Ford plants in other sections of the country. Mr. Ford fought back with the argument that his policy of high wages and short hours was satisfactory to the bulk of the workers in his plants. He charged that a group of international financiers had gained control of the unions and were utilizing their power to exploit labor and management alike. His Trouble With Union UAW Won 70% Votes After NLRB Ordered Election On May 26, 1937, a group of UAW organizers, including Richard T. Frankensteen and Walter Reuther, were distributing organizing literature outside the gate of the Ford plant at River Rouge, when they were set upon and badly beaten. The union charged that the beatings were administered by Ford company police. The Ford Motor Company denied this. After lengthy hearings the National Labor Relations Board found the Ford Motor Company guilty of unfair labor practices. The Ford company fought the issue through the courts to the United States Supreme Court, which, in effect, upheld the finding by refusing to review it. In April, 1941, the UAW called a strike in the Ford plants and the NLRB held an election under the Wagner Act to determine the collective bargaining spokesman for the employes. When the votes were counted in June, 1941, the UAW was found to have won about 70 per cent of them. With characteristic vigor, Mr. Ford, long looked upon as perhaps the strongest foe of unionism, did a complete about face. He signed a contract with the union which gave them virtually everything for which they had asked, including a union shop and a dues check-off system. In the early days of the second World War, Mr. Ford opposed our entry into it and, true to his pacifist convictions, refused to manufacture airplane motors for Great Britain. He compelled the cancellation of a contract made by his son, Edsel, calling for the production of 6,000 Rolls- Royce engines for Great Britain, and 3,000 of the same type for the United States. To support his contention that the United States was in no danger Mr. Ford, in May, 1940, stated that if it should become necessary the Ford Motor Company could "under our own supervision, and without meddling by Government agencies, swing into the production of a thousand airplanes of standard design a day." As the pressure for re-armament became greater, Mr. Ford was compelled by public opinion to agree to build planes for the United States. The net result was the celebrated Willow Run plant for the construction of four-motored bombers. At its construction it was the largest single manufacturing establishment in the world, occupying a building 3,200 feet long and 1,280 feet wide, with 2,547,000 feet of floor space. In addition there were hangars with another 1,200,000 feet of floor space, and an adjacent air field larger than La Guardia Field in this city. Produced 8,000 B-24's Plant at Willow Run Turned Out One Bomber an Hour Ground was broken for the plant on April 18, 1941, and the first of the thirty-ton B-24-E bombers came off its assembly line a little more than a year later, in May, 1942. For a time the plant was under severe criticism on the ground that it was not producing at the rate that had been anticipated, but this was eventually stilled when the gigantic factory began turning out bombers at the rate of one an hour, twenty-four hours a day. By the spring of 1945, when the War Department announced that the production of Liberator bombers would be discontinued, Willow Run had produced more than 8,000 of them. In May, 1945, a spokesman for the company revealed that it had no plans for the post-war utilization of the gigantic factory, and that it planned to turn it back to the Defense Plant Corporation, the Government agency which had put up the $100,000,000 it cost. When Mr. Ford resumed the active management of the company, after the unexpected death of his son, Edsel, he began a series of changes in its high officials. In March, 1944, Charles E. Sorenson, who had been considered for years as its greatest production expert, announced his retirement from the company. Not long after that Mr. Ford's personal secretary, Ernest G. Liebold, was dismissed, after having been one of the company's top executives for many years. The Ford company asked for and obtained the release of Henry Ford 2d, son of Edsel Ford, from the Navy, in which he had served for two and a half years and had risen to the rank of lieutenant, on the ground that he was needed in the executive end of the business. Mr. Ford let it be known that he was grooming his grandson and namesake, then 26 years old, for the eventual leadership of the business. From time to time Mr. Ford gave interviews in which he emphasized his favorite beliefs: the folly of war, the need for world federation, the decentralization of industry, the advantages of hard work, utilitarian education, abstemiousness and simple pleasures. He was opposed to the use of tobacco and liquor, and he hated idling. In a characteristic interview in September, 1944, he made known his adherence to his old doctrine of high wages for his employes. Declaring his intention of raising the wages of his workers as soon as the Government would allow him to do so, Mr. Ford said: "As long as I live I want to pay the highest wages in the automobile industry. If the men in our plants will give a full day's work for a full day's pay, there is no reason why we can't always do it. Every man should make enough money to own a home, a piece of land and a car." Mr. Ford was an ardent collector of Americana. In 1928 he established, and endowed with $5,000,000 a museum at Dearborn to commemorate the inventions of his old friend, Thomas A. Edison. The Menlo Park Laboratory, in which Mr. Edison perfected the electric light, was completely restored in the museum. Mr. Ford also built Greenfield Village, a reproduction of the community in which Mrs. Ford, who was Clara Bryant before their marriage in 1887, was born. There he brought the original log cabin in which McGuffey, author of the celebrated reader, was born; the court house in which Abraham Lincoln first practiced law, and the home of Stephen Foster's parents, as well as momentos of his own youth. One of his lifelong interests was in the training of youth to earn a livelihood, and he established various vocational schools for the purpose. He also made it a policy to employ a fixed proportion of blind persons and other handicapped individuals in his plants, and took a keen interest in the rehabilitation of wounded war veterans. At its convention in September, 1944, the American Legion awarded to him its Distinguished Service Medal for his efforts in behalf of disabled veterans of both world wars.

i don't know

"Which song starts, ""On a dark desert highway?"""

EAGLES LYRICS - Hotel California EAGLES LYRICS On a dark desert highway, cool wind in my hair Warm smell of colitas, rising up through the air Up ahead in the distance, I saw a shimmering light My head grew heavy and my sight grew dim I had to stop for the night There she stood in the doorway; I heard the mission bell And I was thinking to myself, "This could be Heaven or this could be Hell" Then she lit up a candle and she showed me the way There were voices down the corridor, I thought I heard them say... Welcome to the Hotel California Such a lovely place (Such a lovely place) Such a lovely face Plenty of room at the Hotel California Any time of year (Any time of year) You can find it here Her mind is Tiffany-twisted, she got the Mercedes bends She got a lot of pretty, pretty boys she calls friends How they dance in the courtyard, sweet summer sweat. Some dance to remember, some dance to forget So I called up the Captain, "Please bring me my wine" He said, "We haven't had that spirit here since nineteen sixty nine" And still those voices are calling from far away, Wake you up in the middle of the night Just to hear them say... Welcome to the Hotel California Such a lovely place (Such a lovely place) Such a lovely face They livin' it up at the Hotel California What a nice surprise (what a nice surprise) Bring your alibis The pink champagne on ice And she said "We are all just prisoners here, of our own device" And in the master's chambers, They gathered for the feast They stab it with their steely knives, But they just can't kill the beast Last thing I remember, I was Running for the door I had to find the passage back To the place I was before "Relax, " said the night man, "We are programmed to receive. You can check-out any time you like, But you can never leave! " Visit www.azlyrics.com for these lyrics. Thanks to Franny, Douglas for correcting these lyrics.

Hotel California

For which movie did Katherine Hepburn win her third Oscar?

The Straight Dope: In the song "Hotel California," what does "colitas" mean? A Straight Dope Classic from Cecil's Storehouse of Human Knowledge In the song "Hotel California," what does "colitas" mean? August 15, 1997 Dear Cecil: Just what does "colitis" mean? In the song "Hotel California" by the Eagles the first lines are, "On a dark desert highway, cool wind in my hair, warm smell of colitis rising up through the air." I remember I tried looking it up at a university library years ago and couldn't find the answer. I know songwriters sometimes make up words, but I didn't see a Dr. Seuss credit on the album. — Wendy Martin, via the Internet Cecil replies: Uh, Wendy. It's colitas, not colitis. Colitis (pronounced koe-LIE-tis) is an inflammation of the large intestine. You're probably thinking of that famous Beatles lyric, "the girl with colitis goes by." As for "Hotel California," you realize a lot of people aren't troubled so much by colitas as by the meaning of the whole damn song. Figuring that we should start with the general and move to the particular, I provide the following commonly heard theories: (1) The Hotel California is a real hotel located in (pick one) Baja California on the coastal highway between Cabo San Lucas and La Paz or else near Santa Barbara. In other words, the song is a hard look at the modern hospitality industry, which is plagued by guests who "check out any time [they] like" but then "never leave." (2) The Hotel California is a mental hospital. I see one guy on the Web has identified it as "Camarillo State Hospital in Ventura County between LA and Santa Barbara." (3) It's about satanism. Isn't everything? (4) Hotel California is a metaphor for cocaine addiction. See "You can check out any time you like but you can never leave." This comes from the published comments of Glenn Frey, one of the coauthors. (5) It's about the pitfalls of living in southern California in the 1970s, my interpretation since first listen. Makes perfect sense, and goddammit, who you going to believe, some ignorant rock star or me? (6) My fave, posted to the Usenet by Thomas Dzubin of Vancouver, British Columbia: "There was this fireworks factory just three blocks from the Hotel California … and it blew up! Big tragedy. One of the workers was named Wurn Snell and he was from the town of Colitas in Greece. One of the workers who escaped the explosion talked to another guy … I think it was probably Don Henley … and Don asked what the guy saw. The worker said, "Wurn Snell of Colitas … rising up through the air." He's also got this bit about "on a dark dessert highway, Cool Whip in my hair." Well, I thought it was funny. OK, back to colitas. Personally I had the idea colitas was a type of desert flower. Apparently not. Type "colitas" into a Web search engine and you get about 50 song-lyric hits plus, curiously, a bunch of citations from Mexican and Spanish restaurant menus. Hmm, one thinks, were the Eagles rhapsodizing about the smell of some good carryout? We asked some native Spanish speakers and learned that colitas is the diminutive feminine plural of the Spanish cola, tail. Little tail. Looking for a little … we suddenly recalled a (male) friend's guess that colitas referred to a certain feature of the female anatomy. We paused. Naah. Back to those menus. "Colitas de langosta enchiladas" was baby lobster tails simmered in hot sauce with Spanish rice. One thinks: you know, I could write a love song around a phrase like that. Enough of these distractions. By and by a denizen of soc.culture.spain wrote: "Colitas is little tails, but here the author is referring to 'colas,' the tip of a marijuana branch, where it is more potent and with more sap (said to be the best part of the leaves)." We knew with an instant shock of certainty that this was the correct interpretation. The Eagles, with the prescience given only to true artists, were touting the virtues of high-quality industrial hemp! And to think some people thought this song was about drugs. Our suspicions confirmed This E-mail just in from Eagles management honcho Irving Azoff: "In response to your [recent] memo, in 1976, during the writing of the song 'Hotel California' by Messrs. Henley and Frey, the word `colitas' was translated for them by their Mexican-American road manager as 'little buds.' You have obviously already done the necessary extrapolation. Thank you for your inquiry." I knew it. A clarification Dear Cecil: Please tell me you were joking when you mentioned the Beatles lyric "the girl with colitis goes by." You were joking, right? You know it's "kaleidoscope eyes." — nancrow Nothing gets by you, Nan. — Cecil Adams

i don't know

What was Rambo's first name?

John Rambo | Rambo Wiki | Fandom powered by Wikia ―John Rambo [src] John Rambo is the main protagonist of the Rambo film series and David Morell's novel First Blood . A former Vietnam veteran and highly skilled Green Beret, Rambo returned from the war as a decorated, but disturbed hero. He is filled with self-loathing and hates killing, but is willing to use his skills to protect those close to him. This is the general plot line of the three First Blood sequels . The main character of the series, Rambo appears in all the films. The only character to come close to this is Sam Trautman , his mentor and commander in Vietnam. The way the character fights, is in some details (such as weapons and modus operandi) based on soldiers that fought anti-guerrilla warfare during the Vietnam war (more informations about Rambo and history here ) Although Rambo appears to be a butch, action stereotype, the character of John Rambo is actually a broken man. He has witnessed all of his friends die, was not loved as a child, faced unbearable terrors in Vietnam, returned to a country that rejected him, then was seduced back into combat where he killed hundreds more people before finally being left alone and miserable, unable to forgive himself for what he has done. At one point, Rambo stated that he had wasted his life fighting for things he thought he believed in. By the end of the series, Rambo hates himself and has lost his faith in humanity, God and the concept that things will get better for the world, due in no small part because of the horrors of war he experienced. Rambo did get better at the end of the series when he returned home, but he is no doubt plagued by nightmares from his posttraumatic stress disorder. The character has more emotional depth than most people would think based on what popular culture has depicted Rambo as, and Sylvester Stallone 's performance has been widely acclaimed. Rambo has a total killcount so far of 220, not counting the 59 confirmed Vietnam kills. Contents Edit David Morrell says that in choosing the name Rambo he was inspired by "the sound of force" in the name of Rambo apples, which he encountered in Pennsylvania. Peter Gunnarsson Rambo sailed from Sweden to New Sweden in the 1640s, and soon the name would flourish in New Sweden. Today, many of his descendants can still be found in this region of the US. Morrell felt that its pronunciation was similar to the surname of Arthur Rimbaud, the title of whose most famous work A Season in Hell, seemed to him "an apt metaphor for the prisoner-of-war experiences that I imagined Rambo suffering". Furthermore, an Arthur J. Rambo was an actual U.S. soldier in Vietnam, but he never returned. His name can be seen on the Vietnam War Memorial wall in Washington, DC. By sheer coincidence, the Japanese word "rambō" (乱暴) means "violent" or "rough." He was granted the first name "John" as a reference to the song "When Johnny Comes Marching Home Again". In his commentary for First Blood, author David Morrell cites the primary personality inspiraction for John Rambo as being World War II hero and later Hollywood actor, Audie Murphy. Rambo's last stand in the finale of the fourth film is very similar to how Murphy won the Congressional Medal of Honor, manning a vehicle-mounted .50 caliber machine gun and singlehandedly holding off hundreds of enemy soldiers, saving his platoon. Early Life and Military Service Edit John Rambo was born on July 6, 1947 to R. Rambo and Marie Drago. He is of Navajo American Indian, Italian and German descent. His family was poor, often unable to buy food, and his mother died when he was young. As a young man, his life was violent. His father was an abusive alcoholic and John spent his childhood learning from tribe elders how to efficiently use the traditional Navajo weapon: the bow and arrow. He also learned how to fight. However, one night when John was older, his father tried to kill him with a knife. Rambo ran away that night, but not before shooting his father with a bow and arrow, nearly killing him. Rambo decided that the best way to get away from his problems was to leave for the Vietnam War. Rambo had a rough time with relationships and did not lose his virginity until he was 21. He met a girl whom he intended to marry, but he was deployed to Vietnam and, when he returned home, he saw, to his disappointment, that she was now married and with two children. Rambo graduated from Rangeford High School in 1965, and was drafted into the United States Army at the age of 18 on January 2, 1966. He was deployed to South Vietnam in September of 1966. He returned to the U.S. in 1967 and began training in the Special Forces at Fort Bragg, North Carolina, where he was trained with a plethora of skills, including learning how to speak Vietnamese. Rambo would go on to recieve extensive survival and combat training, later becoming a Green Beret. In late 1969, Rambo was re-deployed to Vietnam where he served in the Baker Team , a Special Forces unit consisting of eight men; himself, Delmar Barry , Joseph Danforth , Ortega , Messner , Krackhauer , Colletta , and Jorgenson . After a long term of service in Vietnam, Cambodia, and Laos, John returned to the United States for training in S.O.G. Then he began serving in North Vietnam and Cambodia in a reconnaissance and demolitions unit. Rambo is tortured with a bayonet when he is in Vietnam. During his three year tour of duty, Rambo had 59 confirmed kills, going on to be decorated with two Silver Stars, four Bronze Stars, four Purple Hearts, the Distinguished Service Cross and the Congressional Medal of Honor. In November 1971, Rambo joined a guerrilla mission behind enemy lines, where his unit was ambushed and Rambo was shot in the leg and captured, later being taken to a POW camp near the Chinese-Vietnamese border. At the prison camp, Rambo was tortured with a knife and kept in a ten-foot hole where excrement was often thrown on him, but he never revealed any information to his captors. As a prisoner, Rambo was required to do heavy labor and was deprived of sleep and food. In May of 1972, Rambo intentionally gave himself dysentery, and his guard left him alone to go get help when Rambo took the opportunity to run. Rambo fled the camp but was then re-deployed into the Army. Despite his many honors, Rambo ended his service with a nervous breakdown, having witnessed most of his only friends die excruciating, horrific deaths. Rambo was honorably discharged from the military on September 17, 1974. After returning from the Vietnam war, Rambo found that hippies were intolerant of soldiers, and he was repeatedly pelted with dog feces and garbage at the airport. Rambo hid his emotions because he felt nobody wanted to help him. This led to an extreme case of Post traumatic stress disorder. Rambo was shunned from the country he would die to protect, and Rambo became a homeless drifter that often slept in the woods or went hungry. In the director's cut of Rambo IV, John mentions that he mainly worked horses at his father's ranch during his time in Bowie. Edit The Rambo of the novel is entirely different than the Rambo of the films. He is a disturbed and slightly psychotic individual, who has killed people in America before. He once broke the nose of a guy, who shoved past him in line and slit the throat of somebody, who tried to mug him, later killing his partner. In the novel Rambo is looking to pick a fight, because he feels like he is entitled to some respect after what he suffered in Vietnam. Main article: John Rambo on Rambo: First Blood Part II After the incident in Washington , John Rambo found guilty after a jury trial and sent to a labor camp prison. In 1985, after four years of imprisonment, he was visited by Colonel Samuel Trautman who offered him the chance to be released from prison if he went to Vietnam to search for American POWs. Promised a Presidential pardon if the mission succeeds, he accepts and is officially reinstated in the army temporarily. He later meets with Marshall Murdock, an American bureaucrat who is in charge of the operation. He tells Rambo that he is only to photograph the POWs and not to rescue them, nor is he to engage any enemy soldiers. Rambo reluctantly agrees. He is then told that an agent of the U.S. government will be there to receive him in the jungles of Vietnam. He is then parachuted into the Vietnamese jungles. However, while parachuting, he loses some of his equipment and is left with only his knives, his bow, and arrows. On the ground, he met with Co Bao , a local woman working with the Americans. She takes him to a POW camp where he is able to rescue a captive. However, escaping requires him to kill a number of enemy soldiers with his bow. The trio then escape by boat but are attacked by a gunboat. Rambo destroys the gunboat with a rocket-launcher. When Rambo calls for extraction, he is denied as Murdock fears what will happen to him and his party if the American public come to know about it. Rambo and the captive are both captured, and back at the camp Russian advisors soon arrive to interrogate Rambo. Meanwhile, Co enters the camp under the disguise of a prostitute and comes to the hut in which Rambo is held captive. There she witnesses Rambo being tortured by Russian Colonel Podovsky , who is demanding that the American contact his base and confess to war crimes. After being electrocuted on a bedspring and then burned with his own knife, Rambo pretends to agree to Podovsky's condition, but instead threatens Murdock on the radio that he is coming to get him-- after which he promptly escapes with Co's help. They hide in the jungle and Co aids Rambo's wounds. She then asks him if he will take her with him to the U.S., he agrees and he kisses her. But they are attacked by some Vietnamese soldiers, specially by Lieutenant Tay happily shot Co by his insanely. Enraged and distraught by Co's death, he kills them all (except for their commander, who escapes, but is later killed by one of Rambo's exploding arrows) and then buries Co's body in the jungle so her body is not scavenged upon by animals. An enraged Rambo after Co Bao's death. After the violence at the camp and on the river, Soviet and Vietnamese troops were scrambled to search and kill Rambo. While hunting for Rambo in a forest, Rambo kills a number of Soviet and Vietnamese soldiers using guerrilla tactics. Vietnamese soldiers continue to chase Rambo into and through a village. In the village, there grows a patch of tall grass where Rambo sets a booby-trap explosion that ignites a fire, burning many of the Vietnamese soldiers. While still running away from the soldiers, a Soviet attack helicopter finds Rambo and drops a keg of explosives down on him. Rambo dives off a cliff into a river as the keg explodes. The Soviet helicopter pursues him, shooting bullets into the water. As the helicopter gets closer to the water while shooting bullets, Rambo jumps up from under the water, yanks the gunman into the water, and climbs into the helicopter where he confronts the Soviet soldier who tortured him. As they wrestle inside the helicopter, the helicopter flies away and Rambo throws the Soviet soldier out of the helicopter to the latter's death. As Rambo approaches the pilot, the pilot also jumps out of the helicopter. Rambo gains control of the helicopter and flies it back to the POW camp to rescue the remaining POWs. He kills the remaining guards and picks up the captives in the chopper. While flying to Thailand, another Soviet attack helicopter tails Rambo's. After its pilot loses Rambo's chopper in a haze of smoke from firing at it, it finds Rambo's vehicle smoking in a river. As the Russian chopper flies in low to investigate and finish off the bird once and for all, Rambo—who appears to be knocked unconscious—suddenly sits up, shoulder-firing rocket in hand, fires through the windshield and finishes off his would-be assailant once and for all. Rambo then returns to the base and, using the M60E3 medium machine gun from the helicopter, destroys Murdock's command center. He then unsheathes his knife and threatens Murdock to find and rescue the remaining American POWs in Vietnam, snarling almost under his breath, "You know there's more men out there...you know where they are. Find 'em...or I'll find you." Trautman then comforts Rambo and tries to pacify him and to convince him to rejoin the Special Forces, also telling him he would get another Medal of Honor for his actions. Rambo, however, visibly angry and fighting back tears, says that the soldiers he rescued deserve the Medal of Honor more than he does, and he only wants the same thing as the soldiers he rescued; for America to love its soldiers as much as its soldiers love it. Rambo then moves towards an unknown destination. Trautman asks him, "How will you live, John?" To this, Rambo replies, "Day by day." The film ends as Rambo walks off into the distance while his mentor watches him. Because of his actions of saving the POWs, Rambo is granted the Presidential pardon he had been promised and decides to live in Thailand. Gallery Main article: John Rambo on Rambo IV John Rambo in Rambo (2008). Over twenty years later, John Rambo is still living in Thailand and resides in a village near the Burmese border. He makes a living capturing snakes and selling them in a nearby village. He also transports roamers in his boat. A missionary, Michael Burnett , asks Rambo to take him and his associates up the Salween River to Burma on a humanitarian mission to give aid to Karen tribes people. Rambo refuses, but he is convinced by Sarah Miller to take them, and she becomes his friend. The boat is stopped by Burmese pirates who demand Sarah in exchange for passage. After negotiations fail, Rambo kills them all. Although his actions save the missionaries, it greatly disturbs them. Upon arrival, Michael says that they will travel overland and will not need Rambo's help for the return trip. The mission goes well until the Tatmadaw Army , led by Major Tint to attack for another genocide to the innocent people. They kill the entire of the villagers including two missionaries and kidnap the rest, including Michael and Sarah. When the missionaries fail to come back after ten days, their pastor comes to ask Rambo's help in guiding hired mercenaries to the village where the missionaries were last seen. Rambo agrees to transport the soldiers. At their destination, Rambo tries to accompany the mercenaries with a black-wrapped package in hand, but their leader, described as a former "old school" and egotistical S.A.S trooper, refuses. After arriving at the destroyed village with their guide, Karen, they are forced to hide when some Tatmadaw arrive by truck and force their villager prisoners to run a gauntlet of hidden land mines thrown into the village rice paddies. The mercenary leader will not order a rescue, as he is concerned that the missing Tatmadaw will put the rest on alert. However, Rambo shows up with what is revealed to be his bow and shoots down the Tatmadaw. Rambo confronts the leader when the man threatens him, and with his arrow pointed at his eye socket, Rambo tells him and the others that soldiering is what they are and do, and says to them, "You can either live for nothing...or die for something." When Rambo stands down and tells the others to come, they follow without question with the leader in tow. They plan to save the hostages at a P.O.W. camp. Rambo helps Sarah and the others to escape. The Tatmadaw unit finds the hostages missing and organizes a massive manhunt. John Rambo using the bow to kill the Tatmadaw army because of their brutal interest of corruption. Everyone except for Rambo, Sarah, and the mercenary sniper " Schoolboy " is captured. But just as the group is to be executed, Rambo seizes a truck-mounted Browning M2 and minces the Burmese army, giving an opening for School Boy to shoot down the Tatmadaw near the others and provide them also with weapons. Karen rebels join the fight to help Rambo and the mercenaries win. Major Pa Tee Tint attempts to get away, but is personally disemboweled by Rambo wiping out the last remaining forces of the brutal army that serve the regime. Encouraged by Sarah's words, Rambo returns to live in the U.S., walking along a rural highway past a horse farm and a rusted mailbox bearing the name " R. Rambo ". He then makes his way down the gravel driveway as the credits roll. Rambo killed over 80 people in the fourth rescue mission, the most in the series. Gallery Edit Although his country is much more supportive of veterans now, John Rambo still is a very traumatized man, and coming home to support will not change the fact that he can't live with himself due to the horrible things he has done or witnessed during in the past. If another film is made, this will likely be the central focus of the film, as Sylvester Stallone says that he would like to take the franchise in a different direction and see the character "go out in a blaze of glory", although he has said that there likely will not be another film. On January 6, 2016, Stallone officially confirmed that he was retiring the character of John Rambo, having deemed the fourth Rambo film to be a worthy and satisfying conclusion to the series and the character arc, showing that Rambo was on his way to getting better and making amends with his past. Stallone said: "The heart's willing, but the body says, 'Stay home! It's like fighters that go back for one last round and get clobbered. Leave it to someone else." Thus, if any more Rambo media is produced, such as the Rambo television series which is being talked about with Fox, possibly about Rambo's son; it will not involve Stallone. He added: "You know when you realize there's nothing more to pull out? As an action film, I was very satisfied that it dealt with the Burmese situation. It had one foot in a current event, the longest civil war in history, 65 years at that time. It was so brutal, which civil war is, I was shocked they even gave me an R-rating. I didn’t want to compromise. I said, 'This is probably going to be the last decent film of this genre that I'm going to do as a solo act.' When that was accomplished, I never felt the same willingness to do it again. There's nothing left. When they asked me to do another 'Rambo,' I said, 'If I can't do better than I did last time, and I can't, then why?" Awards Various special duty badges can also be seen on Rambo's uniform. Combat Infantryman Badge Senior Combat Parachutist Badge Expert Weapons Qualification Badge Rambo drops some of his many medals to which the meaning was gone down a prison sewage hole in the novelization of Rambo: First Blood Part II. He claims to have found it theraputic.  Rambo's Social Security Number is 936-01-1758, although citizens in Arizona are issued ones with the prefixes 526-527, 600-601, and 764-765. According to the file, John Rambo has the same birthday as Sylvester Stallone. But, Rambo is one year younger. Personality Edit Throughout the film series, especially in the first and fourth films, John Rambo is displayed as a tragic hero, who suffers from post-traumatic stress disorder and has difficulty adjusting to civilian life, which is especially complicated because of prejudice against returning soldiers. He is shown to be prone to violence because of the torture he suffered at the hands of Vietnamese soldiers in the Vietnam War. Rambo has difficulty talking about his problems and he is too scarred from trauma to open up to most people. The only person he really trusts in the world is Trautman, and he still has only told him about one of the brutal deaths he witnessed. This makes Rambo look like a quiet thug or super soldier to people who don't understand the character, but in reality he is so overwhelmed with self-hatred and nightmarish memories that he can't talk to anybody. As a result, conversations with Rambo are fairly one sided, as he chooses not to engage with most people and only speaks directly to a few people. As he grows older, as he becomes bitter and angry at the world, even leading to him casually swearing and making snide comments under his breath at people, and downright insulting people. This is especially elaborated upon in 2008's Rambo, where he refuses to be even remotely social with anybody, even Sarah Miller, who is displayed as a kind soul who wants to learn about Rambo's life and why he is the way he is. He often replies with one-word answers in this film and is terse with people so they will leave him alone. There is a scene, where Michael Burnett tries to get Rambo to take them down the Salween River. Rambo declines and Sarah asks, why he rebuffed the man he was talking to. Rambo replies that he wasn't talking to anybody and Sarah changes her statement to "the man who was talking to you". Oddly enough in Rambo III, Rambo is seen wisecracking one-liners similar to other action heros such as John Matrix from Commando. He cracks several of these, poking fun of the state he and Trautman are in and the predicaments he has gotten himself into. Most fans of the Rambo series aknowledge that Rambo III was more so made to exploit Rambo's character rather than further develop him. However, even in Rambo III Stallone carefully maintains the tortured persona that Rambo has to deal with, rarely cracking a smile and revealing the sad eyes he must have. Rambo III is generally disliked by fans of the Rambo films, because of how unrealistic it was and how it cashed in on Rambo's popularity at the time. This would explain the cheesy one-liners that were typical of other heroes of the time, but not Rambo. In the next films and novelizations he is displayed as a man, who wants to stay away from conflict but is willing to do literally anything to save his friends and the people he cares about from any danger. Due to his violent nature, many civil people tend to fear him. However, Colonel Samuel Trautman, who was his commanding officer in Vietnam and mostlikely his only friend, understands him and the pain and torture he had endured in the war and is the only one able to understand the problems he has. Rambo is a survival expert in almost any terrain, espescially in jungles and dense forests. Rambo is also an expert in guerrilla warfare, and he is easily able to camouflage himself, create improvised weaponry, and nurse his own wounds. He is also an expert in operating various types of war machines like helicopters and tanks, firing artillery and machine guns and hand-to-hand combat. It is evident that Rambo did care deeply for all the men in his unit, forming a brotherly bond with them. This is shown at the start of First Blood, when Rambo arrives as the home of Delmar Barry, he walks with a bit of a spring to his step, he is very polite and talkative to Barry's mother, making small talk and even cracking a joke. It's one of the few times, he's seen to smile, being visibly excited at the prospect of seeing his old friend again. However, upon learning of Barry's death, Rambo is disheartened, offering the photo of his unit that he carries around, to Barry's mother, before giving his condolences and leaving, his walk having slowed to a trudge as he departs. During his breakdown to Trautman, he talked about how they had planned to go on a road trip to Las Vegas in Danforth's Chevy Convertible. Appearance and Attire Rambo is a male of average height. He has tanned skin, long brown hair and brown eyes. He is very muscular, and imposing. Rambo's upper body is covered with large scars. He has perpetual stubble. Time In Vietnam During his tour of duty in Vietnam, and imprisonment, Rambo wore his hair in a shorter style, and also sported a mustache. He wore a jungle camouflage patterned headband. First Blood Edit In the first film he wears blue jeans with a red t-shirt over a gray tank top and a thick green M-1965 military jacket. Rambo's hair is shorter than the other films in the series. Whilst being pursued by the local police, he wears a brown makeshift poncho, and a brown head band, he temporarily covers the poncho with leaves and twigs, making a makeshift ghillie suit. Rambo: First Blood Part II In the sequel, his hair is longer, the rest of his appearance remains the same. During the film, Rambo gains a new scar, on his left cheek. During his incarceration, Rambo wears a blue prison uniform, consisting of jeans, and brown boots. While on the base, he wears a red t-shirt shirt, blue jeans and black boots. During his mission Rambo wears a black jacket and gloves for at the beginning of the mission. He wears a black long sleeve shirt (also abandoned) black pants and a black tank top (lost at the POW camp), and black combat boots. He wears a black sweatband at first, but changes it for a red one, made for a piece of Co Bao's dress after she is killed. He also begins wearing her jade Buddha pendant in remembrance of her. Rambo III Rambo's hair is much longer, resembling a mullet. Rambo wears a light blue shirt, and blue jeans early in the film. Rambo wears a similar attire to the previous film for the nighttime rescue mission, black boots, a tank top, (he removes it whiles tending to his wound in the caves) and wind pants. He even wore a similar black shirt, though he lost it in the village attack. He also wears a red sweatband in the beginning and a black sweatband throughout the rest of the film. Rambo IV Edit Rambo's hair is still very long though it is straighter and neater than before. He wears a dark grey t-shirt and black pants, along with black boots. Rambo wears a red patterned sweatband at the beginning, but switches to a blue one later. Rambo also bares a constant scowling expression throughout the vast majority of the film. In the final scene, Rambo wears a very similar attire to the beginning of First Blood. Green Army jacket, blue jeans, black t-shirt, and black boots. (The final scene is a dark mirror of the first scene in First Blood.) Skills and Abilities Edit Rambo is incredibly skilled with many types of weapons. Being able to use any weapons he finds in the field, including Kalashnikov Variants, M16s, Hunting Rifles, Shotguns, RPGs and Various M60 variants. His size and strength allow him to use and M60, without the aid of a turret, with barely any loss in accuracy from recoil. Rambo is also a very talented Archer, preferring to use a bow, in times where he needs to be stealthy, but also uses explosive tips when he needs to cause destruction, even using one to take down a helicopter. Rambo is a master of stealth techniques, and blending into his surroundings, making a makeshift ghillie suit, and covering himself with mud, to hide from enemy forces, sometimes in plane sight, using bushes or camouflage of some sort, climbing trees to stay out of enemies line of sight, setting diversions to draw enemy attention, such as scarecrows, light sources, and even captive enemies (also used as a scare tactic.) Rambo has an affinity for knives, both as a weapon and a tool for survival. He has used his knife to create a spear, to make a make-shift torch, to pass a minefield, and to kill numerous foes. His combat prowess stems from his knowledge of guerrilla warfare, he is known to make improvised traps, to kill and disable enemies, using minimal resources, such as a glowstick, a hand grenade, a tripwire stake trap, and even lured enemies into a field using the blood of a chicken, before igniting it with gasoline. He is able to use his terrain and darkness to turn things to his advantage.  Rambo is also adept in unarmed combat, he has a muscular physique due to his time as a soldier in the army and his intense training regimen. He has a high amount of strength and stamina, as well as a great resistance to pain, he is able to hold his own against larger or multiple foes single handed. His strength allows him to pull off a man's throat with his bare hand. Rambo is also very intelligent. He can speak several languages, is a capable pilot and a skilled hunter. He is also trained as a medic. He is shown to perform medical procedures on himself, such as stitching and cauterizing his own wounds. Rambo is also very capable at orienteering, rock climbing (without safety equipment) and traversal of the wilderness, with minimal resources. He is also skilled at horse riding due his time at father's farm, he is also a skilled motorcyclist. Rambo is either left handed or ambidextrous, since he uses his left hand as his arrow hand while using his bow, and uses his right hand for firearms. In Popular Culture Edit Rambo wiki has a collection of images related to John Rambo. Rambo's name has become an eponym for a tactic of military aggression or, alternatively, a person demonstrating great heroism through extreme violence and skill, especially when outnumbered. However, the term can also be used somewhat derogatorily to describe someone who thoughtlessly charges into a fight with no regard for personal safety or careful planning. This term is referred to as "Going Rambo" or "doing it Rambo style." The name is also used in a more figurative sense to describe any action or approach which is deemed to be aggressive. Rambo has been mentioned in other action films such as 1988's Die Hard, 1995's True Lies, and 2008's Taken. It has even also been added as an adjective in the dictionary. Its definition is: Ram-bo: -noun, a fanatically militant or violently aggressive person. Trivia

John

When did field hockey become an Olympic event for men?

Rambo (2008) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error In Thailand, John Rambo joins a group of missionaries to venture into war-torn Burma, and rescue a group of Christian aid workers who were kidnapped by the ruthless local infantry unit. Director: From $7.99 (SD) on Amazon Video ON TV a list of 22 titles created 05 Oct 2010 a list of 49 titles created 22 Dec 2011 a list of 49 titles created 07 Feb 2012 a list of 27 titles created 19 Feb 2015 a list of 27 titles created 3 weeks ago Search for " Rambo " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards  » Videos John Rambo is released from prison by the government for a top-secret covert mission to the last place on Earth he'd want to return - the jungles of Vietnam. Director: George P. Cosmatos When his friend Colonel Trautman is captured by Soviets during a mission in Afghanistan, John Rambo sets out to rescue him while taking on the brutal tyrant and his army who rule that region. Director: Peter MacDonald Former Green Beret John Rambo is pursued into the mountains surrounding a small town by a tyrannical sheriff and his deputies, forcing him to survive using his combat skills. Director: Ted Kotcheff Thirty years after the ring of the first bell, Rocky Balboa comes out of retirement and dons his gloves for his final fight; against the reigning heavyweight champ Mason 'The Line' Dixon. Director: Sylvester Stallone After iron man Drago, a highly intimidating 6-foot-5, 261-pound Soviet athlete, kills Apollo Creed in an exhibition match, Rocky comes to the heart of Russia for 15 pile-driving boxing rounds of revenge. Director: Sylvester Stallone Rocky struggles in family life after his bout with Apollo Creed, while the embarrassed champ insistently goads him to accept a challenge for a rematch. Director: Sylvester Stallone After winning the ultimate title and being the world champion, Rocky falls into a hole and finds himself picked up by a former enemy. Director: Sylvester Stallone A botched mid-air heist results in suitcases full of cash being searched for by various groups throughout the Rocky Mountains. Director: Renny Harlin Reluctantly retired from boxing and back from riches to rags, Rocky takes on a new protege who betrays him, as the champ's son must adjust to his family's new life after bankruptcy. Director: John G. Avildsen A CIA operative hires a team of mercenaries to eliminate a Latin dictator and a renegade CIA agent. Director: Sylvester Stallone Two cops are framed and must clear their names. Directors: Andrey Konchalovskiy, Albert Magnoli Stars: Sylvester Stallone, Kurt Russell, Teri Hatcher A police officer is brought out of suspended animation in prison to pursue an old ultra-violent nemesis who is loose in a non-violent future society. Director: Marco Brambilla Edit Storyline Vietnam veteran John Rambo has survived many harrowing ordeals in his lifetime and has since withdrawn into a simple and secluded existence in Thailand, where he spends his time capturing snakes for local entertainers, and chauffeuring locals in his old PT boat. Even though he is looking to avoid trouble, trouble has a way of finding him: a group of Christian human rights missionaries, led by Michael Burnett and Sarah Miller, approach Rambo with the desire to rent his boat to travel up the river to Burma. For over fifty years, Burma has been a war zone. The Karen people of the region, who consist of peasants and farmers, have endured brutally oppressive rule from the murderous Burmese military and have been struggling for survival every single day. After some inner contemplation, Rambo accepts the offer and takes Michael, Sarah, and the rest of the missionaries up the river. When the missionaries finally arrive at the Karen village, they find themselves part of a raid by the sadistic ... Written by stallonezone.com / Drew Lahat Heroes never die.... They just reload. Genres: Rated R for strong graphic bloody violence, sexual assaults, grisly images and language | See all certifications  » Parents Guide: 25 January 2008 (USA) See more  » Also Known As: $18,203,876 (USA) (25 January 2008) Gross: Did You Know? Trivia The haze in the movie's background isn't the weather. Farmers burn forests to create fields for their crops. See more » Goofs The M-60 gunner on the bow of the patrol boat gets his head blown off (literally), yet his body is still at the gun, hand gripping the trigger. However, a moment later when Myint hits the boat with the rocket, the M-60 gunner's body is nowhere in sight. See more » Quotes Sandwich Makers - Permpoon Penjan and Parichat U-Tama See more » Connections Written by Jerry Goldsmith (BMI) Published by Universal Music Publishing o/b/o El Cajo Music Company (BMI) Rambo is back and better than ever! 22 January 2008 | by Norse_Sage (Akershus, Norway) – See all my reviews I saw this at an advance screening in Oslo, and going in, I didn't expect it to be any more than a cheesy and somewhat gory tribute to eighties actioners by a star/director/producer/writer who was desperate to relive past glory. That latter may or may not be true, but my former assessment was plain wrong. This movie is authentic, shocking and unlike any other comparable movie. Given its genre, the movie is a masterpiece. The story is simple but solid, and works on several levels. The action scenes are unparalleled, more intense than "Black Hawk Down", "Saving Private Ryan" and "Stalingrad" put together. The level of brutality and gore will shock and fascinate, and no doubt cause some level of controversy. Stallone proves himself to be an excellent director, as well as in excellent shape for his age. I had little faith in him going in, and I stand corrected. This is a Rambo who has come to terms with who and what he is, in a movie that holds up when compared with the original "First Blood". Well done, Sly. Well done indeed. 610 of 777 people found this review helpful.  Was this review helpful to you? Yes

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Trying to find the real Lady Day: Those who try to tell Billie Holiday's story often discover an unknowable life -- by Robert Fulford Trying to find the real Lady Day: Those who try to tell Billie Holiday's story often discover an unknowable life by Robert Fulford ( The National Post , 17 May 2005) The sign on the bus, "Lady Day Orchestra," announced in 1950 that Billie Holiday had organized a big band to go on the road. Eighteen musicians left New York for a four-week tour of one-nighters, to end in New Orleans. They would play dances and Billie would sing. It sounded promising. But this was not a shrewd project. It was run by Billie's boyfriend-manager, John Levy, who acquired his business knowledge as a pimp. Promotion was handled by Dewey Shewey, a part-time burglar, new to the music business. He was wanted by the police, who arrested him during the tour. It turned out he hadn't done much promoting. Levy didn't know what to do. Lady Day's Orchestra was dying. Tempers flared. Billie broke a Coke bottle over Levy's head and he knifed her, both of them requiring hospital attention. The musicians were unpaid. Somewhere in the Carolinas the bus driver, also unpaid, walked off. Billie and Levy also disappeared. The musicians, all of them black, had to find their way home through the hostile, segregated South. Those who knew Billie's history were not astonished. Her professional life was a series of calamities, as Julia Blackburn, a British novelist who has also written books about Napoleon and Goya, demonstrates in the latest Holiday biography, With Billie (Random House). Blackburn leans on research prepared in the 1970s by a writer named Linda Kuehl. Planning a book about Billie, Kuehl interviewed everyone from the woman trombonist on that southern tour to a nun at the Home of the Good Shepherd, the Baltimore reform school where the 10-year-old Billie was incarcerated for truancy. Kuehl tried to write a biography but failed; she committed suicide in 1979. Donald Clarke used some of her interviews in his account of Billie's life, Wishing on the Moon, in 1994. Blackburn makes them the core of her book. There will never be an authoritative Life of Billie Holiday. The documents don't exist, and the witnesses have often lied, many of them because they were crooks. Even honest witnesses have faulty memories, inflected by narcotics; Billie herself would tell the same story several ways. So Blackburn acknowledges that the anecdotes are often contradictory, calls her book an oral history and tries to catch her subject in a web of interviews. She provides a cheerless glimpse at black show business, a place that was exciting and illuminating for those who took pleasure in its music yet perilous and frantic for those, like Billie, who lived within it. Billie was a teenage prostitute who began singing because she felt like it and kept at it because a few night clubs paid her a little money. An untrained amateur, she turned out to be much better than any of the professionals. She impressed the world's toughest critics, the jazz musicians of New York -- among them Benny Goodman, Count Basie and Lester Young. Today most vocalists of the 1930s are all but entirely forgotten, but we still admire records she made more than 70 years ago. Blackburn has no idea how this happened. Her knowledge of narcotics law far exceeds her knowledge of jazz history. She mentions only a few specific records, and the great players Billie worked with are discussed mostly for their place in her personal odyssey. Male companions dominate. A pianist friend said that Billie was a fool for men: "She went through the whole zoo until she got to the leopard," which was where she remained. All her life she lived with abusive men who were also pimps. She goaded them to violence, then fought back ferociously. Her men, without exception, stole her money. A couple of them seem to have betrayed her to narcotics agents. There's no record that any were interested in her music or her health. Possibly the most sinister was her last husband, Louis McKay, who talked about her during a 1958 phone conversation he didn't know was being taped. Billie had done something he didn't like, and as he denounced her to Maely Dufty (whose husband, William Dufty, wrote a mainly fictional autobiography, Lady Sings the Blues), McKay sounded exactly like the pimp he was. He threatened to beat her up: "Ain't going to let nobody make a fool out of me, good as I've been to this woman ... If I got a whore, I get some money from her, or I don't have anything to do with the bitch." When Sidney Furie made the film version of Lady Sings the Blues, McKay (played by Billy Dee Williams) magically became an amiable man and a stabilizing influence on her. No wonder. McKay was the film's technical advisor. Blackburn notes that the media concentrated on her life as an addict and her several arrests, neglecting her music. But Blackburn does the same. Her book concerns a masochistic alcoholic junkie much more than it deals with one of the great musicians of her time. When Billie was born in 1915, she was given the name Eleanor. For some unknown reason she was registered as the daughter of Frank DeViese, who then immediately vanished from history without a trace, the sort of detail that drives Holiday's biographers mad. Her actual father was a banjo player named Clarence Holiday, who in later years tried to ignore her existence because he thought having a grown-up daughter made him seem old. In childhood she was Eleanor Gough, named for a man to whom her mother was briefly married, or Eleanor Fagan, using her mother's birth name. At the Home of the Good Shepherd she became Madge because the nuns imagined new names helped inmates start new lives. Eventually she combined her father's surname with the first name of Billie Dove, a silent-movie star. After her final visit to Europe, when questioned by a government attorney for leaving the United States without revealing her status as a convicted felon, she was identified as Eleanor Gough McKay. In 1959, not long before she died, a teenaged boy named Frankie Freedom moved into her apartment, made her meals, did her hair, and took her to the hospital when she was gravely ill. There, at 44, she died of damaged lungs, cardiac failure and cirrhosis of the liver. Frankie Freedom, whom nobody knew, was never seen again, another minor mystery in a life that remains forever unknowable.

Billie Holiday

Who invented the world's first data-processing machine?

Holiday, Billie, 1915-1959 - Credo Reference Topic Page: Holiday, Billie, 1915-1959 Definition: Holiday, Billie from Philip's Encyclopedia US blues and jazz singer, nicknamed Lady Day. She became famous in the 1930s with the bands of Count Basie and Artie Shaw. Her melancholic renditions of "My Man, Mean to Me" (1937) and "God Bless the Child" (1941) are legendary in the history of jazz. Summary Article: Holiday, Billie (1915–1959) from 100 Entertainers Who Changed America: An Encyclopedia of Pop Culture Luminaries Image from: Billie Holiday, 1958. in Britannica Concise Encyclopedia In 1958, Frank Sinatra declared that Billie Holiday was “unquestionably the most important influence on American popular singing in the last twenty years” (Clarke 2000). Fast-forward to the twenty-first century, and Holiday's impact on American music seems even more profound. She has influenced the likes of Lena Horne, Tori Amos, Sarah Vaughan, Cassandra Wilson, Kate Bush, Tina Turner, Natalie Merchant, Macy Gray, Joan Osborne, Amy Winehouse, Joni Mitchell, Norah Jones, and Beyoncé. In addition, she sparked mainstream acceptance of musical protest and thus serves as catalyst to music recorded by Bob Dylan; John Lennon; Crosby, Stills, Nash, and Young; Country Joe and the Fish; Grandmaster Flash; Public Enemy; Rage Against the Machine; Sonic Youth; R.E.M.; Green Day; the Dixie Chicks; Pink; and many others. Though Holiday struggled personally, financially, and even professionally for much of her life, her posthumous success and influence are nearly unmatched in American music. Though the celebrated opening of Holiday's autobiography is technically inaccurate, it certainly captures some of the essence of the problems her family had as well as her own fantasy about what they could be: “Mom and Pop were just a couple of kids when they got married. He was eighteen, she was sixteen, and I was three” (Holiday 1956, 5). As Holiday biographer Donald Clarke points out, not only are the ages designated incorrect, for Sadie was 19 when Holiday was born on April 7, 1915, but so, too, is the claim that Sadie and Clarence ever married. Their immaturity, though, was to blame for many of their failings as parents, so it makes sense that Holiday exaggerated their youth. Sadie would forever vacillate between acting the parts of controlling parent and jealous older sister to her only daughter, whom she named Eleanora Fagan. Clarence Holiday, largely absent from his daughter's life, sought instead the thrill of the stage and the road. To be fair, he wasn't altogether missing from Holiday's life; by 1935, he was regularly catching her show and had for years been giving Sadie and Billie money for rent and other necessities, though sporadically and only, apparently, under pressure from his daughter (Clarke 2000). Holiday saw both of her parents as victims, excusing much of their mutual bad behavior on the grounds that they hadn't ever been given a fair shake. The victimization of her father, she believed, began when he was sent overseas to fight in World War I. According to Holiday, her father wanted to play the trumpet, but after being exposed to poison gas in the war, he no longer had the lung capacity required, and so, upon his return to the United States he learned the banjo and guitar instead (1956, 6). Holiday also believed that the exposure to gas also eventually killed him, as he died of pneumonia exacerbated by difficulties finding proper medical care as he was traveling and performing in Texas in 1936. In reality, although Clarence was enlisted during the war, he probably wasn't exposed to poison gas (Clarke 2000). It's also possible that he wasn't turned away from a hospital or moved because of racism but because he was a veteran and was directed to seek care at the nearby veterans’ facility. That matters little, for as far as Holiday was concerned, her father was killed by Jim Crow segregation. Billie Holiday, 1949. (Library of Congress) Her mother's victimization was largely economic: Sadie Fagan worked as a domestic much of her life, rarely earning enough to keep herself and her daughter comfortable, fed, safe, and together. Holiday was regularly shuffled around, with various relatives caring for her when her mother couldn't or wouldn't. The worst of these situations she described in her autobiography, inventing a fictional “cousin Ida” but likely describing actual instances of abuse and mistreatment. She wrote, “all of us were crowded in that little house like fishes … When [Ida] was upset she'd beat me something awful. Not with a strap, not with a spank on the ass, but with her fists or a whip” (Holiday 1956, 6–7). Relatives were not the only blight on Holiday's happiness: well before she reached puberty, she was raped by a middle-aged neighbor. Holiday remembers “kicking and scratching and screaming” while the neighbor and a female friend of his held her down (Holiday 1956, 15). Her mother arrived on the scene in time to see the child fighting, but apparently not in time to prevent her from being raped. To her credit, Sadie immediately called the police and sought justice for her daughter. In this case and so many others in her lifetime, though, Holiday would be further victimized by the system. Although the police charged her neighbor with rape and he went to jail, she was likewise arrested. Part of the problem, according to both Holiday and Clarke, was that Holiday looked mature for her age and thus wasn't treated as the child she was. Equally problematic was the 1920s tendency of authorities to blame the victims of rape for the crimes committed against them. Sealing her fate, Holiday had been left unattended by her mother, and given the flaws in the system, this resulted in Holiday's being sent to a Catholic reform school (Holiday 1956, 16–17). Thus, after the most traumatic experience of her young life, Holiday was arrested. Sadie Fagan was a complicated woman, one who alternately loved and resented her daughter. Holiday's loyalty to her mother inspired her to fudge some facts in her autobiography, making her mother seem saintly and selfless if naïve. Clarke notes that Sadie was arrested for prostitution at least once and likely pulled her young daughter into prostitution as well. In Holiday's version of events, of her own volition, she began running errands for the madam Alice Dean. In Dean's brothel Holiday first heard the music of Louis Armstrong and Bessie Smith, the two musicians whom she said most influenced her (Holiday 1956, 10–11). It was also here that she first learned the sex trade, though she claimed she was not yet a prostitute. Later in her autobiography, Holiday says that when she moved to Harlem and became a “strictly twenty-dollar call girl,” her mother was so naïve that she thought the brothel a legitimate boardinghouse, her madam an upstanding woman (Holiday 1956, 23). Naïve or not, her mother worried about her getting into trouble, said Holiday, begging her not to “make the same mistake [she] made” (Holiday 1956, 12). Her friend and the ghostwriter of her autobiography, William Dufty, remembers events differently, claiming Sadie intentionally caused the miscarriage of the only child Holiday would ever conceive (Clarke 2000). Whether or not the story is true, Holiday spent most of her adult life yearning for children she would never have. She also spent much of her adult life seeking the love that had eluded her mother. As Clarke (2000) notes, Holiday had a series of incredibly bad relationships, among them two marriages. The men she loved were unfaithful, cruel, selfish, and sometimes violent. Like Holiday, they battled drug addictions, arguably making her attempts to get clean impossible. They managed her career, sometimes, though none seemed to have Holiday's best interests at heart. They pilfered much of her money and caused her to experience regular and significant financial insecurity, despite the fistfuls of cash she eventually earned. They also provided loads of material, both in terms of her emotive style and her songwriting. For example, the song “Don't Explain” was her lyrical response to first husband Jimmy Monroe's infidelity (Holiday 1956, 105). Holiday's triumphant story of her discovery at a New York club is a bit of an exaggeration. According to the legend, her mother was sick and unable to work. Holiday had given up prostitution, and she couldn't get any money out of her father. She and her mother were hours away from eviction in the dead of a New York winter when she walked into Pod's and Jerry's speakeasy and asked for a job as a dancer. They gave her an audition on the spot, in front of a live crowd. She bombed, and they were ready to dismiss her when the piano player asked her if she could sing. She then sang “Trav'lin’ All Alone,” knocked the socks off of the crowd, and earned 57 dollars that night, more than enough to pay the rent (Holiday 1956, 33–34). Her real rise to fame was gradual. When she was as young as 13, Holiday was singing in clubs after-hours and starting to pick up a few bucks. This she did in several cities, though it was in Harlem that she made a name for herself. Her first long engagement was at the Hot-Cha Bar and Grill, her first major success when she played the Apollo and got an incredibly enthusiastic reception. She likewise appeared as an extra in The Emperor Jones (Murphy) in 1933, following it up with a part in a Duke Ellington vehicle, Symphony in Black (Walla 1935) (Clarke 2000). She was becoming fabulously successful and was not yet 20 years of age. During the 1930s and ’40s, Holiday was playing a lot of club gigs, recording at a fast clip, and touring with various groups, including Count Basie's and Artie Shaw's bands. She solidified her reputation with other jazz musicians during these years, developing friendships that would last her lifetime. The most celebrated of these friendships was that between Holiday and Lester Young, the saxophone player who nicknamed her “Lady Day.” She dubbed him “Prez,” as she notes in her autobiography (Holiday 1956, 50), and forever considered him her musical soul mate. Clarke writes that the praise given to Young by Whitney Balliett applies equally to Holiday, that they both had “absolute mastery of broken-field rhythm and phrasing—the ability to emphasize the beat simply by eluding it” (Clarke 2000). In the end, they died only five months apart. Many of Holiday's recordings from these years are celebrated for their stylistic innovation and verve. Among the best are those she recorded with pianist Teddy Wilson and his ensemble. These records include the hits “What a Little Moonlight Can Do,” “Miss Brown to You,” “Nice Work If You Can Get It,” “My Man,” and “The Way You Look Tonight.” By 1936, Holiday also recorded under her own name, and with a talented group of musicians behind her, she produced “Summertime” (from Gershwin's Porgy and Bess, which initially failed on Broadway) and “Billie's Blues,” a song improvised by Holiday and her orchestra while in the studio (Clarke 2000). In 1939, Holiday began headlining at Café Society, an experimental club satirizing the elite crowd it attracted. Owner Barney Josephson costumed doormen in rags. They and much of the rest of the staff were as likely to refuse to be of service to patrons as they were to accommodate. Josephson adopted the slogan, “The wrong place for the Right people” (Margolick 2000, 40). He insisted that the club be racially integrated in every way, a groundbreaking move in the club scene of those days. Holiday seemed the perfect choice as headliner, for she was obviously talented, but she also attracted a cult following and already practiced what can only be called an early version of black pride. Stately and beautiful, Holiday was also proud and had a reputation for resisting segregation. Her run at Café Society lasted less than a year, but it was pivotal, for it was here that she began singing the protest song “Strange Fruit.” “Strange Fruit” is a song about racially motivated lynchings. “Southern trees,” the song's lyrics read, “bear a strange fruit.” Penned by Jewish activist schoolteacher and poet Abel Meeropol (whose pen name was Lewis Allan), the song made its way to Holiday at Café Society (Margolick 2000, 25). She claimed in her autobiography that Meeropol brought the song (still just in poetic infancy) to her, and further claimed that he thought she alone could sing it (Holiday 1956, 84). That, said Meeropol, wasn't the way he remembered things. He remembers only that Josephson asked him to bring the song to Café Society, and that once there, he played it for Holiday (Margolick 2000, 46). At first, she worried about singing the song, fearing “people would hate it” (Holiday 1956, 84). Further, she became physically ill each time she sang it (Margolick 2000, 62). Audiences and critics alike attested to Holiday's emotion in singing this song. Wrote Samuel Grafton of the New York Post, “It is as if a game of let's pretend had ended and a blues singer who had been hiding her true sorrow in a set of love ditties had lifted the curtain and told us what it was that made her cry” (Margolick 2000, 75). No doubt some of the emotional impact was the result of careful staging at Café Society. Holiday closed her set with the song, leaving the audience with its impact. As well, Josephson saw to it that there was no table service ongoing during the song: “Waiters, cashiers, busboys were all immobilized,” notes Margolick (2000, 50), and all of the house lights went down except a single spotlight fixed on Holiday's face. The music critic Leonard Feather called the song “the first significant protest in words and music, the first unmuted cry against racism” (Margolick 2000, 17). The British music journal Q included “Strange Fruit” on its list of “ten songs that actually changed the world” (Margolick 2000, 21). However, not everyone was so enamored of it. John Hammond, the white record producer who liked to claim that he “discovered Billie Holiday” (Clarke 2000), declared that “Strange Fruit” was “artistically the worst thing that ever happened” to Holiday (Margolick 2000, 78). A few other jazz critics shared Hammond's assessment, as did Jerry Wexler, another record producer. He said of the song, “It's got too much of an agenda” (Margolick 2000, 80). He criticized its musical merits as well, but for Wexler as for Hammond, the song lacked appeal because it was protest, not despite this fact. Holiday was no doubt aware of these criticisms, but she sang the song anyway. Not only did she sing the song, she owned it. At some point, Holiday became irrevocably associated with “Strange Fruit.” This had much to do with the way that she sang it. In some respects, she flailed her audience with it, punishing them and forcing them to bear witness to this country's crimes against her people. Writer Studs Terkel described her performance of the song's last notes as follows: “It's like that painting by Munch of the woman screaming, only in this case, you hear it. She leaves the last note hanging. And then—bang!—it ends. That's it. The body drops. I don't know of any other song, jazz or pop, that has that kind of ending” (Margolick 2000, 88). The rest of the association between Holiday and “Strange Fruit” resulted because she inadvertently seemed to be living the song, suffering terribly at the hands of the men whom she loved as well as being tormented by the police for the drugs she couldn't seem to live without. After her 1947 drug arrest and fairly heavy-handed yearlong sentence in a federal penitentiary, Holiday played Carnegie Hall, announcing her return to society. She closed with “Strange Fruit,” a song the large audience “heard in utter silence” and that one listener described as “throat-tightening” (Margolick 2000, 108–10). Likewise, the most famous portrait of Holiday ever taken, the 1944 photo showing her haunted and serious, pain clearly etched on her face, was snapped by Robin Carson while Holiday sang “Strange Fruit” a cappella (Margolick 2000, 112). When she left Café Society, Holiday took the song with her. She had to stipulate in her contracts that she could sing “Strange Fruit” if she wished, for some clubs tried to prohibit it (Margolick 2000, 89–90). Once, at a club outside of Los Angeles, Bob Hope intervened on Holiday's behalf when a white man in the audience began heckling during her performance of the song. Holiday reported that when she toured the South, she had trouble with hostile whites if she tried to sing “Strange Fruit” (Margolick 2000, 91). Whites weren't the only ones who objected, either. Paul Robeson complained that the song made blacks seem like victims, while other blacks worried that “Strange Fruit” may incite whites to commit acts of racial violence (Margolick 2000, 96). Still, she sang the song. She sang it when it was requested and when it was banned, though she sometimes refused to sing it if she felt that audiences would be too disrespectful. “And wherever, whenever Billie Holiday sang ‘Strange Fruit,’ it was an event,” notes Margolick (2000, 109). After Holiday's particularly moving performance of “Strange Fruit” at the Apollo, Jack Schiffman, whose father owned the Apollo, reported that there was “a moment of oppressively heavy silence … and then a kind of rustling sound I had never heard before. It was the sound of almost two thousand people sighing” (Margolick 2000, 99). Now commonplace is the critical dismissal of Holiday's late work as poor in quality due to her deteriorated health and voice. Occasionally a fan or critic will embrace that later work as richer, finer, more tragic than her earlier music and sound. The truth about her late work is that the recordings—and likely the live appearances—were hit and miss. Some of Holiday's finest work appears on recordings from these years. Lady in Satin is exquisite, as is Holiday's television appearance on the BBC's “The Sounds of Jazz.” In both cases there is strain on her voice, and she sometimes has trouble finding the right note and thus, as Clarke notes, slyly slides into the right range rather than hitting the note outright. However, because Holiday was always known more for her style than pure vocals, she perhaps got better with time in this regard. Still, some recordings of the time don't hold up well either because they were overproduced or because Holiday's instrument simply failed her in the moment. By the late 1950s, she had been addicted to heroin for more than a decade and still used and drank heavily. She was sick with cirrhosis of the liver and knew it, and yet she seemed driven to perform and record, even as her ankles and legs swelled and her weight plummeted. She continued to give live performances and make recordings, for music was her life. As she told concerned friends who wished her to lie down and rest before a big show, “When you start doing that, you die” (Clarke 2000). Though it's possible to find young recording artists who don't know the music of Billie Holiday, they all feel her influence. Holiday was at the heart of the jazz vocal improvisation movement. She claimed that she never sang a song the same way twice because that just didn't make sense to her (Holiday 1956, 48). She treated the song as a living, breathing, changing entity, paving the way for many jazz, R&B, rock, rap, and mash-up artists to come. Holiday also listened to the other musicians around her, creating a respectful interaction and collaborative space that many contemporary bands would do well to emulate. She sang about issues that mattered to her, and sometimes in ways potentially detrimental to her own career. She introduced much of the American public to explicit protest in song, something we today take for granted. Among the first of American musicians to exercise open pride in her race, she was also among the first to weather the harrowing difficulties of making music in a racially integrated space. Though her legacy includes drug addiction, tragedy, heartbreak, and an early death, these, too, have imprinted Americans’ notions of musical genius, for better or worse. Perhaps most importantly, Holiday embodied the desire to innovate musically as well as socially, and the need for such attitudes remains alive and well. Holiday saw things changing, but not enough. She suffered most of her life from the social acceptance of domestic abuse, dying before second-wave feminism roused Americans’ ire over this silent epidemic. She didn't live to see the passage of the Civil Rights Act of 1964, and she certainly didn't see Americans elect the first African American president. A story told by Madeline Gilford, the wife of a comedian who emceed at Café Society during Holiday's run, has it that Holiday's mother objected to her singing of “Strange Fruit.” Holiday told her mother that she had to sing the song in order to make the world a better place. Her mother replied that by the time that happens, “you'll be dead.” “Yeah, but I'll feel it,” said Holiday. “I'll know it in my grave” (Margolick, 47). References and Additional Resources Clarke, Donald. 2000. Billie Holiday: Wishing on the Moon. Da Capo Press London. Griffin, Farah Jasmine. 2002. If You Can't Be Free, Be a Mystery: In Search of Billie Holiday. Ballantine New York. Holiday, Billie. 1994. Billie Holiday: God Bless the Child. Retro Music. CD. Holiday, Billie. 1999. Billie Holiday: Strange Fruit 1937—1939. I.M.C. Music Ltd. CD. Holiday, Billie. 1994. Billie Holiday Verve Story, Vol I: Billie Holiday at Jazz at the Philharmonic. PolyGram Records. CD. Holiday, Billie. 1998. Billie's Blues. EMI-Manhattan Records. CD. Holiday, Billie. 1997. The Complete Commodore Recordings. GRP Records. CD. Holiday, Billie. 1991. The Complete Decca Recordings. MCA Records. CD. Holiday, Billie. 1997. Lady in Satin. Sony. CD. Holiday, Billie. 1956. Lady Sings the Blues. Ghostwritten by Dufty, William . Penguin New York. Margolick, David. 2000. Strange Fruit: Billie Holiday, Café Society, and an Early Cry for Civil Rights. Running Press Philadelphia PA. O'Meally, Robert. 2000. Lady Day: The Many Faces of Billie Holiday. Da Capo Press New York. Strange Fruit. 2002. Produced and directed by Katz, Joel . California Newsreel. Film. Cammie M. Sublette MLA Sublette, C. M. (2013). Holiday, Billie (1915--1959). In R. C. Sickels, 100 entertainers who changed America: an encyclopedia of pop culture luminaries. Westport, CT: Greenwood. Retrieved from http://search.credoreference.com/content/entry/greenwoodqqy/holiday_billie_1915_1959/0 Sublette, Cammie M. "Holiday, Billie (1915–1959)." In 100 Entertainers Who Changed America: An Encyclopedia of Pop Culture Luminaries, by Robert C. Sickels. Greenwood, 2013. http://search.credoreference.com/content/entry/greenwoodqqy/holiday_billie_1915_1959/0 Sublette, C.M. (2013). Holiday, Billie (1915--1959). In R.C. Sickels, 100 entertainers who changed America: an encyclopedia of pop culture luminaries. [Online]. Westport: Greenwood. Available from: http://search.credoreference.com/content/entry/greenwoodqqy/holiday_billie_1915_1959/0 [Accessed 20 January 2017]. Sublette, Cammie M. "Holiday, Billie (1915–1959)." 100 Entertainers Who Changed America: An Encyclopedia of Pop Culture Luminaries, Robert C. Sickels, Greenwood, 2013. Credo Reference, http://search.credoreference.com/content/entry/greenwoodqqy/holiday_billie_1915_1959/0. Accessed 20 Jan 2017. Images

i don't know

What was the first film Alfred Hitchcock made in Hollywood?

Alfred Hitchcock | Alfred Hitchcock and David O. Selznick Collaborations | American Masters | PBS Alfred Hitchcock and David O. Selznick Collaborations Alfred Hitchcock and David O. Selznick Collaborations January 10, 2001 Comments On December 10, 1938, David O. Selznick burned down Atlanta. On the back of his Culver City studio, Selznick had begun filming what would be his and Hollywood’s greatest triumph, GONE WITH THE WIND. Selznick was just thirty-six years old and already a legend. He had run a major studio before the age of thirty and created his own studio by the time he was thirty-three. With a harsh and controlling demeanor, he dominated every film he made. In a town of Mayers, Zanucks, and Goldwyns, David Selznick was king. But one of his most lasting contributions would have nothing to do with his grand, southern epic. Instead, it would be bringing to America a rotund, quiet director who was the shining star of British cinema. In the summer of 1939, David Selznick brought Alfred Hitchcock to Hollywood. David Oliver Selznick was born into a wealthy Pennsylvania family in 1902. His father Lewis J. Selznick was a successful film producer, and David studied the industry from his early years. As a young man he worked for his father, moving to Hollywood and MGM in 1926. With a voracious appetite for success he worked his way from the bottom of Hollywood to the top—moving from MGM, where he was a story editor and associate producer, to Paramount as an associate director, to RKO as vice president of production, and back to MGM. Returning to MGM he played a crucial part of the production of a number of major films including George Cukor’s DAVID COPPERFIELD and DINNER AT EIGHT. Selznick longed for his independence and in 1936 formed Selznick International. Within three years he had secured his place among the elite of Hollywood with the production of one of its greatest films, GONE WITH THE WIND. While finishing the film, Selznick hired an English director who was looking to make a go of it in Hollywood. Alfred Hitchcock was born in 1899 to a middle-class London family. In 1914 he found a job with the Famous Players—Lasky Corporation as a title card designer, beginning his long career in the film industry. Within a few years he had moved up in the company to directing films. Working with the Lasky Corporation in Berlin, Hitchcock made his first two pictures. A few years later Hitchcock made the film he would note as the beginning of his career. THE LODGER (1926), a retelling of the story of Jack the Ripper, began a string of suspense films that would bring him to the top of the English cinema. Among the other well-known films of his English period were BLACKMAIL (1929), THE MAN WHO KNEW TOO MUCH (1934), and THE THIRTY-NINE STEPS (1935). The English cinema had little money, and Hitchcock longed to be in Hollywood, where the world’s best films were being made. For Hitchcock, being a director meant being the primary creative source for the film—working on everything from the script to the props. In Hollywood, however, the power of the studios put producers in charge. For the Hollywood of the 1930s, screenwriters and directors were interchangeable technicians, not given serious consideration in the artistic decisions of the film. More than any other producer, Selznick took advantage of this and controlled nearly every aspect of his movies. Not surprisingly, Hitchcock and Selznick had difficulties from the very first film they made, REBECCA (1940). Disagreements began with Hitchcock’s adaptation of Daphne du Maurier’s novel and lasted through the film’s completion. For the final scene, Selznick wanted smoke to form the shape of an “R” in the sky. Hitchcock was appalled. He suggested a subtler metaphor: the memory of Rebecca should go up in flames with an “R” embroidered on a bed pillow. Hitchcock won, but he felt battered by Selznick and resented his producer’s complete command of post-production. The two didn’t work together again until 1945, with their hit SPELLBOUND. Though Hitchcock had more experience and notoriety in Hollywood by this time, his relationship with Selznick remained a struggle. Both men had different ways of making movies, and both believed they deserved control of the picture. In the end, Selznick won, but it would be the last time. Earning both men Oscars, SPELLBOUND marked a change in Hitchcock’s career and in the future of Hollywood. Nearing the end of his contract with Selznick, Hitchcock had become a major force in the movie industry. Hitchcock’s notoriety and his ability to independently create successful films of substance signaled, for many, the rise of the director and the decline of the producer. Though the studios and producers would remain, after Hitchcock it would be the director whose artistic vision mattered. With Hitchcock’s career just beginning and Selznick’s on the decline, the final year of their collaboration would mark turning points in both men’s lives. In 1946 Selznick was deeply enmeshed in his epic film DUEL IN THE SUN and Hitchcock was working independently on NOTORIOUS. When both films were released, each man’s future seemed clear. NOTORIOUS was a masterpiece, and one in which Hitchcock had finally been given full control, and DUEL IN THE SUN was a flop, nearly bankrupting Selznick. Contractually obliged to finish one more film with Selznick, an uninspired Hitchcock worked on THE PARADINE CASE (1948), after which both men went their separate ways. For Selznick there was to be only a few more films. By the time of his death in 1965, Alfred Hitchcock had made dozens of movies including ROPE (1948), DIAL M FOR MURDER (1954) VERTIGO (1957), PSYCHO (1960), and THE BIRDS (1963), becoming one of the greatest filmmakers of all time. After their collaboration, the movie industry would never be the same—not for Selznick, not for Hitchcock, not for anyone.  

Rebecca

What is the most common street name in the UK?

Sir Alfred Hitchcock | English-born director | Britannica.com Sir Alfred Hitchcock Michael Crichton Sir Alfred Hitchcock, (born August 13, 1899, London, England—died April 29, 1980, Bel Air, California , U.S.), English-born American motion-picture director whose suspenseful films and television programs won immense popularity and critical acclaim over a long and tremendously productive career. His films are marked by a macabre sense of humour and a somewhat bleak view of the human condition. Alfred Hitchcock. The Bettmann Archive Early life Hitchcock grew up in London ’s East End in a milieu once haunted by the notorious serial killer known as Jack the Ripper , talk of whom was still current in Hitchcock’s youth two decades later. Although he had two siblings, he recalled his youth as a lonely one, with a father who was a stern disciplinarian; it is said that he once ordered Alfred to appear at the local police station with a note saying that he had been misbehaving, whereupon the sergeant on duty (at the request of Hitchcock’s father) locked him up for a few minutes, a sufficient length of time to give Alfred a fear of enclosed spaces and a strong concern for wrongful imprisonment, both of which would figure in his later work. When he was not being disciplined , he was cosseted by an overly watchful mother, who used food as a balm—to which he would later trace his trademark paunch. Hitchcock went to St. Ignatius College before attending the London County Council School of Marine Engineering and Navigation in 1913–14. He worked in the sales department at W.T. Henley’s Telegraph Works Company until 1918, when he moved to the advertising department. Giving in to his artistic side, Hitchcock enrolled at the University of London in 1916 to take drawing and design classes. His facility in that field in 1920 helped land him a spot designing title cards (which silent films required) for the American film company Famous Players–Lasky, which had opened a British branch in Islington . When Famous Players closed down its British branch in 1922, he stayed on at Islington. He worked on films for independent producers and came to assume more responsibility, working as an art director, production designer, editor, assistant director, and writer. First films Hitchcock’s first film as a director was the comedy Mrs. Peabody (1922; also called Number 13), which was not completed, for lack of funding. His first released film was Always Tell Your Wife (1923), which he codirected with its star Seymour Hicks, but he did not receive credit. Solo credit did not come for another two years, with the melodrama The Pleasure Garden (1925). That was followed by The Mountain Eagle (1926), a drama set in the Kentucky mountains. But it was The Lodger: A Story of the London Fog (1927) that both he and students of the cinema would come to regard as his first “real” work—and one that very much drew on his youthful surroundings. Adapted from a popular novel by Marie Belloc Lowndes , the suspenseful story introduces the structure of many Hitchcock films to come: a London man ( Ivor Novello ) is accused of being a Jack the Ripper -like killer and finds it nearly impossible to prove his innocence. The film became his first hit and also was the first film in which he made his trademark cameo appearance. Britannica Stories Ringling Bros. Folds Its Tent In 1926 Hitchcock married his film editor and script supervisor, Alma Reville. The following year he made the melodrama Downhill, Easy Virtue (from a Noel Coward play), and the boxing drama The Ring, which was a critical success. The comedies The Farmer’s Wife and Champagne (both 1928) were followed by the tragic romance (and box-office hit) The Manxman (1929). You Can’t Handle the Truth: Famous Movie Quotes Hitchcock’s first talking picture was the thriller Blackmail (1929). One of the year’s biggest hits in England , it became the first British film to make use of synchronized sound only after the completed silent version was postdubbed and partly reshot. Polish actress Anny Ondra (who had starred in The Manxman) played a would-be model who stabs an artist when he tries to assault her. The murder investigation is headed by the model’s fiancé, but she is being blackmailed for the killing and is afraid to confide in him. The film’s most memorable sequence is a chase through the British Museum and across its roof, but Hitchcock builds the mood of encroaching menace throughout. Juno and the Paycock (1929) was adapted from Sean O’Casey ’s popular play, while Elstree Calling (1930) was a collection of musical and comedy sketches that Hitchcock codirected with three others. Murder! (1930) provided Hitchcock with another opportunity to explore cinematic suspense. Shot simultaneously in a German-language version (Mary, 1931), it stars Herbert Marshall as Sir John Menier, a gentleman knight and famed actor who turns amateur sleuth in order to save from the gallows an actress who has been convicted of murder. Though light in tone, the film is distinguished by its dramatic camera work, colourful theatrical setting, and groundbreaking use of voice-over narration. Neither The Skin Game (1931) nor Rich and Strange (1931; also called East of Shanghai), an odd comedy, made much of an impact at the time of release, but Number Seventeen (1932) offered a thrilling chase finale. The musical Waltzes from Vienna (1934; also called Strauss’s Great Waltz) was Hitchcock’s last foray into that genre . First international releases: The Man Who Knew Too Much to Jamaica Inn Britannica Lists & Quizzes Editor Picks: Exploring 10 Types of Basketball Movies Hitchcock signed with Gaumont-British in 1934, and his first film for that company, The Man Who Knew Too Much (1934), was also his first international success. Leslie Banks and Edna Best star as the Lawrences, a married couple on vacation in Switzerland with their daughter Betty (Nova Pilbeam). They inadvertently become enmeshed in a plot to assassinate a diplomat when the conspirators kidnap Betty to ensure the Lawrences’ silence until the deed is accomplished by the lethal Abbott (German actor Peter Lorre in his first English-speaking role). In just 75 minutes, culminating with the classic Royal Albert Hall finale, Hitchcock established himself as the new master of the sinister . Scene from the film The Man Who Knew Too Much. Gaumont-British Picture Corporation; photograph from a private collection Hitchcock built on that foundation with The 39 Steps (1935), an adaptation of John Buchan ’s thriller. Robert Donat played the archetypal Hitchcock protagonist: an innocent vacationer unwillingly drawn into an elaborate scheme hatched by a nest of spies. On the run, handcuffed to a young woman (Madeleine Carroll) whom he has just met, they are hunted while they try to decipher the meaning of the film’s mysterious title. This was a premier example of a genre Hitchcock virtually invented—the romantic thriller. Secret Agent (1936) offers Carroll, John Gielgud , and Lorre as undercover agents for British intelligence, traipsing through the Swiss Alps on the trail of hostile spies. Based on W. Somerset Maugham ’s Ashenden, the film subsumes romantic byplay in favour of plentiful mordant humour. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest Sabotage (1936) was far less playful, as might be expected of an adaptation of Joseph Conrad ’s novel about terrorism , The Secret Agent. Sylvia Sidney played Winnie Verloc, who is married to a terrorist (Oscar Homolka) who gives her young brother (Desmond Tester) a bomb-laden suitcase to deliver without telling him of its contents; the lad dallies while delivering it, and the suitcase explodes in an intensely suspenseful sequence. Young and Innocent (1937) was considerably more charming and still offered much in the way of suspense. Derrick de Marney starred as a young man who (once again) has been unjustly accused of murder; Pilbeam played the local constable’s teenage daughter who decides to help the accused, and they quickly fall in love. The Lady Vanishes (1938) is a deft thriller that finds a traveller ( Margaret Lockwood ) riding a train across Europe ; she wonders at the sudden—and apparently unnoticed—disappearance of another fellow traveller (Dame May Whitty), but no one else on the train seems to remember her. This was Hitchcock’s biggest hit—in both England and the United States—since The 39 Steps, and its masterful synthesis of comedy and suspense inspired American producer David O. Selznick to sign Hitchcock to a long-term contract. Before moving to Hollywood , however, Hitchcock made one last picture in England, the Gothic costumer Jamaica Inn (1939), from a popular novel by Daphne du Maurier ; Charles Laughton played a country squire who secretly heads a band of pirates. Poster for the film The Lady Vanishes. © 1938 Metro-Goldwyn-Mayer Inc.; photograph from a private collection The Hollywood years: Rebecca to Dial M for Murder The British film industry’s loss was Hollywood’s gain, as Rebecca (1940) made abundantly clear. Du Maurier’s novel Rebecca was a property Selznick had acquired at great cost to follow his production of Gone with the Wind (1939), and the potentate bequeathed Hitchcock a star-filled cast: Laurence Olivier as the brooding Maxim de Winter, Joan Fontaine as his trembling bride, and Judith Anderson as the threatening Mrs. Danvers. The film was an enormous success both commercially and critically. It won the Academy Award for best picture, and Hitchcock earned his first Oscar nomination for best director. Trending Topics Opium Wars Foreign Correspondent (1940) starred Joel McCrea as a newspaper reporter who becomes involved with assassinations, Nazis , and a kidnapped Dutch diplomat. The film is filled with stunning set pieces—such as an assassination in a crowd of umbrellas and a climactic plane crash. The screwball comedy Mr. and Mrs. Smith (1941) was Hitchcock’s first change of pace since coming to Hollywood. The film starred Carole Lombard and Robert Montgomery as the eponymous bickerers who discover that their marriage is legally invalid. It was a box-office success but was Hitchcock’s last comedy without any suspense elements. Suspicion (1941) seemed to promise a return to form. Fontaine played Lina, the timid wife of Johnnie ( Cary Grant ), a cad who may be trying to kill her. Hitchcock originally intended for the film to end with Lina’s suicide . However, suicide was discouraged under the strictures of Hollywood’s Production Code, which governed what could be depicted in movies, and the film ended with Lina’s suspicions about Johnnie’s character proving utterly groundless. The film made little sense without a legitimate payoff, and Hitchcock later admitted that he had not played fair with his audience. In Saboteur (1942) Robert Cummings played a patriotic factory worker framed for murder and sabotage , and Priscilla Lane played the trusting woman who aids and abets his crosscountry flight. The film has its share of exciting moments, including a charity ball where the couple are trapped in a crowd and the climax on top of the Statue of Liberty . The chilling Shadow of a Doubt (1943) was a darker and more psychologically complex work. Hitchcock worked out the script with Thornton Wilder . Joseph Cotten gave one of his most-noted performances as the charming, utterly psychopathic Uncle Charlie, who drops in to visit his relatives in quiet Santa Rosa after murdering a woman; Teresa Wright played his devoted niece (also named Charlie), who fights against her growing realization that her beloved uncle is a misogynistic serial killer of whom the entire country is terrified. The claustrophobic Lifeboat (1944) was a heavily allegorical tale about eight survivors of a ship torpedoed by a German U-boat . The challenge of a film set entirely in a lifeboat attracted Hitchcock. The film alternates between suspense and philosophical debate; the story was written for the screen by John Steinbeck . Hitchcock received his second Academy Award nomination for best director. Scene from the film Lifeboat. 20th Century Fox/The Kobal Collection Hitchcock went to England in 1944 to make two patriotic short films for the British Ministry of Information lauding the French Resistance , Bon voyage and Aventure malgache. They were intended for distribution in liberated France and its colonies but were little seen prior to their 1994 release on video. He then returned to Hollywood to make Spellbound (1945). A psychological (and psychiatric ) mystery adapted by Ben Hecht from a Francis Beeding novel, it starred Ingrid Bergman as an analyst who finds herself falling in love with the new director of the asylum ( Gregory Peck ), whom she begins treating after realizing that he is suffering from amnesia apparently brought on by feelings of guilt over committing murder. The film also contains what was a highly publicized two-minute Salvador Dalí dream sequence, but it was actually filmed by William Cameron Menzies after the sequence Hitchcock and Dalí had planned proved too complex. Hitchcock was dissatisfied with the film, which he summarized as “just another manhunt story wrapped in pseudo-psychoanalysis.” He earned his third Oscar nomination for best director. Notorious (1946) was much more polished. Written for the screen by Hecht, the espionage plot of Nazis in Rio de Janeiro and a hidden cache of uranium was secondary to the romance story. Alicia Huberman (Bergman), the dissolute daughter of a convicted Nazi spy, is recruited by American spy Devlin (Grant) to infiltrate a Nazi stronghold in Rio by seducing and marrying Nazi operative Sebastian ( Claude Rains ). Devlin loves Huberman passionately but does not interfere when she is asked to sacrifice herself on the altar of patriotism; she loves him passionately and despairs at his callousness. The Paradine Case (1947) was Hitchcock’s last film for Selznick. A courtroom drama set in England, it starred Peck as a married barrister whose ethics are compromised when he falls in love with a defendant (Alida Valli). Hitchcock formed his own production company, Transatlantic Pictures, which would make films in America and England. Its first film was also his first colour film, Rope (1948), which was based on the sensational 1924 Leopold-Loeb murder case. Jimmy Stewart starred as the vainglorious protagonist, a former professor whose dangerously amoral philosophizing has inspired two students (John Dall and Farley Granger ) to strangle a friend just to experience the thrill of the kill; they then throw a cocktail party to gloat over his corpse, which has been stuffed into a trunk standing in plain view of the guests. Rope is best known for Hitchcock’s audacious attempt to make the picture look as if it had been shot in one continuous take. (A movie camera could only hold 10 minutes of film, so Rope’s 80 minutes is actually eight 10-minute takes, with the breaks cleverly disguised.) Under Capricorn (1949) was one of Hitchcock’s least typical and least popular films at the box office. A melodrama set in 1830s Australia (though shot in England), it starred Bergman as an upper-crust Englishwoman who violates society’s taboos by eloping with her groom (Cotten) and following him to Australia after he is sentenced for the murder of her brother. The box-office failure of Under Capricorn ended Transatlantic Pictures. Hitchcock signed a contract with Warner Brothers , and his first film there, the comic thriller Stage Fright (1950), was one of his lighter works. Marlene Dietrich played Charlotte Inwood, an actress who may have murdered her husband. Her young lover Jonathan Cooper ( Richard Todd ) is accused of the crime, and drama student Eve Gill ( Jane Wyman ) takes a job with Inwood in the hopes of clearing Cooper, her former boyfriend. The theatrical setting and Dietrich’s performance are regarded as highlights of this film. Strangers on a Train (1951) was an engrossing thriller based on a Patricia Highsmith novel. Unhappily married tennis pro Guy Haines (Granger) has the bad fortune one day to be riding a train with charming psychopath Bruno Antony (Robert Walker). Bruno suggests that he and Guy “exchange” murders, so that neither can be traced to the crime. Guy humours Bruno and laughs off the proposal, little dreaming that Bruno will demonstrate his good faith by strangling Guy’s wife and then demanding that Guy complete the bargain by killing Bruno’s father. The homoerotic underpinnings and Walker’s performance contribute to the film’s great appeal. Stranger’s mordant humour does not appear in I Confess (1953), in which Montgomery Clift played a priest in Quebec (where the picture was largely filmed) who is being blackmailed by a murderer whose confession, which the priest cannot reveal, shields him from exposure. Dial M for Murder (1954) was much more commercial. Originally shot in 3-D toward the end of that short-lived craze, the film is an adaptation of a Frederick Knott play that maintained the boundaries of the London flat presented onstage. Grace Kelly starred as a straying rich wife whose jealous husband ( Ray Milland ) first tries to have her killed and then attempts to frame her for stabbing her would-be assassin in self-defense. The Paramount years: Rear Window to North by Northwest Moving to Paramount , Hitchcock entered his third phase of sustained brilliance—one with a maturity of theme and a mastery of technique that make even the great periods of 1934–38 and 1940–46 almost pale in comparison. In Rear Window (1954) Jeff, a wheelchairbound press photographer (Stewart), spends his invalid days peering into the windows of the many apartments across the courtyard from him. He and his girlfriend Lisa (Kelly) suspect that in one of those apartments a man has murdered his wife. Rear Window, like Rope and Lifeboat, was another technical challenge for Hitchcock. Although Jeff and the camera never leave his apartment, the story required the construction of a gigantic courtyard set. The subtext about invading the privacy of others implicates moviegoers as a band of easily seduced voyeurs . Hitchcock was again Oscar-nominated for best director. Scene from the film Rear Window. Paramount/The Kobal Collection Kelly also appeared in To Catch a Thief (1955), a romantic thriller shot on the French Riviera , in which she was paired with the debonair Cary Grant, who played a former jewel thief who may have returned to his old ways. Hitchcock came to regret this production, since it was on location that Kelly met Monaco ’s Prince Rainier , who would take her away from the movies, and him, forever. If Thief was lightweight, The Trouble with Harry (1955) was downright irreverent. A black comedy about a Vermont town’s problems with a corpse that just will not stay buried, it had the virtues of amusing performances by Edmund Gwenn and (in her screen debut) Shirley MacLaine , but the film attracted little box-office business. Hitchcock was lured into television with the promise of a much wider audience. His droll introductions for Alfred Hitchcock Presents (1955–62; later The Alfred Hitchcock Hour, 1962–65) gradually but inexorably converted him into America’s—perhaps even the world’s—best-known director. He still concentrated on motion pictures but approved which scripts and directors would be used; he also directed 20 episodes. Hitchcock returned to serious work with The Man Who Knew Too Much (1956), a big-budget remake of his humble 1934 thriller. It starred Stewart and Doris Day as the parents whose son is kidnapped when the father accidentally acquires information about an assassination. The film advanced Day’s career as a singer, incidentally, with the song “Que Sera, Sera,” which climbed high on the pop charts. The bleak The Wrong Man (1956) was based on the Kafkaesque but true (and nationally publicized) story of Queens musician Manny Balestrero ( Henry Fonda ), who was wrongfully arrested in 1953 for robbing an insurance company and had great difficulty proving his innocence. Shot in many of the New York City locales where the case unfolded, the film has verisimilitude to spare with its respectful, quasidocumentary approach. Considered by many to be his masterpiece and by some to be the greatest of all films, Vertigo (1958) was a challenging, sometimes obscure, and painful exploration of identity, fantasy, and compulsion. Stewart starred as Scottie, a former San Francisco policeman who has taken early retirement because of his fear of heights. A rich friend asks him to shadow his wife Madeleine (Kim Novak), who has been prone to taking mysterious leaves of absence. But Scottie’s detecting soon metamorphoses into a kind of voyeurism , as his observation of Madeleine turns into love, then obsession , and finally agony. Vertigo is a brave dramatization of the themes closest to Hitchcock. It failed to attract contemporary audiences and was almost entirely overlooked in the Academy Award nominations; even Bernard Herrmann ’s chilling score was passed by. Scene from the film Vertigo. KPA/Heritage-Images/Imagestate Hitchcock retreated from the naked trauma of Vertigo to make the entertaining North by Northwest (1959), a romantic thriller reminiscent of The 39 Steps and Saboteur. Grant is the consummate Hitchcock protagonist, New York ad man Roger Thornhill, who is mistaken for George Kaplan, a government agent who has become the target of a very persistent group of international spies. But Thornhill/Kaplan proves to be quite resourceful himself, even with the serious disadvantage of never remotely knowing what is going on. Scene from the film North by Northwest. DeA Picture Library Psycho and the 1960s After the commercial success of North by Northwest, Hitchcock made his most shocking movie, Psycho (1960). Critics were uncertain what to make of it; moviegoers, on the other hand, were immediately avid for it. In the beginning it seems that the beautiful Marion Crane ( Janet Leigh ) is the protagonist, but Hitchcock resolves her peril halfway through the picture by killing her off in the famous shower scene, leaving the audience alone with the lunacy of Norman Bates ( Anthony Perkins ). The long-term effects of Psycho on both the grammar of the cinema and the implicit trust between an audience and a director—which Hitchcock had now forevermore compromised with this shocking plotline—were enormous. So were the picture’s box-office receipts: the controversy helped it become the year’s second highest grosser. Hitchcock received his final Academy Award nomination for best director for Psycho. By the time Hitchcock made The Birds (1963) for Universal (which would release his last six films), the media had been trained to respond to his every signal. There were cover stories in national magazines and countless features extolling Hitchcock’s latest blond discovery, model Tippi Hedren . The story itself—millions of birds settle in and finally attack the residents of a small town in coastal California—was based on a novelette by Daphne du Maurier ; screenwriter Evan Hunter expanded it considerably to incorporate all sorts of Freudian byplay among social butterfly Melanie Daniels (Hedren); lawyer Mitch Brenner (Rod Taylor), her romantic interest; schoolteacher Annie Hayworth ( Suzanne Pleshette ), his former romantic interest; and icy Lydia Brenner ( Jessica Tandy ), Taylor’s possessive mother. The Birds unfolds with a dream logic in which the birds are a punishment for Daniels. Scene from the film The Birds. © 1963 Universal Pictures Company, Inc.; photograph from a private collection When Grace Kelly refused to come out of retirement to take the part, Hedren starred in Marnie (1964) as a compulsive liar suffering from kleptomania . Her handsome employer ( Sean Connery ) is attracted to her and wants to help her discover the roots of her emotional difficulties—including fear of sex, thunderstorms, and the colour red—and so marries her, little realizing just how severely she has been traumatized. Marnie proved to be a divisive film, with some seeing it as an astonishing distillation of Hitchcock’s obsessions but others regarding it as a mere fetishistic catalogue of those obsessions that is unsupported by an interesting story. Hitchcock’s next two films, the Cold War thrillers Torn Curtain (1966) and Topaz (1969), were neither commercially nor critically successful. Final productions It appeared that Hitchcock’s powers had waned, but they returned in Frenzy (1972), the first movie he made in England since Stage Fright. Jon Finch played the hallowed role of the man wrongly accused of murder, and Barry Foster played the sadistic “sex killer” who revels in his freedom while the wrong man is being hunted by Scotland Yard . Frenzy was Hitchcock shorn of the big budgets, stars, and media attention that had combined, in the opinion of some, to make him lazy and smug. Hitchcock made Family Plot (1976) as his swan song. Scripted by Ernest Lehman in the comic vein of The Trouble with Harry, Family Plot followed a colourful, rather endearing collection of psychic frauds, scalawags, and jewel thieves. Reputation and general themes Hitchcock has been called by some the greatest of all directors, the most adroit , and the most admired, and the case has been made that he was all of these. His many classics are widely acknowledged—including The 39 Steps, The Lady Vanishes, Rebecca, Shadow of a Doubt, Notorious, Strangers on a Train, Rear Window, Vertigo, North by Northwest, Psycho, and The Birds—and in these films Hitchcock’s genius as both filmmaker and storyteller is abundantly evident. Alfred Hitchcock. Keystone Archives/Heritage-Images/Imagestate Hitchcock’s films usually centre on either murder or espionage, with deception, mistaken identities, and chase sequences complicating and enlivening the plots. Wry touches of humour and occasional intrusions of the macabre complete this mixture of cinematic elements. Three main themes predominate in Hitchcock’s films. The most common is that of the innocent man who is mistakenly suspected or accused of a crime and who must then track down the real perpetrator in order to clear himself (e.g., The Lodger and North by Northwest). The second theme is that of the guilty woman who enmeshes a male protagonist and ends up either destroying him or being saved by him (e.g., Vertigo and Marnie). The third theme is that of the (frequently psychopathic) murderer whose identity is established during the working out of the plot (e.g., Shadow of a Doubt and Psycho). Hitchcock’s greatest gift was his mastery of the technical means to build and maintain suspense. To this end he used innovative camera viewpoints and movements, elaborate editing techniques, and effective soundtrack music, often supplied in his best films by Bernard Herrmann. He had a sound grasp of human psychology , as manifested both in his credible treatment of everyday life and in the tense and nightmarish situations encountered in his more-chilling films. His ability to convincingly evoke human menace, subterfuge , and fear gave his psychological thrillers great impact while maintaining their subtlety and believability. He was also a master of something he called the “ MacGuffin”—that is, the use of an object or person who, for storytelling purposes, keeps the plot moving along even though that thing or person is not really central to the story. (Examples include the titular steps in Hitchcock’s The 39 Steps and the microfilm in North by Northwest.) Among the honours Hitchcock received are the Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences (1968) and the Life Achievement Award from the American Film Institute (1979). Hitchcock was knighted in 1980.

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Bujumbura international airport is in which country?

Bujumbura International Airport, Burundi (Code :: BJM) | Bujumbura Airport Map, Bujumbura International Airport Code Timezone : Africa/Bujumbura Bujumbura International Airport Timezone : GMT +02:00 hours Current time and date at Bujumbura International Airport is 12:38:47 PM (CAT) on Sunday, Dec 18, 2016 Looking for information on Bujumbura International Airport, Bujumbura, Burundi? Know about Bujumbura International Airport in detail. Find out the location of Bujumbura International Airport on Burundi map and also find out airports near to Bujumbura. This airport locator is a very useful tool for travelers to know where is Bujumbura International Airport located and also provide information like hotels near Bujumbura International Airport, airlines operating to Bujumbura International Airport etc... IATA Code and ICAO Code of all airports in Burundi. Scroll down to know more about Bujumbura International Airport or Bujumbura Airport, Burundi. Bujumbura International Airport Map - Location of Bujumbura International Airport Load Map This page provides all the information you need to know about Bujumbura International Airport, Burundi. This page is created with the aim of helping travelers and tourists visiting Burundi or traveling to Bujumbura Airport. Details about Bujumbura Airport given here include Bujumbura International Airport Code - IATA Code (3 letter airport codes) and ICAO Code (4 letter airport codes) Coordinates of Bujumbura Airport - Latitude and Longitude (Lat and Long) of Bujumbura International Airport Location of Bujumbura International Airport - City Name, Country, Country Codes etc... Bujumbura International Airport Time Zone and Current time at Bujumbura International Airport Address and contact details of Bujumbura International Airport along with website address of the airport Clickable Location Map of Bujumbura International Airport on Google Map. General information about Burundi where Bujumbura International Airport is located in the city of Bujumbura. General information include capital of Burundi, currency and conversion rate of Burundi currency, Telephone Country code, exchange rate against US Dollar and Euro in case of major world currencies etc... BJM - Bujumbura International Airport IATA Code and HBBA - Bujumbura International Airport ICAO code

Burundi

The painting The Scream was stolen form which city in 1994?

Bujumbura International Airport Search Airport: Airport: Bujumbura International Airport City: Bujumbura Country: Burundi  IATA Code: BJM ICAO Code: HBBA Coordinates: Latitude: 3°19′26″S, Longitude: 29°19′6″E Runways: Direction: 17/35, Length: 11811 x 148 ft, Elevation: 2582 ft Direction: 2/20, Length: 0 x 0 ft, Elevation: 2582 ft Current local time: 20:06 CAT (2017-01-11) Standard time zone: UTC/GMT +2.0 Daylight saving time: UTC/GMT +2.0 Sunrise: 06:01 Sunset: 18:19 Wikipedia link: Wikipedia - Bujumbura International Airport Location and map Bujumbura International Airport is located approximately 5,1 miles (8,2 km) northwest of Bujumbura and about 13,4 miles (21,6 km) east of Uvira.

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What was Paul Newman's first movie?

Paul Newman - Biography - IMDb Paul Newman Biography Showing all 225 items Jump to: Overview  (5) | Mini Bio  (2) | Spouse  (2) | Trade Mark  (5) | Trivia  (126) | Personal Quotes  (75) | Salary  (10) Overview (5) 5' 9½" (1.77 m) Mini Bio (2) Screen legend, superstar, and the man with the most famous blue eyes in movie history, Paul Leonard Newman was born in January 1925, in Cleveland, Ohio, the second son of Theresa (Fetsko) and Arthur Sigmund Newman. Paul's father was Jewish, the son of immigrants from Poland and Hungary; he owned a successful sporting goods store. Paul's mother, a practicing Christian Scientist of Slovak decent, and his uncle Joe, had an interest in creative arts, and it rubbed off on him. He acted in grade school and high school plays. The Newmans were a well-to-do family, and Paul grew up in a nice home in Shaker Heights. By 1950, the 25 year-old Newman had been kicked out of Ohio University for unruly behavior, served three years in the Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, Jackie, and had his first child, Scott. 1950 was also the year that Paul's father died. When he became successful in later years, Newman said if he had any regrets it would be that his father wasn't around to see it. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he moved Jackie and Scott to New Haven, Connecticut, where he attended Yale University's School of Drama. While doing a play there, Paul was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, Paul acted in guest spots for various television shows and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play Picnic. Through this play, he met actress Joanne Woodward, who was also an understudy in the play. While they got on very well and there was a strong attraction, Paul was married and his second child, Susan, was born that year. During this time, Newman was also accepted into the much admired and popular New York Actors Studio, although he wasn't technically auditioning. In 1954, a film Paul was very reluctant to do was released, The Silver Chalice (1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it. He had always been embarrassed about the film and reveled in making fun of it. He immediately wanted to return to the stage, and performed in The Desperate Hours. In 1956, Newman got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (1956), and critics praised his performance. In 1957, with a handful of films to his credit, he was cast in The Long, Hot Summer (1958), co-starring none other than Joanne Woodward . During the shooting of this film, they realized they were meant to be together and by now, so did Paul's wife Jackie. After Jackie gave Paul a divorce, he and Joanne married in Las Vegas in January of 1958. They went on to have three daughters together and raised them in Westport, Connecticut. In 1959, Paul received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (1958). The 1960s would bring Paul Newman into superstar status, as he became one of the most popular actors of the decade, and garnered three more Best Actor Oscar nominations, for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967). In 1968, his debut directorial effort Rachel, Rachel (1968) was given good marks, and although the film and Joanne Woodward were nominated for Oscars, Newman was not nominated for Best Director. He did, however, win a Golden Globe for his direction. 1969 brought the popular screen duo Paul Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (1969) was released. It was a box office smash. Throughout the 1970s, Newman had hits and misses from such popular films as The Sting (1973) and The Towering Inferno (1974) to lesser known films as The Life and Times of Judge Roy Bean (1972) to a now cult classic Slap Shot (1977). After the death of his only son, Scott, in 1978, Newman's personal life and film choices moved in a different direction. His acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (1982) for which he received his 6th Best Actor Oscar nomination and in 1987 finally received his first Oscar for The Color of Money (1986). Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as he did not attend the ceremony. Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s, Newman became co-owner of Newman-Haas racing in 1982, and also founded "Newman's Own", a successful line of food products that has earned in excess of $100 million, every penny of which Newman donated to charity. He also started The Hole in the Wall Gang Camps, an organization for terminally ill children. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status. Newman enjoyed a 50-year marriage to Joanne in Connecticut, their main residence since moving away from the bright lights of Hollywood in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his movies. During his later years, he still attended races, was much involved in his charitable organizations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place that Paul took great pride in. In 2007, he made some headlines when he said that he was losing his invention and confidence in his acting abilities and that acting is "pretty much a closed book for me." He died the next year. Whether he was on the screen or not, Paul Newman remained synonymous with the anti-heroism of the 1960s and 1970s cinema, and with the rebellious nature his characters so often embodied. His movies often reflect his political views Often played detached yet charismatic anti-heroes and rebels He was known for his wry, puckish sense of humor, mainly off-screen. While he played similar system-bucking, troubled young men as such near contemporaries as Marlon Brando and James Dean , Newman's characters were often more humorous, introspective and self-assured. Newman's character's conflicts were often ironic and (intentionally) borderline-absurd. Bright blue eyes Trivia (126) Chosen by Empire magazine as #12 in the 100 Sexiest Stars in film history (1995). Said that he burned his tuxedo on his 75th birthday because he is through with formality. Said the sound he loved most is that of a V-8 engine. Owned the Hole in the Wall Gang Camp, a summer camp for children with cancer and other blood-related diseases (and their siblings) in Ashford, Connecticut, and also ran a fall "Discovery" program for inner city kids, also in Ashford. Ranked #19 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997] Lived in Westport, Connecticut and was known to race at the Lime Rock Road Circuit. Had his own line of food products, "Newman's Own", featuring mainly spaghetti sauces and salad dressings. The company made more than $100 million in profits over the years, all of which he donated to various charities. Owned half of the Champ Car (auto racing) team Newman-Haas. Had three children with Joanne Woodward : actress Melissa Newman , Nell Potts and Claire Newman . Had a son and two girls with his first wife Jacqueline "Jackie" Witte. His only son, Scott Newman , died of a drug overdose in 1978. Daughter, Susan Kendall Newman , is well known for stage acting and her philanthropic activities. His other daughter from his first marriage is named Stephanie and was born in 1954. Before he became an actor, Newman ran the family sporting goods store in Cleveland, Ohio. Chosen by People magazine as one of the 50 Most Beautiful People in the World (1990). He was the visual inspiration for the illustrations of superhero Green Lantern/Hal Jordan (when the character was reintroduced in 1959). Newman was 34 years old at the time. Finished second in the 1979 Le Mans 24-hour race in a Porsche 935. Returned to live theater for the first time in 35 years in Thornton Wilder 's "Our Town" at the Westport Country Playhouse near his home in Westport, Connecticut. He directed and starred as the Stage Manager. Wife Joanne Woodward is the playhouse's Artistic Director. [June 2002] He was among the celebrities on the famous "Enemies List" kept by President Richard Nixon during the Watergate scandal. Was training to be a pilot while in the United States Navy, but was discovered to be colorblind, ending his flying aspirations. Nominated for a 2003 Tony Award for Best Actor in the Revival of a Play, for "Our Town". Was mentioned in La Dolce Vita (1960), in a discussion about salaries paid to film stars. Within a space of five months in 2003, he was nominated for an Oscar (for Road to Perdition (2002)), a Tony (for "Our Town") and an Emmy (for Our Town (2003)). Although he played the lead male roles in the original productions of three Broadway classics near the beginning of his career - "The Desperate Hours", "Picnic" and "Sweet Bird of Youth" - Newman did not receive a Tony Award nomination until 2003, when at age 78, he was nominated as Best Actor for his performance in the 2002 revival of the "Our Town". Was so ashamed of his debut in the failed costume drama The Silver Chalice (1954), that he took out an ad in Variety apologizing for his performance. His father was Ashkenazi Jewish (the son of immigrants from Hungary and Poland). His mother was from an ethnic Slovak family in Hungary. He was voted the 13th Greatest Movie Star of all time by Entertainment Weekly. The fourth nomination on Empire magazine's "Gods Among Us" series along with Al Pacino , Marlon Brando and Jack Nicholson . Students at Princeton University have named 24 April Newman's Day. Students try to drink 24 beers over the 24 hours of the day. The tradition stems from a comment that Newman is alleged to have made; "24 hours in a day, 24 beers in a case. Coincidence? I think not." The event is not officially sponsored by the university, and Newman has commented that he would "like to bring an end to the tradition". He and Frank Sinatra are the only actors to win an acting Academy Award, a Jean Hersholt Humanitarian Award and a Special/Honorary Academy Award. Sinatra won the Best Supporting Actor Award (1953), the Humanitarian Award (1970) and a Special Award (1945, Best Short Subject The House I Live In (1945)). Newman won the Best Actor Award (1986), the Humanitarian Award (1993) and an Honorary Award (1985) for lifetime achievement. Lee Strasberg , who trained Newman at the Actors Studio, said that he would have been as great an actor as Marlon Brando if he had not been so handsome. According to Strasberg, Newman had the talent, but he too often relied on his good looks to coast through a role. Stumped the United States for Eugene McCarthy during his unsuccessful bid for the Democratic Party presidential nomination in 1968. Newman made the cover of Life magazine with a McCarthy pin on his jacket on the May 10, 1968 issue. Appeared on Quigley Publications' annual poll of the Top Ten Money Making Stars 14 times from 1963 to 1986, which ranks him #7 for all-time in appearances in the top 10. He trails Bing Crosby , who made the list 15 times, Clark Gable (16 appearances on the list), Gary Cooper and Tom Cruise (18 times each), Clint Eastwood (21 times) and John Wayne (25 times). Was named the #1 Box Office Star by Quigley Publications in its annual Top Ten Money Making Stars poll of movie exhibitors two years in a row, 1969 and 1970. Newman had been #2 in 1968 and #3 in '67 and would rank #3 in both 1971 and 1974. Newman, who entered the list for the first time in 1963 at #9 and the last time in 1986 at #10, has made the list 17 times. Early in his acting career, he was often mistaken for Marlon Brando . He claims to have signed around 500 autographs reading, "Best wishes, Marlon Brando". Premiere magazine ranked him as the #6 Greatest Movie Star of All Time in their Stars in Our Constellation feature (2005). Otto Preminger , Jewish himself, cast him in Exodus (1960) because he wanted someone of Jewish heritage who did not "look Jewish". Was a Brother of the Phi Kappa Tau fraternity at Ohio University. He was nominated for nine acting Academy Awards in five different decades - the 1950s (Best Lead Actor for Cat on a Hot Tin Roof (1958)), 1960s (Best Lead Actor for The Hustler (1961), Hud (1963) and Cool Hand Luke (1967)), the 1980s (Best Lead Actor for Absence of Malice (1981), The Verdict (1982) and The Color of Money (1986) winning for this last film), the 1990s (Best Lead Actor for Nobody's Fool (1994)) and finally in Road to Perdition (2002) for Best Supporting Actor. He and his daughter Nell Potts were supposed to be in Paper Moon (1973) in the leading roles, but this changed when original director John Huston bowed out and was replaced by Peter Bogdanovich . The role of Rocky Graziano in Somebody Up There Likes Me (1956) was originally awarded to James Dean , who died before filming began. Due to Dean's untimely death, Newman was cast in the role. Dean also was signed to play Billy the Kid in The Left Handed Gun (1958), but that role was also inherited by Newman after Dean's death. Dean and Newman had shot their last screen tests for East of Eden (1955) together; the six-years-younger Dean got the role and Newman went on to star in The Silver Chalice (1954), a notorious turkey. He is only one of six performers to be nominated for an Oscar twice for playing the same role in two separate films. He was nominated as Fast Eddie Felson in The Hustler (1961) and The Color of Money (1986). The other five are Bing Crosby as Father O'Malley in Going My Way (1944) and The Bells of St. Mary's (1945), Peter O'Toole as Henry II in Becket (1964) and The Lion in Winter (1968), Al Pacino as Michael Corleone in The Godfather (1972) and The Godfather: Part II (1974), Cate Blanchett as Elizabeth I in Elizabeth (1998) and Elizabeth: The Golden Age (2007), and Sylvester Stallone as Rocky Balboa in Rocky (1976) and Creed (2015). He had one brother, Arthur S. Newman Jr. , who was named after their father, Arthur S. Newman, a successful sporting goods store owner. Michelle Pfeiffer wanted Newman to play her father, patriarch Larry Cook, in the drama A Thousand Acres (1997), which she produced. Newman turned down the role, which went to Jason Robards . When Premiere magazine does a list of 24 Great Performances from each year, they often ask the actors who their idols are. Newman has been the most frequently cited idol so far. Was nominated 10 times for the Academy Award, including eight times as Best Actor, once as Best Supporting Actor, and once for Best Picture (the latter coming the same year he famously did not receive a Best Director nomination despite having won the then-equally prestigious New York Critics Award as Best Director for Rachel, Rachel (1968). In the acting field, the only actors with more nominations are Jack Nicholson with 12 nominations (8 Best Actor and 4 Best Supporting Actor nominations) and Laurence Olivier (nine Best Actor nominations and 1 Best Supporting Actor nod). On the distaff side, Bette Davis , who was nominated 10 times for an Academy Award, all of them Best Actress nods. Katharine Hepburn , with 12 nods (all in the Best Actress category) and Meryl Streep , with 17 nods have more acting nominations than Newman. Is one of only six actors to be nominated for acting honors by the Academy of Motion Picture Arts and Sciences over five decades (1950s, 1960s, 1980s, 1990s and 2000s). Laurence Olivier (1930s, 1940s, 1950s, 1960s, 1970s), Katharine Hepburn (1930s, 1940s, 1950s, 1960s, 1980s), Jack Nicholson (1960s, 1970s, 1980s, 1990s and 2000s) and Michael Caine (1960s, 1970s, 1980s, 1990s and 2000s) Meryl Streep (1970s, 1980s, 1990s, 2000s and 2010s) are the others who have turned the trick. Has donated between $150 million-$175 million to charity since the 1980s. His performance as Frank Galvin in The Verdict (1982) is ranked #19 on Premiere magazine's 100 Greatest Performances of All Time (2006). His performance as Fast Eddie Felson in The Hustler (1961) is ranked #64 on Premiere magazine's 100 Greatest Performances of All Time (2006). Was director Robert Wise 's first pick for the lead in The Sand Pebbles (1966), eventually played by Steve McQueen , who won his only Oscar nomination for the role. Wise had earlier directed Newman in Somebody Up There Likes Me (1956) and Until They Sail (1957). Turned down the role of the shark hunter Quint in Jaws (1975), which went to Robert Shaw . His performance as Butch Cassidy in Butch Cassidy and the Sundance Kid (1969) is ranked #20 on the American Film Institute's 100 Heroes & Villains. This is a ranking which he shares with Robert Redford , who played the Sundance Kid. His performance as Luke Jackson in Cool Hand Luke (1967) is ranked #30 on the American Film Institute's 100 Heroes & Villains. Ranked the #1 Box Office star of 1969 and 1970 by Quigley Publications' annual poll of the Top Ten Money Making Stars. He was ranked #2 in 1968 and at #3 in 1967, 1971 and 1974. In all, he made the Top Ten list 14 times from 1963, when he entered it at #9, and 1986, when he bowed out of the Top 10 at #10. He was ranked in the Top Ten for 10 straight years from 1966-1975, peaking in the Top Three from 1967 to 1971. The GI Bill got him through his first three months at Yale University. To pay tuition for the rest of his time there, he sold Encyclopedia Britannica. He claims he was very good at it. For a Mother's Day gift, he gave wife Joanne Woodward two hours of uninterrupted driving around the roads of Westport, Connecticut that they had never seen before. Said he did not want his epitaph to say two things: "Here lies Paul Newman, who died a failure because his eyes turned brown" and "Here lies the old man who wasn't a part of his time." (1960s). Great admirer of Jim Carrey . While campaigning for the Democrats in the 1968 U.S. Presidential election, Newman would rent a Jaguar on the weekends. When he found out that opponent Richard Nixon , who was known to his naysayers as "Tricky Dick", was renting the same car during the week, Newman left a note in it saying "This clutch is tricky, so you won't have any trouble with it.". Prior to filming The Hustler (1961), Newman lacked talent at playing pool. But after brushing up on it for the role, he felt very confident in his ability. So he bet co-star Jackie Gleason $50 on a game of pool. Being the excellent pool player he was, Gleason beat Newman. Instead of paying him in dollar bills, Newman dumped $50 worth of pennies on the table for Gleason to take. When Newman failed to receive an Oscar nomination for his performance in Somebody Up There Likes Me (1956), producer Charles Schnee and director Robert Wise gave him what they called a "Noscar". The engraving says, "The Schnee-Wise Noscar award to Paul Newman for best portraying a terrible no-good, for turning him into a charming and lovable sprite, and for thereby doing what Lincoln said should never be done, i.e. fooling all of the people all of the time.". After being asked so many times what the secret was to being married so long to Joanne Woodward , he was asked yet again and simply responded, "I don't know what she puts in my food.". One of the most sought after and valuable collectible Rolex watches, the early "Daytona" model, from the 1960s, is known unofficially and passionately worldwide, as the Rolex "Paul Newman". "Paul Newmans" in steel fetch as much as $100,000 in auctions. This nickname was adopted as he sported one in film. A film poster of him in Hud (1963) appears in Midnight Cowboy (1969). During the 1950s and 1960s, he was close friends with fellow Democrat and civil rights activist Charlton Heston . In 1983, after Heston's political beliefs had moved to the Right, both actors took opposing sides in a television debate on President Ronald Reagan 's Star Wars defense missile program. Heston, much better briefed and prepared than Newman, was judged to have won the debate easily. Some years later, when Newman learned that Heston was supposed to introduce him at an awards ceremony, Newman insisted that his one-time friend be replaced by the liberal Donald Sutherland . Supported Senator Ted Kennedy 's campaign to win the Democratic presidential nomination in 1980. In 2007, his auto racing team, known as Newman-Haas, became Newman/Haas/Lanigan due to Chicago businessman Michael Lanigan becoming a partner. Turned down the role of Bernie White in The Paper (1994), which went to Robert Duvall . Announced that he was retiring from acting. He had previously announced his retirement in 1995, but came back to make four more movies. [May 2007] Opened a restaurant called "Dressing Room" with co-owner and chef Michael Nischan in Westport, Connecticut. It was originally opened to help subsidize the Westport Country Playhouse, which sits next to it (2006). He was a vocal supporter of gay marriage. Was offered the role of Judah Ben-Hur in Ben-Hur (1959), which he turned down because he said he did not have the legs to wear a tunic. Got two roles which were first offered to Elvis Presley but which were turned down by Presley's manager: Cat on a Hot Tin Roof (1958) and Sweet Bird of Youth (1962). The Eiger Sanction (1975) was originally intended as a vehicle for him. His father, Arthur Sigmund Newman, died in 1950 at age 55 and his mother, Theresa Newman, died in 1982 at age 86. Announced that his Champ Car team is merging with NASCAR team Robert Yates Racing. It is now called Yates/Newman/Haas/Lanigan racing. Newman said the deal "in no way lessens our commitment to open-wheel racing. We want to broaden our horizons.". [July 2007] Ranked #19 in Empire magazine's 100 Sexiest Movie Stars of All Time (2007). Became a rear gunner of a TBF Avenger torpedo bomber when his color blindness disqualified him from being a pilot. Longtime supporter of gun control, and a member of Handgun Control Inc. Supported anti-war Senator Eugene McCarthy 's bid to win the Democratic nomination from incumbent President Lyndon Johnson in 1968, and actively campaigned for George McGovern in the 1972 presidential election. According to Joe McGinnis ' book about the advertising industry's participation in Richard Nixon 's 1968 campaign, the first telethon for the Eugene McCarthy Campaign, which was emceed by Newman, raised $125,000 (about $800,000 in 2008 money, when factored for inflation, a good sum for the time). Nixon's advertising people attributed the success of the telethon to Newman's participation. In the 1970s, long before Brokeback Mountain (2005), he was thwarted by Hollywood in his desire to star in the movie version of the best-selling novel "The Front Runner", about the love affair between a male coach and a male star runner. The project remains unmade. Supported Al Franken 's campaign for election as United States Senator from Minnesota. Attended the main Democratic fundraiser for Senator John Kerry before the Democratic National Convention at Radio City Music Hall, along with Whoopi Goldberg , Jon Bon Jovi , Meryl Streep , Sarah Jessica Parker , Mary J. Blige , Chevy Chase and Jessica Lange (August 13, 2004). Donated $1 million to "The Nation" magazine in order to keep it going. Attended the inauguration of President Jimmy Carter on January 20, 1977. Recorded a television advertisement for the Democratic Senatorial Campaign Committee. [June 2007] As of 2007, he is one of six directors who has directed his wife to a Best Actress Oscar nomination ( Joanne Woodward in Rachel, Rachel (1968)). The other five are Joel Coen directing Frances McDormand in Fargo (1996), John Cassavetes directing Gena Rowlands in A Woman Under the Influence (1974) & Gloria (1980), Blake Edwards directing Julie Andrews in Victor Victoria (1982), Paul Czinner directing Elisabeth Bergner in Escape Me Never (1935) and Richard Brooks directing Jean Simmons in The Happy Ending (1969). Jules Dassin also directed his future wife Melina Mercouri in an Oscar-nominated performance ( Never on Sunday (1960)), but they weren't married yet at the time of the nomination. Turned down the role of Harry Callahan in Dirty Harry (1971) because he thought the screenplay was too right-wing, and recommended Clint Eastwood for the role instead. Grandfather of Peter (born May 1996) and Henry Elkind, the sons of his daughter Melissa "Lissy" Newman and her husband Raphael "Raphe" Elkind. Father-in-law to Gary Irving (husband of Elinor "Nell" Newman), Raphael "Raphe" Elkind (husband of Melissa "Lissy" Newman) and Kurt Soderlund (husband of Claire "Clea" Newman). Known as an inveterate prankster, he and Robert Redford in particular played numerous pranks on each other. One time, Redford, who was also into car racing, had a beaten-up Porsche shell delivered to Newman's porch for Newman's 50th birthday. Newman never said anything, but not long after, Redford found a crate of the (now) molten metal delivered to the living room of a house Redford rented, which dented the floor. Not to be outdone, Redford then had the metal turned into an incredibly ugly sculpture and dropped into Newman's garden. He and Frank Sinatra are the only people who were awarded a competitive Oscar, an Honorary Award and a Jean Hersholt Humanitarian Award by the Academy of Motion Picture Arts and Sciences (AMPAS). Once, when he was handing out punch at a Westport charity event, a dowager asked him to stir her drink with his finger. "I'd be glad to," Newman replied, "but I just took it out of a cyanide bottle.". Did all of his own driving in films. Said in an interview that a film had never made any special impact on him until he saw On the Waterfront (1954). The animated comedy Cars (2006), his last film, was the highest-grossing film of his career. The series episode The Simpsons: Lost Verizon (2008), was dedicated to his memory. Turned down Donald Sutherland 's role in A Time to Kill (1996) because he found the film's justification of murder distasteful. Chosen by GQ magazine as one of the 50 Most Stylish Men in the Past 50 Years. His first wife, Jacqueline "Jackie" Witte, was born in September 1929. He was director William Friedkin 's first choice for the lead role of Popeye Doyle in The French Connection (1971), but he was deemed too expensive. The role went to Newman's good friend Gene Hackman . Turned down the lead role of Jackie Scanlon in Sorcerer (1977), which eventually went to Roy Scheider . Profiled in "American Classic Screen Interviews" (Scarecrow Press) (2010). Inducted into the Sports Car Club of America (SCCA) Hall of Fame in 2009. Directed three actors to Oscar nominations: Joanne Woodward (Best Actress, Rachel, Rachel (1968)), Estelle Parsons (Best Supporting Actress, Rachel, Rachel (1968)), and Richard Jaeckel (Best Supporting Actor, Sometimes a Great Notion (1970)). Like his dear friend Robert Redford , both men had firstborn sons named Scott who predeceased their fathers. Newman was expelled from Ohio University for denting the college president's car with a beer keg. He was the only performer, to date, to receive an Oscar for a repeated role. He won as Fast Eddie Felson in The Color of Money (1986), having been previously nominated as the same character in The Hustler (1961). Was announced as co-star with Spencer Tracy and Robert Mitchum in the Jerry Wald production of "The Enemy Within", based on the book by Attorney General Robert Kennedy, which at 1962/63 was in preparation for 20th Century Fox. Presented with the Golden Turkey Award for the Most Embarrassing Movie Debut of All Time for his performance in The Silver Chalice (1954). His response was that he fully agreed with the award. He was never happy at signing autographs and stopped completely after a man asked him for one while he was stood at a urinal in a gents toilet at a restaurant. Often said that of all the films he had performed in, Slap Shot (1977) was the most fun and his personal favorite. Attended the month long festivities at the Indianapolis Motor Speedway in support of the Indianapolis 500. [May 2008] He was awarded a Star on the Hollywood Walk of Fame at 7060 Hollywood Boulevard in Hollywood, California on February 1, 1994. The longest period he had gone without an Oscar nomination was 13 years between his Best Picture nomination for Rachel, Rachel (1968) and his Best Actor nomination for Absence of Malice (1981). Had appeared in six films that were nominated for the Best Picture Oscar: Cat on a Hot Tin Roof (1958), The Hustler (1961), Butch Cassidy and the Sundance Kid (1969), The Sting (1973), The Towering Inferno (1974), The Verdict (1982). Only The Sting (1973) won in the category. This was little known that he was a skilled jazz and blue piano player, like Clint Eastwood . One photo was taken which appears to show him playing while Sammy Davis Jr. and Dean Martin sing, while Robert Mitchum and James Garner look on. Did not start training to be an actor until he was age 26. The births of his and Joanne's daughters were announced in the Milestones columns of the Time magazine issues for 20 April 1959, 6 October 1961, and 30 April 1965 respectively; while his oldest grandson Peter's birth was announced in the Passages column of People magazine's 3 June 1996 issue. Pictured on a USA 'forever' postage stamp issued 18 September 2015. Price on day of issue was 49¢. His and Joanne's daughters are named after their moms the first Character she ever played on film and a Character in Lawrence Durrell's novel the Alexandria Quartet during her last pregnancy they had hoped for a boy so when it was another girl they chose Claire "Clea" from the Durrell novel which Joanne had been reading in the weeks before she gave birth. He later regretting making Exodus (1960). He was a heavy smoker for thirty years. Separated from his wife during the filming of Butch Cassidy and the Sundance Kid (1969) due to his affair with journalist Nancy Bacon. Became friends with future Prime Minister of Sweden, Olof Palme when they were students at Kenyon College in Ohio in 1940s. With the change in zodiac signs he would now be a Capricorn instead of an Aquarius and Joanne is now an Aquarius instead of a Pisces. Personal Quotes (75) [responding to an interviewer's question as to why he was never "tempted" by the many beautiful Hollywood actresses he worked with] Why fool around with hamburger when you have steak at home? [in response to radio interviewer who asked if he would co-star with Robert Redford in a sequel to Indecent Proposal (1993)] Like a rocket! I'd shack up with anyone for a million dollars. I'd shack up with a gorilla for a million, plus 10%. [1974, on the success of his collaborations with wife Joanne Woodward ] You should see us when we get back to the bedroom. [1982] Acting is like letting your pants down - you're exposed. The embarrassing thing is that my salad dressing is out-grossing my films. [on philanthropy] You can only put away so much stuff in your closet. I really just can't watch myself. I see all the machinery at work and it just drives me nuts. If I ever feel like I'm doing something I've done before, I scrap it and start over again. When I realized I was going to have to be a whore, to put my face on the label, I decided that the only way I could do it was to give away all the money we make. Over the years, that ethical stance has given us a 30 per cent boost. One in three customers buys my products because all the profits go to good causes and the rest buy the stuff because it is good. It's all been a bad joke that just ran out of control. I got into food for fun but the business got a mind of its own. Now - my good Lord - look where it has gotten me. My products are on supermarket shelves, in cinemas, in the theater. And they say show business is odd. I like racing but food and pictures are more thrilling. I can't give them up. In racing you can be certain, to the last thousandth of a second, that someone is the best, but with a film or a recipe, there is no way of knowing how all the ingredients will work out in the end. The best can turn out to be awful and the worst can be fantastic. Cooking is like performing and performing like cooking. I'm a supporter of gay rights. And not a closet supporter, either. From the time I was a kid, I have never been able to understand attacks upon the gay community. There are so many qualities that make up a human being... by the time I get through with all the things that I really admire about people, what they do with their private parts is probably so low on the list that it is irrelevant. [on Alfred Hitchcock ] I think Hitch and I could have really hit it off, but the script kept getting in the way. You can't be as old as I am without waking up with a surprised look on your face every morning: "Holy Christ, whaddya know - I'm still around!" It's absolutely amazing that I survived all the booze and smoking and the cars and the career. I was always a character actor. I just looked like Little Red Riding Hood. If you're playing a poker game and you look around the table and can't tell who the sucker is, it's you. Every time I get a script it's a matter of trying to know what I could do with it. I see colors, imagery. It has to have a smell. It's like falling in love. You can't give a reason why. For those of you who like to scarf your popcorn in the sack, the good news is that Newman's Own contains an aphrodisiac. Being on [President Richard Nixon 's] enemies list was the highest single honor I've ever received. Who knows who's listening to me now and what government list I'm on? I started my career giving a clinic in bad acting in the film, The Silver Chalice (1954) and now I'm playing a crusty old man who's an animated automobile [in Cars (2006)]. That's a creative arc for you, isn't it? I never ask my wife [actress Joanne Woodward ] about my flaws. Instead, I try to get her to ignore them and concentrate on my sense of humor. You don't want any woman to look under the carpet, guys, because there's lots of flaws underneath. Joanne believes my character in a film we did together, Mr. & Mrs. Bridge (1990), comes closest to who I really am. I personally don't think there's one character who comes close... but I learned a long time ago not to disagree on things that I don't have a solid opinion about. [his advice to young actors just starting out] Study your craft and know who you are and what's special about you. Find out what everyone does on a film set, ask questions and listen. Make sure you live life, which means don't do things where you court celebrity, and give something positive back to our society. I've repeatedly said that for people as little in common as Joanne and myself, we have an uncommonly good marriage. We are actors. We make pictures and that's about all we have in common. Maybe that's enough. Wives shouldn't feel obligated to accompany their husbands to a ball game, husbands do look a bit silly attending morning coffee breaks with the neighborhood wives when most men are out at work. Husbands and wives should have separate interests, cultivate different sets of friends and not impose on the other...You can't spend a lifetime breathing down each other's necks. Twenty-five years ago, I couldn't walk down the street without being recognized. Now I can put a cap on, walk anywhere and no one pays me any attention. They don't ask me about my movies and they don't ask me about my salad dressing because they don't know who I am. Am I happy about this? You bet. I've been accused of being aloof. I'm not. I'm just wary. [what wife Joanne Woodward thinks of his love for racing] She thinks competitive driving is the silliest thing in the world. It is also very scary for her, and she doesn't much care for it. The first time I remember women reacting to me was when we were filming Hud (1963) in Texas. Women were literally trying to climb through the transoms at the motel where I stayed. At first, it's flattering to the ego. At first. Then you realize that they're mixing me up with the roles I play - characters created by writers who have nothing to do with who I am. I had no natural gift to be anything--not an athlete, not an actor, not a writer, not a director, a painter of garden porches--not anything. So I've worked really hard, because nothing ever came easily to me. [on why he decided to stay in Connecticut] Better than Montana... and my wife and I found a nice cemetery here. [on winning his first Oscar after so many losses] It's like chasing a beautiful woman for 80 years. Finally, she relents and you say, "I'm terribly sorry. I'm tired". That I survived the first film I did [ The Silver Chalice (1954)] was extraordinarily good fortune. I mean, I had dogs chasing me down the street. I was wearing this tiny little Greek cocktail dress - with MY legs! Good Lord, it was really bad. In fact, it was the worst film made in the 1950s. My first review said that "Mr. Newman delivers his lines with the emotional fervor of a Putnam stop conductor announcing local stop". I can remember in my high school days and I kept thinking to myself, "Now, why did those actors go out in public after a certain age?" I mean, why would they wanna blow this image they'd worked so hard and allow themselves to be photographed? They should have just stayed at home and stayed young and youthful. And now it's there for everybody to look at - all our words, stuttering, and bad posture. All those things that should never happen, really. Well, times change. Yeah, it ain't so bad! [on his long marriage to Joanne Woodward ] We are very, very different people and yet somehow we fed off those varied differences and instead of separating us, it has made the whole bond a lot stronger. [explaining why he accepted The Silver Chalice (1954) for his film debut] After the success of "Picnic", I had a lot of offers from Hollywood and I never accepted any of them. Finally, my agent said, "You know, they're going to keep knocking on your door and knocking on your door and at some point they're going to stop. So you better make sure you say 'Yes' before that stop occurs". That was when somebody sent me a copy of "The Silver Chalice" and I got talked into it. I knew that was going to be a bomb. I picture my epitaph: "Here lies Paul Newman, who died a failure because his eyes turned brown." [1970s] I think I get a very unfortunate view of the press. I think of what is written about me, about 5% of it is accurate. I'm not comfortable with them, they're not comfortable with me. I certainly am not comfortable with photographers. [on his days as a member of the Actors Studio] I remember someone who helped me a lot in my early days. We were just rehearsing a scene and I remember she stopped me with an absolute rifle shot of a clap and grabbed my shirt and said, "You are not thinking, you are just thinking you are thinking." And if you watch actors, you can tell those who don't necessarily indicate in broad strokes what's going on, but you can really see in their eyes that they are going through a process. I'm always puzzled by this talk about star... image. I think there's people who are writers or barbers or mechanics or race car drivers that have certain recognizable personalities, and I don't think just because they happen to be on the screen that it makes them any more exceptional. I will continue to get behind the wheel of a racing car as long as I am able. But that could all end tomorrow... In the early days of films, the movie star in this country replaced royalty. They've been demoted since then but they're still treated as beings larger than life. A man can only be judged by his actions, and not by his good intentions or his beliefs. Acting is a question of absorbing other people's personalities and adding some of your own experiences. Almost everything I learned about being an actor came from those early years at the Actor's Studio. I would like it if people would think that beyond Newman, there's a spirit that takes action, a heart, and a talent that doesn't come from my blue eyes. I don't think there's anything exceptional or noble in being philanthropic. It's the other attitude that confuses me. I'd like to be remembered as a guy who tried - who tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being. Someone who isn't complacent, who doesn't cop out. A man with no enemies is a man with no character. Men experience many passions in a lifetime. One passion drives away the one before it. Once I started taking drama classes, I asked myself why I had ever wasted so much time on a football team. As long as my heart continues to beat, I think I will continue. Acting isn't really a creative process, it's an interpretative one. The characters I have the least in common with are the ones I have the greatest success with. The further a role is from my own experience, the more I try to deepen it. To be an actor, you have to be a child. [ Joanne Woodward ] has always given me unconditional support in all my choices and endeavors, and that includes my race car driving, which she deplores. To me, that's love. You can't stop being a citizen just because you have a Screen Actors' Guild card. Ever since Slap Shot (1977), I've been swearing more. I knew I had a problem one day when I turned to my daughter and said, "Would you please pass the fucking salt?". I wasn't driven to acting by an inner compulsion. I was running away from the sporting goods business. I'm not able to work anymore as an actor and still at the level that I would want to. I'm just, you know, you start to lose your memory, you start to lose your confidence, you start to lose your invention. So I think that's pretty much a closed book for me. [asked why he thought he became so successful as an actor] I have a face that does not belong to a thief. [2007] I have an extraordinary attention span. I manage to juggle two or three different ideas at the same time, and that's probably, if I have a gift, that's probably the best gift that's given me. [on a $10-million donation he made to his alma mater] I owe Kenyon College a great deal. I even started my first business, a laundry service, there, and I depended on the extra $60 a week. [on Dame Julie Andrews ] The last of the really great dames. [on Tom Cruise ] He's got a lot of actor's courage. He doesn't mind climbing up there and jumping off. It's nice to watch that. [on Henry Fonda ] If I can be like Henry Fonda, then I look forward to aging to sixty and beyond -- and not just because Hank finally won the Oscar he deserved. He was a good character actor and a good actor in the American tradition of playing variations on oneself. [2005] It'd be lunatic to try to get into politics at my age. I don't think I'd have the stomach for it. I wish I felt a little more comfortable about the direction that we're going. It does not seem to be of the people, by the people and for the people. It seems to be about something else completely different. I think part of it is the media's fault for not being more aggressive and persistent and nasty and I think it's the people's fault for not paying attention. That's not a good combination. It allows people in government to do pretty much what they want. Once you've seen your face on a bottle of salad dressing, it's hard to take yourself seriously. [1994] I'm not mellower, I'm not less angry, I'm not less self-critical, I'm not less tenacious. Maybe the best part is that your liver can't handle those beers at noon anymore. If anyone had ever told me 20 years ago I'd be sitting in a room with peach walls, I would have told them to take a nap in a urinal. I have no natural gift to be anything - not an athlete, not an actor, not a writer, not a director, a painter of garden porches - not anything. So I've worked really hard, because nothing ever came easily to me. I can say fairly safely that I didn't really know much about acting until I got to be in my fifties. I felt guilty as hell about leaving my wife and children, and I will carry that guilt for the rest of my life. But the fact that Joanne and I are still together after all those years proves I took the right decision. We are such spendthrifts with our lives. The trick of living is to slip on and off the planet with the least fuss you can muster. I'm not running for sainthood. I just happen to think that in life we need to be a little like the farmer, who puts back into the soil what he takes out. [on Marlon Brando ] I've always envied Marlon's talent, which was always so much greater than anybody else's. I feel cheated he hasn't made more films, but I understand his reason. I think he felt that acting was not a manly profession sometimes and sometimes I feel the same way. But with Marlon it's more that he's too good for any of this. Acting is a question of absorbing other people's personalities and adding some of your own experiences. [on his salad dressing franchise] I've had more fun doing this than anything else I've done in a long time. But remember: it's really my way of telling Ronald Reagan that his salad days are over. Salary (10)

The Silver Chalice

"Which 60s song starts, ""You've got a lot of nerve?"""

Movies starring Paul Newman | the Movie title stills collection The Movie title stills collection Paul Newman Paul Newman Movie titles and typography from all feature films starring Paul Newman (1925 – 2008) available on Blu-ray (20/55). Pinterest Adding new content and pages is extremely time-consuming. If you like this page, please consider donating so I can afford to create more of them. Thank you. Comments? Questions? Looking for a designer? Contact me . THE SILVER CHALICE Virginia Mayo, Jack Palance, Paul Newman, Natalie Wood Studio:  SOMEBODY UP THERE LIKES ME (1956) Paul Newman, Everett Sloane, Sal Mineo Studio:  Paul Newman, Wendell Corey, Walter Pidgeon, Edmond O’Brien, Lee Marvin Studio:  Ann Blyth, Paul Newman, Richard Carlson Studio:  Jean Simmons, Joan Fontaine, Paul Newman Studio:  Paul Newman, Joanne Woodward, Orson Welles, Angela Lansbury Studio:  Paul Newman, Lita Milan, John Dehner Studio:  Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson Studio:  RALLY ‘ROUND THE FLAG, BOYS (1958) Paul Newman, Joanne Woodward, Joan Collins, Jack Carson Studio:  Paul Newman, Barbara Rush, Alexis Smith Studio:  Paul Newman, Joanne Woodward, Myrna Loy Studio:  Paul Newman, Eva Marie Saint, Peter Lawford, Lee J. Cobb, Sal Mineo Studio:  Paul Newman, Jackie Gleason, Piper Laurie, George C. Scott Studio:  Paul Newman, Joanne Woodward, Sidney Poitier, Serge Reggiani Studio:  Paul Newman, Geraldine Page, Shirley Knight Studio:  ADVENTURES OF A YOUNG MAN (1962) Richard Beymer, Diane Baker, Eli Wallach Studio:  Paul Newman, Melvyn Douglas, Patricia Neal Studio:  A NEW KIND OF LOVE (1963) Paul Newman, Joanne Woodward, Thelma Ritter, George Tobias Studio:  Paul Newman, Elke Sommer, Edward G. Robinson Studio:  WHAT A WAY TO GO! (1964) Shirley MacLaine, Paul Newman, Robert Mitchum, Dean Martin, Gene Kelly Studio:  Paul Newman, Laurence Harvey, Claire Bloom, Edward G. Robinson Studio:  Sophia Loren, Paul Newman, David Niven, Philippe Noiret Studio:  Paul Newman, Lauren Bacall, Janet Leigh, Shelley Winters Studio:  Paul Newman, Julie Andrews, Lila Kedrova Studio:  Paul Newman, Fredric March, Richard Boone, Diane Cilento, Martin Balsam Studio:  Twentieth Century Fox Film Corporation Country:  Paul Newman, George Kennedy, Dennis Hopper Studio:  THE SECRET WAR OF HARRY FRIGG (1968) Paul Newman, Sylva Koscina, Andrew Duggan Studio:  Paul Newman, Joanne Woodward, Robert Wagner Studio:  Paul Newman, Robert Redford , Katharine Ross Studio:  Paul Newman, Joanne Woodward, Anthony Perkins, Laurence Harvey Studio:  Paul Newman, Henry Fonda , Lee Remick, Richard Jaeckel Studio:  Paul Newman, Lee Marvin , Strother Martin Studio:  THE LIFE AND TIMES OF JUDGE ROY BEAN (1972) Paul Newman, Roy Jenson, Gary Combs Studio:  Paul Newman, Dominique Sanda, James Mason Studio:  Paul Newman, Robert Redford , Robert Shaw Studio:  Steve McQueen , Paul Newman, William Holden, Faye Dunaway, Fred Astaire Studio:  Paul Newman, Joanne Woodward, Melanie Griffith, Richard Jaeckel Studio:  Paul Newman, Kevin McCarthy, Harvey Keitel, Burt Lancaster Country:  Mel Brooks, Marty Feldman, Dom DeLuise, Paul Newman Country:  Paul Newman, Strother Martin, Michael Ontkean, Jennifer Warren Country:  Paul Newman, Vittorio Gassman, Fernando Rey Studio:  Twentieth Century Fox Film Corporation Country:  Paul Newman, Jacqueline Bisset, William Holden, Burgess Meredith, Ernest Borgnine Studio:  Paul Newman, Edward Asner, Pam Grier Studio:  Paul Newman, Sally Field, Bob Balaban Studio:  Columbia Pictures Corporation, Mirage Enterprises Country:  Paul Newman, Charlotte Rampling, Jack Warden, James Mason Studio:  Twentieth Century Fox Film Corporation Country:  Paul Newman, Robby Benson, Ellen Barkin, Morgan Freeman Studio:  Paul Newman, Tom Cruise, John Turturro Studio:  Touchstone Pictures, Silver Screen Partners II Country:  FAT MAN AND LITTLE BOY (1989) Paul Newman, Dwight Schultz, John Cusack, Laura Dern Studio:  Paul Newman, Saundra McClain, Joanne Woodward Studio:  Paul Newman, Dwight Schultz, John Cusack, Laura Dern Studio:  Tim Robbins, Jennifer Jason Leigh, Paul Newman Studio:  Paul Newman, Jessica Tandy, Bruce Willis, Melanie Griffith, Philip Seymour Hoffman Studio:  Paul Newman, Susan Sarandon, Gene Hackman Studio:  Kevin Costner, Robin Wright, Paul Newman Studio:  Paul Newman, Linda Fiorentino, Dermot Mulroney Studio:  Tom Hanks, Paul Newman, Jude Law, Jennifer Jason Leigh, Daniel Craig Studio:  Twentieth Century Fox Film Corporation Country:  USA ABOUT ME My name is Christian Annyas. Between my morning coffee and evening movie I design websites. Like the one you're looking at. I could do yours too. You can contact me here , or take a look at my work ABOUT THIS PROJECT I've seen a lot of movies over the years. To prove I've sat through at least the first ten minutes of them I started making screenshots of the titles. Then my computer crashed and I almost lost them all. To save them for future generations I created this little website.

i don't know

Which University of Wisconsin has the highest enrolment figure?

Campuses | University of Wisconsin System University of Wisconsin System Campuses Campuses Since its creation, the University of Wisconsin System has established itself as one of the world’s premier public university systems. The UW educates approximately 180,000 students on 26 campuses, and serves more than one million citizens through statewide extension programs. The UW System’s campuses in Madison and Milwaukee offer both undergraduate and graduate degree programs, including doctoral and professional programs. Eleven comprehensive campuses provide students both undergraduate and master’s degree programs in smaller, more individualized academic settings. The UW System’s 13 UW Colleges deliver freshman-sophomore courses for students seeking a foundation for a bachelor’s degree. UW-Extension works with all 26 UW campuses, all 72 Wisconsin counties, and a wide variety of other educational partners to bring UW expertise to all corners of the state. All UW System campuses and UW-Extension programs provide Wisconsin’s citizens with opportunities to contribute to the state’s growing “knowledge economy” through the UW System’s three-pronged mission of teaching, research and public service. Reference Information Use the map or dropdown box to begin. UW-Eau Claire

Madison

What was the day job that Boris Yeltsin started out with?

FAQs for University Special Students | Division of Continuing Studies | University of Wisconsin–Madison Application FAQs When is the deadline for submitting an application to become a University Special student? We recommend applying at least one month before the start of the term (early August for fall; early December for spring) as it can take 1-2 weeks to review and process an application. Enrollment for summer term usually begins in early April so applying by early March is recommended.  There are multiple summer sessions so if you are applying after early April, our recommendation is that you apply at least 3 weeks before the start of the session you wish to attend.  While applying early for any term does not ensure you space in a class, it will allow you time to prepare for enrollment by using the Wish List to verify you have met prerequisites and obtain any necessary permission. See our Enrolling FAQs for more information on how to use the Wish List. What will I pay for tuition and fees? Tuition is based on three factors: a) the number of credits for which one is enrolled; b) one’s student status; c) one’s Wisconsin residency status.  See our Tuition FAQs for additional information. I will finish my UW-Madison degree this term, but would like to take another course next term. Can I do this as a Special or Guest student? Yes, you may become a Special or Guest student for the next term. You will need to complete a Special student application, and Adult Career and Special Students Services (ACSSS) will verify that you will have completed your program before we admit you as a nondegree student. Please make sure you have taken all the steps necessary to obtain your degree from your current program. Indicate your expected graduation date on the Special student application as well. You will use your existing MyUW Student Center to enroll in classes. Do not enroll for the next term until you have received an admission letter from our office. How long does it take to process my application as a Special or Guest student? You should receive an admission letter from Adult Career and Special Student Services within two weeks of your application if you have submitted everything required for your nondegree program (e.g. transcripts for UNVS undergraduate visitors) and responded to any subsequent correspondence from the Office of the Registrar, Residence for Tuition Purposes or from ACSSS. If not, please contact us to check on your application (608-263-6960 or email advising@dcs.wisc.edu ). Can I fax you my official transcripts? Yes, if you need to submit a transcript (e.g., you are applying as a visiting undergraduate student: UNVS), you may fax us a copy of the required current official transcript at 608-265-2901. Your transcript should show at least a 2.00 cumulative GPA and 2.00 the last term of your enrollment. I was enrolled at UW-Madison long ago but never completed my degree. I want to do so now. Should I apply as a Special student? No, you will need to apply as a re-entry student either through the UW-Madison Office of Admissions and Recruitment or, for graduate students, to graduate admissions . I missed the deadline for graduate admissions but really want to get started on my degree. Can I start as a University Special student? You need to discuss your situation with an advisor in the graduate or professional program you are interested in before applying as a Special student. We have created a graduate/professional school advising form , which we suggest you take to an advisor to see if it makes sense for you to enroll as a Special student. In many cases students need prerequisite courses before they can apply to graduate or professional programs. In some cases students with degree interests are able to begin as Special students, but you should research critical issues involving the transfer of credits prior to enrollment. (See Course FAQs below.) I've been out of school for several years. Should I apply as a Special student or as an undergraduate student? Please contact Adult Career and Special Student Services: phone 608-263-6960, email advising@dcs.wisc.edu , or stop in and we will be happy to help you connect with the educational and career opportunities you seek. Course FAQs I need to take a course(s) to earn undergraduate or graduate credit. Can I earn these credits as a Special student? As a Special student you may be able to enroll in both undergraduate and graduate level courses if you meet the prerequisites for the course and if there is space available. Undergraduate courses at UW-Madison are numbered 100 to 699. Graduate level courses number 300 to 999. There is an overlap; sometimes undergraduate and graduate students are expected to do different assignments in these overlap courses. If you consult the undergraduate and graduate catalogs for UW-Madison you will find course descriptions. You can find syllabi for courses on department websites. If you enroll in any level of course at UW-Madison as a Special student you will be graded for the course and the credit will appear on an official UW-Madison transcript, indicating you took the course as a Special, nondegree student. If you need to prove to another college or institution that you have taken an undergraduate level course you will most likely need to show them a copy of your UW-Madison transcript as well as descriptions and syllabi of the course. It is in your best interest to check with the other institutions about credit transferability of courses before you enroll in a course here. Can I transfer courses taken as a Special student toward degree programs at UW-Madison? The degree program you apply to must decide whether credits taken as a Special student will count toward a future degree at UW-Madison. For undergraduates earning their first degree here, the credits and grade points will be included in the undergraduate GPA credits and grade points. The official student record will reflect this action by the Office of Admissions and Recruitment.    For graduate students there is no university-wide policy on whether credits taken as a Special will count toward a graduate degree. Some departments do not accept any credits, and others take only a limited number of credits. You must check with the graduate coordinator of the program you are interested in to discuss these issues. If later you are able to apply Special credits toward a graduate degree, you will be required to pay the difference between the cost of the Special credits and graduate credits. Graduate credits are currently twice as costly as Special credits. I want to enroll in a math or foreign language course as but I’m not sure which level I should take. What should I do? Placement tests are available for math and foreign language to help you determine what level course is appropriate for you. For math placement testing, see Testing and Evaluation . For language placement testing, see Languages at UW-Madison . You may also need to work with advisors in the math or foreign language departments to determine the correct placement based upon previous coursework you may have had. In most cases math and foreign language departments will need to enter permissions in the enrollment system before you can enroll in a class (see enrollment FAQs below). There are so many different introduction to biology options, where should I start? Biocommons is a great resource to help you sort out the options.  Class Search FAQ's How do I search for classes? The UW-Madison Schedule of Classes includes all UW-Madison credit courses.  Using Class Search in your MyUW Student Center (or Public Class Search ) you can enter various criteria to find classes that work for your needs. Click on the green "Search for Classes" button from your MyUW Student Center. (The instructions below are the same for the Public Class Search .)  Select the appropriate term from the Term dropdown menu. Select the Course Subject from the alphabetic dropdown menu of all UW-Madison departments; enter a course number or other search criteria for a narrow search, or just use the department for a broader search. (Use the School or College dropdown menu to select departments within a specific school or college). Search for online classes: To find online classes, use the Mode of Instruction field.  Here you can select from three options: Classroom instruction, Online (some classroom), or Online Only. Search for late day/evening classes: If you are looking for a course at a certain day of the week or time of day, under the Class Meeting/Instructor section, use Days of Week and/or Meeting Start and End Time fields.  Narrow your search by limiting it to specific departments, course numbers, etc. Once you have selected all desired criteria, click Search or just hit enter. From the resulting list of courses, select View Sections to get a list of sections for each course. For more detailed information about each course, click on the course section number (ie 001-Lecture 59201) Be sure to review course prerequisites, department notes, and course footnotes. Click on Enrollment Packages to learn about how many seats are open and how discussion sections (DIS) and/or labs (LAB) connect with the main lectures (LEC).  Follow steps from here to enroll in the course. The class I want is full. What should I do? This is a common issue, especially given the late enrollment windows for Special, nondegree students. You may only add the class if someone drops it and a seat becomes available. Keep checking the online Schedule of Classes and try to add the class if there is not a Wait List option available for the course in the Student Center. If there are still no spaces in the class and the term is about to start, check with the department to ask for any suggestions they might have about getting into the class. It is permissible to attend class the first day and talk with the professor about the chances of a seat opening up. What if I get an error message when trying to add my class? There are three typical error messages. Here is what they look like and what to do you get any of these messages: Class is full message: Error: This Class (number) is full, class not added. The enrollment limit for the specified class has been reached. If a wait list is available, click on the class link, select the wait list option and resubmit your request. Contact the department or use online Wait List for those classes which have it available. Prerequisites not met message: Error: Requisites Not Met for Class, Not Enrolled. Requirements have not been met to enroll in the specified class. Review Enrollment Requirements and footnotes before contacting the department offering the class. Contact the department  curricular representative or office only after verifying you have met course requirements. For math department course prerequisite and placement questions, contact placement@math.wisc.edu   Class requires permission to enroll message: Error: Class Requires Permission to Enroll, Class Not Added. Department or Instructor Consent is needed to enroll in the class. Contact the professor or the department regarding permission to enroll in classes. Some of my courses give me the option of being on the Wait List because the courses are full. How does the Wait List work? If a course is full and the Wait List option is available, it will display with a yellow triangle. Placement on wait list does not guarantee enrollment and you cannot be on the Wait List until on or after your enrollment time. You will receive an email if a spot opens in the class. Once you receive an email enroll in the class through your MyUW Student Center. The email you receive will include a deadline by which you need to enroll to avoid losing the spot (make sure you are checking your wisc.edu email account). What are the deadlines for adding and dropping classes and for refunds? Go to the Registrar’s Enrollment Information page to find “Deadlines at a Glance” for the current term. Web enrollment tips You can enroll anytime after your earliest enrollment time Check back often if your class is full and there is not a Wait List option for the course Consult with departments about: Prerequisites Obtaining permission if needed Remember to confirm your course enrollment in the Student Center. Your enrolled courses will appear in the top, center portion of your Student Center. Still need help? Tuition FAQs How much is tuition? Tuition and fees vary depending on your student classification which is referred to as Student Career on the Registrar's Tuition and Fees webpage.  To find the tuition amount for your student career and the semester you plan to enroll, select the appropriate information from the drop down menus at: http://registrar.wisc.edu/tuition_&_fees.htm   Note: Tuition may be different for some professional programs (for example: Engineering Professional Development and Education Outreach).  Check with your department regarding specific prices for classes in your area of professional study. How do I view my tuition bill? After you enroll in your first class, an eBill will be generated by the Bursar's Office . You will receive an email notification when your final eBill is ready to view in your MyUW Student Center, typically about a week before classes begin for student with earlier enrollment times. Please make sure that you view your eBill and check the due date.   When is my tuition due? The due date for your tuition depends on when you successfully enroll for your first class. Some Special students who enroll earlier (such as Capstone Certificate students) will have a tuition due date similar to that for degree students. If you are a Special or Guest student enrolling just prior to the start of the term or later, your tuition due date will be later. Students typically have two weeks to pay their tuition in full; see MyUW for exact dates.  Payments received after the deadline will be assessed an additional $100 late payment fee. How do I pay my tuition? You can pay your tuition by either a mailed check or via eCheck from within your MyUW Student Center. Credit cards are not accepted for tuition. You will be assessed a $100 late fee by the Bursar’s Office if you don’t pay your bill by the due date. A hold will also be placed on your record until your bill is paid. This hold will block future enrollment and your ability to obtain a transcript. If you feel there are mitigating circumstances involving your late payment, you must appeal your fee using the Bursar’s appeal form . Am I affected by the tuition increase and/or new fees that began in fall 2015? Learn more about tuition and fee changes on our Tuition and Fees webpage. Financial Aid FAQs Can I receive financial aid as a Special or Guest student? There are only two classifications of Special students who may be eligible for financial aid: UNVS (visiting undergraduate students) and UNRS (preparation for graduate or professional school). UNVS: If you are admitted as a visiting undergraduate student, you may be able to obtain financial aid through your home institution to cover your expenses while you are at UW-Madison. Check with your home institution’s financial aid office to explore this possibility as there will need to be a consortium agreement between your school and the UW. UW-Madison does not provide financial aid to students admitted in the UNVS-9 category. UNRS: Students who are taking courses that are designated prerequisites for admission into a graduate or professional program (UNRS) may be eligible to receive aid for a single 12 month period. The following conditions must be met to be eligible to receive aid: You must be taking at least 6 credits in courses that are required in order to be admitted to a future graduate program and you must be studying at UW-Madison in the UNRS Special student program. (You may need to contact Adult Career and Special Student Services to change your program to “UNRS” if you were admitted under a different category. Phone: 608-263-6960 or email advising@dcs.wisc.edu .) The courses you take as a UNRS Special student may not be counted toward meeting future graduate program degree requirements. The admitting graduate or professional school program or department must provide the UW Financial Aid office with a letter indicating that the student is required to complete certain courses to meet admission prerequisites for the particular program. This letter does not guarantee admission to that program, and it cannot be written by Adult Career and Special Student Services. If you feel you meet the above criteria, contact the Office of Student Financial Aid (333 East Campus Mall, Madison, WI 53715; phone 608-262-3060; or email finaid@finaid.wisc.edu ) to discuss your situation and to obtain the necessary forms. Grade FAQs Is my grade point average (GPA) for courses taken as a Special student calculated on my UW-Madison transcript? Grades for each course you take are reported on your official UW-Madison transcript.  The GPA for the term is posted and affects your academic eligibility to continue in another semester. While you are in Special student status, a cumulative GPA is not displayed on your official UW-Madison transcript. However, if you later become an undergraduate degree student earning your first UW-Madison undergraduate degree, then any grades earned on credits which transfer in as part of your undergraduate degree will be calculated in your final UW-Madison undergraduate degree GPA. (This is a common situation for high school students and visiting undergraduates taking courses prior to entry into a degree program at UW-Madison.) If you are not in this specific situation then any grades earned on credits taken as a Special student will not be calculated in a cumulative grade point average. Grades earned as a Special student will also not change a previous cumulative undergraduate or graduate GPA earned while at UW-Madison, even if you are repeating a class. How do I find out my grade at the end of the semester? Grades are typically posted in MyUW Student Center within 2 weeks of the end of each term. What happens if my grade-point average for the term is below a 2.0? A 2.0 minimum grade-point average is required of University Special students in order to continue in future terms. Any University Special student who does not achieve the minimum grade-point requirement will automatically receive a "must obtain permission to continue" action on their student record which will prevent them from enrolling in future terms. Please contact an ACSSS advisor with questions regarding this policy.    What if I have a question about my grade? You will need to start by contacting the professor about any grade questions you have. The Wiscard and Special student privileges How do I obtain a Wiscard photo ID to access campus facilities and services? University Special students and Guest auditors can obtain Wiscards (official UW-Madison campus ID cards) at the Wiscard office in room 149 Union South.  You must be enrolled in classes and present some form of personal photo identification such as a valid driver's license, passport, state or federal ID. Note: While both can obtain a Wiscard, Special students and Guest auditors have different privileges.  See table comparing Special and Guest student privileges and requirements. If I already have a Wiscard from when I was a student previously, do I need to get a new one? It depends on the expiration date on the card, as a Wiscard is valid for only 5 years.  If it has not past the expiration date, the card will become valid again after you enroll.  Otherwise, you need to obtain a new one. I already have a Wiscard as a faculty/staff member.  Do I need to get a new one? No, you do not if still within the expiration date.  However, it is important to check out the 10 digit ID# on the card and compare it with 10 digit student ID# provided in your admissions materials.  If this is your first time in student status, the numbers are probably different. Your student ID# is provided at the time you’re admitted.  If the numbers are different, your multiple roles (faculty/staff and student) are linked within the university identity system by your national ID#.  The status of faculty/staff must be featured on the Wiscard despite the student role.  When you present your faculty/staff Wiscard, any campus service or facility will determine you also have student status and provide access or benefits to you accordingly.  For example, if enrolled in credit status, you will have access to Rec Sports facilities and UHS as a student and may receive a Metro Bus Pass although your Wiscard reads “faculty/staff.”  If your roles change and you become only a student (so not a faculty/staff member nor with retiree emeritus status), you may obtain a new Wiscard with your student 10 digit ID# and “student” role designated.  The new card will be provided for free as long as you surrender the previous faculty/staff card. My Wiscard indicates “faculty/staff,” but I want to provide evidence that I am also a student to an off campus business.  How can I do that? Go to your Student Center via MyUW .  At the My Academics tab, click on “request enrollment verification.”  You will be linked to the National Student Clearinghouse and generate a very official “Enrollment Verification Certificate” with your name and enrollment status at UW-Madison.  You may print it out immediately. What privileges do I have as a University Special student? University Special students pay segregated fees so they have full access to ALL university services including: University Health Services, free Madison Metro bus pass, recreational facilities, campus libraries, and computer labs. You must be enrolled for the semester to gain access to services.  Note: Guest auditors have access to only campus libraries and computer labs but not other services covered by segregated fees.  Guest auditors may pay the Recreation Membership Fee to use recreational facilities.  Will I still have access to university services if I don't take a summer class? If you were enrolled for the spring term and are eligible to enroll again in fall you should be able to use your Wiscard to access all libraries and computer labs during the summer even if you don't enroll in summer classes.  Check with Recreational Sports  and  University Health Services  for summer fees charged to non-enrolled students.

i don't know

How old was Harry Stevens when he married at the Caravilla Retirement Home, Wisconsin in 1984?

Love Lane » Love and marriage Love and marriage Tarmak Films ltd Love and marriage ♥ Older men are far more likely to be married than older women. Seventy per cent of men aged 65 and over live as part of a couple (according to the last census), whereas only 40 per cent of women do so. This reflects the tendency for women to outlive their husbands. ♥ The age-group most likely to find love abroad are the over-sixties. Almost 10 per cent of holiday romances lead to wedding bells. ♥ Minnie Munro became the world’s oldest bride when she married Dudley Reid at the age of 102 on May 31, 1991. Reid, the groom, was 83 years old. ♥ Harry Stevens became the world’s oldest groom at 103 when he married 84 year old Thelma Lucas at the Caravilla Retirement Home in Wisconsin on December 3, 1984. ♥ The longest engagement was Sixty-seven years, according to the Guinness Book of World Records. The happy couple finally wed at age 82! ♥ Most recent research indicates just about 9,000 romantic couples each year take out marriage licenses, then fail to use them. ♥ The most popular song for the first dance at weddings has been found to be Bryan Adams hit ‘Everything I Do’. ♥ A survey revealed that more than 10,000 marriages a year can be directly traced back to romances that begin during coffee breaks. ♥ Ever wondered why people refer to getting married as “tying the knot”?  Well the expression dates back to Roman times, when the bride wore a girdle that was tied in knots and the groom then had the fun of untying on their wedding night. ♥ It’s commonly believed a man picks out a wife who reminds him of his mother while a woman picks out a husband who reminds her of her father. But that’s not right. Recent research indicates both the man and the woman are most influenced in their selection of matrimonial mates by their mothers. If a woman regards her mother as stern, she’s likely to go for a stern husband. If she thinks of her mother as gentle, she looks for a gentle husband. The father of the bride or groom just doesn’t have all that much to do with it, poor fellow. ♥ There’s a curious difference in the ways that single girls and bachelors pick their romantic partners. The girl might have a dozen boyfriends, none of whom seems to be like another or anything like the sort of fellow she eventually winds up marrying. But the young bachelor is inclined to select all his ladyfriends, including finally his wife, for their similar qualities. ♥ According to Anita Diamant, author of The New Jewish Wedding, there are no Jewish laws regarding where a wedding may or may not take place. During the Middle Ages, some weddings were even held in cemeteries, since it was believed the life-affirming act of marriage could halt plagues. ♥ London Times, February 1840. Queen Victoria’s wedding cake was more than nine feet in circumference. A second tier rose from this “plateau,” supported by two pedestals. On the second tier was a sculpture of the mythical heroine Britannia gazing upon the royal pair frozen at the moment of their exchanging vows. At their feet were two turtle doves (symbolizing purity and innocence) and a dog (representing faithful attachment). Completing the scene were various sculpted Cupids, one of them writing the date of the wedding with a stylus on a tablet. ♥ Eighty-five percent of all Canadian brides receive a diamond engagement ring, giving Canada the highest diamond engagement ring acquisition rate in the world. ♥ The most married man in history, in the monogamous category, was Glynn Wolfe, a former Baptist minister from Blythe, California. He was married twenty-eight times. ♥ The most married woman in history, in the monogamous category, was Linda Lou Essex from Anderson, Indiana, who was married twenty-two times. ♥ The most notorious bigamist on record is Giovanni Vigliotto, who married one hundred and four women. He was convicted for fraud and bigamy and sentenced to twenty-five years in prison, plus a fine of $336,000. ♥ The youngest couple ever to marry was an eleven month old boy and a three month old girl who were married in Bangladesh in 1986. The marriage was arranged in order to settle a twenty year feud over a disputed piece of farmland. ♥ Two couples share the record for the longest marriage in history. Sir Temulji Bhicaji Nnman and Lady Nariman were married from 1853 until 1940, when he died. Lazarus Rowe and Molly Weber were married in Greenland, New Hampshire in 1743 and remained married until 1829, when she dies after their having been married for 86 years. ♥ The largest mass wedding was held in The Olympic Stadium in Seoul, South Korea where 35,000 people were married in a ceremony officiated by Sun Myung Moon. Another 325,000 couples around the world participated in the August 25, 1995 event via satellite link. ♥ Richard and Carol Roble are the most re-married couple. They wed each other 56 times, beginning in 1969. ♥ The most fantastic gift of love is the Taj Mahal in India. It was built by Mughal Emperor Shahjahan as a memorial to his wife, who died in childbirth. Work on the Taj began in 1634 and continued for almost 22 years. required the labor of 20,000 workers from all over India and Central Asia. ♥ The worst place for love and romance to survive is the United States. They hold the record for the highest divorce rate in the world (4.6 per thousand) . . . . so Good Luck! ♥ The number of marriages in England and Wales that were the first marriage for both partners peaked in 1940 at 426,100 when 91 per cent of all marriages were the first for both partners. This number has since fallen to 144,120 in 2006, accounting for 61 per cent of all marriages. ♥ The number of marriages in England and Wales that were the first marriage for both partners peaked in 1940 at 426,100 when 91 per cent of all marriages were the first for both partners. This number has since fallen to 144,120 in 2006, accounting for 61 per cent of all marriages. ♥ On average, couples get engaged two years, 11 months and eight days into their relationship. However, women feel ready for marriage even earlier two years, seven months and 24 days to be precise. One in ten of the 3,000 engaged or married participants in the study that produced these figures had set a time limit on their engagement; 75 per cent of them would have shown their partner the door if it hadn’t been kept to. ♥ The average wedding in the UK now costs £20,273, according to a study by You and Your Wedding Magazine. This includes £7,724 for the reception, £3,220 for the honeymoon, £1,412 for the engagement ring and £1,242 on drinks. Doing the dishes together is one of the keys to a happy marriage, according to a survey by the Pew Research Centre of 2,000 Americans. Sharing the housework came third behind faithfulness and sex in the most popular factors for a happy union, even beating money, children and a nice home. ♥ The Himba people of Namibia kidnap a bride before the ceremony and dress her in a leather marriage headdress. After the ceremony she is brought into the house where the family tells her what her responsibilities will be as the wife and then anoint her with butterfat from cows. This shows that she has been accepted into the family. ♥ The notion of marriage as sacrament can be traced to St Paul, who, in his Epistle to the Ephesians, compared the relationship of a husband and wife to that of Christ and his church. ♥ The Marriage Act 1836 and the Registration Act 1836 came into force in 1837 in England and Wales. There were 118,000 marriages in the first full year of civil registration in 1838 in England and Wales. ♥ One single woman in five is thought to be stashing away money for her wedding even without having found a groom. ♥ Scientists believe they have found the gene needed for a happy marriage after studying rodents’ mating habits. Men carrying a common variation of a gene involved in brain signalling were more likely to be in unhappy marriages than men with the other version, the team at the Karolinska Institute found. ♥ At a Hindu wedding, the bride’s hands are painted with henna with a design which often includes the initials of her betrothed. The couple then search for the initials on the wedding night. This game is played to make the bride and groom more relaxed and at ease with each other. ♥ Polyandry is a practice where a woman is married to more than one man at the same time. Fraternal polyandry was traditionally practised among nomadic Tibetans in Nepal and parts of China, in which two or more brothers shared the same wife. Polyandry is believed to be more likely in societies with scarce environmental resources, as it is believed to limit human population growth and enhance child survival. Rings: ♥ Diamonds are a girl’s best friend. Until the 15th century, only kings wore diamonds, as a symbol of strength, courage, and invincibility. In India, where the diamond was first discovered , it was valued more for its magic than its beauty and was believed to protect the wearer from fire, snakes, illnesses, thieves, and great evil. ♥ The most expensive wedding on record was a seven-day celebration of the marriage of Mohammed, son pf Sheik Rashid Ben Saeed Al Maktoum, to Princess Salama. The wedding took place in Dubai and the bill came to $44 million. ♥ Do you know why we wear our engagement and wedding rings on the fourth finger of the left hand?  The tradition dates back to ancient Egypt as they believed the vein of love runs from this finger directly to the heart. ♥ The tradition of the diamond engagement ring comes from Archduke Maximillian of Austria who, in the 15th century, gave a diamond ring to his fiancée, Mary of Burgundy. ♥ The custom of giving a ring can be dated back to the ancient Romans. It is believed that the roundness of the ring represents eternity. Therefore, the wearing of wedding rings symbolizes a union that is to last forever. It was once thought that a vein or nerve ran directly from the “ring” finger of the left hand to the heart. Be Sociable, Share!

one hundred and four

What is Diane Keaton's real name?

Guinness Book of Records 1999: Part One - Amazing people; THE LOOK PRESENTS A FASCINATING THREE-PART SERIES TO PULL-OUT AND KEEP. - Free Online Library Guinness Book of Records 1999: Part One - Amazing people; THE LOOK PRESENTS A FASCINATING THREE-PART SERIES TO PULL-OUT AND KEEP. Page URL: HTML link: <a href="https://www.thefreelibrary.com/Guinness+Book+of+Records+1999%3a+Part+One+-+Amazing+people%3b+THE+LOOK...-a083099412</a> Citations: MLA style: "Guinness Book of Records 1999: Part One - Amazing people; THE LOOK PRESENTS A FASCINATING THREE-PART SERIES TO PULL-OUT AND KEEP.." The Free Library. 1998 MGN LTD 05 Jan. 2017 https://www.thefreelibrary.com/Guinness+Book+of+Records+1999%3a+Part+One+-+Amazing+people%3b+THE+LOOK...-a083099412 Chicago style: The Free Library. S.v. Guinness Book of Records 1999: Part One - Amazing people; THE LOOK PRESENTS A FASCINATING THREE-PART SERIES TO PULL-OUT AND KEEP.." Retrieved Jan 05 2017 from https://www.thefreelibrary.com/Guinness+Book+of+Records+1999%3a+Part+One+-+Amazing+people%3b+THE+LOOK...-a083099412 APA style: Guinness Book of Records 1999: Part One - Amazing people; THE LOOK PRESENTS A FASCINATING THREE-PART SERIES TO PULL-OUT AND KEEP.. (n.d.) >The Free Library. (2014). Retrieved Jan 05 2017 from https://www.thefreelibrary.com/Guinness+Book+of+Records+1999%3a+Part+One+-+Amazing+people%3b+THE+LOOK...-a083099412 The Guinness Book Of Records is one of the world's biggest-selling books. It's the ultimate authority on the most extra-ordinary facts and figures of life on our planet. For the next three weeks, you can collect fascinating extracts from the 1999 edition free in The Look. That's hundreds of facts and figures - from the most amazing people and animals to the marvels of the modern world. In this, our first part, we reveal everything you ever wanted to know about human life - who are the oldest, fastest, heaviest, tallest and shortest people ever? What's the length of the longest hair? The size of the biggest feet? And who has the most toes? To find out, read on... Tallest people The tallest ever person was an American called Robert Wadlow who was 8ft 11in in his socks. He would probably have exceeded 9ft in height had he survived for another year. The tallest living British man is Christopher Greener, who is 7ft 61/4in tall. The tallest woman ever was Zeng Jinlian of Hunan Province in China, who was 8ft 11/4in when she died in 1982. The tallest living woman is American Sandy Allen, who is currently 7ft 71/4in in height and weighs 33st. Shortest twins At 2ft 10in John and Greg Rice are the world's smallest twins. Being short has not stopped them becoming hugely successful, though. They made their fortunes as real estate speculators in Florida, USA, in the '70s, and now own and run a multi-million dollar motivational speaking company called Think Big which organises seminars on creative problem solving. Most children born to one mother The greatest number of children officially recorded to one woman is 69. Mrs Feodor Vassilyev (born 1707 in Shuya, Russia) gave birth to 16 pairs of twins, seven sets of triplets and four sets of quads (the greatest number of multiple births in one family). Only two of the children - all born between 1725 and 1765 - failed to survive its infancy. In the UK, Elizabeth Greenhille of Abbots Langley, Herts, who died in 1681, is said to have given birth to 39 children (seven sons and 32 daughters). The British record for the current century is 22 children to both Margaret McNaught (born 1923) of Balsall Heath, Warwicks (12 boys, 10 girls), and Mabel Constable (born 1920) of Long Itchington, Warwicks. Her births included one set of triplets and two sets of twins. Most children in a single birth A record ten children (two boys and eight girls) are reported to have been born in Brazil on April 22, 1946. Reports of ten children in one birth were also received from Spain in 1924 and in China in 1936. The record for the greatest fully-authenticated number of children ever produced in one birth is nine to Geraldine Bradrick at the Royal Hospital for Women, Sydney, Australia, on June 13, 1971. None of the five boys and four girls lived for more than six days. The birth of nine children was also reported in Philadelphia, Pennsylvania, in 1971 and in Bangladesh in 1977. No children survived in either case. Longest interval between the birth of two children The record for one mother is 41 years by Elizabeth Buttle of Carmarthenshire. She gave birth to a daughter, Belinda, in 1956, and a son, Joseph, on November 20, 1997, when she was 60. Shortest interval between two births The record between two births at separate confinements is 209 days to Margaret Blake of Luton, Beds, who gave birth to a boy on March 27, 1995 and a girl on October 23, 1995. Oldest mother Rosanna Dalla Corta of Viterbo, Italy is reported to have given birth to a baby boy at the age of 63 in 1994. Arceli Keh is also said to have been 63 when she gave birth at the University of Southern California in 1996. Both women received fertility treatment. Heaviest single birth Anna Bates of Canada gave birth to a 23lb 12oz boy in Seville, Ohio, USA, in 1879. Lightest single birth Marian Taggart holds the record for the lowest birthweight ever for a surviving infant, at 10oz. She was born six weeks premature in Tyne and Wear in 1938. The 12in child was fed hourly for her first 30 hours with brandy, glucose and water through a fountain pen filler. Most premature baby James Gill was born 128 days premature to Brenda and James Gill in Ottawa, Ontario, Canada on May 20, 1987. He weighed 1lb 6oz - about the same size as a dozen eggs. Most living ascendants Megan Austin from Bar Harbour, Maine, USA had a complete set of grandparents, great-grandparents and five great-great-grandparents (a total of 19 direct ascendants) when she was born in 1982. SHORTEST PERSON EVER The shortest ever fully-grown human was Gul Mohammed of New Delhi in India. In 1990, aged 29, he was 1ft 10in in height and weighed 2st 9lb. He died aged 36 of a heart attack after a long struggle against asthma and bronchitis. Mohammed had a lifelong dislike of children, who sometimes bullied and robbed him. Not surprisingly, he also had a great fear of dogs and cats. LONGEST FINGER NAILS The world's longest fingernails are those of Shridhar Chillal of India who last cut his nails in 1952. At the end of March 1997 the nails of his left hand, from the thumb to the little finger, were 4ft 7in, 3ft 7in, 3ft 10in, 4ft 1in and 4ft long. Frances Redmond (left) has the longest fingernails in America. They have grown to 19in in 12 years. OLDEST LIVING PERSON At 119, Sarah Knauss is the oldest person alive. Born on September 24, 1880 in Hollywood, a small mining village in Pennsylvania, USA, she now lives in a nursing home. Six generations of her family celebrated her last birthday with her. Longest beards Hans Langseth had a record breaking 17ft 6in beard at the time of his death in Iowa, USA in 1927. The beard was presented to the Smithsonian Institute in Washington in 1967. Janice Devere from Bracken County in Kentucky had a 14in beard in 1884, the longest of any "bearded" lady. Longest moustache Kalyan Ramji Sain of India began growing a moustache in 1976. In July 1993 it had a total span of 11ft 11in. Most artificial joints US woman Norma Wickwire, who had rheumatoid arthritis, had eight of her 10 major joints replaced from 1976 to 1989. Most fingers and toes A baby boy was found to have 14 fingers and 25 toes at an inquest held in London in September 1921. Least toes Some members of the Wadoma tribe of Zimbabwe and the Kalanga tribe of Botswana have only two toes. Biggest feet The person with the largest feet is Matthew McGrory from Westchester, Pennsylvania, USA, who wears (UK) size 28 shoes. McGrory is 25 years old and stands 7ft 6in tall in his huge socks which are knitted by his mother Maureen. He has to have his shoes specially made for him by trendy sports manufacturer Converse. Biggest chest Isaac Nesser of Greensburg, Pennsylvania, has a record chest measurement of 6ft 21/16in. He has been lifting weights since he was eight and has worked out every day for the past 20 years. Biggest biceps The right bicep of Denis Sester of Bloomington, Minnesota, measures 305/8in when cold. He started building his biceps when he began wrestling pigs on his parents' farm as a teenager. Longest human tail In 1889 Scientific American described a 12-year-old boy who had a soft tail measuring 1ft in length. In ancient literature there are several mentions of adults having tails of 6-7in. Today they are removed at birth. Longest ears The men and women of the Suya tribe in Africa wear large discs of wood in their ears in order to elongate them. When they take them out they wrap their dangling earlobes around their ears. Longest-living two-headed person The two-headed boy of Bengal was born in 1783 and died of a cobra bite at the age of four. His two heads, each of which had its own brain, were the same size and were covered in black hair at their junction. Hairiest woman Julia Pastano, who was born in an Indian tribe in Mexico in 1834, was covered in hair, apart from her eyes. She was exhibited to the public in the US, Canada and Europe and was mummified after her death. Most breasts The greatest number of distinct breasts is ten. Between 1878 and 1898 a total of 930 cases of multiple breasts were reported. Heaviest brain The world's heaviest brain weighed 5lb 11/10oz and belonged to a 30-year- old man in Ohio. It was reported by Dr Mandybur of the Department of Pathology and Laboratory Medicine at the University of Cincinnati, Ohio, USA in December 1992. The lightest "normal" or non-atrophied brain on record weighed 1lb 8oz. It belonged to Daniel Lyon, who died in New York in 1907. He was just over 5ft tall and weighed 10st 5 lb. Smallest waists The smallest waist of a person of normal height was 1ft 1in for Ethel Granger of Peterborough in 1939. The 19th-century French actress Emile Marie Bouchand also claimed a waist measurement of 1ft 1in. Most pierced man Alex Lambrecht has acquired a total of 137 piercings with a combined weight of 1lb 2oz over a period of 40 years making him the world's most pierced man. The estimated cost of all his piercings would have been pounds 6,850 - but he did them all himself. Oldest person ever The greatest fully authenticated age to which a human being has ever lived is 122 years, 164 days by Jeanne Calment of France. She died on August 4, 1997. Most dissimilar couple When 3ft 1in Natalie Lucius married 6ft 2in Fabien Pretou at Seyssinet- Pariset, France, in 1990, there was a record height difference of 3ft 1in between bride and groom. Longest engagement Octavio Guillen and Adriana Martinez from Mexico finally got married in June 1969, after a 67-year engagement. Both were 82 years old when they wed. Youngest married couple In 1986 it was reported that an 11-month-old boy had been married to a three-month-old girl at Aminpur, Bangladesh to settle a 20-year family feud. Oldest groom Harry Stevens was 103 years old when he married 84-year-old Thelma Lucas at the Caravilla Retirement Home, Wisconsin, USA, in December 1984. Oldest bride Minnie Munroe became the world's oldest known bride when she married Dudley Reid at the age of 102 at Point Clare, NSW, Australia, on May 31, 1991. The groom was a mere 83. Longest married couple Paul Onesi, 101, and his wife Mary, 93, were married in Clymer, Pennsylvania, USA in 1917. In January 1998 they celebrated their 80th anniversary, becoming the longest married couple in America. For the past 51 years the couple, who never celebrate Valentine's Day, have lived in Niagara Falls, North America's so-called honeymoon capital. Longest period survived without bread and water Andreas Mihavecz of Bregenz, Austria, lived for a record-breaking 18 days without food and water after being put in a holding cell in a local government building in Hochst by the police on April 1, 1979, and then being totally forgotten about. The 18-year-old, who had been a passenger in a crashed car, was discovered close to death on April 18. Most pills taken The record for the greatest number of pills known to have been taken by one patient is 565,939 by CHA Kilner of Zimbabwe between June 9, 1967 and June 19, 1988. This works out at an average of 73 tablets per day. It is estimated that if all the pills he had taken were laid out end to end they would form an unbroken line two miles 186 yards long. Longest hiccoughing fit Charles Osbourne from Anthon, Iowa, USA began hiccoughing in 1922 while he was trying to weigh a pig for slaughter. He continued until February 1990 - 68 years. He was unable to find a cure, but led a normal life, marrying twice and fathering eight children. Longest sneezing fit Donna Griffiths from Pershore, Hereford and Worcester, UK, started sneezing at the age of 12 on January 13, 1981 and sneezed an estimated one million times the following year. She did not have a sneeze-free day until September 16, 1983. Loudest snorer Kare Walkert of Kumala, Sweden, who suffers from the breathing disorder apnea, recorded peak noise levels of 93dBA while he was asleep at a hospital in May 1993. Most injections received Samuel Davidson from Glasgow has had at least 78,900 insulin injections since he was aged 11 in 1923. Before the invention of insulin - first used on humans in 1922 - diabetes was usually fatal. Biggest blood transfusion Warren Jyrich, a 50-year-old haemophiliac, required a record 2,400 donor units of blood - the equivalent of more than 285 gallons - during open heart surgery at the Michael Reese Hospital, Chicago, Illinois, in December 1970. Largest tumour A tumour weighing 21st 61lb and 3ft in diameter was removed intact from a 34-year-old American woman's abdomen in October 1991. It had been growing for eight years, according to Dr Kate O'Hanlon of Stanford University, California. Most extreme case of Munchausen's Syndrome British man William McIIroy had the most extreme known case of Munchausen's syndrome, an incurable condition characterised by a constant desire for medical treatment. In 50 years McIlroy had 400 operations and stayed at 100 hospitals under 22 aliases costing pounds 2.5 million. World's biggest gallbladder The world's biggestgallbladder weighed 23lb and was removed from a 69-year-old woman by Professor Birmal C Ghosh at the National Naval Medical Centre in Bethesda, Maryland, USA on March 15, 1998. The patient recovered and left the hospital ten days later. The oldest person to undergo an operation James Henry Brett Jnr underwent a hip operation at the age of 111 in Houston, Texas on November 7, 1960. Longest coma Elaine Esposita from Florida fell into a coma at the age of six after an appendectomy on August 6, 1941. She died at the age of 43 on November 25, 1978 after being unconscious for 37 years 111 days. Longest dream The longest period of REM sleep (which characterises dream sleep) lasted three hours eight minutes. It was achieved by David Powell at the Paget Sound Sleep Disorder Centre in Seattle, Washington on April 29, 1994. Longest post-mortem birth On July 5, 1983 a baby girl was delivered from a woman who had been brain dead for 84 days in Virginia, USA. Longest period survived underwater In 1986 two-year-old Michelle Funk from Salt Lake City, Utah, USA survived one hour six minutes underwater. She had fallen into a creek. Most bizarre use for a body part King Charles I's fourth cervical vertebra was stolen by a surgeon during an autopsy and fashioned into a salt cellar. The novelist Sir Walter Scott used it at diner parties for 30 years until Queen Victoria found out and ordered that it be returned to St George's Chapel, Windsor. Most extreme cases of compulsive swallowing In 1927 a 42-year-old woman complaining of "slight abdominal pains" was found by doctors at Ontario Hospital, Canada to have 2,533 objects, including 947 bent pins, in her stomach. The heaviest object ever to have been taken from a human stomach is a 5lb 3oz hairball, from a 20-year-old British woman on March 30, 1895. Lowest body temperature ever Two-year-old Karlee Kosolofski registered a record low body temperature of 57.5F on February 23, 1994. Karlee, of Saskatchewan, Canada had been accidentally locked out of her home for six hours in a temperature of -8F. She suffered frostbite and had to have part of her left leg amputated. Some people have died of hypothermia with a temperature of 95F. Highest body temperature ever On July 10, 1980 - a day on which the temperature reached 90F - Willie Jones, 52, was admitted to Grady Memorial Hospital, Atlanta, USA with heatstroke and a body temperature of 115.7F, the highest ever recorded. He was discharged after 24 days. Highest dry-air temperature borne In US Air Force experiments carried out in 1960, the highest dry-air temperatures endured by naked men was 400F, while heavily-clothed men could tolerate 500F. By comparison, the hottest bearable sauna is about 284F. Highest G Forces borne On July 13, 1977 at Silverstone race track, Northamptonshire, racing driver David Purley decelerated in a crash from 108mph to zero in a distance of 2ft 2in. He was subjected to 179.8G, suffering 29 fractures and three dislocations. Most lightning strikes survived The only person to have ever been struck by lightning seven times is Roy Sullivan, from Virginia, USA. The strikes occurred between 1942 and 1977. In September 1983 he committed suicide, reportedly after being rejected in love. Longest fall survived without a parachute On January 26, 1972 Yugoslavian air hostess Vesna Vulovic fell a record six miles 551 yards from a DC-9 airliner in which she was travelling, and survived. MOST PIERCED WOMAN By January 31, 1998, just one year after getting her first piercing, Grace Martin from Edinburgh had 290 piercings over her entire body. OLDEST LIVING TWINS Kin and Gin Kanie became Japan's most famous twins in 1992 when they celebrated their 100th birthday, prompting the mayor of their home town, Nagoya, to call a press conference reminding people of the need to respect the elderly. Now 105 years old, they still appear on local television. WORLD'S BIGGEST BABY In September 1996, 17-month old Zack Strekert, the largest known baby in the world, appeared on American TV with parents Chris and Laurie from Goshen in New York. He weighed in at an astonishing five stones - a weight not attained by some boys until they are 14. Zack's elder brother Andrew weighed 5st 9lb at the age of seven. LONGEST NECKS The women of the Padaung or Karenti tribes in Burma extend their necks by putting copper coils around them. The maximum recorded length is 15 3/4ins. Worn in an increasing number from the age of five or six, the coils can reach 20lb in total weight. LONGEST HAIR Hu Saeloo, an 85-year-old tribesman from Chiang Mai province in Thailand, is one of several people in the world claiming to have the world's longest hair. It is a tradition in this part of Thailand for men to have very long hair. Saeloo has not cut his locks for more than 70 years and it is now 16ft 10in long. GREATEST COVERAGE BY TATTOOS Tom Leppard, a retired soldier who lives alone on the Isle Of Skye, has had 99.9 per cent of his body tattooed with a leopard skin design. The only parts of his body which remain free of tattoos are the insides of his ears and the skin between his toes. The heaviest woman ever American Rosalie Bradford is reported to have registered 85st in January 1987, before beginning a strict diet after developing congestive heart failure. The heaviest man ever The heaviest person in medical history was Jon Minnoch from Bainbridge Island, Washington, USA, who was 6ft 1in in height and weighed more than 100st when he was rushed to hospital suffering from heart and respiratory failure in 1978. The heaviest man alive Albert Jackson from Canton, Mississippi, USA, claims the title. He weighs 63st 9lb and measures 9ft 8in around the waist, 5ft 10in around the thighs and 2ft 5in around the neck. Most weight lost Jon Minnoch reduced his body weight from 100st to 34st in the 16 months to July 1979. The greatest weight loss by a woman is 65st 7lb by Rosalie Bradford (USA), the heaviest-ever woman, when she reduced from 85st in January 1987 to 20st by February 1994. In 1984 Ron Allen sweated off 1st 71/2lb from his weight of 17st 1lb in 24 hours in Nashville, Tennessee. Most weight gained Doris James from San Francisco, California, is alleged to have gained 23st 3lb in the 12 months before her death in August 1965 aged 38. She then weighed 48st 3lb and was 5ft 2in tall. The greatest weight gained by a man was 14st in seven days by Jon Minnoch (see Most Weight Lost), the heaviest man in medical history, in 1981 World's greatest strongmen Iceland's Magnus Ver Magnusson won the world's strongest man contest four times in 1991, 1994, 1995, and 1996. Born in 1963 he is 6ft 2in tall weighs 20st 7lb and has a chest measurement of 51in. Jon Pall Sigmarsson, also from Iceland, won the title four times in 1984, 1986, 1988 and 1990. As well as that, he won five World Muscle Power titles, but died while weightlifting in 1993. Best travelled person John D Clouse, a lawyer from Evansville, Indiana, USA, has visited all of the sovereign countries and all but three of the non-sovereign or other territories that existed in early 1998. John's son George began travelling at the age of 10 weeks and had been to 104 countries by his fifth birthday. Highest tightrope walk Mike Howard, a 32-year-old Briton, walked between two hot air balloons at a height of 18,800ft over Marshall, Michigan, USA. Longest bungee jump A record 820ft bungee was used by Gregory Riffi during a jump from a helicopter above the Loire Valley, France, in February 1992. Riffi's cord stretched to a length of 2,000ft during the jump. Fastest woman In the women's final of the 100m at the 1988 Olympics in Seoul, South Korea, Florence Griffith-Joyner was timed at 0.91 sec for each 10m from 60 to 90m (a speed of 24.58mph). Youngest person to visit both poles British boy Robert Schumann went to the North Pole at the age of 10 on April 6, 1992 and the South Pole at the age of 11 on December 29, 1993. Oldest person to fly Charlotte Hughes of Redcar, North Yorkshire, was given a flight on Concorde from London to New York as a 110th birthday present in 1987. She flew again in 1992, aged 115. Oldest parachutist Hildegarde Ferrera became the oldest ever parachutist when she made a tandem parachute jump at the age of 99 at Mokuleia, Hawaii, in 1996. Longest backwards run Arvind Pandya of India ran backwards 3,100 miles across the USA - from Los Angeles to New York in a time of 107 days between August 18 and December 3, 1984. He also ran backwards from John O'Groats to Land's End - a distance of 940 miles - in a time of 26 days 7 hours from April 6 to May 2, 1990. Longest walk Arthur Blessitt from North Fort Myers, Florida, USA has walked a total distance of 32,202 miles in more than 27 years since 1969. Carrying a 12-foot cross and preaching throughout his walk, he has been to all seven continents, including Antarctica. Fastest speed The record for the greatest speed at which a human being has ever travelled is 24,791 mph. It was achieved by the command module of Apollo 10 - with Col T Stafford, Cdr E Cerman and Cdr J Young on board - at the 75-mile altitude interface on its trans-earth return flight in May 1969. Longest stilt walk The greatest distance ever covered on stilts is 3,008 miles by Joe Bowen from Los Angeles, California to Bowen, Kentucky from February 20 to July 26, 1980. Longest walk on water Remy Bricka from Paris walked across the Atlantic Ocean on 13ft 9in skis. He left Tenerife in the Canary Islands on April 2, 1988 and arrived in Trinidad in the Caribbean on May 31, 1988, after covering 3,502 miles. Longest kiss Mark and Roberta Griswold, of Michigan, USA, kissed each other for a record 29 hours. They remained standing and went without rest breaks, during a kissing contest in New York from March 24 to 25 in 1998. LARGEST WAIST Walter Hudson from America had a 9ft 11in waist in 1987. On a typical day he would eat 12 doughnuts, 10 packets of crisps, two giant pizzas or eight portions of food from a Chinese takeaway, plus half a cake. WORLD'S FASTEST MAN Jamaican Donovan Bailey won an Olympic gold at the 1996 games in Atlanta, USA, setting a new 100m world record of 9.84 sec, reaching a top speed of more than 27mph. SAVE pounds 5 ON BUYING THE BOOK WITH THE LOOK Now you have had a taste of one of the world's best-selling books, you can buy the complete 1999 edition at a discount price of pounds 12.99 including postage and packaging (RRP pounds 18). To take advantage of this special Look offer, simply call the Guinness credit card hotline on 01256 302684 (weekends only) or 01256 302699 (weekdays only). Don't forget to have your card details ready. Please allow up to 28 days for delivery. NEXT WEEK...Part two of our unique series AMAZING RECORD-BREAKING ANIMALS l The fish that produces 30 million eggs in one go l The bird that grows 9ft tall and can weigh 345lbs l The spider so strong it can resist a force 38 times its own weight l The moth larva which eats 86,000 times its birthweight in 56 days l The sharks that can smell blood diluted 100 million times COPYRIGHT 1998 MGN LTD No portion of this article can be reproduced without the express written permission from the copyright holder. Copyright 1998 Gale, Cengage Learning. All rights reserved. Article Details

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Which word used to be in the name of The San Francisco Ballet?

San Francisco Ballet: The Nutcracker - War Memorial Opera House, San Francisco, CA - Tickets, information, reviews San Francisco Ballet: The Nutcracker 301 Van Ness Avenue, San Francisco, CA 94102 301 Van Ness Avenue, San Francisco, CA 94102 1 Closed Closed December 29, 2016 The opulent new version of the seasonal classic, launched spectacularly by the San Francisco Ballet, is every parent's dream of a holiday treat. San Francisco Chronicle, 2014 Why See San Francisco Ballet: The Nutcracker? A TRULY FESTIVE "FRISCO" BALLET On Christmas Eve, 1944, the audience at San Francisco's War Memorial Opera House watched the American premiere of Nutcracker. An instant sensation, the ballet launched a national holiday tradition. SF Ballet's sparkling production of Nutcracker, set here by the Bay has introduced audiences of all ages to the magnificent world of ballet, and this will be the third annual production since its new revamp in 2014. It is a candied Christmas consumption of a ballet, with enough drama, love and festive spirit to keep the whole family entertained for the duration. With a recent revamp of the setting and costuming, this beloved ballet continues to remain fresh and one of the most celebrated Nutcracker productions in the country. WHAT IS THE NUTCRACKER ABOUT? The scene opens in a quaint toy maker's shop; Drosselmeyer is putting the finishing touches to a beautiful nutcracker toy before heading out to the Stahbaum's party, laden with his gifts. At the party, young Clara and Fritz are taking part in the tree-trimming ceremony for the very first time; they are surrounded by friends and family celebrating the festive season; when Drosselmeyer arrives, he produces fabulous wooden dolls that spring to life, and gives the nutcracker doll to Clara; alas, Fritz grabs hold of it first and breaks it by accident. Drosselmeyer comforts the distraught girl and fixes the toy's jaw with his hankie. After the party, Clara is tired, and falls into a deep sleep, her nutcracker beside her. Awakening suddenly, she notices the room around her has changed dramatically. The Christmas tree towers over her, as does the furniture, and she is ambushed by life-sized mice brandishing swords! But a whistle by a familiar looking character summons a host of toy soldiers, and leads the charge against the rascally rodents. Clara helps by throwing her shoe, and the toy soldiers prevail. The handsome stranger turns to Clara; it is her beloved Nutcracker, come to life! The two journey on a beautiful sled to a forest with dancing snowflakes, who point them to the enchanted Crystal Palace, where the Sugar Plum Fairy reigns benevolently over her candy courtiers. As a reward for their efforts against the mouse army, she decrees that a special dance be put on for her special guests that include vignettes by whirling Chinese tea, French mirlitons, Russian vodka, Arabic coffee and Spanish hot chocolate and of course, the famous pas-de-deux by the Fairy and her Chevalier. Additional Information Keep up to date! Straight to your inbox Please note: The term War Memorial Opera House and/or San Francisco Ballet: The Nutcracker as well as all associated graphics, logos, and/or other tradermarks, tradenames or copyrights are the property of the War Memorial Opera House and/or San Francisco Ballet: The Nutcracker and are used herein for factual descriptive purposes only. We are in no way associated with or authorized by the War Memorial Opera House and/or San Francisco Ballet: The Nutcracker and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events. Need Help?

Opera

Which singer has appeared on the cover of Rolling Stone magazine 16 times?

San Francisco Ballet: The Nutcracker - War Memorial Opera House, San Francisco, CA - Tickets, information, reviews San Francisco Ballet: The Nutcracker 301 Van Ness Avenue, San Francisco, CA 94102 301 Van Ness Avenue, San Francisco, CA 94102 1 Closed Closed December 29, 2016 The opulent new version of the seasonal classic, launched spectacularly by the San Francisco Ballet, is every parent's dream of a holiday treat. San Francisco Chronicle, 2014 Why See San Francisco Ballet: The Nutcracker? A TRULY FESTIVE "FRISCO" BALLET On Christmas Eve, 1944, the audience at San Francisco's War Memorial Opera House watched the American premiere of Nutcracker. An instant sensation, the ballet launched a national holiday tradition. SF Ballet's sparkling production of Nutcracker, set here by the Bay has introduced audiences of all ages to the magnificent world of ballet, and this will be the third annual production since its new revamp in 2014. It is a candied Christmas consumption of a ballet, with enough drama, love and festive spirit to keep the whole family entertained for the duration. With a recent revamp of the setting and costuming, this beloved ballet continues to remain fresh and one of the most celebrated Nutcracker productions in the country. WHAT IS THE NUTCRACKER ABOUT? The scene opens in a quaint toy maker's shop; Drosselmeyer is putting the finishing touches to a beautiful nutcracker toy before heading out to the Stahbaum's party, laden with his gifts. At the party, young Clara and Fritz are taking part in the tree-trimming ceremony for the very first time; they are surrounded by friends and family celebrating the festive season; when Drosselmeyer arrives, he produces fabulous wooden dolls that spring to life, and gives the nutcracker doll to Clara; alas, Fritz grabs hold of it first and breaks it by accident. Drosselmeyer comforts the distraught girl and fixes the toy's jaw with his hankie. After the party, Clara is tired, and falls into a deep sleep, her nutcracker beside her. Awakening suddenly, she notices the room around her has changed dramatically. The Christmas tree towers over her, as does the furniture, and she is ambushed by life-sized mice brandishing swords! But a whistle by a familiar looking character summons a host of toy soldiers, and leads the charge against the rascally rodents. Clara helps by throwing her shoe, and the toy soldiers prevail. The handsome stranger turns to Clara; it is her beloved Nutcracker, come to life! The two journey on a beautiful sled to a forest with dancing snowflakes, who point them to the enchanted Crystal Palace, where the Sugar Plum Fairy reigns benevolently over her candy courtiers. As a reward for their efforts against the mouse army, she decrees that a special dance be put on for her special guests that include vignettes by whirling Chinese tea, French mirlitons, Russian vodka, Arabic coffee and Spanish hot chocolate and of course, the famous pas-de-deux by the Fairy and her Chevalier. Additional Information Keep up to date! Straight to your inbox Please note: The term War Memorial Opera House and/or San Francisco Ballet: The Nutcracker as well as all associated graphics, logos, and/or other tradermarks, tradenames or copyrights are the property of the War Memorial Opera House and/or San Francisco Ballet: The Nutcracker and are used herein for factual descriptive purposes only. We are in no way associated with or authorized by the War Memorial Opera House and/or San Francisco Ballet: The Nutcracker and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events. Need Help?

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What nationality were Mother Teresa's parents?

Mother Teresa Biography - Childhood, Life Achievements & Timeline Leaders Mother Teresa Biography All through her life, Mother Teresa served people selflessly. Read the biography and learn about Mother Teresa’s childhood, life and timeline. 1971 Founder of Missionaries of Charity Nationality 1969 - Jawaharlal Nehru Award for International Understanding 1962 - Ramon Magsaysay Award 1971 - Pope John XXIII Peace Prize 1976 - Pacem in Terris Award 1978 - Balzan Prize 1979 - Nobel Peace Prize Image Credit http://www.freelargeimages.com/mother-teresa-2397/ Clad in a white, blue-bordered sari, she along with her sisters of the Missionaries of Charity became a symbol of love, care and compassion for the world. Blessed Teresa of Calcutta, known the world over as Mother Teresa, was an Albanian-born Indian citizen who abided by her religious faith of Roman Catholicism to serve the unwanted, unloved and uncared people of the world. One of the greatest humanitarians of the 20th century, she led all her life serving the poorest of the poor. She was a ray of hope for many, including the aged, the destitute, the unemployed, the diseased, the terminally ill, and those abandoned by their families. Blessed with profound empathy, unwavering commitment and unshakable faith since young, she turned her back to the worldly pleasures and focussed on serving the mankind ever since she was 18. After years of service as a teacher and mentor, Mother Teresa experienced a call within her religious call, which changed her course of life completely, making her what she is known as today. Founder of the Missionaries of Charity, with her fervent commitment and incredible organizational and managerial skills, she developed an international organization that aimed towards helping the impoverished. For her service to the humanity she was honoured with Nobel Peace Prize in 1979. She was canonised by Pope Francis on 4 September 2016. Childhood & Early Life Born to Nikolle and Dranafile Bojaxhiu in Skopje, Mother Teresa was the youngest child of the Albanian couple. She was born on August 26, 1919 and was baptized the following day as Agnes Gonxhe Bojaxhiu, a date she considered her ‘true birthday’. She received her First Communion when she was five and a half. Raised in a devoutly Catholic family, her father was an entrepreneur by profession. Her mother had a spiritual and religious bent of mind and was active participant in the local church activities. Sudden and tragic death of her father when she was eight years old left young Agnes disheartened. Despite facing financial crisis, Dranafile did not compromise on the upbringing of her children and raised them with utmost love, care and affection. Over the years, young Agnes grew extremely close to her mother. It was Dranafile’s firm belief and religious attitude that greatly influenced Agnes character and future vocation. A pious and compassionate woman, she instilled in Agnes a deep commitment to charity, which was further affirmed by her involvement in the Jesuit parish of the Sacred Heart. Religious Calling As Agnes turned 18, she found her true calling as a nun and left home for good to enrol herself at the Institute of the Blessed Mary Virgin, also called Sisters of Loreto, in Ireland. It was there that she first received the name Sister Mary Teresa after St Therese of Lisieux. After a year of training, Sister Mary Teresa came to India in 1929 and initiated her novitiate in Darjeeling, West Bengal, as a teacher at St Teresa’s School. She learned the local language of the state, Bengali. Sister Teresa took her first religious vows in May 1931. Thereafter, she was assigned duty at the Loreto Entally community of Calcutta and taught at St Mary’s School. Six years later, on May 24, 1937, she took her Final Profession of Vows and with that acquired the name, which the world recognizes her with today, Mother Teresa. The next twenty years of her life, Mother Teresa dedicated to serving as a teacher at the St Mary’s School, graduating to the post of the principal in 1944. Within the walls of the convent, Mother Teresa was known for her love, kindness, compassion and generosity. Her unflinching commitment to serving the society and mankind was greatly recognized by students and teachers. However, just as much Mother Teresa enjoyed teaching young girls, she was greatly disturbed by the poverty and misery that was prevalent in Calcutta. Call Within a Call Little did she know that the journey from Calcutta to Darjeeling made by Mother Teresa for her yearly retreat, on September 10, 1946 would transform her life completely. She experienced a call within a call - a call from the Almighty to fulfil His heartfelt desire of serving the ‘poorest of the poor’. Mother Teresa explained the experience as an order from Him, which she could not fail on any condition as it would mean breaking the faith. He asked Mother Teresa to establish a new religious community, Missionaries of Charity Sisters, which would be dedicated to serving the ‘poorest of the poor’. The community would work in the slums of Calcutta and help the poorest and sick people. Since Mother Teresa had taken a vow of obedience, leaving the convent without official permission was impossible. For nearly two years, she lobbied for initiating the new religious community, which brought favourable result in the January of 1948 as she received a final approval from the local Archbishop Ferdinand Perier to pursue the new calling. On August 17, 1948, clad in a white blue-bordered saree, Mother Teresa walked past the gate of the convent, which had been her habitat for almost two decades, to enter the world of poor, a world that needed her, a world which He wanted her to serve, a world she knew of as her own! Gaining Indian citizenship, Mother Teresa travelled all the way to Patna, Bihar to gain medical training at the Medical Mission Sisters. After completing her short course, Mother Teresa returned to Calcutta and found her temporary lodging at Little Sisters of the Poor. Her first outing was on December 21, 1948 to help the people in the slums. Her main mission was to serve Him by helping the ‘unwanted, unloved, and uncared’. From then on, Mother Teresa reached out to the poor and needy each day, fulfilling His desire to radiate love, kindness and compassion. Starting off all alone, Mother Teresa was soon joined by voluntary helpers, most of which were former students and teachers, who accompanied her in her mission to fulfil His vision. With time, financial help also came in. Mother Teresa then started an open air school and soon established a home for the dying and destitute in a dilapidated home, which she convinced the government to donate to her. October 7, 1950 was historic day in the life of Mother Teresa; she finally received permission by the Vatican to start the congregation that eventually came to be known as Missionaries of Charity. Starting off with merely 13 members, the Missionaries of Charity went on to become one of the most significant and recognized congregations in the world. As the ranks of congregation raised and financial aid came in easily, Mother Teresa expanded her scope for charitable activities exponentially. In 1952, she inaugurated the first Home for the Dying, where people brought to this home received medical help and accorded the opportunity to die with dignity. Adhering to the different faith that people came in from, all who died were given their last ceremonies according to the religion they followed, thus dying a death of dignity. The next step was initiating a home for those suffering from Hansen's disease, commonly known as leprosy. The home was called Shanti Nagar. Additionally, several clinics were formed in the city of Calcutta which provided medication, bandage and food to those suffering from leprosy. In 1955, Mother Teresa opened a home for the orphans and homeless youths. She named it as Nirmala Shishu Bhavan, or the Children's Home of the Immaculate Heart. What started as a small effort soon grew in size and number, attracting recruits and financial help. By 1960, Missionaries of Charity had opened several hospices, orphanages and leper houses all over India. Meanwhile, in 1963, Missionaries of Charity Brothers was founded. The main aim behind the inauguration of Missionaries of Charity Brother was to better respond to the physical and spiritual needs of the poor. Furthermore, in 1976, a contemplative branch of the sisters was opened. Two years later, a contemplative brothers’ branch was inaugurated. In 1981, she began the Corpus Christi Movement for Priests and in 1984 the Missionaries of Charity Fathers was initiated. The initiation of the same was to combine the vocational aim of Missionaries of charity with the resource of ministerial priesthood. Mother Teresa, then, formed the Co-Workers of Mother Teresa, the Sick and Suffering Co-Workers, and the Lay Missionaries of Charity. Her International Pursuits The congregation, which was limited to India, opened its first house outside India in Venezuela in 1965 with five sisters. However, this was just the beginning, as many more houses came up in Rome, Tanzania and Austria. By 1970s, the order had reached several countries in Asia, Africa, Europe and United States. In 1982, Mother Teresa rescued almost 37 children who were trapped in a front line hospital in Beirut. With the help of a few Red Cross volunteers, she crossed the war zone to reach the devastated hospital and evacuate young patients. Missionaries of Charity which was rejected by the Communist countries earlier, found an acceptance in the 1980s. Ever since it attained permission, the congregation initiated a dozen of projects. She helped the earthquake victims of Armenia, the famished folks of Ethiopia and the radiation-caused victims of Chernobyl. The first Missionaries of Charity home in the United States was established in the South Bronx, New York. By 1984, it had 19 establishments all over the country. In 1991, Mother Teresa returned to her homeland for the first time since 1937 and opened a Missionaries of Charity Brothers home in Tirana, Albania. By 1997, Missionaries of Charity had almost 4000 sisters working in 610 foundations, in 450 centres in 123 countries across the sIX continents. The congregation had several hospices and homes for people with HIV/AIDS, leprosy and tuberculosis, soup kitchens, children's and family counselling programs, personal helpers, orphanages, and schools functioning under it. Awards & Achievements For her unwavering commitment and unflinching love and compassion that she devoutly shared, the Government of India honoured her with Padma Shri, Jawaharlal Nehru Award for International Understanding and Bharat Ratna, India’s highest civilian award. In 1962, she was honoured with Ramon Magsaysay Award for International Understanding, for her merciful cognizance of the abject poor of a foreign land, in whose service she led a new congregation. In 1971, she was awarded the first Pope John XXIII Peace Prize for her work with the poor, display of Christian charity and efforts for peace. In 1979, Mother Teresa was awarded the Nobel Peace Prize, "for work undertaken in the struggle to overcome poverty and distress, which also constitutes a threat to peace." Death & Legacy Mother Teresa’s health started declining in the 1980s. The first instance of the same was seen when she suffered a heart attack while visiting Pope John Paul II in Rome in 1983. For the next decade, Mother Teresa constantly faced health issues. Cardiac problems seemed to live by her, as she experienced no respite even after heart surgery. Her declining health led her to step down as the head of the order on March 13, 1997. Her last visit abroad was to Rome, when she visited Pope John Paul II for the second time. Upon returning to Calcutta, Mother Teresa spent her last few days receiving visitors and instructing sisters. The greatly compassionate soul left for the heavenly abode on September 5, 1997. Her death was mourned by the world over. The world has commemorated this saintly soul through various ways. She has been memorialized and has been made patroness of various churches. There are also several roads and structures that have been named after Mother Teresa. She has also been seen in popular cultures. In 2003, Mother Teresa was beautified by Pope John Paul II at St Peter’s Basilica, in Vatican City. Since then, she has been known as Blessed Mother Teresa. Along with Blessed Pope John Paul II, the Church designated Blessed Teresa of Calcutta as the patron saint of the World Youth Day. She was canonised by Pope Francis on 4 September 2016 and is now known as Saint Teresa of Calcutta. Trivia Known the world over as Mother Teresa, she however was not baptized with the same name. Her christened name is different from what she is known as. She founded the Missionaries of Charity in Calcutta with the objective of serving the poorest of the poor. She aimed to make life beautiful for the unwanted, unloved and uncared lot. Top 10 Facts You Did Not Know About Mother Teresa Though incredibly close to her mother, she never saw her again after the day she left for Ireland. As Sister Teresa, she set aside her nun’s habit in 1948 and adopted instead the simple sari and sandals to fit in with the women she worked with. When she was awarded the Nobel Peace Prize, she refused the traditional Nobel honor banquet and requested that the $192,000 budget be allocated to help the poor in India. The only international airport in Albania, Tirana International Airport (Nënë Tereza) is named after Mother Teresa. As a teacher in Kolkata, she taught history and geography at St Mary’s School. Pope Paul VI came to meet her in 1965 but she informed him that she was too busy with her work among the poor to meet with him. The pope was much impressed with her sincerity. Mother Teresa was strictly pro-life and was against abortion and contraceptives. In spite of being deeply religious, she frequently questioned her own belief in God. Upon her death, the Indian government gave her a state funeral honoring her work with the poor and needy. She was voted as one of the 10 most admirable women 18 times in Gallup's yearly poll.   Translate this page to Spanish, French, Hindi, Portuguese Pictures of Mother Teresa

Albanian

Who had a 60s No 1 hit with I'm Telling You Now?

Mother Teresa Biography - life, family, children, story, school, old, information, born, time, year, sister Mother Teresa Biography Calcutta, India Albanian nun Mother Teresa's devotional work among the poor and dying of India won her the Nobel Prize for Peace in 1979. She is also known as the founder of the only Catholic religious order still growing in membership. Early life Mother Teresa of Calcutta was born Agnes Gonxha Bojaxhiu in Skopje, Macedonia, on August 27, 1910. At the time of her birth Skopje was located within the Ottoman Empire, a vast empire controlled by the Turks in the fifteenth and sixteenth centuries. Agnes was the last of three children born to Nikola and Dranafile Bojaxhiu, Albanian grocers. When Agnes was nine years old, her happy, comfortable, close-knit family life was upset when her father died. She attended public school in Skopje, and first showed religious interests as a member of a school society that focused on foreign missions (groups that travel to foreign countries to spread their religious beliefs). By the age of twelve she felt she had a calling to help the poor. This calling took sharper focus through Mother Teresa's teenage years, when she was especially inspired by reports of work being done in India by Yugoslav Jesuit missionaries serving in Bengal, India. When she was eighteen, Mother Teresa left home to join a community of Irish nuns, the Sisters of Loretto, who had a mission in Calcutta, India. She received training in Dublin, Ireland, and in Darjeeling, India, taking her first religious vows in 1928 and her final religious vows in 1937. One of Mother Teresa's first assignments was to teach, and eventually to serve as principal, in a girls' high school in Calcutta. Although the school was close to the slums (terribly poor sections), the students were mainly wealthy. In 1946 Mother Teresa experienced what she called a second vocation or "call within a call." She felt an inner urging to leave the convent life (life of a nun) and work directly with the poor. In 1948 the Vatican (residence of the pope in Vatican City, Italy) gave her permission to leave the Sisters of Loretto and to start a new work under the guidance of the Archbishop of Calcutta. Founding the Missionaries of Charity To prepare to work with the poor, Mother Teresa took an intensive medical training with the American Medical Missionary Sisters in Patna, India. Her first venture in Calcutta was to gather unschooled children from the slums and start to teach them. She quickly attracted both financial support and volunteers. In 1950 her group, now called the Missionaries of Charity, received official status as a religious community within the Archdiocese of Calcutta. Members took the traditional vows of poverty, chastity (purity), and obedience, but they added a fourth vow—to give free service to the most poor. The Missionaries of Charity received considerable publicity, and Mother Teresa used it to benefit her work. In 1957 they began to work with lepers (those suffering from leprosy, a terrible infectious disease) and slowly expanded their educational work, at one point running nine elementary schools in Calcutta. They also opened a home for orphans and abandoned children. Before long they had a presence in more than twenty-two Indian cities. Mother Teresa also visited other countries such as Ceylon (now Sri Lanka), Australia, Tanzania, Venezuela, and Italy to begin new foundations. Dedication to the very poor Mother Teresa's group continued to expand throughout the 1970s, opening new missions in places such as Amman, Jordan; London, England; and New York, New York. She received both recognition and financial support through such awards as the Pope John XXIII Peace Prize and a grant from the Joseph Kennedy Jr. Foundation. Benefactors, or those donating money, regularly would arrive to support works in progress or to encourage the Sisters to open new ventures. By 1979 Mother Teresa's groups had more than two hundred different operations in over twenty-five countries around the world, with dozens more ventures on the horizon. The same year she was awarded the Nobel Prize for Peace. In 1986 she persuaded President Fidel Castro (1926–) to allow a mission in Cuba. The characteristics of all of Mother Teresa's works—shelters for the dying, orphanages, and homes for the mentally ill—continued to be of service to the very poor. In 1988 Mother Teresa sent her Missionaries of Charity into Russia and opened a home for acquired immune deficiency syndrome (AIDS; an incurable disease that weakens the immune system) patients in San Francisco, California. In 1991 she returned home to Albania and opened a home in Tirana, the capital. At this time there were 168 homes operating in India. Mother Teresa. Dr Comfort Omon-Irabor Aug 15, 2016 @ 11:23 pm Mother Teresa, you will for ever be remembered for your gemerousity and your concerns for the poor. I love her dogedness. Mother teresa was nor distracted with the challenge of loosing her father at that tender age. She was very hard working and prayerful person. She is considered to be brilliant and brave. She stands for what she believes in. She gave her entire life in ty service of humanity. What torched me most is her commitment even in her deteriorating state of health. She was still able to play advisory role in expense to her health. She gave up her last breath with the challenges of the less privilege in her heart. I love her and would like to follow her footsteps. God give me the grace to follow her example. 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What are the international registration letters of a vehicle from The Bahamas?

The Government of The Bahamas Accessing the Fresh Start Programme The Fresh Start Programme is a youth employment skills training programme that provides job search skills and training to youth between the ages of 16 to 25. Once enrolled in this programme, participants are exposed to relevant workplace experiences and instructions through a structured training and placement curriculum. The programme covers a variety of personal development and job search topics, geared to afford the young prospective professionals, with the resources, information and tools needed for successful employment and job retention. Acessing GIS Training Facility As the Government of The Bahamas technical focal point for GIS in The Bahamas, The Bahamas National Geographic Information Systems (BNGIS) Centre is charged with the responsibility of providing various training courses to Governmental Agencies. As such, the Centre has a Training Facility which can be used by all governmental agencies only. The Training Facility is fully equipped and can accommodate up to ten persons. The following is a list of amenities which are available: Ten high end computer systems. A training server all configured within a network environment. ESRI desktop GIS software is loaded on all systems. Internet connectivity is provided through the Government Wide Area Network (GWAN) which allows users internet access on all training systems, if required. An LCD Projector and projector screen. Instructors Training Laptop if required. Chart boards. APPLICATION FOR REGISTRATION AS A CITIZEN This application is for the following categories of persons applying for citizenship in The Bahamas: Former Belongers - persons who resided in The Bahamas at the time of Independence 10th July 1973 and would have one year to make an application for some form of status; Persons born in The Bahamas after 9th JUly 1973, to Non- Bahamian parents (these persons would have to apply on their 18th birthday and before their 19th birthday); Persons born legitimately to a Bahamian female married to a foreign spouse outside The Bahamas. To access this form your computer will need adobe pdf. Download adobe pdf free of charge here see attachment The Youth Leaders Certification Programme was designed to: Train, expose and sharpen the skills of present youth leaders in techniques and methods in your work. Provide training in leadership skills Assist youth leaders and youth workers in developing competencies necessary to effectively manage young people and Formulate basic concepts regarding the role of Youth organisation. This course is designed to cover a ten week period, comprising nice sessions, and a field study. Interested individuals may apply to the Ministry of Youth Sports and Culture, Division of Youth to participate in the Certificate Programme. Application to Participate in Self-Start Programme The Government of the Bahamas believes in investing in young people and improving the quality of life through the combined efforts of hard work and dedication, a solid vision, and a helping hand. The Self-Starter Programme is a government funded grant-based programme to empower young Bahamian citizens, 18 to 30 years, seeking to establish or expand small businesses. It will provide aspiring entrepreneurs with a valid small business idea, self-employed and unemployed, with funding from BS$1000 to BS$5000 to acquire tools and supplies for their businesses. Funds will be paid directly to the supplier. The programme is managed by the Department of Youth, with an independent selection committee responsible for the selection process. Application to Purchase a Residential Govt. Lot The mandate of the minister responsible for housing is the encouragement of home ownership by person of low to moderate incomes. To this end the Department of Housing sells government lots to qualifying persons to facilitate the need for affordable land purchases. Application to Teach Summer Youth Programme The Ministry of Youth, Sports and Culture hosts several annual summer programmes. Each year, thousands of our young people are out of school for summer break. The Division of Youth, in collaboration with the Sports and Culture Divisions of the Ministry host a major four week fun-filled programme. Young persons between the ages of five to fifteen are engaged in organised, character building and dynamic programmes, based in schools and churches throughout New Providence and the Family Islands. The Ministry of Youth, Sports and Culture uses this as an opportunity to provide employment opportunities for suitable persons during the summer period. Persons interested in a teaching or supervisor position must apply to the Ministry of Youth, Sports and Culture. Award of Benefit on Death of Serv Public Officer Upon the death of a Serving officer family members should consult the Agency to determine whether or not they are eligible for an award of benefit. The Agency should in turn consult with the Department of Public Service. The Benefits and Awards described below are for Public Officers who qualify for benefits under The Pensions Act, Chapter 43 of the Statute Laws of The Bahamas. The following officers should refer to the relevant Act for Benefits and Awards for further information: Judges � Judges Remuneration and Pensions Act Members of The Royal Bahamas Police Force � The Police Force Act 2009 Prison officers � The Prison Act Officers of The Royal Bahamas Defense Force � The Defense Force Act Building Permit Fees These are the fees which you pay to the Government for the processing of a Building Permit. These fees also cover the cost of Inspections and the processing of the Occupany Certificate. Currently there are no other fees required. The fees are calculated on a graduated scale, based on square feet(for Buildings) or linear feet (for walls,etc). To review the table click here Building Regulation Act This is "An Act to regulate the construction, alteration and repair of buildings, to provide for the re-instatement or removal of dangerous or dilapidated buildings, to authorise the publication of a building code and for purpose connected therewith" (Excerpt from The Buildings Regulation Act). This is the primary piece of legislation which regulates building construction in the Bahamas. This application is for persons desirous of conducting business on property in the immediate area of the Aerodrome. For additional information contact cad@bahamas.gov.bs Landholding - Permit Application Form 3 A non-Bahamian (other than a permanent resident or non-Bahamian acquiring land or an interest in land under a devise or by inheritance) who intends to acquire land or an interest in land either by way of freehold or leasehold (does not include persons described under Certificate of Registration)shall obtain a permit from the Board. Learner's Permit This service is provided for persons learning to drive. Permit holders when driving any vehicle which he/she has not qualified by test to drive, must carry the prescribed "L" plates at the front and back of the vehicle. Permit holders should always be accompanied by a supervisor except when under going the driving test or when driving a solo motor-cycle or vehicle, other than a motor car, not constructed or adapted to carry more than one person. The supervisor must hold a current licence, other than a provisional licence to drive the class of vehicle being driven by the provisional licence holder and must have passed the driving test or held licence to drive not less than two years. Nominate Person for Youth Award of Excellence The Youth Award of Excellence is award to young people who have been nominated by their respective organisations for their outstanding contributions to the life of the organisation. This award is bestowed by the government on an annual basis. Each year, The Ministry of Youth, Sports and Culture request nominations from organisations for individuals to be considered for inclusion in the National Youth Recognition Awards. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. Each island has their own Local Award Ceremony; the most distinguished young person from that event will be selected to represent the island at the National Youth Recognition Awards. National Summer Youth Programme The Ministry of Youth, Sports and Culture hosts several annual summer programmes. Each year, thousands of our young people are out of school for summer break. The Division of Youth, in collaboration with the Sports and Culture Divisions of the Ministry host a major four week fun-filled programme. Young persons between the ages of five to fifteen are engaged in organised, character building and dynamic programmes, based in schools and churches throughout New Providence and the Family Islands. Persons interested in receiving training must apply to the Ministry of Youth, Sports and Culture, Department of Sports. National Youth Parliament Application The Youth Parliament is held annually in observance of National Youth Month. The purpose of Youth Parliament is to expose Bahamian youth to parliamentary procedures as well as current issues, affecting youth development. Young persons are selected, trained and make presentations in the House of Assembly in two session. Youth Parliament affords the young person the opportunity to voice their concerns, offer solutions, raise a level of consciousness in our society and bring to the fore the positive contribution made by youth to the economic, social and cultural development of the nation. Interested individuals may apply to the Ministry of Youth Sports and Culture, Division of Youth to participate in the National Youth Parliament. Nominate Person for Sports Hall of Fame The Sports Hall of Fame is the highest award that The Bahamas Government gives to individuals for their accomplishment in sports. This award is bestowed by the government on an annual basis. Each year, the Sporting Federation would recommend a list of athletes to be considered for inclusion in the Sports Hall of Fame. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Department of Sport for consideration. Nominate Person for the Youth Leader Award The Youth Leader Award is given to the most outstanding nominee who have gone above and beyond service and aided in the development of youth for more than 10 years. The Committee will select the recipients of these awards. The nominees from both Abaco and Grand Bahama will be decided on by those islands. Nominations for all other islands and New Providence will be decided upon by a separate committee organised by the Ministry of Youth, Sports and Culture. These awards are bestowed by the government on an annual basis. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. The nominees from both Abaco and Grand Bahama will be decided on by those islands. Nominating a Youth Organisation of the Year These awards are targeted to those organisations, who have distinguished themselves for excellence in service to the Nation’s Youth. These organisations would have distinguished themselves by going above and beyond the call. Nominations will be received from each Family Island; however a final decision will be made by a select committee on the winners for all the islands with the exception of New Providence, Grand Bahama and Abaco. These islands will be responsible for selecting the winners from their respective island. These awards are bestowed by the government on an annual basis. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. Non Bahamian Transfer Drivers Licence Form This provision allows persons holding a valid drivers licence from another country other than The Bahamas the privilege of driving legally in The Bahamas. Note: Foreign Nationals must present an approved Immigration status to reside in The Bahamas before a Foreign Drivers Licence can be transferred. via, Residency Certificate, Work Permit, Spousal Permit.) Person must bring original documents and a photo copy of Passport, Drivers Licence and Permission to Reside. Paid Study Leave / In-Service Training Award In-Service Training awards are generally granted for studies at the Bachelor & Masters degree level or at the Diplomat and Certificate levels, where applicable for professional qualification. In-Service Training awards for Bachelor�s Degree will be awarded to persons only if they have completed an Associate Degree or the equivalent number of credits towards a degree at their own expense. In instances where persons may have embarked upon study leave without the requisite approval, Permanent Secretaries or Heads of Departments will be required to approve an explanation in writing of the circumstances and justify why the approved leave should not be discontinued. Before approval is sought to grant an officer and In-Service Training Award to pursue studies abroad, efforts should be made to ascertain whether courses are offered at the College of the Bahamas or the University of the West Indies. Special consideration may still be given to officers who do not meet the requirements, wishing to pursue an associate or doctoral degree, or where there is an urgent demand for qualified personnel in a particular area of study. Public Officer Applying for Pension The Public Service Pension Plan of The Statute Laws of The Bahamas is a non-contributory plan. The purpose of the plan is to award pensions and gratuities to public officers. There is no absolute right to the benefits that are awarded under The Pensions Act. The benefits are only awarded for good and faithful service and will be withheld in part or whole where officers are found to be guilty of disgraceful conduct or gross dereliction of duty or indebted to the Government of The Bahamas for any public money which came to their hands either legally or illegally. The amount of the pension awarded to public officers is determined by the number of continuous months of employment and the annual salary at the time of retirement. Officers may take the maximum (full) pension for their months of service, in which case they will not receive the lump sum gratuity. However, officers may opt to take a reduced pension of 75% of their maximum (full) pension, and in this case they would receive a lump sum gratuity equal to 25% of their maximum (full) pension multiplied by ten (10). The Benefits and Awards described below are for Public Officers who qualify for benefits under The Pensions Act, Chapter 43 of the Statute Laws of The Bahamas. The following officers should refer to the relevant Act for Benefits and Awards for further information: Judges � Judges Remuneration and Pensions Act Members of The Royal Bahamas Police Force � The Police Force Act 2009 Prison officers � The Prison Act Officers of The Defence Force � The Defence Force Act Officers who do not qualify for the award of a pension, and provided they had completed at least ten (10) years of continuous monthly service, will be eligible for a gratuity equivalent to 4% of the annual salary at the time of retirement, multiplied by the number of completed years of service (less any periods taken on unpaid (no pay) leave and / or contract). Upon reaching age 65, all officers must retire from the Public service. However, retired officers may be reconsidered for re-employment. These officers may be reengaged up to age seventy (70) subject to the need for their services. Reemployed officers are usually required to forgo their pension during the period of reengagement. If an officer resigns from the public service and is subsequently re-appointed to the Public Service this is consider to be a new appointment. Registering a Boat/Ski for Commercial Use It is a requirement of The Government of The Bahamas that all boats/skis to be used commercially must be registered. The registration process at the Port Department is one designed to assist the boat owners in getting their licences in an efficient manner. Registering a Boat/Ski for Private Use It is a requirement of The Government of The Bahamas that all boats/skis to be used privately, must be registered. The registration process at the Port Department is one designed to assist the private boat owners in getting their licences in an efficient manner. Registering a Foreign Charter It is a requirement of The Government of The Bahamas that all foreign charters secure a licence in order to utilise Bahamian waters. Most foreign charter applications to The Bahamas are from yachts seeking to explore our beautiful seas. To accommodate these �sun seekers� the Port Department has simplified the chartering process as detailed below. Registering a National Youth Band The growth and development of youth bands form a microcosm of the Ministry�s strategic plan for youth development. Youth bands provide healthy alternatives for youth at the community level. It is an avenue for discipline and training, development of artistic ability, enhancement of personhood through the acquisition of pride and self-fulfilment, enhancement of self worth, cultural awareness and positive socialization. Youth Band may register with the Ministry of Youth, Sports and Culture to be eligible for government grants and other assistance offered by the Department of Youth. Registering to Compete in Junior Junkanoo Junior Junkanoo is a competitive display of indigenous Junkanoo music, dance, and festive costumes by primary and secondary schools in New Providence and visiting Family Islands schools. Junior Junkanoo caters for ages 3 to 18 years. Before schools in New Providence, Grand Bahama, and the Family Island can participate in Junkanoo festivals, they must be registered with the Ministry of Youth, Sports and Culture, Department of Culture. Renewal of Licence To Operate a Theatre or Cinema All licences granted for the use of premises for the public performance of plays and showing of films remain in force for one year or such shorter period as specified in the licence. The Bahamas Plays and Films Control Board may from time to time renew a licence issued. REPORT INWARDS OF VESSELS This Form is to be prepared by the Master or Agent of aircraft or vessels "Entering" The Bahamas from a Foreign Port. Vessels Exempted: 1. Pleasure Vessel / Yacht the Captain or Owner is required to complete Form C2A (Inward Report - Pleasure Vessels) 2. Military Vessels Request for Youth Band Grant The growth and development of youth bands form a microcosm of the Ministry�s Strategic Plan for Youth Development. Youth bands provide healthy alternatives for youth at the community level. The Ministry of Youth, Sports and Culture, through the Division of Youth, gives annual grants to Youth bands that are registered with the Division of Youth, to assist with Youth Band Strengthening. Interested bands may make requests to the Ministry of Youth Sports and Culture, Division of Youth. Grants are provided at the discretion of the Ministry of Youth, Sports and Culture. Request for Youth Organisation Grant The Ministry of Youth, Sports and Culture, through the Division of Youth, gives annual grants to organizations that are registered with the Division of Youth, to assist with Youth Organisation Strengthening. Interested organisations may make requests to the Ministry of Youth Sports and Culture, Division of Youth. Grants are provided at the discretion of the Ministry of Youth, Sports and Culture. RESIDENT SPOUSE PERMIT APPLICATION This application is for foreign spouse of a Bahamian citizen applying to reside and work in The Bahamas, upon satisfying the Director of Immigration, in accordance with the Immigration Act Chapter 191 section 29, subsections a, b, and c. To access this form your computer will need adobe pdf. Download adobe pdf free of charge here see attachment Resignation From the Public Service A Public Officer may resign his office at any time. Officer�s are advised to give at least one months notice or pay one month�s salary in lieu thereof. Vacation leave cannot be used as part of the notice. Monthly paid officers who completed at least ten (10) years of continuous monthly service or more will be eligible for a gratuity equivalent to 4% of the annual salary at the time of resignationtirement, multiplied by the number of completed years of service (less any periods taken on unpaid (no pay) leave and / or contract). Spatial Data Services - Quality Control As the Government's technical focal point for GIS in The Bahamas, it is the remit of the BNGIS Centre to develop a comprehensive framework that provides for improvements in coordination and use of geospatial data. Geospatial data refers to data/information about places or geography. As such The Bahamas Spatial Data Infrastructure (BSDI) System and Programme has been developed as a national strategy for the effective and economical use and management of geospatial assets in the digital environment for the benefit of all government agencies and the general public. Spatial Data Services - Reporting Error As the Government�s technical focal point for GIS in The Bahamas, it is the remit of the BNGIS Centre to develop a comprehensive framework that provides for improvements in coordination and use of geospatial data. Geospatial data refers to data/information about places or geography. As such, The Bahamas Spatial Data Infrastructure (BSDI) System and Program has been developed as a national strategy for the effective and economical use and management of geospatial assets in the digital environment for the benefit of all government agencies and the general public. The hub of The BSDI �System� is a centralized LIBRARY database containing The Government�s best available, most accurate, and reliable non-confidential information. Information in the Library is freely shared through-out government. In the event users of the spatial data and imagery stored in the BSDI Library, detect errors in published information, said errors should be immediately reported to the Centre for further action. Special Vehicle Application Form Miscellaneous vehicles include vehicles with any hydraulic operating parts or hydraulic lifts. An M plate is issued to miscellaneous vehicles. Before an M- plate can be on the road the owner of the vehicle must obtain a letter from the Ministry of Public Works and Transport that reads �Permit to operate Special Vehicles on Public Roads�. This letter must accompany the other documents when registering a miscellaneous vehicle with the Department of Road Traffics. Sport Fishing Permit A Sport Fishing Permit is a licence granted to authorize foreign owned vessels to be engaged in sport fishing exercises while in Bahamian waters. Current regulations state that both Customs and Immigration formalities must be completed before the licence can be issued. Permits can be obtained from the Bahamian Customs Officer at the time of entry or from the Department of Marine Resources after entry. Taxi Cab Licence Grant Application Vehicles bearing a Taxi-cab plate are to be strictly used for the purpose of hire and profit. To obtain a Taxi-Cab Franchise the applicant must be in possession of a valid Public Service Drivers Licence, submit a completed Taxi-cab Franchise Application Form to the Franchise Unit of the Road Traffic Department and await approval by the Road Traffic Authority Board. Once the Board has met, notification of approval will be given to the applicant through the local media (i.e. newspaper, radio). Please note that there is currently a moratorium on the issuance of Taxi-Cab plates. Registration of time-sharing purchaser(s)interest pursuant to section 20 of The Bahamas Vacation Plan and Time-Sharing Act , 1999. "Purchaser" means a person who has given valuable consideration or is liable therefor in exchange for the acquisition of a time-sharing interest Tour Car Franchise Application This service is for the registration of a vehicle bearing a Tour Car Plate. Tour Car vehicles are for the operation of prearranged tour transfers or sightseeing tours. (Please note that the month of May is Public Service month when all Public Service Vehicles are licensed. Also, inspection is done twice a year for Public Service Vehicles during the months of May and October.) Trade Dispute Form The Report of a Trade Dispute Form must be filled out in duplicate (NB Two copies must be completed). After the employee fills out the Report in duplicate, he/she must deliver one to the Employer and file the other form at the Labour Department. If such employee is being represented by a Counsel & Attorney-at-Law or a Labour Advocate, then he/she must answer questions 3, 4 and 6 on such forms.

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The Government of The Bahamas Accessing the Fresh Start Programme The Fresh Start Programme is a youth employment skills training programme that provides job search skills and training to youth between the ages of 16 to 25. Once enrolled in this programme, participants are exposed to relevant workplace experiences and instructions through a structured training and placement curriculum. The programme covers a variety of personal development and job search topics, geared to afford the young prospective professionals, with the resources, information and tools needed for successful employment and job retention. Acessing GIS Training Facility As the Government of The Bahamas technical focal point for GIS in The Bahamas, The Bahamas National Geographic Information Systems (BNGIS) Centre is charged with the responsibility of providing various training courses to Governmental Agencies. As such, the Centre has a Training Facility which can be used by all governmental agencies only. The Training Facility is fully equipped and can accommodate up to ten persons. The following is a list of amenities which are available: Ten high end computer systems. A training server all configured within a network environment. ESRI desktop GIS software is loaded on all systems. Internet connectivity is provided through the Government Wide Area Network (GWAN) which allows users internet access on all training systems, if required. An LCD Projector and projector screen. Instructors Training Laptop if required. Chart boards. APPLICATION FOR REGISTRATION AS A CITIZEN This application is for the following categories of persons applying for citizenship in The Bahamas: Former Belongers - persons who resided in The Bahamas at the time of Independence 10th July 1973 and would have one year to make an application for some form of status; Persons born in The Bahamas after 9th JUly 1973, to Non- Bahamian parents (these persons would have to apply on their 18th birthday and before their 19th birthday); Persons born legitimately to a Bahamian female married to a foreign spouse outside The Bahamas. To access this form your computer will need adobe pdf. Download adobe pdf free of charge here see attachment The Youth Leaders Certification Programme was designed to: Train, expose and sharpen the skills of present youth leaders in techniques and methods in your work. Provide training in leadership skills Assist youth leaders and youth workers in developing competencies necessary to effectively manage young people and Formulate basic concepts regarding the role of Youth organisation. This course is designed to cover a ten week period, comprising nice sessions, and a field study. Interested individuals may apply to the Ministry of Youth Sports and Culture, Division of Youth to participate in the Certificate Programme. Application to Participate in Self-Start Programme The Government of the Bahamas believes in investing in young people and improving the quality of life through the combined efforts of hard work and dedication, a solid vision, and a helping hand. The Self-Starter Programme is a government funded grant-based programme to empower young Bahamian citizens, 18 to 30 years, seeking to establish or expand small businesses. It will provide aspiring entrepreneurs with a valid small business idea, self-employed and unemployed, with funding from BS$1000 to BS$5000 to acquire tools and supplies for their businesses. Funds will be paid directly to the supplier. The programme is managed by the Department of Youth, with an independent selection committee responsible for the selection process. Application to Purchase a Residential Govt. Lot The mandate of the minister responsible for housing is the encouragement of home ownership by person of low to moderate incomes. To this end the Department of Housing sells government lots to qualifying persons to facilitate the need for affordable land purchases. Application to Teach Summer Youth Programme The Ministry of Youth, Sports and Culture hosts several annual summer programmes. Each year, thousands of our young people are out of school for summer break. The Division of Youth, in collaboration with the Sports and Culture Divisions of the Ministry host a major four week fun-filled programme. Young persons between the ages of five to fifteen are engaged in organised, character building and dynamic programmes, based in schools and churches throughout New Providence and the Family Islands. The Ministry of Youth, Sports and Culture uses this as an opportunity to provide employment opportunities for suitable persons during the summer period. Persons interested in a teaching or supervisor position must apply to the Ministry of Youth, Sports and Culture. Award of Benefit on Death of Serv Public Officer Upon the death of a Serving officer family members should consult the Agency to determine whether or not they are eligible for an award of benefit. The Agency should in turn consult with the Department of Public Service. The Benefits and Awards described below are for Public Officers who qualify for benefits under The Pensions Act, Chapter 43 of the Statute Laws of The Bahamas. The following officers should refer to the relevant Act for Benefits and Awards for further information: Judges � Judges Remuneration and Pensions Act Members of The Royal Bahamas Police Force � The Police Force Act 2009 Prison officers � The Prison Act Officers of The Royal Bahamas Defense Force � The Defense Force Act Building Permit Fees These are the fees which you pay to the Government for the processing of a Building Permit. These fees also cover the cost of Inspections and the processing of the Occupany Certificate. Currently there are no other fees required. The fees are calculated on a graduated scale, based on square feet(for Buildings) or linear feet (for walls,etc). To review the table click here Building Regulation Act This is "An Act to regulate the construction, alteration and repair of buildings, to provide for the re-instatement or removal of dangerous or dilapidated buildings, to authorise the publication of a building code and for purpose connected therewith" (Excerpt from The Buildings Regulation Act). This is the primary piece of legislation which regulates building construction in the Bahamas. This application is for persons desirous of conducting business on property in the immediate area of the Aerodrome. For additional information contact cad@bahamas.gov.bs Landholding - Permit Application Form 3 A non-Bahamian (other than a permanent resident or non-Bahamian acquiring land or an interest in land under a devise or by inheritance) who intends to acquire land or an interest in land either by way of freehold or leasehold (does not include persons described under Certificate of Registration)shall obtain a permit from the Board. Learner's Permit This service is provided for persons learning to drive. Permit holders when driving any vehicle which he/she has not qualified by test to drive, must carry the prescribed "L" plates at the front and back of the vehicle. Permit holders should always be accompanied by a supervisor except when under going the driving test or when driving a solo motor-cycle or vehicle, other than a motor car, not constructed or adapted to carry more than one person. The supervisor must hold a current licence, other than a provisional licence to drive the class of vehicle being driven by the provisional licence holder and must have passed the driving test or held licence to drive not less than two years. Nominate Person for Youth Award of Excellence The Youth Award of Excellence is award to young people who have been nominated by their respective organisations for their outstanding contributions to the life of the organisation. This award is bestowed by the government on an annual basis. Each year, The Ministry of Youth, Sports and Culture request nominations from organisations for individuals to be considered for inclusion in the National Youth Recognition Awards. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. Each island has their own Local Award Ceremony; the most distinguished young person from that event will be selected to represent the island at the National Youth Recognition Awards. National Summer Youth Programme The Ministry of Youth, Sports and Culture hosts several annual summer programmes. Each year, thousands of our young people are out of school for summer break. The Division of Youth, in collaboration with the Sports and Culture Divisions of the Ministry host a major four week fun-filled programme. Young persons between the ages of five to fifteen are engaged in organised, character building and dynamic programmes, based in schools and churches throughout New Providence and the Family Islands. Persons interested in receiving training must apply to the Ministry of Youth, Sports and Culture, Department of Sports. National Youth Parliament Application The Youth Parliament is held annually in observance of National Youth Month. The purpose of Youth Parliament is to expose Bahamian youth to parliamentary procedures as well as current issues, affecting youth development. Young persons are selected, trained and make presentations in the House of Assembly in two session. Youth Parliament affords the young person the opportunity to voice their concerns, offer solutions, raise a level of consciousness in our society and bring to the fore the positive contribution made by youth to the economic, social and cultural development of the nation. Interested individuals may apply to the Ministry of Youth Sports and Culture, Division of Youth to participate in the National Youth Parliament. Nominate Person for Sports Hall of Fame The Sports Hall of Fame is the highest award that The Bahamas Government gives to individuals for their accomplishment in sports. This award is bestowed by the government on an annual basis. Each year, the Sporting Federation would recommend a list of athletes to be considered for inclusion in the Sports Hall of Fame. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Department of Sport for consideration. Nominate Person for the Youth Leader Award The Youth Leader Award is given to the most outstanding nominee who have gone above and beyond service and aided in the development of youth for more than 10 years. The Committee will select the recipients of these awards. The nominees from both Abaco and Grand Bahama will be decided on by those islands. Nominations for all other islands and New Providence will be decided upon by a separate committee organised by the Ministry of Youth, Sports and Culture. These awards are bestowed by the government on an annual basis. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. The nominees from both Abaco and Grand Bahama will be decided on by those islands. Nominating a Youth Organisation of the Year These awards are targeted to those organisations, who have distinguished themselves for excellence in service to the Nation’s Youth. These organisations would have distinguished themselves by going above and beyond the call. Nominations will be received from each Family Island; however a final decision will be made by a select committee on the winners for all the islands with the exception of New Providence, Grand Bahama and Abaco. These islands will be responsible for selecting the winners from their respective island. These awards are bestowed by the government on an annual basis. All nominees must be submitted to the Ministry of Youth, Sports and Culture, Division of Youth for consideration. Non Bahamian Transfer Drivers Licence Form This provision allows persons holding a valid drivers licence from another country other than The Bahamas the privilege of driving legally in The Bahamas. Note: Foreign Nationals must present an approved Immigration status to reside in The Bahamas before a Foreign Drivers Licence can be transferred. via, Residency Certificate, Work Permit, Spousal Permit.) Person must bring original documents and a photo copy of Passport, Drivers Licence and Permission to Reside. Paid Study Leave / In-Service Training Award In-Service Training awards are generally granted for studies at the Bachelor & Masters degree level or at the Diplomat and Certificate levels, where applicable for professional qualification. In-Service Training awards for Bachelor�s Degree will be awarded to persons only if they have completed an Associate Degree or the equivalent number of credits towards a degree at their own expense. In instances where persons may have embarked upon study leave without the requisite approval, Permanent Secretaries or Heads of Departments will be required to approve an explanation in writing of the circumstances and justify why the approved leave should not be discontinued. Before approval is sought to grant an officer and In-Service Training Award to pursue studies abroad, efforts should be made to ascertain whether courses are offered at the College of the Bahamas or the University of the West Indies. Special consideration may still be given to officers who do not meet the requirements, wishing to pursue an associate or doctoral degree, or where there is an urgent demand for qualified personnel in a particular area of study. Public Officer Applying for Pension The Public Service Pension Plan of The Statute Laws of The Bahamas is a non-contributory plan. The purpose of the plan is to award pensions and gratuities to public officers. There is no absolute right to the benefits that are awarded under The Pensions Act. The benefits are only awarded for good and faithful service and will be withheld in part or whole where officers are found to be guilty of disgraceful conduct or gross dereliction of duty or indebted to the Government of The Bahamas for any public money which came to their hands either legally or illegally. The amount of the pension awarded to public officers is determined by the number of continuous months of employment and the annual salary at the time of retirement. Officers may take the maximum (full) pension for their months of service, in which case they will not receive the lump sum gratuity. However, officers may opt to take a reduced pension of 75% of their maximum (full) pension, and in this case they would receive a lump sum gratuity equal to 25% of their maximum (full) pension multiplied by ten (10). The Benefits and Awards described below are for Public Officers who qualify for benefits under The Pensions Act, Chapter 43 of the Statute Laws of The Bahamas. The following officers should refer to the relevant Act for Benefits and Awards for further information: Judges � Judges Remuneration and Pensions Act Members of The Royal Bahamas Police Force � The Police Force Act 2009 Prison officers � The Prison Act Officers of The Defence Force � The Defence Force Act Officers who do not qualify for the award of a pension, and provided they had completed at least ten (10) years of continuous monthly service, will be eligible for a gratuity equivalent to 4% of the annual salary at the time of retirement, multiplied by the number of completed years of service (less any periods taken on unpaid (no pay) leave and / or contract). Upon reaching age 65, all officers must retire from the Public service. However, retired officers may be reconsidered for re-employment. These officers may be reengaged up to age seventy (70) subject to the need for their services. Reemployed officers are usually required to forgo their pension during the period of reengagement. If an officer resigns from the public service and is subsequently re-appointed to the Public Service this is consider to be a new appointment. Registering a Boat/Ski for Commercial Use It is a requirement of The Government of The Bahamas that all boats/skis to be used commercially must be registered. The registration process at the Port Department is one designed to assist the boat owners in getting their licences in an efficient manner. Registering a Boat/Ski for Private Use It is a requirement of The Government of The Bahamas that all boats/skis to be used privately, must be registered. The registration process at the Port Department is one designed to assist the private boat owners in getting their licences in an efficient manner. 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Pleasure Vessel / Yacht the Captain or Owner is required to complete Form C2A (Inward Report - Pleasure Vessels) 2. Military Vessels Request for Youth Band Grant The growth and development of youth bands form a microcosm of the Ministry�s Strategic Plan for Youth Development. Youth bands provide healthy alternatives for youth at the community level. The Ministry of Youth, Sports and Culture, through the Division of Youth, gives annual grants to Youth bands that are registered with the Division of Youth, to assist with Youth Band Strengthening. Interested bands may make requests to the Ministry of Youth Sports and Culture, Division of Youth. Grants are provided at the discretion of the Ministry of Youth, Sports and Culture. Request for Youth Organisation Grant The Ministry of Youth, Sports and Culture, through the Division of Youth, gives annual grants to organizations that are registered with the Division of Youth, to assist with Youth Organisation Strengthening. Interested organisations may make requests to the Ministry of Youth Sports and Culture, Division of Youth. Grants are provided at the discretion of the Ministry of Youth, Sports and Culture. RESIDENT SPOUSE PERMIT APPLICATION This application is for foreign spouse of a Bahamian citizen applying to reside and work in The Bahamas, upon satisfying the Director of Immigration, in accordance with the Immigration Act Chapter 191 section 29, subsections a, b, and c. To access this form your computer will need adobe pdf. Download adobe pdf free of charge here see attachment Resignation From the Public Service A Public Officer may resign his office at any time. Officer�s are advised to give at least one months notice or pay one month�s salary in lieu thereof. Vacation leave cannot be used as part of the notice. Monthly paid officers who completed at least ten (10) years of continuous monthly service or more will be eligible for a gratuity equivalent to 4% of the annual salary at the time of resignationtirement, multiplied by the number of completed years of service (less any periods taken on unpaid (no pay) leave and / or contract). Spatial Data Services - Quality Control As the Government's technical focal point for GIS in The Bahamas, it is the remit of the BNGIS Centre to develop a comprehensive framework that provides for improvements in coordination and use of geospatial data. Geospatial data refers to data/information about places or geography. As such The Bahamas Spatial Data Infrastructure (BSDI) System and Programme has been developed as a national strategy for the effective and economical use and management of geospatial assets in the digital environment for the benefit of all government agencies and the general public. Spatial Data Services - Reporting Error As the Government�s technical focal point for GIS in The Bahamas, it is the remit of the BNGIS Centre to develop a comprehensive framework that provides for improvements in coordination and use of geospatial data. Geospatial data refers to data/information about places or geography. As such, The Bahamas Spatial Data Infrastructure (BSDI) System and Program has been developed as a national strategy for the effective and economical use and management of geospatial assets in the digital environment for the benefit of all government agencies and the general public. The hub of The BSDI �System� is a centralized LIBRARY database containing The Government�s best available, most accurate, and reliable non-confidential information. Information in the Library is freely shared through-out government. In the event users of the spatial data and imagery stored in the BSDI Library, detect errors in published information, said errors should be immediately reported to the Centre for further action. Special Vehicle Application Form Miscellaneous vehicles include vehicles with any hydraulic operating parts or hydraulic lifts. An M plate is issued to miscellaneous vehicles. Before an M- plate can be on the road the owner of the vehicle must obtain a letter from the Ministry of Public Works and Transport that reads �Permit to operate Special Vehicles on Public Roads�. This letter must accompany the other documents when registering a miscellaneous vehicle with the Department of Road Traffics. Sport Fishing Permit A Sport Fishing Permit is a licence granted to authorize foreign owned vessels to be engaged in sport fishing exercises while in Bahamian waters. Current regulations state that both Customs and Immigration formalities must be completed before the licence can be issued. Permits can be obtained from the Bahamian Customs Officer at the time of entry or from the Department of Marine Resources after entry. Taxi Cab Licence Grant Application Vehicles bearing a Taxi-cab plate are to be strictly used for the purpose of hire and profit. To obtain a Taxi-Cab Franchise the applicant must be in possession of a valid Public Service Drivers Licence, submit a completed Taxi-cab Franchise Application Form to the Franchise Unit of the Road Traffic Department and await approval by the Road Traffic Authority Board. Once the Board has met, notification of approval will be given to the applicant through the local media (i.e. newspaper, radio). Please note that there is currently a moratorium on the issuance of Taxi-Cab plates. Registration of time-sharing purchaser(s)interest pursuant to section 20 of The Bahamas Vacation Plan and Time-Sharing Act , 1999. "Purchaser" means a person who has given valuable consideration or is liable therefor in exchange for the acquisition of a time-sharing interest Tour Car Franchise Application This service is for the registration of a vehicle bearing a Tour Car Plate. Tour Car vehicles are for the operation of prearranged tour transfers or sightseeing tours. (Please note that the month of May is Public Service month when all Public Service Vehicles are licensed. Also, inspection is done twice a year for Public Service Vehicles during the months of May and October.) Trade Dispute Form The Report of a Trade Dispute Form must be filled out in duplicate (NB Two copies must be completed). After the employee fills out the Report in duplicate, he/she must deliver one to the Employer and file the other form at the Labour Department. If such employee is being represented by a Counsel & Attorney-at-Law or a Labour Advocate, then he/she must answer questions 3, 4 and 6 on such forms.

i don't know

To ten thousand square miles, what is the area of Pennsylvania?

Pennsylvania Geography Length x Width Pennsylvania is 283 miles long, from east to west, and 160 miles wide at its most distant points.   Geographic Center Explanation The geographic center of Pennsylvania is located in Centre County, 2.5 miles southwest of Bellefonte. Longitude: 77° 44.8'W Latitude: 40° 53.8'N   Borders Pennsylvania is bordered by New York and Lake Erie to the north. In the south, Pennsylvania shares borders with West Virginia , Maryland , Delaware , and New Jersey . To the east, New York and New Jersey line up on the Pennsylvania border. Pennsylvania meets Ohio and an arm of West Virginia on the West. Total Area Pennsylvania covers 46,058 square miles, making it the 33rd largest of the 50 states . Land Area 44,820 square miles of Pennsylvania are land areas. Water Area 1,239 square miles of Pennsylvania are covered by water. Highest Point The highest point in Pennsylvania is Mt. Davis at 3,213 feet. Lowest Point The lowest point in Pennsylvania is in The Delaware River at sea level. Mean Elevation The Mean Elevation of the state of Pennsylvania is 1,100 feet above sea level. Major Rivers Allegheny River, Susquehanna River, Delaware River, Ohio River Major Lakes Lake Erie

44820 area

What are the international registration letters of a vehicle from Sri Lanka?

Pennsylvania Geography Length x Width Pennsylvania is 283 miles long, from east to west, and 160 miles wide at its most distant points.   Geographic Center Explanation The geographic center of Pennsylvania is located in Centre County, 2.5 miles southwest of Bellefonte. Longitude: 77° 44.8'W Latitude: 40° 53.8'N   Borders Pennsylvania is bordered by New York and Lake Erie to the north. In the south, Pennsylvania shares borders with West Virginia , Maryland , Delaware , and New Jersey . To the east, New York and New Jersey line up on the Pennsylvania border. Pennsylvania meets Ohio and an arm of West Virginia on the West. Total Area Pennsylvania covers 46,058 square miles, making it the 33rd largest of the 50 states . Land Area 44,820 square miles of Pennsylvania are land areas. Water Area 1,239 square miles of Pennsylvania are covered by water. Highest Point The highest point in Pennsylvania is Mt. Davis at 3,213 feet. Lowest Point The lowest point in Pennsylvania is in The Delaware River at sea level. Mean Elevation The Mean Elevation of the state of Pennsylvania is 1,100 feet above sea level. Major Rivers Allegheny River, Susquehanna River, Delaware River, Ohio River Major Lakes Lake Erie

i don't know

Who directed the movie East of Eden?

East of Eden (1955) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A wilful young man contends against his brother for the attention of their religious father while reconnecting with his estranged mother and falling for his brother's girlfriend. Director: From $2.00 (SD) on Amazon Video ON TV a list of 25 titles created 23 Jul 2012 a list of 43 titles created 26 Nov 2013 a list of 25 titles created 26 Dec 2013 a list of 35 titles created 29 Jan 2014 a list of 30 titles created 02 Sep 2015 Title: East of Eden (1955) 8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 1 Oscar. Another 12 wins & 10 nominations. See more awards  » Videos A rebellious young man with a troubled past comes to a new town, finding friends and enemies. Director: Nicholas Ray Sprawling epic covering the life of a Texas cattle rancher and his family and associates. Director: George Stevens Disturbed Blanche DuBois moves in with her sister in New Orleans and is tormented by her brutish brother-in-law while her reality crumbles around her. Director: Elia Kazan     1 2 3 4 5 6 7 8 9 10 8.1/10 X   Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son. Director: Richard Brooks An ex-prize fighter turned longshoreman struggles to stand up to his corrupt union bosses. Director: Elia Kazan Edit Storyline In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at every turn, from his reaction to the war, to how to get ahead in business and in life, to how to relate to estranged mother. Written by Ed Stephan <stephan@cc.wwu.edu> The searing classic of paradise lost. See more  » Genres: Rated PG for thematic elements and some violent content | See all certifications  » Parents Guide: 10 April 1955 (USA) See more  » Also Known As: John Steinbeck's East of Eden See more  » Filming Locations: Mono (Perspecta Sound encoding) (35 mm optical prints)| 4-Track Stereo (35 mm magnetic prints) (RCA Sound Recording) Color: Did You Know? Trivia Elia Kazan , in his autobiography "A Life" (1988), said that Raymond Massey came to despise James Dean . Kazan did nothing to dispel the tension between the two, as it was so right for their characters in the film. See more » Goofs The film is set in 1917, but the hairstyles of both Cal and Aron are both obviously contemporary hairstyles of young men in the 1950s. See more » Quotes Adam Trask : [Adam gives Cal the bible to read] Start at the fifth verse. Verse 5. Cal Trask : [Cal begins to read... ] "I acknowledge my sin unto thee, and mine iniquity have I not hid. I said, I will confess my transgressions unto the Lord and thou forgavest the iniquity of my sin. Selah." Cal Trask : [he continues] Six... Adam Trask : And I suggest a little slower, Cal. And you don't have to read the verse numbers. Cal Trask : [Cal continues on] "For this shall every one that is godly pray unto thee. And surely in the floods of great waters they ... [...] See more » Crazy Credits Cards during opening credits: In northern California, the Santa Lucia Mountains, dark and brooding, stand like a wall between the peaceful agricultural town of Salinas and the rough and tumble fishing port of Monterey, fifteen miles away. AND "1917 Monterey, just outside the city limits" See more » Connections (Based on "E lucevan le stelle" from the opera "Tosca" by Giacomo Puccini (1900)) Played by the band when the train leaves Excellent Story With Characters Who Aren't Always Who They Seem 7 March 2007 | by ccthemovieman-1 (United States) – See all my reviews Wow, what an impressive screen debut for a 24-year-old. That was the famous James Dean, here in his first of three starring roles before death took him at a tragically young age. Just as impressive, however, is the overall performance of the rest of the cast, including lesser-known Richard Davalos, who also was making his movie debut. The most impressive person connected to this movie, however, was director Elia Kazan who not only excelled directing this film but - in the same year - directed "On The Waterfront." Now, that's not a bad year of work! "East Of Eden" is billed as a modern-day story of "Cain and Abel," between good and bad brothers with one of them feeling rejected by his father. The small Biblical account of the two brothers only mentions an offering they both gave God and then saying the brother whose offering wasn't accepted went out in a fit of jealousy and killed the other. True, the "offering" by "Cal" (Dean) and its rejection by his dad "Adam" (Raymond Massey) leads to a climactic scene near the end of the film, but - this is just an assumption - most people viewed this simply as a story between "good" and "evil" pertaining to Dean and Davalos' characters. I didn't see either of those guys as either the "good" or "bad" brothers. In fact, this film story is unusual in that every main character's personality begins in one direction and, as the film progresses, ends in almost the opposite. Nobody is as they first seem. "Cale Trask" is shown early on to be a totally rebellious and immature loser who commits a few stupid acts of vandalism and has a desire to be a loner. As the film goes on, we see a softhearted guy who needs and desires love and companionship like everyone else. The fact he only had one parent, and that one didn't seem to love him, has messed his mind up a great deal. Meanwhile, his older brother "Aron" (Davalos) is pictured as the kind, dependable, levelheaded guy who has a nice sweetheart who he plans to marry very soon. "Aron" has always made his dad proud which makes Cale jealous and bitter (hence, the Cain/Abel analogy.) In the last third of the film, however, Aron's personality reveals some dark, selfish traits and he isn't so "good" anymore. Julie Harris plays "Abra," who begins as a sweet, likable and trustworthy person but in the end proves insincere in her "ready to marry" and "I'm in love with Aron" remarks as her feelings develop for the younger brother. She does a nice job at the end, however, helping Cale reconcile with his ailing dad. The fourth major player, the father of the two boys, is portrayed - at least by Cale - as man who has played favorites with his sons and is more of a businessman than a loving father. However, we see later that he is not a bad guy at all. He is happy to praise his younger son when merited, is quick to forgive but, like a lot of fathers in "the old days," I believe, had a hard time outwardly expressing love for his children despite, in his heart wanting the best for them. The fifth major character in the film, "Kate," has the least amount of lines but is the most powerful figure in the movie. She's the mother who abandoned her kids when they were babies and left her husband because she "didn't want to be tied down to a ranch." Wow, Thank God our mothers didn't have that selfish attitude! She's pictured as a very hard, bitter woman who has made a success of herself and to hell with everyone else. However, once again, as the story unfolds, we see an opposite side. Cale, checking rumors she was in the area, sought her out and discovered she, indeed, was his mom. (Nobody in the Trask family knew she lived nearby, with the dad telling the kids she was dead rather than risk hurting their feelings.). Anyway, later she surprises us by softening up and loaning Cal $5,000 for a business venture to help him and help bail out his dad. That amount of money is equal to at least $100,000 today, so it's a generous, kind person who would say "okay" to that monetary request. The more she speaks, the softer she sounds, even if she wouldn't want to admit it. The only character I wish had a bigger role was "Anne," played by Lois Smith, who was beautiful and had an intriguing role that I thought would amount to more. I'm glad to see that she is still acting on a regular basis today. Overall, it's a solid drama with complex characters who make you reflect about them long after you view this. I don't know why it took so long for me to finally see this movie, but I was impressed. (May I recommend the two-disc, special-edition DVD?). This movie is wonderfully directed, acted and photographed. I've only seen it once (last night) and I am not in love with the film (yet), but I am surprised it only garnered one Academy Award. I think it deserved more. 35 of 46 people found this review helpful.  Was this review helpful to you? Yes

Elia Kazan

In which year did Count Basie die?

Movie Review - - The Screen: 'East of Eden' Has Debut; Astor Shows Film of Steinbeck Novel - NYTimes.com The Screen: 'East of Eden' Has Debut; Astor Shows Film of Steinbeck Novel By BOSLEY CROWTHER Published: March 10, 1955 ONLY a small part of John Steinbeck's "East of Eden" has been used in the motion picture version of it that Elia Kazan has done, and it is questionable whether that part contains the best of the book. It is the part that has to do with the conflict between the farmer, Adam Trask, and Cal, his son—the one who is obsessed with a sense of "badness" and jealousy toward his brother, whom his father loves. It also contains the later details of the career of the monstrous mother of the boys and the story of the sweetheart of Brother Aron who forsakes him for the more exciting Cal. Compressed in a script by Paul Osborn, which reduces the mother to little more than a black shrouded figure of a madam of a sporting-house in a California town, this quarter-part of the novel is boiled down to a mere review of the coincidental way in which the conflict between the father and son is resolved. Yet Mr. Kazan has at it, in this picture that runs for two hours—and which opened last night at the Astor in a benefit performance for the Actors Studio—with such elaborate pictorial build-up and such virtuosity on his actors' part that he gets across the illusion of a drama more pregnant than it is. In one respect, it is brilliant. The use that Mr. Kazan has made of CinemaScope and color in capturing expanse and mood in his California settings is almost beyond compare. His views of verdant farmlands in the famous Salinas "salad bowl," sharply focused to the horizon in the sunshine, are fairly fragrant with atmosphere. The strain of troubled people against such backgrounds has a clear and enhanced irony. Some of Mr. Kazan's interiors—especially his final scene in the bedroom of the father, where the old man is dying of a stroke—have a moodiness, too, that moves the viewer with their strongly emotional overtones. The director gets more into this picture with the scenery than with the characters. For the stubborn fact is that the people who move about in this film are not sufficiently well established to give point to the anguish through which they go, and the demonstrations of their torment are perceptibly stylized and grotesque. Especially is this true of James Dean in the role of the confused and cranky Cal. This young actor, who is here doing his first big screen stint, is a mass of histrionic gingerbread. He scuffs his feet, he whirls, he pouts, he sputters, he leans against walls, he rolls his eyes, he swallows his words, he ambles slack-kneed—all like Marlon Brando used to do. Never have we seen a performer so clearly follow another's style. Mr. Kazan should be spanked for permitting him to do such a sophomoric thing. Whatever there might be of reasonable torment in this youngster is buried beaneath the clumsy display. To a lesser degree, Julie Harris exaggerates the role of the country coquette who becomes serious and devotes herself to saving the anguished boy. Fortunately, she giggles herself out early, and then she settles down to acting like a young lady concerned for the fellow she loves. Raymond Massey as the father, Adam, would be all right if one could understand his monumental severity and his persistent rejection of his son. His fanatical devotion to the Bible has been thoroughly watered down, and his peculiar sense of justice is more talked about than explained. Therefore his terrible obtuseness is mostly a lot of vexing show. Richard Davalos as the sibling rival, Aron, Albert Dekker as a citizen of the town, Burl Ives as a philosophical sheriff and Jo Van Fleet as the mother of the boys do what they have to do intensely, which goes for all the people in other roles. In short, there is energy and intensity but little clarity and emotion in this film. It is like a great, green iceberg: mammoth and imposing but very cold. EAST OF EDEN, screen play by Paul Osborn, based on the novel by John Steinbeck; directed by Ella Kazan. A Warner Brothers production. At the Astor. Abra . . . . . Julie Harris

i don't know

Which bridge is the subject of Hart Crane's The bridge?

"Hart Crane. The Bridge" / Frasconi, 59. | Library of Congress "Hart Crane. The Bridge" / Frasconi, 59. [ digital file from b&w film copy neg. ] Full online access to this resource is only available at the Library of Congress. About this Item "Hart Crane. The Bridge" / Frasconi, 59. Summary Print shows a view of the Brooklyn Bridge above an excerpt from the poem by Hart Crane. Contributor Names -  Brooklyn Bridge (New York, N.Y.)--1950-1960 Format Headings -  Title and other information from Beall. -  Edition 4/15. -  Signed and dated in pencil. -  Not in Cleveland. -  American prints in the Library of Congress : a catalog of the collection / compiled by Karen F. Beall... Baltimore : John Hopkins Press, 1970, p. 157. -  Purchase; Pennell fund. 1 print : woodcut, color ; 69 x 39.5 cm. Call Number/Physical Location FP - XX - F837, no. 29 (D size) [P&P] Repository Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Digital Id Library of Congress Control Number 2003664483 LC-USZ62-137279 (b&w film copy neg.) Rights Advisory Rights status not evaluated. For general information see "Copyright and Other Restrictions..." ( http://lcweb.loc.gov/rr/print/195_copr.html ) Online Format Rights & Access Rights assessment is your responsibility. The Library of Congress does not own rights to material in its collections. Therefore, it does not license or charge permission fees for use of such material and cannot grant or deny permission to publish or otherwise distribute the material. Ultimately, it is the researcher's obligation to assess copyright or other use restrictions and obtain permission from third parties when necessary before publishing or otherwise distributing materials found in the Library's collections. For information about reproducing, publishing, and citing material from this collection, as well as access to the original items, see: Fine Print Collection - Rights and Restrictions Information For guidance about compiling full citations consult Citing Primary Sources . Rights Advisory: Rights status not evaluated. For general information see "Copyright and Other Restrictions..." ( http://lcweb.loc.gov/rr/print/195_copr.html ) Reproduction Number: LC-USZ62-137279 (b&w film copy neg.) Call Number: FP - XX - F837, no. 29 (D size) [P&P] Access Advisory: --- Obtaining Copies If an image is displaying, you can download it yourself. (Some images display only as thumbnails outside the Library of Congress because of rights considerations, but you have access to larger size images on site.) Alternatively, you can purchase copies of various types through Library of Congress Duplication Services . If a digital image is displaying: The qualities of the digital image partially depend on whether it was made from the original or an intermediate such as a copy negative or transparency. If the Reproduction Number field above includes a reproduction number that starts with LC-DIG..., then there is a digital image that was made directly from the original and is of sufficient resolution for most publication purposes. If there is information listed in the Reproduction Number field above: You can use the reproduction number to purchase a copy from Duplication Services. It will be made from the source listed in the parentheses after the number. If only black-and-white ("b&w") sources are listed and you desire a copy showing color or tint (assuming the original has any), you can generally purchase a quality copy of the original in color by citing the Call Number listed above and including the catalog record ("About This Item") with your request. If there is no information listed in the Reproduction Number field above: You can generally purchase a quality copy through Duplication Services. Cite the Call Number listed above and include the catalog record ("About This Item") with your request. Price lists, contact information, and order forms are available on the Duplication Services Web site . Access to Originals Please use the following steps to determine whether you need to fill out a call slip in the Prints and Photographs Reading Room to view the original item(s). In some cases, a surrogate (substitute image) is available, often in the form of a digital image, a copy print, or microfilm. Is the item digitized? (A thumbnail (small) image will be visible on the left.) Yes, the item is digitized. Please use the digital image in preference to requesting the original. All images can be viewed at a large size when you are in any reading room at the Library of Congress. In some cases, only thumbnail (small) images are available when you are outside the Library of Congress because the item is rights restricted or has not been evaluated for rights restrictions. As a preservation measure, we generally do not serve an original item when a digital image is available. If you have a compelling reason to see the original, consult with a reference librarian. (Sometimes, the original is simply too fragile to serve. For example, glass and film photographic negatives are particularly subject to damage. They are also easier to see online where they are presented as positive images.) No, the item is not digitized. Please go to #2. Do the Access Advisory or Call Number fields above indicate that a non-digital surrogate exists, such as microfilm or copy prints? Yes, another surrogate exists. Reference staff can direct you to this surrogate. No, another surrogate does not exist. Please go to #3. If you do not see a thumbnail image or a reference to another surrogate, please fill out a call slip in the Prints and Photographs Reading Room. In many cases, the originals can be served in a few minutes. Other materials require appointments for later the same day or in the future. Reference staff can advise you in both how to fill out a call slip and when the item can be served. To contact Reference staff in the Prints and Photographs Reading Room, please use our Ask A Librarian service or call the reading room between 8:30 and 5:00 at 202-707-6394, and Press 3. Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate. Chicago citation style:

Brooklyn Bridge

Who is credited with inventing the Tarzan yodel?

Poets and Poems: Hart Crane, “The Bridge” and Me Poets and Poems: Hart Crane, “The Bridge” and Me Time’s rendings, time’s blendings they construe As final reckonings of fire and snow…   (from “The River” in The Bridge) Hart Crane (1899-1932) was born in Cleveland, Ohio, the son of a well-to-do chocolate manufacturer who expected his son to follow his footsteps into the family business. That didn’t happen; Crane had no intention of that happening. Instead, he turned his attention to what he was most interested in: writing—especially poetry. His most well-known work is The Bridge , a series of poems on the American experience. In a sense, he was trying to write the Great American Poem, much like his novelist peers were trying to write the Great American Novel, which might have already been written (Mark Twain’s The Adventures of Huckleberry Finn in 1885) (I realize that a parenthetical statement like that may cause controversy). Critics immediately found fault with The Bridge, for all kinds of reasons. They still do. I had never read the entire work until recently. In high school, our junior English class read a few excerpts from the volume, which includes short poems on Rip Van Winkle, the Brooklyn Bridge (a kind of homage to Walt Whitman ), Powhatan’s daughter, the Mississippi River, Cape Hatteras and a number of other subjects. As The Poetry Foundation’s entry on Crane points out, it was perhaps inevitable that the Great American Poem would fall short of its goals. He intended The Bridge to be a kind of response or alternative to T.S. Eliot’s The Waste Land ; 85 years later, we’re far more familiar with The Waste Land than The Bridge. I saw the frontiers gleaming of his mind; Or are there frontiers—running sands sometimes Running sands—somewhere—sands running… Or they may start some white machine that sings.   (from “Cutty Sark” in The Bridge) Crane had a number of influences—Whitman, William Blake , Ralph Waldo Emerson , the English Romantic poets , William Butler Yeats , and James Joyce , among them. He also had a number of “anti-influences,” including his parents, his antipathy to working in business, and Cleveland. His life wasn’t long; he killed himself by jumping from a ship in the Gulf of Mexico in 1932. And if they take your sleep away sometimes They give it back again. Soft sleeves of sound Attend the darkling harbor, the pillowed bay; Somewhere out there in blankness steam Spills into steam, and wanders, washed away…   (from “The Harbor Dawn” in The Bridge) I find the poems of The Bridge to be of a piece with the period of American literature I connect most strongly with—the ages of Realism and Modernism, roughly from 1890 to 1960. I can almost pinpoint the literary start of my connection—in eighth grade, reading Ernest Hemingway’s The Old Man and the Sea in my reading class. Three years later, I was reading The Great Gatsby by Hemingway’s antithesis, F. Scott Fitzgerald. That year, my junior year in high school, I wrote my term paper on the Realists, focusing on Willa Cather, Jack London, and Edith Wharton. And the poets: Edgar Lee Masters and Spoon River Anthology, which I still periodically reread; Edna St. Vincent Millay ; Edwin Arlington Robinson ; T.S. Eliot (we studied “ The Love Song of J. Alfred Prufrock ” and The Waste Land in senior high school English class); Dylan Thomas ; Wallace Stevens (I never knew how taken I would be by “ Thirteen Ways of Looking at a Blackbird “); the World War I poets . And Robert Frost . I came to William Faulkner in my 30s, when I read The Sound and the Fury for the first time. And then I read everything he wrote, some works twice and three times. I’ve often asked myself why this literary period has had the most impact on me, and I keep coming back to two answers. First, I had outstanding English teachers in junior high and high school. They were a diverse and eclectic group, but what they shared was a love for literature. And they had been shaped in their literary education by the Realists and the Modernists; these were the novelists and poets they loved best. Looking back, I can see that their love, a love sometimes bordering on reverence (and occasional mania), was transmitted to me. Under the shadow by the piers I waited; Only in darkness is the shadow clear. The city’s fiery parcels all undone, Already snow submerges an iron year…   (From “To Brooklyn Bridge” in The Bridge) Hart Crane and the Brooklyn Bridge Second, and equally important, this was the period my father came of age. He was born in 1916 in a small town in central Louisiana; a few years later the family moved to Shreveport, where my grandfather ran a small grocery store on the wrong side of the tracks. My father wanted to be a doctor, but the Stock Market Crash of 1929 and the Great Depression ended that dream. Instead, he went to work as a roughneck in the East Texas oilfields. But he loved newspapers; he had delivered newspapers as a boy and he knew people at the Shreveport Journal. He landed in the circulation department and worked there until he joined the Navy in World War II. He kept a diary during his war years; as it turns out, he was also his ship’s newsletter editor. Somehow he parlayed all of that after the war into a job with a trade magazine publishing firm in New Orleans. This was the Promised Land, and still it is To the persuasive suburban land agent In bootleg roadhouses where the gin fizz Bubbles in time to Hollywood’s new love-nest pageant.   (From “Quaker Hill” in The Bridge) I have young childhood memories of going to plays—community theater—with my parents. I can vaguely recall a staging of The Music Man. My father actually had a role in a local production of Bus Stop by William Inge ; he played the bus driver. I have a photograph of him and the rest of the cast. We were never close; he was that silent, World War II generation that didn’t believe in showing much emotion or feeling, especially for sons. I was the middle of three boys, the one he and my mother didn’t have to worry about, the one who studied and didn’t cause trouble or get into fights. And so I know myself well enough to know that my love for the literary eras of the Realists and the Modernists was not simply because of my teachers and their love for the periods. Reading and studying the poetry and novels of the era is also a way, for me, to try to understand my father, the man I didn’t know very well but who had a powerful influence on my life, including my selection of study in college—journalism. To read Faulkner is to read not only small-town Mississippi but also small-town Louisiana. To read Spoon River Anthology is to walk in the old cemetery in Shreveport where my grandparents are buried. To read The Waste Land is to read how the world of the 1920s was torn asunder in the world of the 1930s, and the impact that sundering likely had on my father. It’s difficult of me to read The Bridge and see the failure that most of the critics have seen. Instead, I read it, and I see a young man from the poor side of town, sitting in a high school Latin class with all of the rich kids, studying hard because he was still holding on to the dream of becoming a doctor. And one star, swinging, takes it place, alone, Cupped in the larches of the mountain pass— Until, immortally, it bled into the dawn.   (From “Powhatan’s Daughter” in The Bridge) Browse more poets and poems ___________________________ How to Read a Poem uses images like the mouse, the hive, the switch (from the Billy Collins poem)—to guide readers into new ways of understanding poems. Anthology included. “I require all our incoming poetry students—in the MFA I direct—to buy and read this book.” —Jeanetta Calhoun Mish

i don't know

Which musical featured the song How To Handle A Woman?

Richard Harris is King Arthur - Camelot - YouTube Richard Harris is King Arthur - Camelot Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jan 21, 2012 Merlin's advice on how to handle a woman 1967 Warner Musical Lerner & Loewe Screenplay and music Category

Camelot

In which decade of the 20th century was Alec Baldwin born?

CAMELOT (The Musical): "How to Handle a Woman" - YouTube CAMELOT (The Musical): "How to Handle a Woman" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 17, 2009 Confounded by his wife's stubbornness, Arthur (Tom Hensen) tries to recall Merlin's advice on "How to Handle a Woman"... (Book and Lyrics by Alan Jay Lerner; Music by Frederick Loewe) Category

i don't know

In which state do most Cree Indians live in the USA?

Facts for Kids: Cree Indians (Crees)         Cree families past...                  ...and present How do you pronounce the word "Cree"? What does it mean? Cree is pronounced to rhyme with the English word "see." It's a shortened form of the French word for the tribe, Kristeneaux, but it's not clear where that word came from. It may have been a French mispronunciation of a Cree clan name (Kenistenoag) or a Cree mispronunciation of the French word for "Christian" (Chr�tien.) In their own language the Crees call themselves Iyiniwok or Ininiwok, meaning "the people," or Nehiyawok, "speakers of the Cree language." Where do the Crees live? The Cree tribe is one of the largest American Indian groups in North America. There are 200,000 Cree people today living in communities throughout Canada and in parts of the northern United States ( North Dakota and Montana ). Here is a map showing the traditional territories of the Cree and some of their neighbors. There are also more than 100,000 Metis people in Canada. Many Metis people descend from Cree Indians and French Canadian voyageurs. Are the Woodland Cree and Plains Cree two different tribes? No, those are just English names that describe how different Cree bands lived. Cree Indians from prairie regions, especially in southern Manitoba and Alberta, are often known as the Plains Cree. Cree Indians who live in the forested land further to the north and east are often known as the Woodland Cree. Woodland and Plains Cree people share the same language and customs, but they had some differences in traditional lifestyle based on their environment. For example, the Woodland Crees built houses out of birchbark, but the Plains Crees built teepees out of buffalo hide. How is the Cree Indian nation organized? Peguis Cree Flag Each Cree community lives on its own reserve (or reservation, in the United States.) Reserves are lands that belong to the Crees and are under their control. Cree Indian bands are called First Nations in Canada and tribes in the United States. Each Cree tribe or First Nation is politically independent and has its own government, laws, police, and services, just like a small country. Some Cree nations have also formed coalitions to address common problems. The political leader of a Cree band is called a chief (okimahkan in the Cree language.) In the past, Cree chiefs were men who had distinguished themselves in war. Today chiefs can be men or women, and they are elected in most Cree bands, just like mayors and governors. What language do the Crees speak? Most Cree people speak English or French, but some of them also speak their native Cree language. Cree is a musical language that has complicated verbs with many parts. If you'd like to know some easy Cree words, tansi (pronounced tahn-see) is a friendly greeting and mahti (pronounced mah-tee) means "please." You can also listen to a 13-year-old Cree girl singing "O Canada" in the Cree language here and read a Cree picture dictionary here . What was Cree culture like in the past? What is it like now? There are many different Cree bands, but the Mistissini Cree of Quebec have an especially informative website, where you can learn about Cree culture and history and view plenty of photographs. Sponsored Links      Cree boys playing darts They do the same things all children do--play with each other, go to school and help around the house. Many Cree children like to go hunting and fishing with their fathers. In the past, Indian kids had more chores and less time to play, just like colonial children. But Cree kids did have dolls and toys to play with, and older boys liked to play games like lacrosse . Cree Indian mothers, like many Native Americans, traditionally carried their babies in cradleboards on their backs. Here is a website with Native American cradleboard pictures. What were Cree men and women's roles? Cree men were hunters and fishermen, and they sometimes went to war to protect their families. Cree women took care of the children, built their family's house, and gathered plants to eat and herbs to use for medicine. Both genders took part in storytelling, artwork and music, and religious festivals. In the past, the chief was always a man, but today a Cree woman can be chief too. What were Cree homes like in the past?        Cree tepee There were two types of dwellings used by the Crees. In the woodlands, Cree people lived in villages of birchbark buildings called wigwams. On the plain, Cree people pitched camp with large buffalo-hide tents called tipis (or teepees). The Plains Cree were nomadic people, and tipis were easier to move from place to place than wigwams. Here are some pictures of wigwam, tepee, and other Indian homes . Today, tipis and wigwams are only used for ceremonial purposes, not for shelter. Most Crees live in modern houses and apartment buildings, just like you. What was Cree clothing like? Did they wear feather headdresses and face paint?    Cree clothing Cree Indian women wore long dresses with removable sleeves. Cree men wore breechcloths and leggings . The Crees also wore moccasins on their feet and cloaks or ponchos in bad weather. Later, Cree people adapted European costume like blouses and jackets into their own style using beadwork, embroidery, and ribbon appliques. Here is a photograph of a Cree buckskin jacket , and some photos and links about Native American clothes in general. By tradition, the Crees wore fur or leather caps decorated with feathers. Some Cree warriors wore a porcupine roach instead. (Roaches are made of porcupine hair, not their sharp quills!) In the 1800's, some Cree chiefs began wearing long feather headdresses like their neighbors the Sioux . Cree men and women both wore their hair in two long braids. The Crees painted their faces with bright colors for special occasions. They used different patterns for war paint, religious ceremonies, and festive decoration. Cree people also wore tribal tattoo art on their faces, hands, and bodies. Today, some Cree people still use moccasins or a buckskin shirt, but they wear modern clothes like jeans instead of breechcloths... and they only wear feathers in their hair on special occasions like a dance. What was Cree transportation like in the days before cars? Did they paddle canoes?            Cree dogsled Yes--the Cree Indian tribe was well-known for their birchbark canoes. After Europeans came, Cree canoe builders began using canvas rather than birchbark to cover their canoe frames. Canoeing is still popular within the Cree nation today. Here is an article with pictures of Native canoes styles . Over land, Cree people used dogs as pack animals. (There were no horses in North America until colonists brought them over from Europe.) The Crees also used snowshoes and sleds to help them travel in the winter. Today, of course, Cree people also use cars... and non-native people also use canoes. What was Cree food like in the days before supermarkets?       Pemmican The Cree Indians were primarily hunting people. Northern Cree hunters pursued caribou, elk, and moose, as well as smaller game like beaver and rabbits. The Plains Cree followed the buffalo herds in a nomadic lifestyle. For the Eastern Cree, fishing and hunting seals from canoes were more important. Cree women gathered nuts and fruits, and in southern bands, they also grew some corn. The Cree Indian man in this photo is pounding pemmican, a traditional Cree food made from dried meat. Here is a website with more information about Native Canadian food. What were Cree weapons and tools like in the past?    Cree moose call The most famous Cree weapon was the bow and arrow. The Crees used bows and arrows for both hunting and war. Other Cree weapons included spears, clubs, and knives. Here is a website with Native American weapon pictures and information. When Plains Cree men hunted buffalo, they sometimes used controlled fires to herd the animals into a trap or over a cliff. The Northern Cree hunter in this picture is using a special birchbark instrument to make sounds that attract moose. The East Crees used bone fishhooks and nets for fishing. What are Cree arts and crafts like?    Cree design Cree artists are known for their quilling crafts , woodcarving , and colorful beadwork . Like other eastern American Indians, Crees in Quebec also crafted wampum out of white and purple shell beads. Wampum beads were traded as a kind of currency, but they were more culturally important as an art material. The designs and pictures on wampum belts often told a story or represented a person's family. What other Native Americans did the Cree tribe interact with? The most important Cree trading partners were actually other Crees. There were many different Cree bands, and they were closely allied with each other. The Crees were also friendly with the Ojibwa and Stoney tribes. After Europeans arrived, the Crees became allies of the French Canadians and the mixed-race Metis people. In war, the southern Crees frequently fought against the powerful Iroquois and Dakota tribes, and the northern Crees were enemies of the Inuit (Eskimos) . What kinds of stories do the Crees tell? There are lots of traditional Cree legends and fairy tales. Storytelling is very important to the Cree Indian culture. Here is one legend about how the Cree people hunted the moose . What about Cree religion? Religious traditions are too complicated and culturally sensitive to describe appropriately in only a few simple sentences, and we strongly want to avoid misleading anybody. You can visit this site to learn more about Cree spirituality or this site about Indian religion in general. Can you recommend a good book for me to read? You may enjoy As Long As The Rivers Flow , the story of a ten-year-old Cree boy and his family. Younger readers may like The Eeyou or The Song Within My Heart , both of which are well-illustrated depictions of Cree life. If you'd like more in-depth information about Cree history and culture, an interesting source is The Plains Cree . You can also browse through our general Native American book recommendations. How do I cite your website in my bibliography? You will need to ask your teacher for the format he or she wants you to use. The authors' names are Laura Redish and Orrin Lewis and the title of our site is Native Languages of the Americas. We are a nonprofit educational organization working to preserve and protect Native American languages and culture. You can learn more about our organization here . Our website was first created in 1998 and last updated in 2015. Thanks for your interest in the Cree Indian people and their language! Sponsored Links

Montana

Bob Dole trained for which profession although he didn't qualify?

Cree Nation Cree The Cree are one of the largest groups of First Nations / Native Americans in North America, with 200,000 members living in Canada. The major proportion of Cree in Canada live north and west of Lake Superior, in Ontario, Manitoba, Saskatchewan, Alberta and the Northwest Territories. About 15,000 live in eastern Quebec. In the United States, this Algonquian-speaking people historically lived from Lake Superior westward. Today, they live mostly in Montana, where they share a reservation with the Ojibwe (Chippewa). The documented westward migration over time has been strongly associated with their roles as traders and hunters in the North American Fur Trade. They are the largest group of First Nations in Canada with over 200,000 members. The Cree were known for openness to inter-tribal marriage. The Metis are a group of mixed Cree and primarily French Canadian heritage, although it is generally accepted in academic circles that the term Metis can be used to refer to a combination of any Aboriginal and European lineage. Canada The Cree are the largest group of First Nations in Canada, with over 200,000 members and 135 registered bands.This large population may be a result of the Crees' traditional openness to inter-tribal marriage. Together, their reserve lands are the largest of any First Nations group in the country. The largest Cree band and the second largest First Nations Band in Canada after the Six Nations Iroquois is the Lac La Ronge Band in northern Saskatchewan. The Metis (from French - any person of mixed ancestry) are people of mixed ancestry, such as Nehiyaw (or Anishinaabe) and French, English, or Scottish heritage. According to Aboriginal Affairs and Northern Development Canada, the Metis were historically the children of French fur traders and Nehiyaw women or, from unions of English or Scottish traders and northern Dene women (Anglo-Metis). Generally in academic circles, the term Metis can be used to refer to any combination of persons of mixed Native American and European heritage, although historical definitions for Metis remain. Canada's Indian and Northern Affairs broadly define Metis as those persons of mixed First Nation and European ancestry. The Quebec Cree nation calls its homeland Eeyou Istchee - Cree for Land of the People. The Lubicon Cree They are a Cree nation in Northern Alberta, Canada. They have been embroiled with the Government of Canada regarding land claims for decades. Their primary complaint is that oil and gas development on or near their land has dangerously threatened their way of life, their culture, and the health of those in their community.Amnesty International has commented on the struggle of the Lubicon by issuing a report imploring the Canadian government to respect the land rights of the Lubicon. Nisichawayasihk Cree Nation (NCN) is more commonly known in the predominately English-speaking world of North America as Nelson House, Manitoba. NCN is located 88 km west of Thompson, Manitoba, and accessible via the mixed paved and gravel Manitoba Provincial Road 391. NCN is a Cree-speaking community in northern Manitoba, Canada. The people of Nisichawayasihk are largely ancestral descendants of indigenous Cree peoples who have populated the Canadian Shield region of northern and central Canada for 10,000 to 35,000 years. Largely left alone by the Government of Canada during initial colonization and settlement of the New World, by the late 19th century a move was made by the government to isolate and relocate members of the Nisichawayasihk Cree Nation to a single, pre-defined location which no European Settlers had expressed an interest in. This area was defined by the government in the agreement known as Treaty 5, a document which established that NCN Band Members and their descendants were guaranteed certain rights and benefits. During the 1960s and 1970s, massive hydroelectric developments were underway in northern Manitoba. Consequently, large areas of traditional hunting, fishing, and trapping lands were severely flooded. The people of Nisichawayasihk were forcibly relocated to their current location. NCN is a signatory to the Northern Flood Agreement between Manitoba Hydro, the Province of Manitoba, and several First Nations Communities. Since 1999, NCN has been engaged in talks with Manitoba Hydro regarding a 33% share in the construction and ownership of another hydroelectric project called Wuskwatim. Successful completion of this agreement would see NCN as an equal partner in this project, sharing in both construction and startup costs, as well as earning revenue from this development. With a population of approximately 2,000, Nisichawayasihk Cree Nation is a large and widespread community. Many of its residents are still living in third-world conditions. The local infrastructure does not support full water and sewage services to all residents, and many still rely on fresh water and liquid waste to be hauled in and out by truck from holding tanks. In early February, 2004, the nearby City of Thompson, Manitoba announced their approval to Nisichawayasihk Cree Nation to convert a parcel of NCN-owned property within Thompson to Treaty Land. This was possible due to shortages in land area controlled by NCN under the Treaty Land Entitlement agreement in the mid-1970s. This event marks one of the few transitions from privately owned land, purchased by a First Nations community, to being declared an Urban Reserve. This plan has been quietly discussed between city and band administration since the narrowly-lost plebescite held in Thompson on September 18th, 2001. With a 45% voter turnout for the plebescite, and amid allegations of inappropriate voter disqualifications, the "no" side won by a margin of 250 votes. During the three years following the plebescite, the majority of Thompson City Counselors have publicly stated that the results of the vote were not binding upon city council, as the council has been elected to act in the best interests of the citizens of Thompson. United States At one time the Cree were located in northern Minnesota, North Dakota and Montana. Today they live as part of the federally recognized Chippewa Cree tribe, located on the Rocky Boy Indian Reservation in Montana. They share the reservation with the Pembina Band of Chippewa Indians, who form the "Chippewa" half of the Chippewa Cree tribe. (In Canada the Chippewa are known as Ojibwa.) Traditionally, the southern limits of the Cree territory in the United States were the Missouri River and the Milk River in Montana. Originally inhabiting a smaller nucleus of this area, the Cree Nation expanded rapidly in the 17th and 18th centuries after acquiring firearms and beginning their fur trade with the Europeans, but wars with the Dakota and Blackfeet and severe smallpox epidemics, notably in 1784 and 1838, reduced their numbers. The Cree assumed the living patterns of those with whom they came into contact, so that there were two major divisions: the Woodland Cree, also called Swampy Cree, or Maskegon, whose culture was essentially an Eastern Woodlands type, though their environment denied them maize cultivation and made them rely wholly on hunting; and the Plains Cree, who, living on the northern Great Plains, became bison hunters. The Woodland Cree preferred hunting caribou, moose, bear, and beaver but relied chiefly on hare because of the scarcity of the other animals; the periodic scarcity of hare too, however, caused famine, leading to occasional cannibalism (reported in tribal tales as well as by Europeans). Various kinds of fowl were also sought. Social organization was based on bands of related families, though large groups allied for warfare. Fear of witchcraft and respect for all variety of taboos and customs relating to the spirits of game animals pervaded Cree culture; shamans and conjurers wielded great power. The Plains Cree, after acquiring horses and firearms, were more militant than the Woodlands Cree, raiding and warring against many other Plains tribes. Though reportedly divided into 12 bands, each with its own chief, the Plains Cree had but one integrated military society. Religion and ceremony were highly valued, seemingly as means of fostering success in war and the bison hunt. The Assiniboin were the traditional allies of both the Plains and Woodland Cree. Language Their ancestral Cree language was once the most widely spoken in northern North America, but now not all Crees are fluent in it. English and French are more commonly used. The Cree language (also known in the most broad classification as Cree-Montagnais, Cree-Montagnais-Naskapi, to show the groups included within it) is the name for a group of closely related Algonquian languages spoken by approximately 117,000 people across Canada, from the Northwest Territories to Labrador. It is the most widely spoken aboriginal language in Canada. The only region where Cree has official status is in the Northwest Territories, together with eight other aboriginal languages. The two major groups: Nehiyaw and Innu, speak a mutually intelligible, Cree dialect continuum, which can be divided by many criteria. In a dialect continuum, "It is not so much a language, as a chain of dialects, where speakers from one community can very easily understand their neighbors, but a Plains Cree speaker from Alberta would find a Quebec Cree speaker difficult to speak to without practice."

i don't know

Out of 11 series of prime time seasons how many times did Happy days make the Nielsen Top Twenty?

"Happy Days" Reviews & Ratings - IMDb IMDb trailers and videos full cast and crew trivia official sites memorable quotes Overview 49 out of 60 people found the following review useful: Note to Joel S., The Fonz WAS Cool! from Toronto, Ontario, Canada 28 August 2004 I don't know what Joel S. was watching when he was making comments about Fonzie being a loser. Fonzie was supposed to be older than the rest of the gang, but not by that many years. Perhaps it was because Henry Winkler was older than the rest of the cast that he looked, as you said, twenty years older. Fonzie never dated high school girls. He knew they were too young for him. He had morals. Fonzie being an illiterate high school drop-out? I don't know where you got that from. Fonzie had dropped out of high school when the show started, but one of plot points of the episode where Richie graduated high school was that Fonzie revealed that he'd been secretly going to night school to earn his high school diploma. He graduated with the rest of the gang. Fonzie living above the Cunningham's garage. That was because he'd given up his own apartment to his grandmother after she'd been forced to leave her own place. He stayed above the garage for so long because he loved he Cunninghams like his own family. He essentially was a part of the family. In the last season, he did move out into a regular apartment. In the last episode he bought a house so that he would be allowed to adopt an orphaned boy he'd befriended. Gee...buying a house so you can provide a good home and be a good parent? Doesn't sound like a loser. As well, Fonzie also worked several jobs at once. He was (or became) the owner of the garage he worked at. When Arnold's burned down, he put up money to help Al rebuild and became the part-owner. Then, he started teaching shop class at Jefferson High. He later went to a tough school and became the Dean of Boys, so he could help kids who needed guidance. So, I think Fonzie was a cool character not because of his leather jacket, or motorcycle, or his prowess with girls. I think he was cool because he was a good person who was always willing to help a friend in need. Did you ever see the episode where Al wants to go down to Alabama to join a Civil Rights march? (This was a later episode when the time was the 1960's). Fonzie is concerned about Al's safety and goes with him to look out for him. Fonzie joins Al and a young African-American man in a sit-in at a diner. That doesn't sound like something a loser would do. Was the above review useful to you? 29 out of 36 people found the following review useful: A Classic Like a '57 Chevy from Los Angeles, California 19 June 2003 This was one of the greatest shows of the 1970's. Many people think of it as a simple comedy, but in the early years the series tackled some serious issues such as racism and nuclear war. The strength of the show was the friendship between Richie and Fonzie. The chemistry between Ron Howard and Henry Winkler made this show a classic. Unfortunately, after Howard left, they tried to keep the show going by focusing on Joanie and Chachi and that was when the show began to go downhill. However, just ignore the final years of the show and pay attention to the early years. Was the above review useful to you? 24 out of 33 people found the following review useful: Really good show from the 70s....less so in the 80s... from United States 3 February 2005 I remember when this show was King, c. '76 or so, Tuesdays at 8pm. It was one of those shows that you watched faithfully, got into the characters, jokes, knew the punchlines beforehand every time, and talked about the day after w/ friends. Kids loved it the most, as the Fonz Was a TV hero like you don't see anymore. I always felt that this should have ended about 5 years before it did too-when Malph and Richie left. Putting the show on in the 80's w/ Chachi as a lead, set in the '60's, Ted McGinley, etc--it was really outta gas and a shadow of its former self. If you ever see the repeats from c. '82 you know what I mean. Happy Days was the Malachi Crunch, Fonz jumping things on his bike, swarmed by 'the chicks', Richie learning about adulthood from Fonz, and of course Mr and Mrs C offering their bemused, befuddled support. That was the show. I don't think you could make it again. *** outta **** from Derbyshire, England 4 December 2004 I am 14 years old and I love Happy Days- there should be more programs like it now! I am a fan of older TV shows, as well as new ones [I love Starsky and Hutch], but If I ever need cheering up- I always put Happy Days on. I think I watch at least one episode a day and it puts me in a good mood! All the characters are fantastic- Richie, Potsie, Ralph, Joanie etc..and who could ever forget The Fonz? What I love about Fonzie is that he is so cool but is also a softie and loves his 'family' The Cunninghams so much. Watch Happy Days- you won't regret it! To Happy Days! from United States 7 June 2004 "American Graffiti"-styled television show that ran a decade (1974-1984) and completed a mind-blowing 255 episodes in all. The show followed the Cunningham family (father Tom Bosley, mother Marion Ross, son Ron Howard and daughter Erin Moran) in Milwaukee throughout the 1950s. Howard, his friends (Don Most and Anson Williams) and their misadventures with school and girls dominated the show's story-lines early on. Would-be motorcycle tough guy punk Henry Winkler (aka Fonzie) stole the show from minute one and he was the main reason why the show survived so long. Cast departures (Howard, Most and diner owner Pat Morita) and additions (Ted McGinley, Scott Baio, Al Molinaro and Morita again) did nothing to change ratings as the show consistently stayed high on the Nielsen scale. Also the father of two lesser spin-offs ("Laverne & Shirley" and "Joanie Loves Chachi"), "Happy Days" proved that one amazing character (Fonz) could basically carry a program's list of shortcomings. 4 stars out of 5. Was the above review useful to you? 16 out of 22 people found the following review useful: They were indeed! from Xanadu 6 September 2003 Yes, those were Happy Days, when I watched this show as a child. For quite a while, this was the best show on tv. It outstayed its welcome, but it shined for a time. The success of the show rests heavily on the performances of Ron Howard, Henry Winkler, Tom Bosley, and Marion Ross. Henry Winkler had tremendous charisma and handled his role with great subtlety, until the writing got out of hand. Ron Howard was the rare case of a child actor whose talent matured with his body. Tom Bosley and Marion Ross were outstanding character actors who brought life to Howard and Marion Cunningham. The cast was rounded out by fine supporting players and guest stars. It was interesting to watch the 50's nostalgia evolve to the point that the time period was no longer mentioned in the show. It seemed that, by the end, it was set in the present. It's interesting to watch the earliest seasons, with episodes revolving around Adlai Stevenson vs. Eisenhower, or Rock 'N' Roll shows; and compare those to shows revolving around Fonzie as a teacher. It's a shame that memories of Happy Days are tainted by the later years, and that stupid "jumping the shark" phrase. For a time, this show was unbeatable. It created successful spin-offs, like "Laverne and Shirley" and "Mork and Mindy," as well as less successful ones like "Joannie Loves Chachi." It ruled Tuesday nights and was one of the top ten shows for a long part of its existence. The one question that remains from this show is, "What happened to Chuck?" Maybe he died in Vietnam, with the Beaver. Oh, wait, that was an urban legend. Maybe he was recruited into the CIA. Was the above review useful to you? 6 out of 6 people found the following review useful: Better in the beginning from Philadelphia 12 May 2000 When Happy Days aired, I was in grade school, and like all the kids in my day, I loved "The Fonz" and his "cool" image and what it represented. Of course, ratings are ratings, and the Fonzie became the dominant figure in the show. Now, as I've watched the reruns on "Nickelodean", I have to admit that the show was of much better quality in its early episodes. It truly was a "family" show with a moral at the end of each episode, without being preachy. It seems that in those early episodes (the first year or year and a half), the show truly did capture the 50's suburban lifestyle. Once Fonzie became the focus, it does seem now that the show got kind of silly and unbelieveable, and saturated by "Fonzie." Of course, it's not quality of writing that keeps shows alive, unfortunately, and I realize that the show wouldn't have survived as long as it had if it had kept its earlier format. Still, I do greatly enjoy those early episodes when I watch them. Was the above review useful to you? 10 out of 14 people found the following review useful: Happy Days from Marietta, OH 6 September 1999 One of the most popular television series of all time! It had it all; humor, heart and of course, the Fonz, played perfectly during the show's 10 year run by Henry Winkler. The show also featured great writing and directing and was supported by fans all around the world. It's one of those unique television experiences that should be bottled up and stored away for safe keeping, so that new generations of fans can appreciate and enjoy this treat just as we did. Was the above review useful to you? 5 out of 5 people found the following review useful: A Tale of 4 Sitcoms from United States 15 February 2009 Once upon a time this show was legendary. The first 2 seasons were fantastic. Basically Fonzie was simply used in few spots and it worked. The mystique was there. It was a show about adolescence in the 50s and had a wonderful character named Chuck. Richies older brother that worked with added plot lines. Than they ditched Chuck for the second phase of HD and you still had a nice show but the mystique of Fonzie was gone. Also the original reason why the show was made was gone. The plots became somewhat sillier but they were acceptable. Bringing in Mork for an episode was silly and may have been the start of the downfall with all due respect for JUMP THE SHARK ep. Mork was not realistic. All of a sudden you had alien existence in a show intended to be realistic viewpoints of growing up adolescents in 1950s Midwest. The show would continue to get sillier with the addition of Chachi. Thus entering the 3rd stage of this show. With an occasional good episode but still a mere shell of its origins. The show at this time was full of itself. More for the marketing of products than anything else. Gary Marshall should be ashamed. Ron Howard left the show for the final stage of this train wreck and has made many wonderful movies as a director. The 4th stage was absolutely horrible. No Richie, but a parade of characters that very few had any affection for. Just sad the way this show was destroyed. I will always cherish the first couple of seasons and tolerate a few more toward the middle of this run. Just a bad way this show went out. The last episode was even so classless as to not show brother CHUCK in the collage ending this show . Thank goodness for earlier seasons coming out on DVD first. Was the above review useful to you? 13 out of 21 people found the following review useful: Why aren't great shows like this made anymore? from United States 5 July 2000 I've always thought Happy Days is one of the best shows ever. It was cool, the Cunninghams were great, as was the Fonz, Potsie and Ralph. In later years the love of Joanie and Chachi made the show worthwhile viewing after Richie and Ralph left. The final season's two two-part episodes were great: the one where Richie comes home, then leaves to be a screenwriter in California (the last scene in that episode always makes me tear up) and the final episodes where Fonzie moves out and Joanie and Chachi get married. Also I loved the episode where Joanie had the crush on Potsie after he sings to her. The cast and crew truly made Happy Days wonderful. They all had great chemistry, and this show is SO much funnier and better than all the junk shows that are on the air now. I loved the joke Jay Leno told in a 1997 monolgue about prospective Presidential canidates Dan Quayle and Al Gore: "It's kind of like a race between Ralph Malph and Potsie on Happy Days, isn't it???" Was the above review useful to you? Page 1 of 8:

8

Who wrote the novel Watership Down?

The Virginian (TV series) | Wiki | 📖 Everipedia The Virginian September 19, 1962 (1962-09-19) – March 24, 1971 (1971-03-24) Freebase ID Embed / Widget 23 VIEWS The Virginian (known as The Men From Shiloh in its final year) is an American Western television series starring James Drury and Doug McClure which aired on NBC from 1962 to 1971 for a total of 249 episodes. It was a spin-off from a 1958 summer series called Decision . Filmed in color, The Virginian became television's first 90-minute Western series (75 minutes excluding commercial breaks ). Immensely successful, it ran for nine seasons—television's third longest running western, [2] behind Bonanza at fourteen seasons and 430 episodes, and Gunsmoke at twenty seasons and 635 episodes. [2] Production When Revue Productions ' popular hour-long series Wagon Train moved from the NBC network to ABC, The Virginian was proposed to replace it. From the beginning, the series was filmed in color on 35mm film. Synopsis Seasons 1 through 8 Set in the late 19th century, and loosely based on the 1902 novel by Owen Wister , the series revolved around the tough foreman of the Shiloh Ranch, played by James Drury . His top hand Trampas ( Doug McClure ) and he were the only characters to remain with the show for the entire run. As in the book, the foreman went only by the name "The Virginian". The Virginian's real name was never revealed in the nine years the show was on the air. The series was set in Medicine Bow, Wyoming . Various references in the first season indicate that setting is about 1898 - in episode 5, "The Brazen Bell", guest star George C. Scott quotes from Oscar Wilde 's The Ballad of Reading Gaol , which was first published in 1898, in episode 7, "Riff Raff", several of the main characters join Theodore Roosevelt 's Rough Riders , the volunteer cavalry unit formed in 1898, and in episode 11, "The Devil's Children", the grave marker for one of the characters that dies in the episode states 1898 as the year of death. The series circled around the foreman's quest to maintain an orderly lifestyle at Shiloh. The ranch was named after the two-day American Civil War Battle of Shiloh , Tennessee . The Virginian's white Appaloosa was named Joe D., and Trampas' buckskin horse was named Buck. As the show progressed, Trampas became the more developed of the characters, and it continues to be the role for which actor Doug McClure was best known. Several cast changes were made throughout the program's run. In the first three seasons, the owner of the ranch was Judge Garth ( Lee J. Cobb ). His daughter Betsy ( Roberta Shore ) lived at the ranch with him, and had a sister relationship with the ranch hands. Ranch hand Steve Hill ( Gary Clarke ) joined in episode storylines. Randy Boone joined the show in the second season as a youthful ranch hand who played guitar and sang duets with Betsy. [3] (In 1965 Decca Records released an LP of songs from the two singing actors.) In the episode "First To Thine Own Self" (February 12, 1964) Boone's character sings " I'm So Lonesome I Could Cry ". This is odd in that the series was set in the 1890s but the song was written by Hank Williams in 1949. In the third season, Clu Gulager was added to the show as the restless deputy Emmett Ryker. After executive producer Frank Price was replaced by Norman Macdonnell at the end of season 3, season 4 became a troublesome time. When Roberta Shore left the cast, Macdonnell added a new leading woman— Diane Roter , who played Jennifer, the Judge's niece. When Lee J. Cobb also left the show, John Dehner was brought in as the new owner, Morgan Starr. His demanding presence and tough demeanor did not fit well with the show, nor did fans like his character. Frank Price was brought back on board for season 5 to straighten out the series. He replaced the characters of Randy, Morgan Starr and Jennifer with a few actors who brought back the family atmosphere to the show. John Grainger (played by Charles Bickford ) became the new owner. Elizabeth Grainger (played by Sara Lane), was John Grainger's granddaughter. Her brother Stacey (Don Quine) rounded out this new cast. Although Price left again, the series continued smoothly in the pattern that he set. In season 6, Clay Grainger (played by John McIntire ) took over ownership after his brother's apparent departure "on business." [4] (John Grainger's abrupt series exit, due to Charles Bickford's sudden death on November 9, 1967, was never properly explained onscreen.) The sixth season also added Holly Grainger (played by Jeanette Nolan , McIntire's real-life wife) as the wife of Clay. Season 7 saw the entrance of David Sutton, played by David Hartman . However, Sutton was replaced in season 8 with a younger hand, Jim Horn (played by Tim Matheson ). Season 9 In season 9, the name of the program was changed to The Men from Shiloh and the look of the series was completely redesigned. Ownership was changed once more, and Colonel Alan MacKenzie ( Stewart Granger ) took over. [5] [6] Granger said of his character: They had some idea of Col. Mackenzie against the West. I wanted no part of that. Englishmen were running cattle here from the beginning. The English have this thing for land; for animals and crops... I said this old cocker's out of India and the colonies: he can take the American west on his own terms. [7] In several countries, including the United Kingdom, the show went under the extended title The Virginian: Men From Shiloh. [8] The opening theme song was changed to a new one, composed by Ennio Morricone , and the look of the show was changed reflecting a style similar to spaghetti westerns , which were very popular at the time. [9] The hats worn featured much broader brims and higher crowns. The clothing was also jauntier and more imaginative and mustaches and beards were much in evidence. These changes brought a better ranking (#18) in the top 30 prime-time shows, after the previous year saw the show slip out of the top 30 rankings for the first time ever. (It was one of only four Western series on in prime time. [10] ) The final season operated on a "rotating lead actor" basis of the four stars, with normally just one lead appearing each week. Two of the four lead actors ( Lee Majors and Doug McClure) never appeared together in the last season. The ranch itself played a very nominal part in season 9, with most scripts featuring the four stars away from the ranch. There seemed little that could save it, as the final season brought in several big guest stars to the remaining episodes. The studio and network were set on ending the series, as evidenced by rivals CBS and ABC making demographic moves away from rural-oriented shows (see " rural purge " for more information). The final episode aired on March 24, 1971, ending the show's nine-season run. Main cast The Virginian Played by James Drury , [11] the Virginian was the tough foreman of the Shiloh Ranch. Based loosely on the character in the Owen Wister novel , he always stood his ground firmly. Respected by the citizens of Medicine Bow and the hands of the ranch, he was a prominent figure in Medicine Bow. In the series, the Virginian is the ranch foreman from the first episode. This way, the producers were able to establish a feeling that he had been there for a while, and thus keep a consistent story line. In the book, however, the Virginian was the deputy foreman, and only became the foreman after a promotion from the Judge. When making the show, the producers chose not to reveal the Virginian's real name, and little about his past was actually made known. This succeeded in making the Virginian an intriguing and mysterious character. The foreman worked under five ranch owners throughout the series: Judge Garth ( Lee J.Cobb ), Morgan Starr ( John Dehner ), John Grainger ( Charles Bickford ), Clay Grainger ( John McIntire ), and Col. Mackenzie ( Stewart Granger ). James Drury and Doug McClure were the only cast members to remain with the show for all nine seasons. James Drury first played The Virginian on the July 6, 1958 episode of Decision . Judge Garth Starting in season 1, Lee J. Cobb succeeded in making Judge Garth a stern man with a soft side to his personality. The Judge acted as a father figure to the Virginian. Respected by all the townspeople, as well as his employees, the Judge was often looked to for matters to be settled. Lee J. Cobb left the series near the end of season 4. In the episode "Morgan Starr", it was stated that the Judge had left Shiloh to become Governor of Wyoming. Trampas Played by Doug McClure , [11] the character of Trampas took on a completely different personality from the character in the novel. In Owen Wister's book, Trampas was a villain throughout the story and at the end was shot by the Virginian. However, in the TV series, the producers chose to make Trampas a fun-loving and rowdy character, Doug McClure fitting the part perfectly. Trampas, a sandy-haired, rowdy cowhand who eventually settled down on the ranch, was by far the most developed character in the series. Several episodes were made detailing his past. Doug McClure, as Trampas, added a touch of light comedy to the series to counterbalance the Virginian's serious manner. For part of season 9, the Trampas character wore a thick mustache and broader brimmed hat. Steve Hill Played by Gary Clarke , Steve was a good friend of both Trampas and the Virginian. He was constantly getting Trampas in and out of his usual scrapes. The on-screen chemistry that Gary Clarke and Doug McClure possessed reflected their good friendship off screen, and was loved by fans worldwide. Although he was with the show at the beginning, Gary Clarke was being phased out of the show at the end of season 2, but remained as a guest star for a few episodes in season 3, before departing for good. Betsy Garth Played by Roberta Shore , from seasons 1 through 4, Betsy was the only daughter of Judge Garth. Early in the series, it was made clear that she was adopted, but nevertheless the Judge treated her as his own. Betsy and the ranch hands had a sort of brother–sister relationship. Trampas and Steve had a particular soft spot for her, often jumping to protect her, and looking out for her wellbeing. At the start of the series, Betsy is said to be fifteen years old. In a season 4 episode, "The Awakening," she married a minister ( Glenn Corbett ), and moved to Pennsylvania, reflecting Roberta Shore's departure from the show. Randy Benton Played by Randy Boone , from seasons 2 through 4, Randy was a young ranch hand who played guitar and sang. He came into the show as Steve Hill was being phased out as a regular cast member during season 2. Before the new Grainger family was brought in for season 5, his character was discontinued. Deputy Sheriff Emmett Ryker At the beginning of season 3, a new cast regular was introduced. Clu Gulager played the restless deputy Emmett Ryker. Ryker was the first cast regular not to live on Shiloh. Once a hired gun, Ryker decided to settle in Medicine Bow before he took his former profession too far. Clu Gulager remained with the show for four seasons, leaving briefly at the beginning of season 5, then returning for the rest of season 5 before leaving for good toward the end of season 6. Jennifer Sommers After Roberta Shore left the show, Diane Roter was brought in as the Judge's niece. At the end of season 4, along with Boone and Dehner, she left, making room for the new owners. Morgan Starr Halfway through season 4, Morgan Starr was brought in to run the ranch for Judge Garth because of Garth's appointment as Governor of Wyoming. John Dehner played a tough and demanding man, who was hard to become friends with, as the Virginian and Trampas soon found out. Fans disliked Dehner's character, and he left the show at the end of the season. John Grainger At the beginning of season 5, with Judge Garth, Betsy and Jennifer gone, a new character was brought in to run Shiloh. [12] Charles Bickford played a stern but loving grandfather to his two grandchildren, Stacey (Don Quine) and Elizabeth (Sara Lane). Although the Virginian and Mr. Grainger never quite had the father–son relationship that the Virginian and Judge Garth had, they got along well. Charles Bickford's death on 9 November 1967 was a shock to the cast. He was replaced by John McIntire as his brother Clay. Stacey Grainger Played by Don Quine, Stacey Grainger, the grandson of John Grainger, lived at Shiloh, beginning in season 5. [12] He worked alongside Trampas, and the two become good friends. Stacey's sister Elizabeth looked up to him as a big brother, and he filled the role more than competently. Quine's two seasons on The Virginian were the only ones that finished in the Nielsen rating top 15 year end rankings. Elizabeth Grainger Stacey's younger sister Elizabeth (Sara Lane) was the granddaughter of John Grainger, starting in season 5. [12] Trampas, the Virginian, and Stacey all look out for her wellbeing. Elizabeth was cast as a teenage girl enjoying her life on the frontier. She loved horses, riding the range, and going to the ever-present Saturday night dances. Sara Lane left the series in season 8. Clay Grainger After the death of Charles Bickford, John McIntire was hired as his brother, Liz and Stace's great uncle. Clay had a wife, Holly ( Jeanette Nolan ), and was the ranch owner for seasons 5 through 8. McIntire had earlier taken over the lead role in Wagon Train upon the death of Ward Bond , assuming the role of the new wagonmaster. In season 9, The Virginian was revamped, and McIntire, along with Jeanette Nolan , Sara Lane, David Hartman , and Tim Matheson , left the show. Complete cast James Drury and Doug McClure were the only performers who appeared in all nine seasons of the series (season numbers follow cast members name). [13] James Drury as The Virginian (Seasons 1–9) Doug McClure as Trampas (Seasons 1–9)

i don't know

Who was the Prime Minister of Australia from 1983 - 1991?

Robert Hawke | prime minister of Australia | Britannica.com prime minister of Australia Alternative Titles: Bob Hawke, Robert James Lee Hawke Robert Hawke Robert Hawke, in full Robert James Lee Hawke, byname Bob Hawke (born Dec. 9, 1929, Bordertown, S.Aus., Australia ), Australian labour leader and prime minister of Australia from 1983 to 1991. Robert Hawke, 1987. James Pozarik/Gamma Liaison After graduating from the University of Western Australia with a degree in law, Hawke spent three years at the University of Oxford as a Rhodes Scholar. He was briefly an economics researcher at the Australian National University in Canberra and in 1958 joined the Australian Council of Trade Unions (ACTU), the umbrella organization of the country’s tightly organized labour movement. As president of the ACTU from 1970 to 1980, Hawke proved to be a brilliant trade-union official, getting favourable settlements for the unions before Australia’s arbitration commissions. Hawke had also joined the Australian Labor Party (ALP) as a student, and he rose through the ranks to serve as the party’s national president from 1973 to 1978. By the time he successfully ran for Parliament in 1980 as a Labor candidate, Hawke already enjoyed immense national popularity. In February 1983 Hawke was elected leader of the ALP , and in the elections held the following month he led his party to a landslide victory over the Liberal Party , becoming prime minister of Australia. As prime minister, Hawke achieved greater industrial harmony by instituting a unified wage accord among Australia’s fractious labour unions. He also was able to lower the rate of inflation, and he continued to maintain close relations with the United States . Hawke was reelected prime minister in the elections he had called for December 1984. The Labor Party maintained its electoral majority in the 1987 elections, but because of a worsening economy his parliamentary majority was considerably reduced in the 1990 election, and he resigned in December 1991. Learn More in these related articles:

Bob Hawke

In which decade of the 20th century was James Belushi born?

Prime Minister Paul Keating (1991-1996) | AustralianPolitics.com LinkedIn0 Paul Keating Australia’s 24th Prime Minister between December 1991 and March 1996. He entered Parliament in 1969 as the ALP member for Blaxland, at the age of 25. He was briefly the Minister for Minerals and Energy in the last month of the Whitlam Government in 1975, and became Treasurer in the Hawke Government in 1983, a position he held until 1991. Keating unsuccessfully challenged Bob Hawke for the ALP leadership and the Prime Ministership in June 1991, went to the backbench, and launched another successful challenge on December 19, 1991. As Prime Minister, he introduced the Native Title legislation in the wake of the High Court’s Mabo decision, initiated moves towards Australia becoming a republic, and promoted Australia’s relations with Asia. He defeated the coalition in the 1993 elections, but lost the 1996 elections. Since leaving Parliament, Keating has established a business career. He makes occasional public addresses on domestic and international political issues.

i don't know

On which river was the Kariba Dam built?

History of the Building of Lake Kariba Shiwa Ngandu History of the Building of Lake Kariba You are here: Homepage > What to see > Vast Lakes > Lake Kariba > History of the Building of Lake Kariba The dam was an initiative of the Federation existing at the time between British ruled Northern and Southern Rhodesia (now Zambia and Zimbabwe) and Nyasaland (Malawi). To dam the great Zambezi floodplain was in many ways a hopeful leap into the future. Vast areas of forest and scrub would be inundated. Literally thousands of wild animals would lose their habitats and, more importantly, the local villages would have to be relocated. Analysis of the economic advantages convinced the authorities that the ultimate benefit to the people would outweigh the loss of wildlife and disturbance to people’s lives.   The vegetation was strip cleared and burnt, making the lake rich in chemicals from the fired wood and the considerable number of remaining trees provided an essential habitat for many creatures that found their way into the lake. Building the dam wall began in the late 1950s. Well over a million cubic metres of concrete was poured into the 36.6 metre high wall with a thickness of over twenty four metres to sustain the pressure of nearly ten million litres of water passing through the spillway each second. At the end of 1958, the sluice gates were closed and in 1963 the maximum level was reached.   The Zambezi River rises in north western Zambia and its catchment area covers 1 352 000 square kilometers and eight countries, namely Angola, Botswana, Malawi, Mozambique, Namibia, Tanzania, Zambia and Zimbabwe. It enters the Indian Ocean in Mozambique at Quelimane.   It flows for some 2 650 kilometers from its source to the Indian Ocean. It is the fourth largest river in Africa flowing into the Indian Ocean. Kariba Dam is located approximately halfway down the Zambezi River.   The Electricity Supply Commission instigated an investigation for possible hydroelectric schemes to be situated at kariba and in 1941 funds were allocated. As a result of this survey, a river gauging station was set up at chirundu as well as at a campsite 25 kilometers downstream from the present dam wall.   Both Southern Rhodesia (Zimbabwe) and Northern Rhodesia (Zambia) were in contention as it was thought that the Kafue River Gorge site in Northern Rhodesia was preferable to kariba. The matter was solved in 1951 by a board of experts known as “the Panel” who all agreed that the dam be built on the Zambezi River, at the Kariba Gorge site.   In August 1955 , the then Federal Government of Rhodesia and Nyasaland (Zambia, Zimbabwe and Malawi) called for tenders for the construction of the wall and power station was awarded to the Italian consortium Impresit on 16 July 1956 Kariba Dam was designed by the French engineer and inventor Andre Coyne. A specialist in “arch dams”, he personally designed over 55 dams, Kariba being one of them.   Nyaminyami The name Kariba (Kariva – meaning trap) refers to a rock which thrust out of the swirling water at the entrance to the gorge close to the dam wall site, now buried more than a hundred feet below the water surface. In many legends, this rock was regarded as the home of the great River god Nyaminyami, who caused anyone who ventured near to be sucked down for ever into the depths of the river.   When the valley people heard they were to be moved from their tribal lands and the great Zambezi River blocked, they believed it would anger the river god so much that he would cause the water to boil and destroy the white man’s bridge with floods.   In 1957, a year into the building of the dam, the river rose to flood level, pumping through the gorge with immense power, destroying some equipment and the access roads. The odds against another flood occurring the following year were about a thousand to one – but flood it did – three metres higher than the previous year. This time destroying the access bridge, the coffer dam and parts of the main wall. Nyaminyami had made good his threat. He had recaptured the gorge. His waters passed over the wreckage of his enemies at more than sixteen million litres a second, a flood which, it had been calculated, would only happen once in ten thousand years. Although man eventually won the battle when the dam was finally opened in 1960, there was a whole new respect for the power of the river god.  

Zambezi

Detroit born Diana Earle became famous under which name?

Lesson 6: The Nile River - Where Does the Water Go? Where Does the Water Go? Lesson 6: The Nile River - Where Does the Water Go? Problems with the Aswan Dam The 1959 Water Agreement divided up the average annual Nile waters as shown below: Egypt 84.0 BCM (average flow 1912-1959) Naturally, when the river's flow was below the long-term average, sharing according to those specifications was impossible. The Egyptians, who are more heavily industrialized than the Sudanese, claimed that their water needs should take priority, leading to regional tensions that persist to this day. Oddly enough, the Ethiopians, in whose country the Blue Nile begins, were left out of the 1959 agreement entirely. The Nile River and the Aswan High Dam are Egypt's lifelines. About 95% of Egypt's population lives within twelve miles of the river. The dam benefits Egypt by controlling the annual floods on the Nile and prevents the damage that used to occur along the floodplain. The Aswan High Dam provides about a half of Egypt's power supply and has improved navigation along the river by keeping the water flow consistent. Following completion of the dam there have been extensive problems, ironically caused in part because the annual flood no longer occurs. We will discuss five different issues: agriculture, changes to the Egyptian fishing industry, and erosion of the Delta. Agriculture Agriculture in the delta has traditionally benefited from the water and silt deposited by the flood (remember that the silt comes from eroding basalt lava in the Ethiopian highlands). This silt made the Nile delta one of the richest agricultural areas in the world and the basis of one of the most ancient human civilizations. Irrigation and more intensive farming, combined with inadequate drainage, has created swamps. The rise in water tables has led to accumulation of harmful salts, fertilizers, and pesticides in the upper layers of the soil. Farmers have been forced to use about a million tons of artificial fertilizer as a substitute for the nutrients that no longer fill the flood plain. Poor drainage of the newly irrigated lands has led to soil saturation and increased salinity. Over half of Egypt's farmland is now rated medium to poor in quality. The high cost of developing drainage systems is the main problem, and Egypt lacks hard foreign investment currency. The water table has risen since the dam was built, increasing the danger of fertilizer and other agricultural waste products seeping into the river, which is the main source of drinking water for the local population. Why would the water table rise? All soil is permeable, so water will always leak out of the lake. The lake essentially forces water into the surrounding soils when it is full, and then water can flow back into the lake when it is low. Increased diseases The parasitic disease schistosomiasis has been associated with the stagnant water of the fields and the reservoir. Some studies indicate that the number of individuals affected has increased since the opening of the High Dam. Recall from the Theroux reading (National Geographic) that schistosomiasis has been present in the region for thousands of years, but the reservoir is a huge breeding ground.In some areas, the building of the Aswan dam caused an increased occurrence of schistosomiasis among the population -- from 21% to almost 100%. Similarly, the first cases of malaria in northern Africa happened after establishment of Lake Nasser. Mosquitoes need shallow stagnant water to breed, and the lakeshore is the perfect environment. The recent identification of West Nile virus also indicates a water-bred and mosquito-borne disease that would not flourish if Lake Nasser had not been built. Human issues - Antiquities and resettlement of the Nubians In order to build the dam, both people and artifacts had to be moved. Over 90,000 (by some estimates over 120,000) Nubians had to be relocated. Those who had been living in Egypt were moved about 28 miles (45 km) away, but the Sudanese Nubians were relocated 370 miles (600 km) from their homes. The resettlement program was carried out very quickly, with severe consequences for the ~50,000 farmers who had to abandon their land. Their settlement, called New Nubia, was far from arable land. Like the northern Nile valley, agriculture in Nubia had traditionally been based on the annual flood of the rivers. The regulation of the rivers put an end to this kind of farming. In addition, arable land was submerged by the reservoir. The people tried to farm the riverbank instead, causing increased erosion. Efforts to start a system of rotation of crops clashed with tradition and did not work out. The area they were moved to could not sustain the population, resulting in poverty and rising death. The resettlement areas were infested with the tsetse fly, and many people were exposed to sleeping sickness. Because of poor planning, about 50,000 people ended up in camps resembling refugee camps. The hygiene in these camps was very bad, and epidemics flourished. The program of resettlement made the Nubians dependent on food aid in order not to starve. Nubia is also of tremendous historic importance, as this area - located between the First and Third cataracts - was the Kingdom of Kush, founded during the Middle Kingdom about 2000 years BC (4000 years BP). The government became aware (rather late in the game) that many artifacts and antiquities would be submerged. The Great Temple of Ramses II at Abu Simbe. The Kiosk of Trajan is in the foreground, while the Temple of Isis is at the right rear. The reservior of the first Aswan Dam flooded the complex for much of each year. Date and photographer unknown. Source: From the Collections of the Kelsey Museum - http://www.umich.edu/~kelseydb/Exhibits/AncientNubia/PhotoIntro.html Ambitious rescue operations were begun in 1960, after an appeal by the Director-General of UNESCO (United Nations Educational, Scientific, and Cultural Organization). Twenty monuments from the Egyptian part of Nubia and four monuments from the Sudan were dismantled, relocated and re-erected. Many others were identified during the survey, and were documented before their subsequent inundation. Special permits were issued by the Egyptian and Sudanese governments for archaeological excavations conducted by multinational teams of researchers. This statue was taken apart and moved from the Nile Valley onto the bluffs overlooking Lake Nasser in a last-minute effort by UNESCO. Source: http://carbon.cudenver.edu/stc-link/aswan1/culture.html The Temples of Abu Simbel - built over 3250 years ago by Pharaoh Ramses II - were salvaged successfully. The effort involved moving 300,000 tons of rock, cutting the temple into over 1000 blocks and moving the pieces to higher ground. Many other sites were similarly relocated and are now preserved on the higher ground surrounding Lake Nasser. In the end, however, time ran out. It became clear that it would not be possible to document many of the sites of Lower Nubia completely, and that much of the information which careful archaeological excavation can yield would be lost forever. Changes to the Egyptian fishing industry One good aspect of the lake was to be its contribution to a new Egyptian fishing industry. However, weeds flourished in the reservoir, causing problems for the dam and the generators. Five years after the dam was built, two thousand fishermen managed to catch 3,628 tons annually, while the catch was expected to be around 20,000 tons. Ten years later the catch had dropped to 907 tons, and in 1978 the fisheries were so poor that only a small part of the population was able to live off fishing. The effect of the dam on the Mediterranean fishing industry was more dramatic. The silt and sediments normally carried by the river contain important minerals and nutrients for fisheries in the sea at the river mouth. Unlike more fertile, nutrient-rich seas, such as the North Sea and the Arabian Sea, the Mediterranean is noted for its nutrient-poor waters that contribute to a low level of primary productivity. Primary productivity is the creation of organic matter through photosynthesis by unicellular organisms called phytoplankton. In the Mediterranean Sea, primary productivity is unusually low for several reasons. The circulation of the sea brings low-nutrient water from the North Atlantic through the Strait of Gibraltar, and allows nutrient-rich bottom water to exit the sea through the same opening. The arid climate of the region and the low levels of nutrient-rich river runoff also contribute to the low productivity of the Mediterranean. Before the High Dam was built, fifty percent of the Nile flow drained into the Mediterranean. During an average flood, the total discharge of nutrient salts was estimated to be approximately 5,500 tons of phosphate and 280,000 tons of silicate. The nutrient-rich floodwater, or Nile Stream, was ~15 kilometers wide; it extended along the Egyptian coast and was detected off the Israeli coast and sometimes off southern Turkey. The decrease in fertility of the southeastern Mediterranean waters caused by the High Dam has had a catastrophic effect on marine fisheries. The average fish catch declined from nearly 35,000 tons in 1962 and 1963 to less than one-fourth of this catch in 1969. Hardest hit was the sardine fishery: from a total of 18,000 tons in 1962, a mere 460 and 600 tons of sardine were landed in 1968 and 1969. The shrimp fishery also took a heavy toll as the catch decreased from 8,300 tons in 1963 to 1,128 tons in 1969. In recent years there has been a noticeable increase in the sardine catch along the Egyptian coast (8,590 tons in 1992) with most of the landings coinciding with the period of maximum discharge from the coastal lakes during winter. Since the late 1980s, the total fish catch (pelagic and bottom) off the Egyptian coast has grown to levels comparable to those that existed before construction of the dam. Whether this is due to improved fishing efforts or recovery of fish stocks is not clear. Erosion of the Delta The reduced supply of silt and sediment from the annual flood has caused heavy erosion in the Nile Delta and as far away as Israel. The erosion, coupled with normal compaction of deltaic sediments, has decreased the inhabitable land on the Delta for the first time in over 10,000 years. The lack of silt reaching the Delta has made for a different set of problems farther upriver as well. The silt now gets trapped behind the Aswan Dam, where it settles out of the water and falls in thick layers on the floor of Lake Nasser. As a result, the reservoir becomes smaller each year, and is less able to handle the water and electricity-generation needs of the nation. The Aswan Dam is hardly the only problematic example of engineering. Consider also the Kariba Dam, completed in 1959 across the Zambezi River. The purpose of the Kariba Dam was to provide electricity to the population and the industry of southern Zimbabwe, as well as to the copper mines in the north. Construction was started in 1956, financed by the largest World Bank loan ever. The dam was built by the British colonial government where the river formed the border between Northern and Southern Rhodesia (currently Zambia and Zimbabwe). There are places in the world where dam building is not so problematical. Iceland, for example, has almost limitless hydroelectric power, and is working to dam many of the rivers in the country's interior. In this case, there are no people to resettle, and no international boundaries involved. The only "loss" is that of spectacular canyons and valleys, but there may be enough to go around.

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Who wrote God Bless America?

The story behind Irving Berlin's "God Bless America" Lydia Hutchinson | May 11, 2014 | 14 Comments “I’d like to write a great peace song,” Irving Berlin told a journalist in 1938, “but it’s hard to do, because you have trouble dramatizing peace.” Years before John Lennon or Bob Dylan were even born, Berlin took up the challenge of penning an anthem that would inspire his fellow men to live in harmony. As America’s most successful songwriter, the 50-year-old Berlin had already lived through one world war, and with the rise of Nazi Germany, he knew a second was brewing. He recalled, “I worked for a while on a song called ‘Thanks America,’ but I didn’t like it. I tried again with a song called ‘Let’s Talk About Liberty,’ but I didn’t get very far. It was too much like making a speech to music. It then occurred to me to reexamine an old song of mine, ‘God Bless America.’” Berlin’s practice of “going to the trunk,” where he squirreled away every verse, chorus and half-finished idea he ever wrote, often got him out of songwriting jams. He’d come up with “God Bless America” in 1918, while serving in the Army at Camp Upton in Yaphank, N.Y. It was intended for a military revue called Yip Yip Yaphank. His musical secretary Harry Ruby remembered, “There were so many patriotic songs coming out at the time. Every songwriter was pouring them out. I said, ‘Geez, another one?’” Berlin decided Ruby was right, calling the song “just a little sticky.” He cut it from the score, stashing it away in his trunk. Two decades later, Berlin saw new hope in the old tune. “I had to make one or two changes in the lyrics, and they in turn led me to a slight change and improvement in the melody, one line in particular. The original ran: ‘Stand beside her and guide her to the right with a light from above.’ In 1918, the phrase ‘to the right’ had no political significance, as it has now. So for obvious reasons, I changed the phrase to ‘Through the night with a light from above.’” Pleased with the revamped song—he packed a lot into its compact five-line frame—Irving searched for the right singer to introduce it. Kate Smith was 200 pounds of wholesome country girl goodness, a vaudeville singer who’d entertained WWI troops when she was 8 years old and gone on to host her own CBS radio show, with millions of devoted listeners. On Nov. 11, 1938, Smith sang “God Bless America” as part of her Armistice Day broadcast (anniversary of the end of WWI). The song tapped into the national psyche, offering a kind of collective prayer for the unease over impending war. Within days, it was being hailed as the new national anthem. Sheet music flew off the shelves. Smith was booked for personal appearances, including major league baseball games and the 1939 World’s Fair. School bands played the song relentlessly. Without any hype or plugging, Berlin’s anthem became a sensation. In 1940, both the Republican and Democratic parties adopted the song as their theme. Realizing that it would look improper to collect royalties on a patriotic ode, Berlin established a trust, the God Bless America Fund, which distributed all proceeds to the Boy and Girl Scouts of America. The song wasn’t without its critics. Certain Democrats called the song jingoistic, questioning why God should bless America and no other country, and what about separation of church and state? Others griped about Berlin’s pedigree. As a Russian Jew who immigrated to the U.S. in 1893, why should he speak for America? A prominent pastor in New York, Edgar Franklin Romig, grabbed headlines by calling the song a “specious substitute for religion.” One songwriter who didn’t like Berlin’s anthem was Woody Guthrie. It’s said that he got so fed up with hearing Kate Smith on the radio, he wrote a rebuttal in “This Land Is Your Land.” In the original version of Guthrie’s classic, he painted pictures of a desolate, corrupt country, ending each verse with “God blessed America for you and me.” In the wake of 9/11, the song took on a new life, once again signalling renewed patriotism and pride. Celine Dion performed it on the TV special A Tribute to Heroes and her version climbed into the Top 40. As for Irving Berlin, he lived to the ripe old age of 101, passing away in 1989. Though his incredible legacy of songs ranges from the glitzy (“Putting On the Ritz”) to the sentimental (“Always”) to the seasonal (“White Christmas”), “God Bless America” remains one of his most personal achievements. As his daughter Mary Ellin Barrett said, “I came to understand that it wasn’t ‘God Bless America, land that we love.’ It was ‘God bless America, land that I love.’ It was an incredibly personal statement that my father was making, that anybody singing that song makes as they sing it. And I understood that that song was his ‘thank you’ to the country that had taken him in. It was the song of the immigrant boy who made good.” — By Bill DeMain

Irving Berlin

What was Sean Penn's first movie?

The History and Legacy of “God Bless America” - Chuck Miller Chuck Miller Note: The Times Union is not responsible for posts and comments written by non-staff members. The History and Legacy of “God Bless America” By Chuck Miller on July 3, 2010 at 3:07 AM 2 NOTE: I wrote this article for Goldmine magazine; it was published in October 2001, just immediately after the September 11th terrorist attacks.  I worked with Richard K. Hayes of the Kate Smith Commemorative Society on the original article.  This article has been updated for this blog post reprinting. They stood at the steps of the Capitol, Democrats and Republicans who on any other day would argue health care reform or pork-barrel bills in the great Rotunda.  But on this day, September 11, 2001, only hours after the terrorist attacks on New York City and on Washington, our elected officials stood as one, singing “God Bless America” as a show of support in our country’s darkest hour. The song was originally written for a World War I comedy musical.  It inspired Woody Guthrie to write his own musical response, which became a patriotic standard in its own right.  And its performance by one of America’s most beloved vocalists helped to sell millions of war bonds – and guided a hockey team win the Stanley Cup. Irving Berlin was already a successful Broadway writer and composer when, in 1918, he was drafted and told to report to Long Island’s Camp Upton.  Although he was prepared to serve his country in any way possible, he was not prepared for 5:00 a.m. reveille.  While in camp, he composed a song based on his experiences, called “Oh How I Hate To Get Up In the Morning.”  The song reached the camp officers, who decided to put Berlin’s talents to better use.  In exchange for Berlin being allowed to work late and sleep later, he would write and compose music for an all-soldier comedy show, Yip! Yip! Yaphank!, which would help raise money for an on-base community house. “God Bless America” was among the songs that were part of Yip! Yip! Yaphank!, and Berlin planned to use that song for the finale.  The title was inspired by Berlin’s mother, who with her family escaped from the Russian pogroms in 1893.  As a child, Berlin remembered his mother often saying “God Bless America.”  “And not casually, but with emotion that was almost exaltation,” he later wrote.  But the solemn, reverent “God Bless America” did not fit in a ribald comedy musical, and after a few performances, the song was removed from the show. We now fast forward to 1938.  If you were a fan of popular music in the late 1930’s, the most popular female singer at that time was vocalist Kate Smith.  Smith’s career began in the 1920’s, performing on Broadway in such musicals as Honeymoon Lane and Flying High.  A few years later, she was hosting her own radio shows, and recording million-selling 78’s for the Columbia label.  With her ebullient personality and stunning contralto voice, Smith rivaled Bing Crosby as the country’s most popular vocalist.  At one point, she even owned a professional basketball team, the Kate Smith Celtics. With heightened tensions and war breaking out throughout Europe, Smith needed a patriotic song for her radio show.  She and her manager Ted Collins visited Berlin’s music studio in New York City, and asked the famed songwriter if he had anything that was both patriotic and reverent.  Berlin reached into a file drawer and pulled out “God Bless America.” Berlin changed some of the lyrics from his original 1918 composition, replacing “from the green fields of Virginia / to the gold fields out in Nome” with “From the mountains to the prairies / To the oceans white with foam.”  After some other minor adjustments, he gave the song to Collins and Smith. On Armistice Day, November 11, 1938 (what we now call Veterans Day), Smith told her radio audience about the song and her reasons for performing it that night.  “This year, with the war clouds of Europe so lately threatening the peace of the entire world, I felt I wanted to do something special – something that would not only be a memorial to our soldiers – but would also emphasize just how much America means to each and every one of us … The song is ‘God Bless America’; the composer, Mr. Irving Berlin.  When I first tried it over, I felt, here is a song that will be timeless – it will never die – others will thrill to its beauty long after we are gone.  In my humble estimation, this is the greatest song Irving Berlin has ever composed … As I stand before the microphone and sing it with all my heart, I’ll be thinking of our veterans and I’ll be praying with every breath I draw that we shall never have another war…” With that, she performed “God Bless America” for the first time.  She had invited Berlin to attend the show, but the shy composer graciously declined.  After the broadcast, however, the phones at Berlin’s music publishing company were flooded with calls and requests, asking for “that new song Kate Smith just sang.”  He then went to Smith’s broadcast studio, where the singer was performing the same radio show – this time on a three-hour delay for the West Coast audiences.  As the show ended, Smith brought Berlin up to the stage, and hugged him. Smith performed “God Bless America” every week on her radio show, selling nearly 400,000 pages of sheet music.  On March 21, 1939, she recorded both that song and “The Star Spangled Banner” for RCA Victor, which became an instant hit.  Both the Democratic and Republican parties used the song as their 1940 convention themes.  And as the United States entered the Second World War, the song became a beacon of hope for soldiers and sailors overseas – and for their families at home. This clip from the motion picture This Is The Army recreates Kate Smith’s initial radio performance, and the impact it had on its listeners. So stirring was the performance, that for several years Irving Berlin gave Kate Smith the exclusive right to perform and record “God Bless America.”  In fact, during World War II Smith used her fame and exposure to sell more than $600 million in War Bonds, more sales than any other performer.  While “God Bless America” helped her sell War Bonds, Irving Berlin donated all his royalties for “God Bless America”, in perpetuity, to the Boy Scouts of America.  Smith donated her performance royalties, in turn, to the Girl Scouts of America. Not everyone was originally behind “God Bless America,” however.  Some people were bothered that the song was written by a Jewish immigrant.  Others felt that the song was too mawkish, mixing politics with religion.  Songwriter Woody Guthrie went one step further – after hearing “God Bless America” one time too many, he composed what he felt would be an appropriate answer.  Guthrie’s original song had the refrain “God blessed America for me,” but in time that lyric was changed to “This land was made for you and me.”  Ironically, Guthrie’s “This Land Is Your Land” has become, along with “God Bless America,” one of our country’s favorite anthems. “God Bless America” was re-released over the years – sometimes with Smith’s original 1939 version, other times with a new recording.  In 1947, she re-recorded “God Bless America” with a B-side of “Bless This House” on MGM Records.  In 1959, she released an LP called Kate Smith Sings God Bless America.  On November 2, 1963, a Kate Smith concert performance, which contained “God Bless America,” was recorded by RCA Victor and released as Kate Smith at Carnegie Hall.  The Carnegie Hall version of “God Bless America” was released as the flip side of the John F. Kennedy tribute song “In The Summer Of His Years”, which was released one week after the Kennedy assassination. In the 1970’s, “God Bless America” achieved a new form of popularity – as a hockey anthem.  In order to invigorate his hockey team, Philadelphia Flyers vice president Lou Scheinfeld replaced the opening game rendition of “The Star Spangled Banner” with Kate Smith’s immortal classic.  The Flyers won that first game, a 6-3 thrashing of the Toronto Maple Leafs, and “God Bless America” became a good luck charm for the Flyers.  On four occasions, Kate Smith was actually chauffeured from her home in New York City to the Philadelphia Spectrum, and stepped onto the ice to sing“God Bless America” for the Broad Street faithful.  One performance, on May 19, 1974, spurred the Flyers to a 1-0 victory over the Boston Bruins – Philadelphia’s first win in a Stanley Cup final.  Smith also performed on May 13, 1975, as the Flyers defeated the New York Islanders 4-1 to take their second consecutive Stanley Cup championship.  Whether “God Bless America” was sung live, or whether it was played on tape, the Philadelphia Flyers won 63 games, against only 15 losses and three ties with their musical good-luck charm. Both Smith and Berlin were honored for their contributions to the world of music.  In 1955, Berlin received a gold medal from President Dwight Eisenhower, in recognition of his services in composing patriotic songs for the country, including “God Bless America.” In 1982, President Ronald Reagan honored Kate Smith with the Presidential Medal of Freedom.  In his speech, Reagan recalled his own personal feelings toward Smith’s music in general, and “God Bless America” in particular.  “It’s been truly said that one of the most inspiring things that our GI’s in World War II in Europe and the Pacific, and later in Korea and Vietnam, ever heard was the voice of Kate Smith. The same is true for all of us … Those simple but deeply moving words, “God bless America,” have taken on added meaning for all of us because of the way Kate Smith sang them. Thanks to her they have become a cherished part of all our lives, an undying reminder of the beauty, the courage and the heart of this great land of ours. In giving us a magnificent, selfless talent like Kate Smith, God has truly blessed America.” When Kate Smith passed away in 1986, a clip from the motion picture This Is The Army appeared on every TV newscast – a clip of Smith singing “God Bless America.”  And when Irving Berlin passed away in 1989, at the age of 101, a small group of mourners outside his New York City apartment serenaded his legacy with a spontaneous rendition of “God Bless America.” Have a happy and enjoyable Fourth of July weekend. For more information on the life of Kate Smith, including her involvement with “God Bless America,” visit the Kate Smith Commemorative Society homepage. Chuck Miller

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Who had and 80s NO 1 with The Tide is High?

Blondie - 80s Songs and Albums - simplyeighties.com Blondie T-shirts   Blondie in the 80s Blondie were a firm favourite in our household back in the seventies and eighties, and I still have a stack of well-used vinyl - the band gained fame in the late 1970s. Featuring lead singer Deborah Harry, the American band was a pioneer in the early American punk rock and New Wave scene. Indeed, their first two albums were very much influenced by punk and new wave, and were more successful in the UK and Australia, than in America.  After the release of Parallel Lines in 1978, Blondie were no longer seen as an underground band in the US, and over the next few years, the band achieved many hit singles.  New musical styles such as disco, reggae and pop were incorporated into the band's releases, while still retaining some of the new wave/punk element. After the release of their sixth studio album The Hunter. Blondie split in 1982, with Debbie Harry starting a moderately successful solo career, her biggest hit being I Want That Man. However, the band reformed in 1997 and acheived renewed chart success with the No.1 single Maria in the UK in 1999.  Deborah Harry has also released five solo albums, her biggest being Def, Dumb and Blonde in 1989. Harry changed her name from "Debbie" to "Deborah", although I'm not sure why - maybe she just wanted to sound a bit posh! Visit the Debbie Harry page DENIS (1978) Denis was originally a hit for Randy & The Rainbows in 1963. Blondie's version reached No.2 in the UK in 1978, and was kept off the top spot by Kate Bush with Wuthering Heights. "PICTURE THIS" (1978) This was the first single to be lifted from Blondie's third album Parallel Lines and reached No.12 in the UK singles chart in 1978. The single was not released in the U.S. In the promotional video (see the playlist above) Debbie Harry is wearing a yellow dress designed by Stephen Sprouse. The fashion designer pioneered sixties-inspired, neon and graffiti print clothing that has a sophisticated style. The B-side, Fade Away and Radiate was also included on Parallel Lines and featured Robert Fripp on guitar. "CALL ME" (1980) Reaching No.1 in 1980, Call Me was the main soundtrack to the movie American Gigolo. The song spent six weeks at the top in both the U.S. and Canada, and this was the fourth #1 single for the band in the UK. The song also featured on the British Telecom advert during 1980. Electronic/disco music producer Giorgio Moroder originally asked Stevie Nicks from Fleetwood Mac to create the soundtrack, but she declined. There have been literally dozens of cover versions of Call Me, the most notable ones being by The Dandy Warhols on their 2004 album Come On Feel The Dandy Warhols. Also, Tina Arena (remember her?) on the 2008 album Songs Of Love & Loss II (this was a unique swing version) and by Scottish band Franz Ferdinand on the War Child Charity Album after a request by Blondie themselves. The only 80s cover version I know of is by the American band Until December, which featured on their self-titled studio album. The image is the single cover from the German version of Call Me. "ATOMIC" (1980) The driving bass-line in Atomic makes this my joint favourite Blondie track along with the previous single Call Me. It was the third single to be released from Blondie's fourth studio album Eat To The Beat, and reached #1 in the UK for two weeks on 1st March 1980. The single was actually a remix of the 4:35 album version. Eat To The Beat made #1 in the UK album charts and #17 in the US. This is Blondie's most-loved album and regarded by many as a step-up from the previous album Parallel Lines. It features the perfect blend of 80s new wave, punk, catchy pop and a beautiful ballad called Shayla. Add the quality drumming of Clem Burke and you end up with one of the finest albums ever released. Parallel Lines also made #1 in the UK, as did the previous single Call Me. "The Tide Is High" (1980) The first single to be taken from the Autoamerican album, this reached No.1 in 1980. My gran actually bought this on 7" vinyl for my 12th birthday, and the song's reggae-inspired vibe is hard not to like at almost any age. I did not know this at the time, but the song is actually a cover that was originally penned in 1967 by Tyrone Evans and John Holt and was performed by The Paragons, a ska and rocksteady group from Jamaica fronted by Holt. The most recent cover I know of was "Numba 1 (Tide is High)" by the Canadian rapper Kardinal Offishall and featuring Keri Hilson. However, it was only a minor hit peaking at #38 in Canada and #84 in the UK. "RAPTURE" (1981) Blondie were never shy of trying out new music styles, and Rapture was the first rap-influenced single to reach #1 on the American Billboard charts. It peaked at #5 in the UK during January 1985 and was taken from the album Autoamerican. The song was the follow-up to The Tide is High, and the second and last single to be released from the Autoamerican album. The b-side featured another track from the album Walk Like Me. "ISLAND OF LOST SOULS" (1982) Released in April 1982, Island Of Lost Souls was a bright and breezy, calypso style pop song that peaked at #11 in the UK, #13 in Australia and #37 in the US. It was the first single to be lifted from Blondie's sixth studio album The Hunter, and was written by Deborah Harry and Chris Stein. As with the reggae-inspired The Tide is High, this totally different style of music didn't go down well with some Blondie fans, and was a mile away from the band's original new wave/punk rock sound. You can't please all of the people all of the time, I suppose. The following single from The Hunter album (entitled War Child) was the band's last proper single release of the 80s and peaked at #39, which meant that Island Of Lost Souls was the band's last major hit single, until the release of Maria in 1999 which reached #1 in the UK. However, there were various remixes released inbetween, including Denis (1988), Call Me (1989), Atomic (1994) and Heart Of Glass, Rapture and Union City Blue remixes in 1995.

Blondie

In which Bond film did Britt Ekland appear?

Blondie - 80s Songs and Albums - simplyeighties.com Blondie T-shirts   Blondie in the 80s Blondie were a firm favourite in our household back in the seventies and eighties, and I still have a stack of well-used vinyl - the band gained fame in the late 1970s. Featuring lead singer Deborah Harry, the American band was a pioneer in the early American punk rock and New Wave scene. Indeed, their first two albums were very much influenced by punk and new wave, and were more successful in the UK and Australia, than in America.  After the release of Parallel Lines in 1978, Blondie were no longer seen as an underground band in the US, and over the next few years, the band achieved many hit singles.  New musical styles such as disco, reggae and pop were incorporated into the band's releases, while still retaining some of the new wave/punk element. After the release of their sixth studio album The Hunter. Blondie split in 1982, with Debbie Harry starting a moderately successful solo career, her biggest hit being I Want That Man. However, the band reformed in 1997 and acheived renewed chart success with the No.1 single Maria in the UK in 1999.  Deborah Harry has also released five solo albums, her biggest being Def, Dumb and Blonde in 1989. Harry changed her name from "Debbie" to "Deborah", although I'm not sure why - maybe she just wanted to sound a bit posh! Visit the Debbie Harry page DENIS (1978) Denis was originally a hit for Randy & The Rainbows in 1963. Blondie's version reached No.2 in the UK in 1978, and was kept off the top spot by Kate Bush with Wuthering Heights. "PICTURE THIS" (1978) This was the first single to be lifted from Blondie's third album Parallel Lines and reached No.12 in the UK singles chart in 1978. The single was not released in the U.S. In the promotional video (see the playlist above) Debbie Harry is wearing a yellow dress designed by Stephen Sprouse. The fashion designer pioneered sixties-inspired, neon and graffiti print clothing that has a sophisticated style. The B-side, Fade Away and Radiate was also included on Parallel Lines and featured Robert Fripp on guitar. "CALL ME" (1980) Reaching No.1 in 1980, Call Me was the main soundtrack to the movie American Gigolo. The song spent six weeks at the top in both the U.S. and Canada, and this was the fourth #1 single for the band in the UK. The song also featured on the British Telecom advert during 1980. Electronic/disco music producer Giorgio Moroder originally asked Stevie Nicks from Fleetwood Mac to create the soundtrack, but she declined. There have been literally dozens of cover versions of Call Me, the most notable ones being by The Dandy Warhols on their 2004 album Come On Feel The Dandy Warhols. Also, Tina Arena (remember her?) on the 2008 album Songs Of Love & Loss II (this was a unique swing version) and by Scottish band Franz Ferdinand on the War Child Charity Album after a request by Blondie themselves. The only 80s cover version I know of is by the American band Until December, which featured on their self-titled studio album. The image is the single cover from the German version of Call Me. "ATOMIC" (1980) The driving bass-line in Atomic makes this my joint favourite Blondie track along with the previous single Call Me. It was the third single to be released from Blondie's fourth studio album Eat To The Beat, and reached #1 in the UK for two weeks on 1st March 1980. The single was actually a remix of the 4:35 album version. Eat To The Beat made #1 in the UK album charts and #17 in the US. This is Blondie's most-loved album and regarded by many as a step-up from the previous album Parallel Lines. It features the perfect blend of 80s new wave, punk, catchy pop and a beautiful ballad called Shayla. Add the quality drumming of Clem Burke and you end up with one of the finest albums ever released. Parallel Lines also made #1 in the UK, as did the previous single Call Me. "The Tide Is High" (1980) The first single to be taken from the Autoamerican album, this reached No.1 in 1980. My gran actually bought this on 7" vinyl for my 12th birthday, and the song's reggae-inspired vibe is hard not to like at almost any age. I did not know this at the time, but the song is actually a cover that was originally penned in 1967 by Tyrone Evans and John Holt and was performed by The Paragons, a ska and rocksteady group from Jamaica fronted by Holt. The most recent cover I know of was "Numba 1 (Tide is High)" by the Canadian rapper Kardinal Offishall and featuring Keri Hilson. However, it was only a minor hit peaking at #38 in Canada and #84 in the UK. "RAPTURE" (1981) Blondie were never shy of trying out new music styles, and Rapture was the first rap-influenced single to reach #1 on the American Billboard charts. It peaked at #5 in the UK during January 1985 and was taken from the album Autoamerican. The song was the follow-up to The Tide is High, and the second and last single to be released from the Autoamerican album. The b-side featured another track from the album Walk Like Me. "ISLAND OF LOST SOULS" (1982) Released in April 1982, Island Of Lost Souls was a bright and breezy, calypso style pop song that peaked at #11 in the UK, #13 in Australia and #37 in the US. It was the first single to be lifted from Blondie's sixth studio album The Hunter, and was written by Deborah Harry and Chris Stein. As with the reggae-inspired The Tide is High, this totally different style of music didn't go down well with some Blondie fans, and was a mile away from the band's original new wave/punk rock sound. You can't please all of the people all of the time, I suppose. The following single from The Hunter album (entitled War Child) was the band's last proper single release of the 80s and peaked at #39, which meant that Island Of Lost Souls was the band's last major hit single, until the release of Maria in 1999 which reached #1 in the UK. However, there were various remixes released inbetween, including Denis (1988), Call Me (1989), Atomic (1994) and Heart Of Glass, Rapture and Union City Blue remixes in 1995.

i don't know

What is Mick Jagger's middle name?

Mick Jagger | The Rolling Stones The Rolling Stones Born 26 July 1943 Dartford, UK Mick Jagger Mick Jagger is acknowledged as the greatest front man ever, he has single handedly defined what it means to be the singer with a rock band, a blues band or any other kind of band during his fifty year career. Whether it’s in the studio or on stage – where he and the rest of the Rolling Stones have performed in front of more people than any band in history – he continually sets the standard to which others aspire, yet rarely attain. With his songwriting partner and band mate Keith Richards he has written some of the most recognizable rock anthems of the last fifty years. Songs that are the staple of every covers band in the world; songs that have been performed by just about everyone who is singing or playing in a band. Born Michael Philip Jagger in Dartford, Kent, in 1943, he met Keith Richards at Wentworth Primary School a few years later. The pair lost touch but reconnected at the local railway station in 1960. By then, they both shared a deep love and understanding of American rhythm and blues, including Chuck Berry, Bo Diddley, Howlin’ Wolf, Jimmy Reed and Muddy Waters whose song, ‘Rollin’ Stone’ inspired the name of the band they eventually formed in 1962 with guitarist Brian Jones. Dropping out of the London School of Economics in 1963 to pursue a career in music it was initially as, ‘just another beatboom band’ that the Stones were perceived, but all too soon Mick’s on stage and on camera persona, particularly on numerous 1960s TV shows, marked him and the Stones out as being different from the other bands – the others mostly liked to wear suits. Encouraged to write songs by their then manager, Andrew Loog Oldham, Mick and Keith began by coming up with what were usually ballads, but they quickly got into their stride, but not as many people think – it wasn’t Mick writing the words and Keith the music. Mick would sometimes came up with musical ideas that along with Keith’s ideas they forged into some of the most enduring records from the sixties. Among their earliest compositions are¬ ‘Let’s Spend The Night Together’, ‘Get Off Of My Cloud’, ’19th Nervous Breakdown’, ‘Paint It, Black’, ‘Have You Seen Your Mother, Baby, Standing In The Shadow?, ‘Jumpin’ Jack Flash’ and ‘Honky Tonk Women’. Throughout the 1970s and right up until the present day Mick and Keith have continued to come up with what is the gold standard for song writing. Away from the Rolling Stones Mick has pursued his interest in film by acting, most notably as the lead of the oft-referenced cult movie Performance, directed by Donald Cammell and Nicolas Roeg in 1968, but also in the title role of Ned Kelly in 1970, and in Geoff Murphy’s sci-fi film Freejack in 1992. Mick’s filmography includes cameos in Bent, Sean Mathias’ 1997 film The Man From Elysian Fields, as well as the World War II drama Enigma, directed by Michael Apted, which he co-produced in 2001. The same year, his Jagged Films company produced Being Mick, a revealing documentary about the singer. Mick loves sport – one of the earliest published photos of him is with his school basketball team that was coached by his father – and today his love of cricket sees him following England at Test matches and one-day internationals when his hectic work schedule allows. His love of art and design has seen him fully involved, along with with Charlie Watts, on the band’s stage set design and for the album cover art of many of the Rolling Stones near sixty career albums. Mick has also undertaken solo musical projects, starting with “Memo From Turner” in 1970, for the soundtrack of Performance, and he has issued 15 solo singles and 5 solo albums, including She’s The Boss in 1985, Wandering Spirit in 1993 and Goddess In The Doorway in 2001. In 2011 Mick along with Joss Stone, Dave Stewart, A. R. Rahman, and Damian Marley formed the group, SuperHeavy and released a self-titled album. There’s not a singer in a rock band that has not at some point imagined he had the charisma of Mick Jagger, his passion for performing, the stamina to be able to play high energy two-hour shows and the ability to hold an audience in the palm of his hand. It’s also impossible to imagine the cultural history of the last fifty years without Mick Jagger. Follow Mick

Philip

Who had a No 1 hit single with Together Forever?

Jagger Surname, Family Crest & Coats of Arms Jagger Surname, Family Crest & Coats of Arms The name Jagger is part of the ancient legacy of the Anglo-Saxon tribes of Britain. The name was taken on by someone who worked as a person who tends draughthorses. Jagger Early Origins The surname Jagger was first found in Yorkshire where they held a family seat from very ancient times, some say well before the Norman Conquest and the arrival of Duke William at Hastings in 1066 A.D. Jagger Spelling Variations Jagger Spelling Variations Before English spelling was standardized a few hundred years ago, spelling variations of names were a common occurrence. Elements of Latin, French and other languages became incorporated into English through the Middle Ages, and name spellings changed even among the literate. The variations of the surname Jagger include Jagger, Jaggers and others. Jagger Early History Jagger Early History This web page shows only a small excerpt of our Jagger research. Another 121 words (9 lines of text) covering the years 1290, 1568 and 1623 are included under the topic Early Jagger History in all our PDF Extended History products and printed products wherever possible. Jagger Early Notables (pre 1700) Jagger Early Notables (pre 1700) Another 28 words (2 lines of text) are included under the topic Early Jagger Notables in all our PDF Extended History products and printed products wherever possible. The Great Migration The Great Migration A great wave of immigration to the New World was the result of the enormous political and religious disarray that struck England at that time. Families left for the New World in extremely large numbers. The long journey was the end of many immigrants and many more arrived sick and starving. Still, those who made it were rewarded with an opportunity far greater than they had known at home in England . These emigrant families went on to make significant contributions to these emerging colonies in which they settled. Some of the first North American settlers carried this name or one of its variants: Jagger Settlers in United States in the 17th Century Jeremy Jagger settled in Wethersfield in 1637 James Jagger, who arrived in Maryland in 1659 Jonathon Jagger settled in Stamford Conn. in 1673 Jagger Settlers in United States in the 18th Century John Jagger settled in New England in 1770 Jagger Settlers in United States in the 19th Century William, Charles, George, John and Thomas Jagger settled in Philadelphia between 1840 and 1860 Jagger Settlers in Australia in the 19th Century Matthew Jagger arrived in Adelaide, Australia aboard the ship "Sir Charles Forbes" in 1839 [1] CITATION[CLOSE] State Records of South Australia . (Retrieved 2010, November 5) SIR CHARLES FORBES (originally Charles Forbes) 1839. Retrieved from http://www.slsa.sa.gov.au/BSA/1839SirCharlesForbes.htm Mary Jagger arrived in Adelaide, Australia aboard the ship "Sir Charles Forbes" in 1839 [1] CITATION[CLOSE] State Records of South Australia . (Retrieved 2010, November 5) SIR CHARLES FORBES (originally Charles Forbes) 1839. Retrieved from http://www.slsa.sa.gov.au/BSA/1839SirCharlesForbes.htm Jim Jagger arrived in Adelaide, Australia aboard the ship "Sir Charles Forbes" in 1839 [1] CITATION[CLOSE] State Records of South Australia. (Retrieved 2010, November 5) SIR CHARLES FORBES (originally Charles Forbes) 1839. Retrieved from http://www.slsa.sa.gov.au/BSA/1839SirCharlesForbes.htm John Jagger arrived in Adelaide, Australia aboard the ship "Sir Charles Forbes" in 1839 [1] CITATION[CLOSE] State Records of South Australia. (Retrieved 2010, November 5) SIR CHARLES FORBES (originally Charles Forbes) 1839. Retrieved from http://www.slsa.sa.gov.au/BSA/1839SirCharlesForbes.htm Robert Jagger arrived in Adelaide, Australia aboard the ship "Sir Charles Forbes" in 1839 [1] CITATION[CLOSE] State Records of South Australia. (Retrieved 2010, November 5) SIR CHARLES FORBES (originally Charles Forbes) 1839. Retrieved from http://www.slsa.sa.gov.au/BSA/1839SirCharlesForbes.htm ... (More are available in all our PDF Extended History products and printed products wherever possible.) Jagger Settlers in New Zealand in the 19th Century J. A. Jagger arrived in Auckland, New Zealand aboard the ship "Anazi" in 1879 Contemporary Notables of the name Jagger (post 1700) Contemporary Notables of the name Jagger (post 1700) Dean Jagger (1903-1991), Academy Award -winning and a Daytime Emmy Award winning American film actor Elizabeth Scarlett Jagger (b. 1984), American model and actress Sir Michael Philip "Mick" Jagger (b. 1943), Golden Globe and Grammy Award-winning English singer of the Rolling Stones David Jagger (1891-1958), English painter Joseph Hobson Jagger (1830-1892), British engineer Charles Sargeant Jagger (1885-1934), British sculptor best known for his war memorials Jagger Family Crest Products

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Boxer Jack Dempsey hailed from which state?

Boxing’s Greats of the States | Colorado: Jack Dempsey Boxing’s Greats of the States | Colorado: Jack Dempsey By Mike Sloan Feb 26, 2016 Boxers come from every corner of the globe. Sometimes, fighters are products of their environment, favoring styles prevalent in the country or state from which they hail. Various regions of the United States are considered factories for great fighters, though that certainly is not the case with each state. In this weekly Sherdog.com series, the spotlight will shine on the best boxer of all-time from each of the 50 states. Fighters do not necessarily need to be born in a given state to represent it; they simply need to be associated with it. For example, all-time great heavyweight legend Joe Louis was born in Alabama, but he is identified almost universally with Detroit. *** It may not be that well-known, but Colorado has a rich history in boxing. Some great pugilists have come through the Centennial State, but none had more of an impact on the Sweet Science than Jack Dempsey. Considered one of the hardest punchers of all-time, Dempsey has long been revered as one of the greatest heavyweights the sport has ever seen. He ruled boxing and was second only to Babe Ruth in terms of stardom in America in the 1920s. He captured the heavyweight championship in 1919 and held onto it until 1926 -- a reign of terror that saw him compete in some of the highest-profile bouts in history to that point. Nicknamed for the Colorado town in which he was born, “The Manassa Mauler” scored wins over icons Jess Willard, Jack Sharkey, Luis Firpo, Billy Miske and Georges Carpentier, knocking out all of them. Dempsey was defeated in his two legendary brawls with fellow all-time great Gene Tunney in 1926 and 1927, losing both battles by decision. Some of his fights were so massive that they filled up Yankee Stadium, Soldier Field, the Polo Grounds and, of course, Madison Square Garden. Dempsey retired with an overall record of 65-6-11 with 51 KOs. After his fighting career was over, he became a philanthropist and even joined the Coast Guard to help fight in World War II. To this day, old-time boxing historians claim Dempsey, small for a heavyweight by today’s standards, could have easily knocked out everybody from Muhammad Ali to Mike Tyson. HONORABLE MENTIONS: Stevie Johnston, Ron Lyle, Terron Millett, Mike Alvarado

Colorado

Which British liner was sunk by a German submarine in 1915?

Boxing’s Greats of the States | Colorado: Jack Dempsey - Boxing.com Boxing.com Boxing’s Greats of the States | Colorado: Jack Dempsey By Boxing News on February 26, 2016 Boxers come from every corner of the globe. Sometimes, fighters are products of their environment, favoring styles prevalent in the country or state from which they hail. Various regions of the United States are considered factories for great fighters

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Which role as 'the other woman' won Glenn Close her first Oscar nomination?

Close, Glenn: Why She Had Never Won the Oscar Despite Multiple Noms | Emanuel Levy Close, Glenn: Why She Had Never Won the Oscar Despite Multiple Noms January 17, 2009 by EmanuelLevy Leave a Comment Despite five Oscar nominations in six years, two of which as Best Actress, and three as Supporting Actress, so far, Glenn Close, who turned 61 last March, has not won the Oscar. Will Close follow in the footsteps of Geraldine Page, another great New York stage actress, who finally won the Oscar at her eighth nomination Or will she follow the path of Deborah Kerr, who, despite six Best Actress nominations, had never won the coveted gold statuette. The Academy finally bestowed on Kerr the Honorary Oscar as a compensation for being snubbed so many times. Close Oscar History Close’s meteoric rise to stardom also owes a debt to her first nomination. Close earned a supporting nomination for her screen debut, The World According to Garp, in which she played the plum role of Robin Williams’s eccentric and liberated mother. In the following year, Close was the only actress from The Big Chill’s gifted ensemble to be singled out by the Academy. The success of The Big Chill was largely based on ensemble acting by Kevin Kline, William Hurt, JoBeth Williams, and others. Yet only Close’s performance was nominated, indicating that it wasn’t just the high-quality of her acting, but also her newly gained status as an Oscar-caliber actress. In 1984, Close earned her third consecutive nomination for The Natural, as Robert Redford’s naive girlfriend. Neither the role nor her acting was extraordinary. Had another actress played the same role it would probably not have been recognized. Yet while watching The Natural, her fellow-actors focused their attention on her acting because of her Academy status. Close became a perennial nominee in the 1980s, making an effective transition from secondary to lead roles. Ironically, it took a villainess role, that of the “Other Woman,” in the suspenseful blockbuster Fatal Attraction, to put Close at the forefront of leading ladies, for which she was rewarded with a fourth (and first Best Actress) nomination. “I wanted to break out of the kinds of roles I used to do, because I was boring myself,” Close said about her typecasting as an earth mother. Close’s new, more sexual look convinced producers of her versatile talent and wider range. In 1988, Stephen Frears cast her in the sumptuous costume picture, Dangerous Liaisons, playing another unsympathetic role, a manipulative French aristocrat, for which she received her fifth nomination. The cumulative effect of all that is that Close became a bankable star and one of Hollywood’s most respectable actresses. Glenn Close Oscar Nominations 1982: Supporting Actress, The World According to Garp; the winner was Jessica Lange for Tootsie 1983: Supporting Actress, The Big Chill; the winner was Linda Hunt for The Year of Living Dangerously 1984: Supporting Actress, The Natural; the winner was Dame Peggy Ashcroft for A Passage to India 1987: Best Actress, Fatal Attraction; the winner was Cher for Moonstruck 1988: Best Actress, Dangerous Liaisons; the winner was Jodie Foster for The Accused  

Fatal Attraction

Who wrote the novel The Godfather?

1987 Academy Awards® Winners and History Hope and Glory (1987, UK) Moonstruck (1987) Actor: MICHAEL DOUGLAS in "Wall Street", William Hurt in "Broadcast News", Marcello Mastroianni in "Dark Eyes", Jack Nicholson in "Ironweed", Robin Williams in "Good Morning, Vietnam" Actress: CHER in "Moonstruck", Glenn Close in "Fatal Attraction", Holly Hunter in "Broadcast News", Sally Kirkland in "Anna", Meryl Streep in "Ironweed" Supporting Actor: SEAN CONNERY in "The Untouchables", Albert Brooks in "Broadcast News", Morgan Freeman in "Street Smart", Vincent Gardenia in "Moonstruck", Denzel Washington in "Cry Freedom" Supporting Actress: OLYMPIA DUKAKIS in "Moonstruck", Norma Aleandro in "Gaby: a True Story", Anne Archer in "Fatal Attraction", Anne Ramsey in "Throw Momma From the Train", Ann Sothern in "The Whales of August" Director: BERNARDO BERTOLUCCI for "The Last Emperor", John Boorman for "Hope and Glory", Lasse Hallstrom for "My Life as a Dog", Norman Jewison for "Moonstruck", Adrian Lyne for "Fatal Attraction" This was the 60th year of the Academy Awards. The 1987 Best Picture winner was Italian director/co-screenwriter Bernardo Bertolucci's Oscar-sweeping, big-budget, technically-brilliant film The Last Emperor (with nine nominations and nine wins!), filmed both in Italy and China with a cast of thousands. The spectacular historical epic, shot in China's Forbidden City (the first ever), dramatized the life of Pu Yi (played as an adult by John Lone), China's last Manchu dynasty emperor (beginning at the age of three) who was deposed only three years later, and used by the Japanese to be the puppet ruler of Manchukuo. The film featured 19,000 extras and 9,000 costumes. It was the only film produced outside of America or Britain to have received the ultimate award for Best Picture; it was not considered a foreign-language film, however, and therefore was not nominated for Best Foreign Language Film. The visually-striking film's nine Oscar awards included: Best Picture, Best Director, Best Screenplay, Best Cinematography, Best Art/Set Direction, Best Sound, Best Original Score, Best Film Editing, and Best Costume Design - but the Best Picture film did not have a single nomination in any of the acting categories. Only one other Best Picture film, the musical Gigi (1958), also scored nine Oscars from nine nominations. The two films were tied as the third most honored film in the Academy's history. The film's nine Oscar wins was the largest victory since West Side Story (1961) - with ten wins, the second most-honored film, following after Ben-Hur (1959) , with eleven wins. [This would change in future years.] Bertolucci's win as Best Director (his first) was for his second nomination as Best Director (he was first nominated as Best Director for Last Tango in Paris (1972)). It was the first PG-13 rated film to win Best Picture, and the second of only three partly foreign language films (English/Mandarin) to win Best Picture (the other two were in 1974 and 2008). The other four nominees in the Best Picture category were: writer/director/producer James L. Brooks' indictment of contemporary television journalism in Broadcast News (with seven nominations and no wins) director Adrian Lyne's controversial, shocking tale of the after-effects of a one-night stand, the high-grossing, sexy thriller Fatal Attraction (with six nominations and no wins) writer/producer/director John Boorman's British film with boyhood reminiscences of the wartime London blitz in Hope and Glory (with five nominations and no wins) director Norman Jewison's romantic comedy among Italian-Americans, Moonstruck (with six nominations and three wins - Best Actress, Best Supporting Actress, and Best Screenplay) 1987 was the first time that all five nominees for Best Director were not born in the United States: Italy, Bernardo Bertolucci, The Last Emperor Britain, John Boorman, Hope and Glory Sweden, Lasse Hallstrom, My Life as a Dog Canada, Norman Jewison, Moonstruck Britain, Adrian Lyne, Fatal Attraction With Bertolucci's win, he became the first and only Italian filmmaker to receive a competitive Oscar. James L. Brooks was the only director of a Best Picture nominee who wasn't nominated for Best Director. In his place, Swedish director Lasse Hallstrom was nominated for the engaging, off-beat film My Life as a Dog (with two nominations and no wins) about a young 1950s Swedish boy. Michael Douglas, lead male star in Best Picture-nominated Fatal Attraction, won the Best Actor award (his sole acting Oscar to date) for his performance as the evil, big-time, hotshot, ruthless mid-80s capitalistic trader Gordon Gekko, known for the statement: "Greed is good," who uses underling Charlie Sheen as his insider-dealer in writer/director Oliver Stone's Wall Street (the film's sole nomination and win). The other Best Actor nominees were: William Hurt (with his third consecutive nomination) as handsome, dim-witted newscaster Tom Grunick in Broadcast News Marcello Mastroianni (with his third nomination) as cruise-ship waiter Romano who remembers his younger days of womanizing in director Nikita Mikhalkov's Italian romantic comedy Dark Eyes (the film's sole nomination) Jack Nicholson (with his ninth nomination, and sixth Best Actor nomination) as skid-row alcoholic, Depression-era, ex-baseball player Francis Phelan in director Hector Babenco's bleak, unsuccessful film Ironweed (with one of the film's two nominations) - this ninth nomination made Nicholson one of the most-nominated performers (and in a tie with Spencer Tracy) Robin Williams (with his first nomination) as disc jockey Adrian Cronauer on mid 60s Saigon Armed Forces Radio in Barry Levinson's Vietnam-era film Good Morning, Vietnam (the film's sole nomination) Cher (with her second nomination) won the Best Actress award and her first Oscar as 38 year-old widowed and dowdy bookkeeper Loretta Castorini who lives in a Brooklyn Italian-American family and finds love with the brother (Nicolas Cage) of her fiancee (Danny Aiello) in the appealing romantic comedy Moonstruck. [She was the first single-named star to win an Oscar in Academy history. She had also appeared in two other films in the same year - in The Witches of Eastwick (with two minor, unsuccessful nominations) and Suspect (with no nominations).] Her competitors for Best Actress were: Glenn Close (with her fourth unsuccessful nomination) as the madly-obsessed, sexy and scorned Alex Forrest in Fatal Attraction Holly Hunter (with her first nomination) in a star-making role as the ambitious, network TV news producer Jane Craig in Broadcast News Sally Kirkland (with her first nomination) as an ex-Czechoslovakian and struggling actress living in New York in Anna (the film's sole nomination) Meryl Streep (with her seventh nomination, and fifth Best Actress nomination in the 80s) as Jack Nicholson's skid-row partner in Ironweed Better known for his world-famous James Bond films, Sean Connery (with his first nomination and first Oscar) won the Best Supporting Actor award for his role as the wily, street-smart, honest, veteran 1930s Chicago beat cop, Irishman James Malone who teaches federal agent Eliot Ness (Kevin Costner) how to trap gangster Al Capone (Robert De Niro) in director Brian DePalma's re-working of the TV series in the film The Untouchables (with four nominations and one win). The other four Best Supporting Actor nominees were: Albert Brooks (with his first nomination) as veteran TV correspondent/reporter Aaron Altman in Broadcast News Morgan Freeman (with his first nomination) in a breakthrough role as murder suspect and scary street pimp Fast Black in Street Smart (the film's sole nomination) Vincent Gardenia (with his second nomination) as Cher's father - an Italian-American plumber named Cosmo Castorini in Moonstruck Denzel Washington (with his first nomination) in a star-making role as non-violent black leader Steve Biko, a brutal murder victim in director Richard Attenborough's film about S. African apartheid, Cry Freedom And Olympia Dukakis (with her first nomination) won the Best Supporting Actress Oscar for her performance as Cher's long-suffering, tolerant mother Rose Castorini who overlooks the affairs of her plumber husband (Vincent Gardenia) in Moonstruck. Her Best Supporting Actress competitors were: Argentinian actress Norma Aleandro (with the first South American actress nomination ever) as the devoted maid who cares for cerebral palsy-disabled Gaby in Gaby - a True Story Anne Archer (with her first nomination) as Michael Douglas' warm and beautiful wife Beth Gallagher in Fatal Attraction Anne Ramsey (with her first nomination) as star Danny DeVito's mean old, gravel-voiced Momma in DeVito's own black comedy (his directorial debut) Throw Momma From the Train (the film's sole nomination) veteran actress Ann Sothern (with her sole Oscar nomination) as Tisha Doughty, the Maine island resident and lifelong friend of co-stars Lillian Gish and Bette Davis - two elderly sisters in the dramatic The Whales of August (the film's sole nomination) Oscar Snubs and Omissions: It appears unusually inappropriate that Fatal Attraction, a box-office hit and psychological thriller, was nominated for Best Picture, when other more deserving films were not nominated. Any one of the following films could have taken its place as a Best Picture nominee: director Oliver Stone's drama about the stock market world of the early 80s Wall Street (with only one winning nomination for Best Actor) Steven Spielberg's epic of a British boy's perception of WWII Empire of the Sun (with only six minor nominations and defeated in every category by multiple-Oscar winning The Last Emperor - and a film that was overshadowed by John Boorman's similar Hope and Glory) director John Huston's The Dead (with only two nominations, Best Adapted Screenplay and Best Costume Design) - it was Huston's last film (and released posthumously) the Oscar-winning Best Foreign Language Film from Denmark, Babette's Feast Joel and Ethan Coen's stylish comedy Raising Arizona Stanley Kubrick's widely-overlooked Full Metal Jacket (with only one unsuccessful nomination for Best Adapted Screenplay) the un-nominated controversial and disturbing drama River's Edge Louis Malle's French masterpiece and Foreign Language Film nominee Au Revoir, Les Enfants Swedish director Lasse Hallstrom's My Life as a Dog Barry Levinson's Good Morning, Vietnam (with only one unsuccessful nomination) Woody Allen's Radio Days director Richard Attenborough's Cry Freedom - a chronicle of apartheid opponent Steve Biko writer/director David Mamet's complex debut film House of Games Brian De Palma's The Untouchables The classic children's fantasy The Princess Bride was almost completely ignored (with only one nomination for Best Song), and should have received consideration for Best Picture, Best Director (Rob Reiner), Best Screenplay Adaptation (William Goldman from his own novel), Best Actress (Robin Wright Penn as Buttercup, the titular Princess Bride), and Best Supporting Actor (Peter Falk as the Grandfather). Dire Straits band member Mark Knopfler, as he was four years earlier with Local Hero (1983), was again ignored for Best Original Score. Neither Jean de Florette (1986, Fr.) nor its sequel Manon of the Spring (1986, Fr.) were nominated for Best Foreign Film (Note: both films were released to the U.S. together in 1987). Gerard Depardieu's role as hunchbacked farmer Jean Cadoret from the first film went un-nominated, as did Yves Montand's role as the scheming Cesar Soubeyran in both films. And a number of star performances were neglected as nominees in some of these same films: John Lone, Joan Chen, and Peter O'Toole were unnominated for Best Picture winner The Last Emperor Danny DeVito as vengeful aluminum-siding salesman Ernest Tilley in writer/director Barry Levinson's comedy Tin Men Joe Mantegna as street-wise con artist Mike and Lindsay Crouse as his psychologist Dr. Margaret Ford in House of Games Nicolas Cage as H. I. McDonnough and Holly Hunter (in her first starring role) as Edwina ("Ed) - baby-kidnappers on the run in the Coen's Raising Arizona Bruce Campbell as demon-possessed Ash Williams in the horror sequel Evil Dead II (aka Dead by Dawn) to the original 1981 film Vincent D'Onofrio as troubled, overweight Marine boot-camp Private Leonard Lawrence (nicknamed "Gomer Pyle") - mistreated and driven suicidally crazy by Senior Drill Instructor Gunnery Sergeant Hartman (R. Lee Ermey) (also un-nominated), in Kubrick's Vietnam war film Full Metal Jacket Anjelica Huston as Gretta Conroy in father/director John Huston's The Dead based on the last short story of James Joyce's The Dubliners; memorable for the scene of Gretta's remembrance to her husband Gabriel (Donal McCann) of long-deceased lover Michael Furey who possibly died on her behalf ("I think he died for me") Joanne Woodward as fading Southern belle Amanda Wingfield in husband/director Paul Newman's adaptation of the Tennessee Williams play of the same name, The Glass Menagerie (with no nominations) Lou Diamond Phillips as Mexican-American 50's rock 'n' roll singer Ritchie Valens in La Bamba (with no nominations) Steve Martin as big nosed, unrequited lover Charlie C.D. Bales in the overlooked romantic comedy Roxanne - neglected like he was in 1984 Jack Nicholson as the seductive devil Daryl Van Horne in the black comedy The Witches of Eastwick (with only two nominations and no wins) both Debra Winger as FBI agent Alexandra Barnes and Theresa Russell as the sexy seductress and suspected murderess Catharine in Bob Rafelson's Black Widow (with no nominations) Vanessa Redgrave as 60s London literary critic Peg Ramsay in Prick Up Your Ears Sheila McCarthy as self-effacing outcast and amateur artist Polly in I've Heard the Mermaids Singing

i don't know

Vehicles from which country use the international registration letter S?

Vehicle documents required for international road haulage - GOV.UK GOV.UK Vehicle documents required for international road haulage From: Vehicle documents drivers need to legally cross international borders in a UK-registered vehicle. Contents Further Information When you drive a goods vehicle from one country to another, you must make sure that you have certain documents on board. This guide provides information about the documents you will need as a driver to make sure that your vehicle is legally able to cross international borders. Vehicle registration documents If you take a UK-registered vehicle out of the country for less than 12 months, you must take documentation to show that you are authorised to possess the vehicle. This means you must carry the original Vehicle Registration Certificate (V5C) with you. If you have not received the V5C certificate, or the original has been lost, stolen or defaced, you can download the application for a vehicle registration certificate (V62) . If you take your vehicle out of the UK for more than 12 months (permanent export), you must notify the Driver and Vehicle Licensing Agency ( DVLA ) by completing the purple section, part 11 (V5C/4) of the VC5. It’s important that you take your registration certificate with you as you may have to hand it to the relevant authority when the vehicle is registered abroad. Read about taking a vehicle out of the UK permanently or temporarily . If your vehicle is hired or leased, the supplier company is unlikely to let you have the original VC5. Instead you can apply for a Vehicle on Hire Certificate (VE103). This certificate is authenticated proof of permission from the owner to take the vehicle abroad. A Vehicle on Hire Certificate is valid for one year and you can buy one from motoring organisations such as: Automobile Association (AA) Road Haulage Association Vehicle insurance documents The basic EU legal requirement is third party vehicle insurance. This covers injury to other people, including your passengers, damage to or loss of other peoples’ property resulting from an accident caused by you. It doesn’t cover any costs incurred by you as a result of an accident. Third party, fire and theft provides the same cover as third party but also includes fire damage and theft of the vehicle. Fully comprehensive provides the same cover as third party, fire and theft and additionally covers any damage to your vehicle. Every motor insurance policy issued in the EU must provide the minimum insurance cover required by law in any other EU country. Green Card In many countries, even those within the EU where a UK insurance certificate is acceptable, you may be asked to produce a Green Card. The Green Card is not an insurance cover. It simply provides proof, in those countries where the Green Card is valid, that the minimum third party liability cover required by law in the visited country is in force. If your insurers aren’t able to issue a Green Card, you can find alternative suppliers on the MIB website . The MIB operates the Green Card system in the UK. Insurance for goods in transit In some countries, you may need to produce a certificate of insurance for the goods carried to avoid paying a premium. See the guide on moving goods by road . It’s also important to ensure that the risk of goods being damaged, delayed, perished, lost or stolen in transit is properly managed. See the guide on transport insurance . Goods vehicle operator’s licence To transport goods abroad in an HGV for hire or reward you must have a standard international operators licence. This allows you to carry goods both in the UK and on international journeys. The licence comes into force once the fee has been paid and the licence documents are issued. Providing the 5 yearly renewal fee is paid and there are no infringements, the licence lasts indefinitely. Identity discs are also issued and must be displayed in each specified motor vehicle. The identity discs show the: operator’s name type of licence Community licences A valid Community Licence is required for all hire or reward operations in or through EU countries. They have replaced the need for community permits, bilateral permits between member states and permits for transit traffic through the EU. They do not replace permits for travel to or through non-EU countries, where these are still required. Only operators and hauliers who hold standard international licences can request Community Licences. The guide to Being a goods vehicle operator contains further information on goods vehicle licensing. DVSA is the authority which deals with operator licensing applications. You can find contact details for Traffic Area Offices in England, Scotland and Wales on the Department for Transport ( DfT ) website . Vehicle tax and nationality signs If you use a vehicle to transport goods abroad you may have to pay a vehicle tax in the countries you drive through. Some countries have an agreement with the UK that means that registered goods vehicles are exempt from this tax. At the moment the following countries charge visiting foreign goods vehicles to use their roads: Albania, Austria, Belarus, Belgium, Bulgaria, Czech Republic, Denmark, Germany, Jordan, Luxembourg, Netherlands, Poland, Sweden, Switzerland and Turkey. You can find out more about the costs of vehicle tax in the Vehicle tax rate tables guide . Nationality sign or GB sticker All vehicles registered in the UK must display the international registration letters GB on the rear of the vehicle when taken temporarily abroad. UK registered vehicles displaying Euro-plates (a circle of 12 stars above the national identifier on a blue background) don’t need to fix a GB sticker to the rear of their vehicle when driving in EU countries. In non-EU countries, a GB sticker must still be displayed on the rear of UK-registered motor vehicles, caravans or trailers. Most motoring organisations and many tour operators will supply GB stickers. In addition to the Euro symbol or GB sticker, drivers and keepers of vehicles registered in Great Britain are also permitted to voluntarily display national flags and certain identifiers on their number plates. Help with goods vehicle documentation The following organisations can help with vehicle documentation to ensure that the vehicle can be legally driven across international borders. Government organisations and agencies The Health & Safety Executive ( HSE ) - provides information and advice on controlling risks in the workplace to ensure the protection of people’s health and safety. View details of the requirements of the carriage of dangerous goods on the HSE website . DVSA - a government agency that provides a range of licensing, testing and enforcement services. Find out how to contact DVSA . DVLA - facilitates road safety and general law enforcement by maintaining registers of drivers and vehicles, and collects car tax. Find out how to contact the DVLA . Insurance associations MIB - operates the Green Card system in the UK. Find out about the Green Card system on the MIB website . Motoring organisations

Sweden

Jack Sharkey was a world champion in which sport?

Vehicle documents required for international road haulage - GOV.UK GOV.UK Vehicle documents required for international road haulage From: Vehicle documents drivers need to legally cross international borders in a UK-registered vehicle. Contents Further Information When you drive a goods vehicle from one country to another, you must make sure that you have certain documents on board. This guide provides information about the documents you will need as a driver to make sure that your vehicle is legally able to cross international borders. Vehicle registration documents If you take a UK-registered vehicle out of the country for less than 12 months, you must take documentation to show that you are authorised to possess the vehicle. This means you must carry the original Vehicle Registration Certificate (V5C) with you. If you have not received the V5C certificate, or the original has been lost, stolen or defaced, you can download the application for a vehicle registration certificate (V62) . If you take your vehicle out of the UK for more than 12 months (permanent export), you must notify the Driver and Vehicle Licensing Agency ( DVLA ) by completing the purple section, part 11 (V5C/4) of the VC5. It’s important that you take your registration certificate with you as you may have to hand it to the relevant authority when the vehicle is registered abroad. Read about taking a vehicle out of the UK permanently or temporarily . If your vehicle is hired or leased, the supplier company is unlikely to let you have the original VC5. Instead you can apply for a Vehicle on Hire Certificate (VE103). This certificate is authenticated proof of permission from the owner to take the vehicle abroad. A Vehicle on Hire Certificate is valid for one year and you can buy one from motoring organisations such as: Automobile Association (AA) Road Haulage Association Vehicle insurance documents The basic EU legal requirement is third party vehicle insurance. This covers injury to other people, including your passengers, damage to or loss of other peoples’ property resulting from an accident caused by you. It doesn’t cover any costs incurred by you as a result of an accident. Third party, fire and theft provides the same cover as third party but also includes fire damage and theft of the vehicle. Fully comprehensive provides the same cover as third party, fire and theft and additionally covers any damage to your vehicle. Every motor insurance policy issued in the EU must provide the minimum insurance cover required by law in any other EU country. Green Card In many countries, even those within the EU where a UK insurance certificate is acceptable, you may be asked to produce a Green Card. The Green Card is not an insurance cover. It simply provides proof, in those countries where the Green Card is valid, that the minimum third party liability cover required by law in the visited country is in force. If your insurers aren’t able to issue a Green Card, you can find alternative suppliers on the MIB website . The MIB operates the Green Card system in the UK. Insurance for goods in transit In some countries, you may need to produce a certificate of insurance for the goods carried to avoid paying a premium. See the guide on moving goods by road . It’s also important to ensure that the risk of goods being damaged, delayed, perished, lost or stolen in transit is properly managed. See the guide on transport insurance . Goods vehicle operator’s licence To transport goods abroad in an HGV for hire or reward you must have a standard international operators licence. This allows you to carry goods both in the UK and on international journeys. The licence comes into force once the fee has been paid and the licence documents are issued. Providing the 5 yearly renewal fee is paid and there are no infringements, the licence lasts indefinitely. Identity discs are also issued and must be displayed in each specified motor vehicle. The identity discs show the: operator’s name type of licence Community licences A valid Community Licence is required for all hire or reward operations in or through EU countries. They have replaced the need for community permits, bilateral permits between member states and permits for transit traffic through the EU. They do not replace permits for travel to or through non-EU countries, where these are still required. Only operators and hauliers who hold standard international licences can request Community Licences. The guide to Being a goods vehicle operator contains further information on goods vehicle licensing. DVSA is the authority which deals with operator licensing applications. You can find contact details for Traffic Area Offices in England, Scotland and Wales on the Department for Transport ( DfT ) website . Vehicle tax and nationality signs If you use a vehicle to transport goods abroad you may have to pay a vehicle tax in the countries you drive through. Some countries have an agreement with the UK that means that registered goods vehicles are exempt from this tax. At the moment the following countries charge visiting foreign goods vehicles to use their roads: Albania, Austria, Belarus, Belgium, Bulgaria, Czech Republic, Denmark, Germany, Jordan, Luxembourg, Netherlands, Poland, Sweden, Switzerland and Turkey. You can find out more about the costs of vehicle tax in the Vehicle tax rate tables guide . Nationality sign or GB sticker All vehicles registered in the UK must display the international registration letters GB on the rear of the vehicle when taken temporarily abroad. UK registered vehicles displaying Euro-plates (a circle of 12 stars above the national identifier on a blue background) don’t need to fix a GB sticker to the rear of their vehicle when driving in EU countries. In non-EU countries, a GB sticker must still be displayed on the rear of UK-registered motor vehicles, caravans or trailers. Most motoring organisations and many tour operators will supply GB stickers. In addition to the Euro symbol or GB sticker, drivers and keepers of vehicles registered in Great Britain are also permitted to voluntarily display national flags and certain identifiers on their number plates. Help with goods vehicle documentation The following organisations can help with vehicle documentation to ensure that the vehicle can be legally driven across international borders. Government organisations and agencies The Health & Safety Executive ( HSE ) - provides information and advice on controlling risks in the workplace to ensure the protection of people’s health and safety. View details of the requirements of the carriage of dangerous goods on the HSE website . DVSA - a government agency that provides a range of licensing, testing and enforcement services. Find out how to contact DVSA . DVLA - facilitates road safety and general law enforcement by maintaining registers of drivers and vehicles, and collects car tax. Find out how to contact the DVLA . Insurance associations MIB - operates the Green Card system in the UK. Find out about the Green Card system on the MIB website . Motoring organisations

i don't know

What was Marilyn Monroe's last film?

The Misfits (1961) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A divorcee falls for an over-the-hill cowboy who is struggling to maintain his romantically independent lifestyle. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 31 titles created 15 Sep 2011 a list of 23 titles created 20 Oct 2011 a list of 23 titles created 15 Aug 2013 a list of 30 titles created 12 Sep 2014 a list of 41 titles created 9 months ago Search for " The Misfits " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards  » Photos A naive but stubborn cowboy falls in love with a saloon singer and tries to take her away against her will to get married and live on his ranch in Montana. Director: Joshua Logan When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell. Director: George Cukor An American showgirl becomes entangled in political intrigue when the prince regent of a foreign country attempts to seduce her. Director: Laurence Olivier The title river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others. Directors: Otto Preminger, Jean Negulesco Stars: Robert Mitchum, Marilyn Monroe, Rory Calhoun As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder. Director: Henry Hathaway When his family goes away for the summer, a so far faithful husband is tempted by a beautiful neighbor. Director: Billy Wilder Three women set out to find eligible millionaires to marry, but find true love in the process. Director: Jean Negulesco Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers. Director: Howard Hawks Molly and Terry Donahue, plus their three children, are The Five Donahues. Son Tim meets hat-check girl Vicky and the family act begins to fall apart. Director: Walter Lang A major heist goes off as planned, until bad luck and double crosses cause everything to unravel. Director: John Huston A chemist finds his personal and professional life turned upside down when one of his chimpanzees finds the fountain of youth. Director: Howard Hawks After being dumped by his girlfriend, an airline pilot pursues a babysitter in his hotel and gradually realizes she's dangerous. Director: Roy Ward Baker Edit Storyline Roslyn Taber, the type of woman who turns heads easily, recently came to Reno to get a quickie divorce, she having no idea what to do with her life after that. She cannot tolerate seeing animal suffering, let alone human suffering. Coinciding with getting the divorce, Roslyn meets friends Gay Langland and Guido, a divorced aging grizzled cowboy and a widowed mechanic respectively. Although Guido makes no bones about wanting to get to know Roslyn in the biblical sense and although he "saw her first", Roslyn begins a relationship with Gay, despite Roslyn's friend Izzy Steers, who originally came to Reno years ago to get her own divorce and never left, warning her about cowboys as being unreliable, and despite Roslyn initially not being interested in Gay "in that way". Gay has grown children who he rarely sees and wishes he was there for more than was the case. Gay and Roslyn move into the under construction farmhouse owned by Guido, which he was building for his wife before she died. ... Written by Huggo It shouts and sings with life ... explodes with love! See more  » Genres: 1 February 1961 (USA) See more  » Also Known As: Did You Know? Trivia United Artists executives were unhappy with the rough cut of the film, so director John Huston , producer Frank E. Taylor , and writer Arthur Miller all agreed to reshoot several scenes. Clark Gable had script approval, however, and he rejected the idea. Other disagreements over the final cut resulted in the elimination of a shot of Marilyn Monroe 's naked breast from the bedroom scene. See more » Goofs When Monroe and Cliff are behind the bar sitting near an old car and a pile of beer cans, the cans change places from cut to cut when seen from behind Monroe down to Cliff. See more » Quotes [first lines] Isabelle Steers : Young man, do you have the time? I got six clocks in the house and none of them work. Guido : Twenty after nine. Isabelle Steers : After? It's twenty after, dear. Dahlin'. Five minutes. Roslyn : What about you? Isabelle Steers : I'm all set, I just tyin' my sling. The lawyer said nine thirty sharp, dahlin'. See more » Crazy Credits There are no closing credits of any kind. Not even the words "THE END" appear on the screen. See more » Connections (Perth, WA) – See all my reviews The Misfits, the last film of Clark Gable and Marilyn Monroe, is a truly haunting film that never leaves you long after you've finished watching it. Despite having a poor box office and mixed reviews, it is now highly regarded among modern critics. It is about a restless fragile divorcée finding a new life in Reno with a couple of cowboys, one of which has a gambling problem and survives on slaughtering mustangs to make dog food. Not only does this showcase Marilyn Monroe and Clark Gable's exceptional (and often underestimated) talent, but it is a very beautiful movie that lingers on in your mind long after you have finished watching it. Personally it has affected me a lot, especially the horse sequence. I know this was essential to the film but as an animal lover and vegetarian I found it very distressing - in fact incredibly distressing seeing the horses being treated that way for the sake of the movie. Nevertheless, it added to the movie and when they were set free, it was the most magnificent moment in the movie. Marilyn's screaming part was also very beautiful, I felt her frustration completely. The Misfits is a very suitable title as it refers to both the poor horses caught up in the web of human greed and also to the restless humans, unsatisfied and cruel. This is a very moving movie, showing the cruelness of human nature and a most realistic portrayal of human life, both the positive and the negative. I was so astounded by both Marilyn and Clark's acting, plus the magnificent script which was so very intelligent, magnificent quotes. I definitely recommend this movie to everyone. 34 of 51 people found this review helpful.  Was this review helpful to you? Yes

Misfits

What was Bix Beiderbecke's principal musical instrument?

The Misfits (1961) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A divorcee falls for an over-the-hill cowboy who is struggling to maintain his romantically independent lifestyle. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 31 titles created 15 Sep 2011 a list of 23 titles created 20 Oct 2011 a list of 23 titles created 15 Aug 2013 a list of 30 titles created 12 Sep 2014 a list of 41 titles created 9 months ago Search for " The Misfits " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards  » Photos A naive but stubborn cowboy falls in love with a saloon singer and tries to take her away against her will to get married and live on his ranch in Montana. Director: Joshua Logan When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell. Director: George Cukor An American showgirl becomes entangled in political intrigue when the prince regent of a foreign country attempts to seduce her. Director: Laurence Olivier The title river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others. Directors: Otto Preminger, Jean Negulesco Stars: Robert Mitchum, Marilyn Monroe, Rory Calhoun As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder. Director: Henry Hathaway When his family goes away for the summer, a so far faithful husband is tempted by a beautiful neighbor. Director: Billy Wilder Three women set out to find eligible millionaires to marry, but find true love in the process. Director: Jean Negulesco Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers. Director: Howard Hawks Molly and Terry Donahue, plus their three children, are The Five Donahues. Son Tim meets hat-check girl Vicky and the family act begins to fall apart. Director: Walter Lang A major heist goes off as planned, until bad luck and double crosses cause everything to unravel. Director: John Huston A chemist finds his personal and professional life turned upside down when one of his chimpanzees finds the fountain of youth. Director: Howard Hawks After being dumped by his girlfriend, an airline pilot pursues a babysitter in his hotel and gradually realizes she's dangerous. Director: Roy Ward Baker Edit Storyline Roslyn Taber, the type of woman who turns heads easily, recently came to Reno to get a quickie divorce, she having no idea what to do with her life after that. She cannot tolerate seeing animal suffering, let alone human suffering. Coinciding with getting the divorce, Roslyn meets friends Gay Langland and Guido, a divorced aging grizzled cowboy and a widowed mechanic respectively. Although Guido makes no bones about wanting to get to know Roslyn in the biblical sense and although he "saw her first", Roslyn begins a relationship with Gay, despite Roslyn's friend Izzy Steers, who originally came to Reno years ago to get her own divorce and never left, warning her about cowboys as being unreliable, and despite Roslyn initially not being interested in Gay "in that way". Gay has grown children who he rarely sees and wishes he was there for more than was the case. Gay and Roslyn move into the under construction farmhouse owned by Guido, which he was building for his wife before she died. ... Written by Huggo It shouts and sings with life ... explodes with love! See more  » Genres: 1 February 1961 (USA) See more  » Also Known As: Did You Know? Trivia United Artists executives were unhappy with the rough cut of the film, so director John Huston , producer Frank E. Taylor , and writer Arthur Miller all agreed to reshoot several scenes. Clark Gable had script approval, however, and he rejected the idea. Other disagreements over the final cut resulted in the elimination of a shot of Marilyn Monroe 's naked breast from the bedroom scene. See more » Goofs When Monroe and Cliff are behind the bar sitting near an old car and a pile of beer cans, the cans change places from cut to cut when seen from behind Monroe down to Cliff. See more » Quotes [first lines] Isabelle Steers : Young man, do you have the time? I got six clocks in the house and none of them work. Guido : Twenty after nine. Isabelle Steers : After? It's twenty after, dear. Dahlin'. Five minutes. Roslyn : What about you? Isabelle Steers : I'm all set, I just tyin' my sling. The lawyer said nine thirty sharp, dahlin'. See more » Crazy Credits There are no closing credits of any kind. Not even the words "THE END" appear on the screen. See more » Connections (Perth, WA) – See all my reviews The Misfits, the last film of Clark Gable and Marilyn Monroe, is a truly haunting film that never leaves you long after you've finished watching it. Despite having a poor box office and mixed reviews, it is now highly regarded among modern critics. It is about a restless fragile divorcée finding a new life in Reno with a couple of cowboys, one of which has a gambling problem and survives on slaughtering mustangs to make dog food. Not only does this showcase Marilyn Monroe and Clark Gable's exceptional (and often underestimated) talent, but it is a very beautiful movie that lingers on in your mind long after you have finished watching it. Personally it has affected me a lot, especially the horse sequence. I know this was essential to the film but as an animal lover and vegetarian I found it very distressing - in fact incredibly distressing seeing the horses being treated that way for the sake of the movie. Nevertheless, it added to the movie and when they were set free, it was the most magnificent moment in the movie. Marilyn's screaming part was also very beautiful, I felt her frustration completely. The Misfits is a very suitable title as it refers to both the poor horses caught up in the web of human greed and also to the restless humans, unsatisfied and cruel. This is a very moving movie, showing the cruelness of human nature and a most realistic portrayal of human life, both the positive and the negative. I was so astounded by both Marilyn and Clark's acting, plus the magnificent script which was so very intelligent, magnificent quotes. I definitely recommend this movie to everyone. 34 of 51 people found this review helpful.  Was this review helpful to you? Yes

i don't know

US-born Adulyadej Bhumibol became king of which Asian country?

Brief Biography of King Bhumibol Adulyadej of Thailand Share By Kallie Szczepanski The current king of Thailand , Bhumibol Adulyadej, is the longest-reigning monarch in the world today, as well as Thailand's longest-reigning king ever. The beloved king's common name is pronounced "POO-mee-pohn uh-DOON-ja-deht"; his throne name is Rama IX. Early Life: Born a second son, and with his birth taking place outside of Thailand, Bhumibol Adulyadej was never meant to rule. His reign came about through a mysterious act of violence. Since then, the King has been a calm presence at the center of Thailand's stormy political life. On December 5, 1927, a Thai princess gave birth to a son named Bhumibol Adulyadej ("Strength of the Land, Incomparable Power") in a Cambridge, Massachusetts hospital. The family was in the United States because the child's father, Prince Mahidol, was studying for a Public Health certificate at Harvard University . His mother studied nursing at Simmons College . The boy was the second son for Prince Mahidol and Princess Srinagarindra. continue reading below our video 10 Best Universities in the United States When Bhumibol was a year old, his family returned to Thailand, where his father took up an intership in a hospital in Chiang Mai . Prince Mahidol was in poor health, though, and died of kidney and liver failure in September of 1929. Schooling in Switzerland: In 1932, a coalition of military officers and civil servants staged a coup against King Rama VII . The "Revolution of 1932" ended the Chakri Dynasty's absolute rule and created a constitutional monarchy. Concerned for their safety, Princess Srinagarindra took her two young sons and little daughter to Switzerland the following year. The children were placed into Swiss schools. In March of 1935, King Rama VII abdicated in favor of his 9-year-old nephew, Bhumibol's older brother Ananda Mahidol. The child king and his siblings remained in Switzerland, however, and two regents ruled the kingdom in his name. Ananda Mahidol returned to Thailand in 1938, but Bhumibol remained in Europe. The younger brother continued his studies in Switzerland until 1945, when he left the University of Lausanne at the end of World War II . Mysterious Succession: On June 9, 1946, King Ananda Mahidol died in his palace bedroom of a single gunshot wound to the head. It was never conclusively proven whether his death was murder, accident or suicide, although two royal pages and the king's personal secretary were convicted and executed for assassinating him. 18-year-old Prince Bhumibol had gone in to his brother's room about 20 minutes before the gun went off, so conspiracy theorists have long implicated him in Ananda Mahidol's death. Bhumibol's uncle was appointed his Prince Regent, and the new king returned to the University of Lausanne to finish his degree. In deference to his new role, he changed his major from science to political science and law. Accident and Marriage: Just as his father had done in Massachusetts, Bhumibol met his wife-to-be while studying overseas. The young king often went to Paris, where he met the daughter of Thailand's ambassador to France, a student named Mom Rajawongse Sirikit Kiriyakara. Bhumibol and Sirikit began a demure courtship based on taking in Paris' tourist sights . In October of 1948, Bhumibol rear-ended a truck and was seriously injured. He lost his right eye and suffered a painful back injury. Sirikit spent a lot of time nursing and entertaining the injured king; his mother urged the young woman to transfer to a school in Lausanne so that she could continue her studies while getting to know Bhumibol better. On April 28, 1950, King Bhumibol and Sirikit got married in Bangkok. She was 17 years old; he was 22. The King was officially coronated one week later. Military Coups and Dictatorships: The newly crowned king had very little actual power. Thailand was ruled by military dictator Plaek Pibulsonggram until 1957, when the first of a long series of coups removed him from office. Bhumibol declared martial law during the crisis, which ended with a new dictatorship forming under the king's close ally Sarit Dhanarajata. Over the next six years, Bhumibol would revive many abandoned Chakri traditions. He also made many public appearances around Thailand, significantly reviving the prestige of the throne. Sarit died in 1963, and was succeeded by Field Marshal Thanom Kittikachorn. Ten years later, Thanom sent out the troops against huge public protests, killing hundreds of protestors. Bhumibol opened Chitralada Palace's gates to offer refuge to the demonstrators as they fled the soldiers. The king then removed Thanom from power and appointed a the first of a series of civilian leaders. In 1976, however, Thanom returned from overseas exile, sparking another round of demonstrations that ended in the October 6 Massacre, in which 46 students were killed and 167 injured at Thammasat University. In the aftermath of the massacre, Admiral Sangad Chaloryu staged yet another coup and took power. Further coups took place in 1977, 1980, 1981, 1985 and 1991. Although King Bhumibol tried to stay above the fray, he refused to support the 1981 and 1985 coups. His prestige was damaged by the constant unrest, however. Transition to Democracy: When a military coup leader was selected as Prime Minister in 1992, huge protests broke out in Thailand's cities. The demonstrations turned into riots, and the police and military were rumored to be dividing into factions. Fearing a civil war, King Bhumibol called the coup leader and the opposition leader to an audience at the palace. Bhumibol was able to pressure the coup leader into resigning; new elections were called, and a civilian government was elected. This intervention by the king was the beginning of an era of civilian-led democracy that has continued with just one interruption to this day. Bhumibol's image as an advocate for the people, reluctantly intervening in the political fray to protect his subjects, was cemented by this success. Lese Majeste and Royal Prerogatives: Although Thailand is a constitutional monarchy, Bhumibol retains more powers than other heads of state such as Great Britain's Queen Elizabeth II . He can veto laws passed by parliament, pardon convicted criminals, and approve or disapprove cabinet members. Bhumibol also has significant leeway in allocating money to his own pet development projects within the country. From outside of Thailand, King Bhumibol looks very much like other modern kings - quiet, dignified, with plenty of hobbies to fill his free time. However, to the Thai people he is quasi-divine, the Buddhist "Dharmaraja" and an avatar of the Hindu god Vishnu . As such, he is protected by strict laws of lese majeste . Most Thai citizens genuinely love and revere their king. However, anyone who feels otherwise, and criticizes Bhumibol or any other member of the royal family (living or dead), faces as much as fifteen years in prison. Bhumibol himself has invited criticism in a 2005 speech, but nobody can publicly support his position and advocate repeal of the lese majeste laws without breaking them! 2006 Coup: In April of 2006, Prime Minister Thaksin Shinawatra and his party were accused of lese majeste, including plans to depose King Bhumibol. The accusers produced no evidence at all, but this incident helped fuel an on-going political crisis. On September 19, 2006, the military overthrew Thaksin's government and declared martial law. King Bhumibol endorsed this coup, and Thaksin was forced into exile. As of this writing, Thaksin's younger sister, Yingluck Shinawatra, is the Prime Minister. King Bhumibol's 60th Anniversary: In June of 2006, King Bhumibol and Queen Sirikit celebrated the 60th Anniversary of their rule, also known as the Diamond Jubilee. UN Secretary General Kofi Annan presented the king with a Human Development Lifetime Achievement Award as part of the festivities. In addition, there were banquets, fireworks, royal barge processions, concerts and official royal pardons for 25,000 convicts. The joyous celebration of Bhumibol's 60-year reign brought to the fore worrisome questions of his succession. The octogenarian king has spent much of the past two years in the hospital, suffering from back problems, Parkinson's disease and depression. Bhumibol and Sirikit's son, Prince Bajiralongkorn (born 1952), is the heir apparent, but he is not nearly as popular as his parents. Prince Bajiralongkorn is rumored to have a gambling problem and a very active private life, in addition to be "erratic." The prince's sister, Princess Sirindhorn, is more popular than her brother, and the Thai Constitution allows princesses to be appointed successor if there is no male heir apparent. Most constitutional scholars believe that King Bhumibol could appoint his daughter as his successor if he chose, but he has not made any indication that he will do so. King Bhumibol's Life and Legacy Although he was never intended for the throne, Bhumibol Adulyadej has been a successful and increasingly beloved king of Thailand over the many decades of his reign. Superficially his life seems similar to other monarchs, such as Japan's Emperor Akihito ; both are semi-divine, have a life-long interest in science, enjoy art and music, etc. However, unlike the current Emperor of Japan , Bhumibol plays a significant if shadowy role in the politics of his realm. The ninth Chakri king of Thailand has guided his country through very turbulent political waters. In fact, he has already earned the title " The Great ." How the nation will fare after he passes away is anybody's guess.

Thailand

In 1971 Leonard Bernstein wrote a Mass in whose memory?

The King Never Smiles: A Biography of Thailand's Bhumibol Adulyadej | Foreign Affairs The King Never Smiles: A Biography of Thailand's Bhumibol Adulyadej by Paul M. Handley The King Never Smiles: A Biography of Thailand's Bhumibol Adulyadej Paul M. Handley Print The king of Thailand was born in Boston while his father was studying at Harvard. He was educated in Switzerland. When his uncle abdicated, his older brother ascended to the throne, but the brother was mysteriously shot dead. (The unsolved mystery has led to all manner of speculation; the palace maintains that it was an accident.) And so in 1946, Bhumibol, at the age of 18, became the king of Thailand. Handley, a journalist who has spent 20 years in Asia, including 13 in Thailand, has taken on the challenging task of writing a biography of Bhumibol -- challenging in that if he is too critical, his work will be seen as a lese majesty, and if he is not critical enough, he will be accused of shilling for the royal family. His account does not present the glossy picture of Bhumibol that a Thai monarchist would -- indeed, he criticizes the king for not being a more open champion of democratic reforms -- but he argues that Bhumibol has used his royal authority to contain the numerous military strongmen who have dominated Thai politics in the past. Interestingly, as Thai politics become more open, Handley notes, the king may become even more influential, for the Thai people seem to treat him as a sort of living Buddha. Get the best of Foreign Affairs' book reviews delivered to you. More Reviews on Asia and Pacific From This Issue Browse Related Articles on {{search_model.selectedTerm.name}} {{search_model.selectedTerm.name}}

i don't know

Who had a big 50s No 1 with A Big Hunk O' Love?

A Big Hunk o' Love by Elvis Presley : Elvis Presley Lyrics : The Elvis SongDataBase Lyrics Home › Elvis Presley.News › Elvis Photos › Elvis SongDataBase › Sitemap › Elvis Presley Lyrics A Big Hunk O' Love Words & Music by Aaron Schroeder and Sid Wayne Hey baby, I ain't askin' much of you No no no no no no no no baby, I ain't askin' much of you Just a big-a big-a hunk o' love will do Don't be a stingy little mama You're 'bout to starve me half to death Well you can spare a kiss or two and Still have plenty left, no no no Baby, I ain't askin' much of you Just a big-a big-a hunk o' love will do You're just a natural born beehive Filled with honey to the top Well I ain't greedy baby All I want is all you got, no no no Baby, I ain't askin' much of you Just a big-a big-a hunk o' love will do I got wishbone in my pocket I got a rabbit's foot 'round my wrist You know I'd have all the things these lucky charms could bring If you'd give me just one sweet kiss, no no no no no no no Baby, I ain't askin' much of you Just a big-a big-a hunk o' love will do Recorded: 1958/06/10, first released on single Nashville Sessions June 10, Elvis managed to squeeze in a quick Nashville recording session. His last session until the spring of 1960 after his discharge from active duty. June 10, 1958 RCA Studio B - Nashville, Tennessee I Got Stung J2WB 3257-24 At this session, one of his best, Elvis recorded 'I Need Your Love Tonight', 'A Big Hunk O' Love', 'Ain't That Loving You Baby', 'Ain't That Loving You Baby' (Fast Version), '(Now And Then There's A) Fool Such As I' and 'I Got Stung'. All except 'Ain't That Loving You Baby' were released in 1958 / 1959 with great success. 'Wear My Ring Around Your Neck' #3 / 'Doncha' Think It's Time' #21 April '58 'One Night' #4 / 'I Got Stung' #8 October '58 '(Now And Then There's A) Fool Such As I' #2 / 'I Need Your Love Tonight' #4 March '59 'A Big Hunk O' Love' #1 / 'My Wish Came True' #12 June '59 ('My Wish Came True' was from the September '57 sessions.) Find on CD : Studio Aloha From Hawaii CD Elvis Presley makes television and entertainment history with his Elvis: Aloha from Hawaii - Via Satellite special. Performed at the Honolulu International Center Arena on January 14, 1973, broadcast live at 12:30 AM Hawaiian time, beamed via Globecam Satellite to Australia, South Korea, Japan, Thailand, the Philippines, South Vietnam and other countries. It is seen on a delayed basis in around thirty European countries. A tape of the show will be seen in America on April 4th on NBC. The live broadcast in January attracts 37.8% of the viewers in Japan, 91.8% in the Philippines, 70% in Hong Kong, and 70-80% of the viewers in Korea. The April showing in America will attract 51% of the television viewing audience, and will be seen in more American households than man’s first walk on the moon. In all, it will be seen in about forty countries by one billion to 1.5 billion people. Elvis commissions an American Eagle design for his jumpsuit for this show, his patriotic message to his worldwide audience. Never has one performer held the world’s attention in such a way. Elvis is in top form physically and vocally. This is probably the pinnacle of his superstardom, one of the all-time great moments of his career. Elvis was very, very nervous at first. Nobody else had ever done a satellite show before. He was the very first entertainer, ever, to do a satellite show. It was very expansive to rent the satellite for one hour, so Colonel Parker went to NBC, because they owned the satellite, actually it was their recording company. So they cut the deal and it was the first one ever. Elvis was a nervous wreck. But as he went along rehearsing, and enjoying Hawaii, he became very comfortable with it. The thing about it, when you go on a satellite show, you go on stage at a certain time and you got to get off at a certain time, otherwise they will just cut you off, the satellite will cut you off after one hour. So the hardest part that Elvis was worried about, was to time it right. But as we all know it went along perfectly. Joe Esposito was at the side of the stage while Elvis was performing with a flashlight and about ten minutes before the end time, he flashed the light to let Elvis know he had ten minutes left. It was an unbelievable performance, it was all for charity, and he was very comfortable when he walked on stage. He did a great job, looked fabulous. Can we ask for more? A great singer, in a great location, great music and its now part of history. 12 Jan 8.30pm International Centre, Honolulu, Hi 14 Jan 0.30am International Centre, Honolulu, Hi Audience tickets for the January 14 concert and its January 12 pre-broadcast rehearsal show carry no price. Each audience member is asked to pay whatever he or she can. The performances and concert merchandise sales are a benefit raising $75,000 for the Kui Lee Cancer Fund in Hawaii. (Kui Lee was a Hawaiian composer who had died of cancer while still in his thirties.) Read more about the Aloha Special, including an interview with show director, Marty Pasetta .

Elvis Presley

Whose first hit was Maybellene in 1955?

1187 Songs With Love In The Title | Toronto Mike's Blog 1187 Songs With Love In The Title By Toronto Mike February 14, 2011 @ 11:14 AM Lists , Music 31 comments Go big or go home, right? I just filtered my MP3 collection for songs with love in the title. After a little de-dupage and clean up, here are my 1187 songs with love in the title. Love Song - 311 I Still Love You - 702 Show You My Love - 702 I'm Not In Love - 10cc Spread Your Love - 2 Unlimited California Love - 2Pac Who Do You Love? - 2Pac A Baltimore Love Thing - 50 Cent Hate It or Love It - 50 Cent Love Rush - 54-40 Space Age Love Song - A Flock of Seagulls Peace Love and Understanding - A Perfect Circle The Nurse Who Loved Me - A Perfect Circle The Love - A Tribe Called Quest Lay All Your Love on Me - ABBA Let Me Put My Love into You - AC/DC Shot of Love - AC/DC Love At First Feel - AC-DC Love Bomb - AC-DC Teenage Love On The Phone - Adam Sandler First Love - Adele Make You Feel My Love - Adele Going Down & Love In An Elevator - Aerosmith Gotta Love It - Aerosmith Love In An Elevator - Aerosmith Love Like Winter - AFI All Out of Love - Air Supply Lost in Love - Air Supply Making Love Out of Nothing at All - Air Supply The One That You Love - Air Supply I'm Still In Love With You - Al Green L-O-V-E (Love) - Al Green Love And Happiness - Al Green Hurry Make Love - Alannah Myles Love Is - Alannah Myles Lover Of Mine - Alannah Myles Who Loves You - Alannah Myles I Love Lucy - Albert King Drunks, Lovers, Sinners and Saints - Alexisonfire Be My Lover - Alice Cooper Muscle Of Love - Alice Cooper This Maniac's In Love With You - Alice Cooper Love Is Blind - Alicia Keys Love Is My Disease - Alicia Keys Put It In A Love Song ft. Beyonce - Alicia Keys Teenage Love Affair - Alicia Keys That's How Strong My Love Is - Alicia Keys The Thing About Love - Alicia Keys When You Really Love Someone - Alicia Keys Wreckless Love - Alicia Keys You Will Be My Ain True Love - Alison Krauss So Much In Love - All-4-One Crazy Love - Allman Brothers Band Love Me Tender - Amy Grant (There Is) No Greater Love - Amy Winehouse I Don't Know How to Love Him(from Jesus Christ Superstar) - Andrew Lloyd Webber Love Like Rockets - Angels & Airwaves True Love - Angels & Airwaves Make A Little Love Tonight - Anson Funderburgh And The Rockets Featuring Sam Myers Crown of Love - Arcade Fire Baby I Love You - Aretha Franklin I Never Loved A Man (The Way I Love You) - Aretha Franklin I'm In Love - Aretha Franklin Share Your Love With Me - Aretha Franklin A Love Of Your Own - Average White Band For You, For Love - Average White Band Got The Love - Average White Band Your Love Is a Miracle - Average White Band Nobody Loves Me But My Mother - B.B. King To Know You Is To Love You - B.B. King God of Love - Bad Brains How I Love Thee - Bad Brains JahLove - Bad Brains Love is the Answer - Bad Brains PureLove - Bad Brains Love In The First Degree - Bananarama Love, Truth And Honesty - Bananarama Only Your Love - Bananarama No Ones Gonna Love You - Band of Horses Have You Seen My Love? - Barenaked Ladies I Love You - Barenaked Ladies Lovers In A Dangerous Time - Barenaked Ladies Six Yanks - Tartan Is The Colour Of My True Loves Hair - Barleyjuice Lovedrops - Barry Allen Can't Get Enough Of Your Love Babe - Barry White I'm Gonna Love You Just A Little More, Baby - Barry White Love Is The Icon - Barry White Love Serenade - Barry White Standing In The Shadows Of Love - Barry White I Still Love - Basshunter I Will Learn To Love Again [Feat. Stunt] - Basshunter All You Need Is Love - Beatles Can't Buy Me Love - Beatles Love Me Do - Beatles Love Ain't Love - Beautiful Losers Until We Burn in the Sun (The Kids Just Want a Love Song) - Bedouin Soundclash How Deep Is Your Love - Bee Gees Crazy In Love (Featuring Jay-Z) - Beyoncé Dangerously In Love 2 - Beyoncé I Love Myself Today - Bif Naked I'm In Love With A Girl - Big Star Kissing My Love - Bill Withers The Same Love That Made Me Laugh - Bill Withers You Try To Find A Love - Bill Withers I Love You Porgy - Billie Holiday Lover Man (Oh, Where Can You Be)? - Billie Holiday That Ole Devil Called Love - Billie Holiday There Is No Greater Love - Billie Holiday What Is This Thing Called Love - Billie Holiday When Your Lover Has Gone - Billie Holiday Cradle Of Love - Billy Idol Love Calling - Billy Idol To Be A Lover - Billy Idol Carribean Queen (No More Love on the Run) - Billy Ocean Christmas Is the Time to Say I Love You - Billy Squier All Is Full of Love - Bjork Love You Long Time - Black Eyed Peas Where Is the Love - Black Eyed Peas Love Burns - Black Rebel Motorcycle Club Spread Your Love - Black Rebel Motorcycle Club This Modern Love - Bloc Party I'm Gonna Love You - Blondie I Love You More Than You'll Ever Know - Blood Sweat & Tears Love Looks Good On You (You're Candy Sweet) - Blood,Sweat & Tears Lover Man (Oh, Where Can You Be?) - Blossom Dearie This Ain't The Summer Of Love - Blue Oyster Cult 5 A.M. (A Love Song) - Blue Rodeo Love And Understanding - Blue Rodeo To Love Somebody - Blue Rodeo What Is This Love - Blue Rodeo I'm Just A Killer For Your Love - Blur Who Do You Love - Bo Diddley Tight Connection To My Heart (Has Anybody Seen My Love?) - Bob Dylan Could You Be Loved - Bob Marley & The Wailers Is This Love - Bob Marley & The Wailers One Love - People Get Ready - Bob Marley & The Wailers Chains Of Love - Bobby Bland That's The Way Love Is - Bobby Bland Turn On Your Love Light - Bobby Bland I Really Love You - Bobby Brown Julie, Do You Love Me - Bobby Sherman In & Out Of Love - Bon Jovi You Give Love A Bad Name - Bon Jovi I Can't Make You Love Me - Bonnie Raitt Can't Help Falling In Love - Bono Hey Lover - Boyz II Men I'll Make Love To You - Boyz II Men Let Your Love Go - Bread Lost Without Your Love - Bread Can't Make You Love Me - Britney Spears I Love Rock N' Roll - Britney Spears Perfect Lover - Britney Spears Forced to Love - Broken Social Scene Lover's Spit - Broken Social Scene If You Love Me (LP Version) - Brownstone Lovers in a Dangerous Time - Bruce Cockburn What Love Can Do - Bruce Springsteen A Little Love - Bryan Adams All For Love (with Rod Stewart & Sting) - Bryan Adams Have You Ever Really Loved A Woman - Bryan Adams It´s Only Love - Bryan Adams One Night Love Affair - Bryan Adams When You Love Someone - Bryan Adams Slave To Love - Bryan Ferry The Price Of Love - Bryan Ferry Let Me Love You Baby - Buddy Guy I'm Gonna Love You Too - Buddy Holly I'm Lookin' For Someone To Love - Buddy Holly Love Me - Buddy Holly Love's Made A Fool Of You - Buddy Holly True Love Ways - Buddy Holly Words Of Love - Buddy Holly You've Got Love - Buddy Holly Sit Down, I Think I Love You - Buffalo Springfield I'll Never Fall In Love Again - Burt Bacharach & Elvis Costello Timeless Love - Burton Cummings The People That We Love - Bush A Groove Of Love (What's This Word Called Love?) - C + C Music Factory Just A Touch Of Love (Everyday) - C + C Music Factory Love You Madly - Cake Love Of My Life - Carly Simon All You Get From Love Is A Lov - Carpenters Goodbye To Love - Carpenters I Need To Be In Love - Carpenters Love Is Blindness - Cassandra Wilson Sea of Love - Cat Power Whole Lotta Love - CCS No One's Gonna Love You - CeeLo Green Because You Loved Me - Celine Dion Live for the One I Love - Celine Dion Love Can Move Mountains - Celine Dion Power of Love - Celine Dion To Love You More - Celine Dion I Love You Dearly Because You Let Me Go Out With My Friends On A Weekly Basis - Chambermania Actions Without Love - Chantal Kreviazul Can't Stop Fallin' into Love - Cheap Trick If You Want My Love - Cheap Trick Chocolate Salty Balls (P.S. I Love You) - Chef Tonight Is Right For Love - Chef/Meat Loaf Bad Love (From The Film "Foxes") - Cher Dead Ringer For Love (Ft Meat Loaf) - Cher Different Kind Of Love Song - Cher Love & Understanding - Cher Love Can Build A Bridge (Ft Crissie Hynde) - Cher Love Hurts - Cher Not Enough Love In The World - Cher Way Of Love - Cher Fight For This Love - Cheryl Cole I Don't Wanna Live Without Your Love - Chicago Love Me Tomorrow - Chicago Will You Still Love Me? - Chicago Love For All Seasons - Christina Aguilera Love Will Find A Way - Christina Aguilera Freddy My Love - Cindy Bullens Love Kills - Circle Jerks Put A Little Love In Your Heart - Circle Jerks Love Song No. 7 - Clap Your Hands Say Yeah Is This Love - Clap Your Hands Say Yeah! Love Changes (Everything) - Climie Fisher Three Evils (Embodied In Love And Shadow) - Coheed And Cambria Love Lifted Me - Collective Soul Tremble For My Beloved - Collective Soul A Little Love - Corey Hart Can't Help Falling in Love - Corey Hart I Love Your Goo - Crash Test Dummies Sunshine of Your Love - Cream Love Has No Pride.mp3 - Crosby, Stills & Nash with Bonnie Raitt Love the One You're With - Crosby, Stills & Nash with James Taylor Love And Caring - Crystal Castles Give Me Your Love (Love Song) - Curtis Mayfield So In Love - Curtis Mayfield Love Letter - Custom Method Of Modern Love - Daryl Hall and John Oates Love For Sale - Dave Brubeck Lover Lay Down - Dave Matthews Band Modern Love - David Bowie Love Theme From St. Elmo's Fire (For Just a Moment) - David Foster Could It Be I'm Falling In Love - David Grant & Jaki Graham Ain't No Love - David Gray The One I Love - David Gray This Years Love - David Gray Love Me Too - David Wilcox Love Meltdown - David Wilcox (Remember Me) I'm The One Who Loves You - Dean Martin Everybody Loves Somebody - Dean Martin I've Got My Love To Keep Me Warm - Dean Martin You're Nobody 'Till Somebody Loves You - Dean Martin Someday You Will Be Loved - Death Cab For Cutie Romantic Rights (Erol Alkan's Love From Below Re-Edit) - Death From Above 1979 Romatic Rights (The Phones Lovers Mix) - Death From Above 1979 You're Lovely (But You Got Problems) - Death From Above 1979 All This Love - Debarge Stand Up (Kick Love Into Motion) - Def Leppard Too Late For Love - Def Leppard When Love & Hate Collide - Def Leppard Never Ending Song of Love - Delaney & Bonnie & Friends A Fool In Love - Delbert McClinton Givin' It Up For Your Love - Delbert McClinton I Want To Love You - Delbert McClinton Love Barge - Denis Leary Love In Itself - Depeche Mode Strangelove - Depeche Mode The Meaning Of Love - Depeche Mode Dangerously In Love - Destiny's Child Spread A Little Love On Christmas Day - Destiny's Child Stand Up For Love - Destiny's Child Lover - Devendra Banhart Endless Love (with Lionel Richie) - Diana Ross Love Hangover - Diana Ross When You Tell Me That You Love Me - Diana Ross Where Did Our Love Go? - Diana Ross Why Do Fools Fall in Love? - Diana Ross You Can't Hurry Love - Diana Ross Your Love - Diana Ross Stop! In The Name Of Love - Diana Ross & The Supremes My Lover's Gone - Dido Wussup Wit The Love - Digital Underground Lotta Love - Dinosaur Jr I'll Never Faill In Love Again - Dionne Warwick Expresso Love - Dire Straits Love Over Gold - Dire Straits Tunnel Of Love - Dire Straits Two Young Lovers - Dire Straits Old Skool Love - Divine Brown I Believe In Love - Dixie Chicks I Can Love You Better - Dixie Chicks More Love - Dixie Chicks Once You've Loved Somebody - Dixie Chicks Ladies Do Love Me - dj BC and The Beastles Love You To Check It Out - dj BC and The Beastles Lovely NYC - dj BC and The Beastles Bernard Wright: Who Do You Love - DJ Jazzy Jeff & Mick Boogie Bush Babies f/ Mos Def: The Love Song - DJ Jazzy Jeff & Mick Boogie Roy Ayers f/ Mary J Blige: Everybody Loves The Sunshine - DJ Jazzy Jeff & Mick Boogie Zapp: Computer Love (Terry’s Mirage On The Water Mix) - DJ Jazzy Jeff & Mick Boogie No Love 4 Me - DMX I Will Always Love You - Dolly Parton Not Enough Love In The World - Don Henley And I Love You So - Don McLean Everybody Loves Me, Baby - Don McLean La La Love You - Don McLean I Will Still Love You - Don Philip, Britney Spears I Love You Always Forever - Donna Lewis Just A Teeny Bit Of Your Love - Doug Sahm and The Sir Douglas Quintet Better Love Next Time - Dr. Hook Making Love And Music - Dr. Hook When You're In Love With A Beautiful Woman - Dr. Hook Find Your Love - Drake I Don't Want Your Love - Duran Duran Mid-Morning Sit-Coms - I Love Lucy - E. Daniel & H. Adamson Best of My Love - Eagles Try And Love Again - Eagles Victim Of Love - Eagles After the Love Has Gone - Earth Wind & Fire Can't Hide Love - Earth Wind & Fire Nobody Lives Without Love - Eddi Reader Good Love, Bad Love - Eddie Floyd Think I'm In Love - Eddie Money You've Got To Hide Your Love Away - Eddie Vedder Love Grows (Where My Rosemary Goes) - Edison Lighthouse Isn't This A Lovely Day? - Ella Fitzgerald, Louis Armstrong All the Girls Love Alice - Elton John Can You Feel The Love Tonight? - Elton John Funeral for a Friend (Love Lies Bleeding) - Elton John I Want Love - Elton John Part Time Love - Elton John Texan Love Song - Elton John You Gotta Love Someone - Elton John They'll Never Take Her Love From Me - Elvis Costello Such Unlikely Lovers - Elvis Costello & Burt Bacharach I Wanna Be Loved - Elvis Costello & the Attractions Love Field - Elvis Costello & the Attractions Love For Tender - Elvis Costello & the Attractions Love Went Mad - Elvis Costello & The Attractions Lovers Walk - Elvis Costello & the Attractions The Loved Ones - Elvis Costello & the Attractions Why Don't You Love Me (Like Yo - Elvis Costello & the Attractions A Big Hunk O' Love - Elvis Presley Burning Love - Elvis Presley Can't Help Falling In Love - Elvis Presley I Want You, I Need You, I Love You - Elvis Presley If That Isn't Love - Elvis Presley Love Me - Elvis Presley Love Me Tender - Elvis Presley You Don't Have To Say You Love Me - Elvis Presley Crazy In Love - Eminem No Love (Prod. By Just Blaze) - Eminem Ft. Lil Wayne Love The Way You Lie (Prod. By Alex Da Kid) - Eminem Ft. Rihanna Almighty Love - Emm Gryner A Man Without Love - Engelbert Humperdinck I'm a Better Man (For Having Loved You) - Engelbert Humperdinck Love Me With All Of Your Heart - Engelbert Humperdinck Winter World of Love - Engelbert Humperdinck Gravity Of Love - Enigma I Love You ... I'll Kill You - Enigma Sunshine of your love - Eric Clapton Love Is A Stranger - Eurythmics Miracle Of Love - Eurythmics When Somebody Loves Somebody - Fabio Got Love If You Want It - Fabulous Thunderbirds You Used To Love Me - Faith Evans Don't Need Your Love - Faith Evans, , The Game Only Jah Love - Fantan Mojah Love Island - Fatboy Slim The Limit To Your Love - Feist Ever Fallen In Love - Fine Young Cannibals Funny How Love Is - Fine Young Cannibals Not About Love - Fiona Apple Big Love - Fleetwood Mac Did You Ever Love Me - Fleetwood Mac Love In Store - Fleetwood Mac Love Is Dangerous - Fleetwood Mac Love Shines - Fleetwood Mac Love That Burns - Fleetwood Mac Need Your Love So Bad - Fleetwood Mac Say You Love Me - Fleetwood Mac Tape of Love - Flight of the Conchords Cosmic Love - Florence And The Machine You've Got The Love - Florence And The Machine I Just Want To Make Love To You - Foghat Let Me Love You - Force M.D.'s Tender Love - Force M.D.'s I Want To Know What Love Is - Foreigner Love And Marriage - Frank Sinatra Love's Been Good To Me - Frank Sinatra Somewhere My Love - Frank Sinatra What Now My Love - Frank Sinatra Frankie Goes To Hollywood - The Power Of Love - Frankie Goes To Hollywood Power of Love - Frankie Goes to Hollywood Who Loves You - Frankie Valli & the Four Seasons Have You Ever Loved A Woman - Freddy King I Love The Woman - Freddy King What About Love - Freddy King You Know That You Love Me - Freddy King You've Got To Love Her With A Feeling - Freddy King Little Bit Of Love - Free Bizarre Love Triangle - Frente! I Love You But... - Friendly Radar Love - Futureshock Why Do You Love Me - Garbage Papa Loved Mama - Garth Brooks Could You Ever Love Me Again - Gary & Dave Love Chant - Gentleman Share the Love - Gentleman and Jah Cure I Dig Love - George Harrison Fastlove - George Michael I Can't Make You Love Me - George Michael Somebody To Love (With Queen) - George Michael You Have Been Loved - George Michael Who Do You Love? - George Thorogood & the Destroyers Gangsta of Love - Geto Boys Rescued (By The Arms Of Love) - Glass Tiger Rhythm Of Your Love - Glass Tiger Endless Love - Glee Cast To Sir With Love - Glee Cast Radar Love - Golden Earring Your Love's Return - Gordon Lightfoot All the Lovers in the World - Gowan When There's Time For Love - Gowan How Did We Get From Saying I Love You... - Great Big Sea Love - Great Big Sea Dominated Love Slave - Green Day Electric Harley House (Of Love) - Green Jellÿ Used to Love Her - Guns N' Roses What Is Love - Haddaway Baby, We're Realy In Love - Hank Williams I Can't Help It (If I'm Still In Love With You) - Hank Williams Lovesick Blues - Hank Williams They'll Never Take Her Love From Me - Hank Williams Why Don't You Love Me - Hank Williams I Wanna Learn A Love Song - Harry Chapin Love Is Here To Stay - Harry Connick Jr. We Are In Love - Harry Connick Jr. You Were Loved - Hayden All I Wanna Do Is Make Love To You - Heart What About Love - Heart I Asked Her If She Loved Me - Henry Townsend I Don't Think I Love You - Hoobastank All My Love - House of Pain Still Got A Lotta Love - House of Pain Everlasting Love - Howard Jones What Is Love? - Howard Jones You Know I Love You, Don't You? - Howard Jones Labour Of Love - Hue & Cry Do You Believe In Love - Huey Lewis & the News The Power Of Love - Huey Lewis And The News Cry for Love - Iggy Pop Call It Love - Images In Vogue First Girl I Loved - Incredible String Band Queen Of Love - Incredible String Band Swing Lover - Indigo Swing Love Is a Many Splendored Thing - Instrumental The Loved One - INXS It Must Be Love - Iron Butterfly Good Love - Isaac Hayes As Chef If You Don't Want My Love - Jack London & the Sparrows Put A Little Love In Your Heart - Jackie DeShannon What the world needs now is love - Jackie DeShannon (Your Love Keeps Lifting Me) Higher And Higher - Jackie Wilson He Can't Love U - Jagged Edge Lucky In Love (feat. Jeff Beck, Herbie Hancock) - Jagger, Mick Right In The Night (Fall In Love With Music) - Jam & Spoon ft. Plavka Goodbye My Lover - James Blunt Christmas Is Love - James Brown Merry Christmas, I Love You - James Brown Prisoner of Love - James Brown For the Love of a Princess - James Horner The Love of a Princess - James Horner How Sweet It Is (To Be Loved By You) - James Taylor Love Brings Change - Jamie Foxx Weekend Lover - Jamie Foxx You Are My Love - Jamiroquai Love Will Never Do (Without You) - Janet Jackson That's The Way Love Goes - Janet Jackson Unloved - Jann Arden Motor Motel Love Songs - Jason Collett Blueprint (Momma Loves Me) - Jay-Z Heart Of The City (Ain't No Love) - Jay-Z I Just Wanna Love U (Give It 2 Me) - Jay-Z You Must Love Me - Jay-Z Lovely Daze - Jazzy Jeff & Fresh Prince Let Me Love You - Jeff Beck Band with Buddy Guy Lover, You Should have Come Over - Jeff Buckley Somebody to Love - Jefferson Airplane Somebody to Love [#] - Jefferson Airplane The Right Kind Of Love - Jeremy Jordan Rollover D.J. - Jet Do 4 Love - Jheryl Lockhart Your Love - Jim Brickman Somebody to Love - Jim Carrey May This Be Love - Jimi Hendrix The World You Love - Jimmy Eat World Hit Parade of Love - Jimmy Martin Cause I Love You - Jimmy Page House of Love - Jimmy Page & Robert Plant Lover's Mix - Jive Bunny I Love Rock & Roll - Joan Jett And The Blackhearts Don't You Love Me Anymore - Joe Cocker I Can't Give You Anything But Love - Joe Pesci Take Your Love And Shove It - Joe Pesci The Love You Save (May Be Your Own) - Joe Tex Lonely Love - Joel Plaskett Emergency Love This Town - Joel Plaskett Emergency There's Love In The Air - Joel Plaskett Emergency True Patriot Love - Joel Plaskett Emergency Unconditional Love - Joel Plaskett Emergency My One And Only Love - John Coltrane and Johnny Hartman Love Again - John Denver I'll Never Trust Your Love Again - John Lee Hooker Love - John Lennon Give My Love To Rose - Johnny Cash Goodnight My Love - Johnny Favourite Swing Orchestra I'm Stone In Love With You - Johnny Mathis Love Story - Johnny Mathis The Look Of Love - Johnny Mathis What Kind of Love Is This - Johnny Nash Do You Love Me? - Jonathan Butler You Are Loved [Don't Give Up] - Josh Groban Careless Love - Josh White Send Her My Love - Journey Love Will Tear Us Apart - Joy Division Runaway Love - Justin Bieber Somebody To Love - Justin Bieber Futuresex-Lovesound - Justin Timberlake Like I Love You - Justin Timberlake Love Dealer - Justin Timberlake Love Sex Magic - Justin Timberlake Love Sex Magic Part 2 - Justin Timberlake My Love - Justin Timberlake Summer Love-Set The Mood - Justin Timberlake Hush Sweet Lover - k.d. lang Love For Sale - k.d. lang Love Is Everything - k.d. lang So In Love - k.d. lang Love Lockdown - Kanye West All is Love - Karen O and the Kids Building All is Love - Karen O and the Kids Where Did All The Love Go - Kasabian Keep It Comin' Love - KC & The Sunshine Band Who Do Ya Love - KC & The Sunshine Band Your Love Is My Drug - Ke$ha Every Bit of Love - Ken Tobias Don't Make Me Wait For Love - Kenny G Forever In Love - Kenny G A Love Song - Kenny Rogers But You Know I love You - Kenny Rogers Don't Fall In Love With A Dreamer (with Kim Carnes) - Kenny Rogers Love Lifted Me - Kenny Rogers Love Or Something Like It - Kenny Rogers Love The World Away - Kenny Rogers Love Will Turn You Around - Kenny Rogers Ruby, Don't Take Your Love To Town - Kenny Rogers Share Your Love With Me - Kenny Rogers What Are We Doin' In Love (with Dottie West) - Kenny Rogers Make Love - Keri Hilson Enter Galactic (Love Connection Part 1) - KiD CuDi Is There Any Love? (Feat. Wale) - KiD CuDi Don't Tell Me U Love Me - Kid Rock When U Love Someone - Kid Rock Love Like Blood - Killing Joke True Love Way - Kings Of Leon Pride (In The Name Of Love) - Kingston Club Love Me Till The Sun Shines - Kinks Calling Dr. Love - Kiss Do You Love Me - Kiss Love Song - Korn Be My Lover - La Bouche Love This Pain - Lady Antebellum Our Kind of Love - Lady Antebellum Ready to Love Again - Lady Antebellum Let Love Down - Lady Gaga Lovegame - Lady GaGa I Used To Love Him - Lauryn Hill Too Much Love - LCD Soundsystem Somebody To Love - Lea Michele, Cory Monteith, Amber Riley & Kevin McHale Borrow Love And Go - Leadbelly All My Love - Led Zeppelin Whole Lotta Love - Led Zeppelin Come On And Love Me - Lenny Kravitz Is There Any Love In Your Heart - Lenny Kravitz Let Love Rule - Lenny Kravitz My Love - Lenny Kravitz My Precious Love - Lenny Kravitz Easy To Love - Leo Sayer Have You Ever Been In Love - Leo Sayer How Much Love - Leo Sayer Bleeding Love - Leona Lewis Dance Me to the End of Love - Leonard Cohen Love Calls You by Your Name - Leonard Cohen Love Itself - Leonard Cohen You Have Loved Enough - Leonard Cohen Without Love - Leroy Smart Lessons In Love - Level 42 He Don't Love You (And He'll Break Your Heart) - Levon & The Hawks Nobody Loves's Me - Limp Bizkit Lovely Linda - Linda McCartney, Paul McCartney When Will I Be Loved - Linda Ronstadt Wisdom, Justice, And Love - Linkin Park I Love Marijuana - Linval Thompson Endless Love - Lionel Richie To Love A Woman - Lionel Richie Baby I Love You - Little Milton Man Loves Two (Man's Temptation) (Alt Take) - Little Milton Someone To Love - Little Milton Love Rears It's Ugly Head - Living Colour Hey Lover - LL Cool J I Need Love - LL Cool J Don't Be Afraid of Love - Lo Fidelity Allstars I Used to Fall in Love - Lo Fidelity Allstars Seeds Of Love - Loreena McKennitt To Love Someone - Lost Dakotas Satellite Of Love - Lou Reed The Sunshine Of Love - Louis Armstrong Finding Out True Love Is Blind - Louis XIV Love's Theme - Love Unlimited Orchestra Love Me Brethren - Luciano Love Won't Let Me Wait - Major Harris Love of Richard Nixon - Manic Street Preachers Making Love Out Of Nothing At All - M-Appeal Perfect Love - Marc Cohn If Love Is A Red Dress (Hang Me In Rags) - Maria McKee Dreamlover - Mariah Carey Love Takes Time - Mariah Carey Vision Of Love - Mariah Carey Tainted Love - Marilyn Manson The Love Song - Marilyn Manson Heat Wave (Your Love Is) - Martha Reeves & The Vandellas Love... Thy Will Be Done - Martika God Is Love - Marvin Gaye How Sweet It Is (To Be Loved By You) - Marvin Gaye My Mistake (Was to Love You) w/Diana Ross - Marvin Gaye That's The Way Love Is - Marvin Gaye Your Precious Love w/Tammii Terrell - Marvin Gaye I Love You - Mary J. Blige Real Love (Remix) - Mary J. Blige In Love With a Bad Idea - Matthew Good Dead Ringer For Love - Meat Loaf I'd Do Anything For Love (But I Won't Do That) - Meat Loaf Burning Love - Melissa Etheridge Recognize One Love feat. Akon - Nas Undying Love - Nas You Gonna Love Me - Nas One Love - Nas f/ Q-Tip A House with Love in it - Nat King Cole Crazy, But i'm in Love - Nat King Cole I'm In The Mood For Love - Nat King Cole I'm Through With Love - Nat King Cole It's Almost Like Being In Love - Nat King Cole The Man I Love - Nat King Cole This Can't be Love - Nat King Cole What Is This Thing Called Love? - Nat King Cole Love Hurts - Nazareth Feel Like Makin' Love - Ned Gerblansky Brother Love's Traveling Salvation Show (Live) - Neil Diamond Love On The Rocks - Neil Diamond Act Of Love - Neil Young I've Loved Her So Long - Neil Young Look Out For My Love - Neil Young Love And War - Neil Young Love In Mind - Neil Young Love Is A Rose - Neil Young Only Love Can Break Your Heart - Neil Young Peace And Love - Neil Young Sign Of Love - Neil Young The Ways Of Love - Neil Young Train Of Love - Neil Young & Crazy Horse My Love Grows Deeper Part 1 - Nelly Furtado I'm Still In Love With You - New Edition Bizarre Love Triangle - New Order World (Price of Love) - New Order Do You Love Me? - Nick Cave & the Bad Seeds Love Letter - Nick Cave And The Bad Seeds Your Love - Nicki Minaj Black Is The Color Of My True Love's Hair - Nina Simone I Loves You, Porgy - Nina Simone The Glory Of Love - Nina Simone To Love Somebody - Nina Simone Why? (The King Of Love Is Dead) - Nina Simone All The Love In The World - Nine Inch Nails Love Is Not Enough - Nine Inch Nails Do You Love Me - Nirvana Love Buzz - Nirvana Be Here to Love Me - Norah Jones The Face Of Love - Nusrat Fateh Ali Khan/Eddie Vedder Let There Be Love - Oasis Love Like A Bomb - Oasis She Is Love - Oasis Love Me - Obie Trice, Eminem & 50 Cent Love Rollercoaster - Ohio Players For Your Precious Love - Otis Redding I Love You More Than Words Can Say - Otis Redding Love Man - Otis Redding Lovey Dovey (with Carla Thomas) - Otis Redding My Lover's Prayer - Otis Redding That's How Strong My Love Is - Otis Redding The Glory Of Love - Otis Redding Woman, a Lover, a Friend - Otis Redding All Your Love (I Miss Loving) - Otis Rush Love And Trust - Our Lady Peace Love Hater - OutKast The Love Below (Intro) - OutKast This Love - Pantera She Loves Me Not - Papa Roach I'm In Love With A German Film Star - Passions Love Is A Battlefield - Pat Benatar Love Letters In The Sand - Pat Boone Lovecats - Paul Anka My Love - Paul McCartney & Wings Silly Love Songs - Paul Mccartney, Wings 50 Ways to Leave Your Lover - Paul Simon Crazy Love. Vol. II - Paul Simon Loves Me Like a Rock - Paul Simon Feelin' Love - Paula Cole I Believe in Love - Paula Cole Band Tonight I Celebrate My Love - Peabo Bryson & Roberta Flack Act Of Love - Pearl Jam Hide Your Love Away - Pearl Jam Let My Love Open The Door (Pete Townsend) - Pearl Jam Love Boat Captain - Pearl Jam Love Reign O'er Me - Pearl Jam Soldier Of Love - Pearl Jam State of Love and Trust - Pearl Jam Somebody Loves Me - Peggy Lee Please Send Me Someone To Love - Percy Mayfield When a Man Loves a Woman - Percy Sledge Satellite Of Love - Perry Farrell Whole Lotta Love - Perry Farrell Love Comes Quickly - Pet Shop Boys Baby I Love Your Way - Peter Frampton Love To Be Loved - Peter Gabriel Lovetown - Peter Gabriel Where Do You Go To (My Lovely) - Peter Sarstedt A Groovy Kind Of Love - Phil Collins Easy Lover - Phil Collins Groovy Kind of Love - Phil Collins You Can't Hurry Love - Phil Collins Sea Of Love - Phil Phillips & The Twilights Love Like A Sunset - Phoenix La La Love You - Pixies This Is Love - PJ Harvey Not in Love - Platinum Blonde Satellite Of Love - Porno For Pyros When Love Breaks Down - Prefab Sprout Love And Affection - Pressure Oh, I Love You So - Preston Smith I Wanna Be Your Lover - Prince Anotherloverholeinyohead - Prince And The Revolution Ooh We Love You Rakeem - Prince Rakeem Love My Way - Psychedelic Furs Only Love Can Break Your Heart - Psychic TV Contract On The World Love Jam - Public Enemy I Love You Baby - Puff Daddy & The Family FEELINGCALLEDLOVE - Pulp Killed By Love - Pursuit Of Happiness Crazy Little Thing Called Love - Queen Good Old Fashioned Lover Boy - Queen One Year Of Love - Queen Somebody to Love - Queen Another Love Song - Queens of the Stone Age The Blood Is Love - Queens of the Stone Age Looking For Love - R. Kelly The One I Love - R.E.M. True Love Waits - Radiohead God's Song (That's Why I Love Mankind) - Randy Newman I Love L.A. - Randy Newman It's Money That I Love - Randy Newman Love Story (You and Me) - Randy Newman Crazy Love (With Van Morrison) - Ray Charles Hallelujah, I Love Her So - Ray Charles Without Love (There Is Nothing) - Ray Charles Love Rollercoaster - Red Hot Chili Peppers This Velvet Glove - Red Hot Chili Peppers And Still I Love You - Red Rat It's A Love Thang (Word) - Redhead Kingpin And The FBI Love Affair - Regina Spektor I Used To Love Her - Richard Cheese & Lounge Against the Machine The Way She Loves Me - Richard Marx Love Gravy - Rick James/Ike Turner Chuck E's In Love - Rickie Lee Jones Cold Case Love - Rihanna Hate That I Love You (ft Ne-Yo) - Rihanna Love The Way You Lie (Part II) (Feat. Eminem) - Rihanna Stupid In Love - Rihanna Ain't Love a Funny Thing - Robbie Lane & the Disciples You Gotta Have Love - Robbie Lane & the Disciples Sweet Fire Of Love - Robbie Robertson Let Love Be Your Energy - Robbie Williams Love In Vain - Robert Johnson Addicted To Love - Robert Palmer Show Me Love - Robin S Love Touch - Rod Stewart Who Do You Love? - Ronnie Hawkins & The Hawks You Know I Love You - Ronnie Hawkins & The Hawks Afternoon Adventure - The Lone Ranger (William TellOverture) - Rossini Love Is The Drug - Roxy Music Love Hurts - Roy Orbison Insurance Lovers - Royal Canadian Air Farce Please Send Me Someone To Love - Sade Small Portions Of Your Love - Sam & Dave A Whole Lotta Love - Sam Cooke Comes Love - Sam Cooke Everybody Loves To Cha Che Cha - Sam Cooke I Wish You Love - Sam Cooke Love You Most Of All - Sam Cooke Love Me - Sam Cooke Love Will Find A Way - Sam Cooke Nothin Can Change This Love - Sam Cooke When I Fall In Love - Sam Cooke Win Your Love For ME - Sam Cooke Fool For Love - Sandy Rogers Love Of My Life - Santana Love, Devotion and Surrender - Santana The Game Of Love - Santana You Know That I Love You - Santana I Love You - Sarah McLachlan Lover Man - Sarah Vaughan Mama I Love You - Sean Paul All for Love - Serena Ryder Brand New Love - Serena Ryder Why Can't I Love You - Serena Ryder A Mi Di Girls Dem Love - Shabba Ranks Out Of Love - Shad (If You're Not In It For Love) I'm Outta Here! - Shania Twain Don't Be Stupid (You Know I Love You) - Shania Twain I'm Holdin' On To Love (To Save My Life) - Shania Twain Is There Life After Love? - Shania Twain Love Gets Me Every Time - Shania Twain Raining On Our Love - Shania Twain You Win My Love - Shania Twain I Love Your Smile - Shanice Love Is a Good Thing - Sheryl Crow Love For Sale - Shirley Horn Love Missile F1-11 - Sigue Sigue Sputnik Miss you Love - Silverchair Wall Of Love - Simple Minds Love Song - Simple Minds CD1 Speed Your Love To Me - Simple Minds CD1 John I Love You - Sinead O'Connor Love Song - Sky Medley: Dance to the Music/Music Lover/I Want to Take You Higher - Sly & the Family Stone Love - Smashing Pumpkins Stand Inside Your Love - Smashing Pumpkins That's The Way (My Love Is) - Smashing Pumpkins Tainted Love - Soft Cell Baby (I Wanna Be Loved) - Solomon Burke Everybody Needs Somebody To Love - Solomon Burke Someone To Love Me - Solomon Burke Your Love Is Like A Cancer - Son Seals Blues Band I Love You Mary Jane - Sonic Youth & Cypress Hill Damn I Wish I Was Your Lover - Sophie B. Hawkins Love Fate - Soul Kiss Groove Jet (If This Ain't Love) - Spiller Is Love Forever? - Spoon What The Snowman Learned About Love - Stars Your Ex-Lover Is Dead - Stars Once You Love - Steve Earle Higher Love - Steve Winwood For Your Love - Stevie Wonder Hey Love - Stevie Wonder I Just Called To Say I Love You - Stevie Wonder I Was Made To Love Her - Stevie Wonder Love Light In Flight - Stevie Wonder Part-Time Lover - Stevie Wonder Send One Your Love - Stevie Wonder If You Love Somebody Set Them Free - Sting Love Is The Seventh Wave - Sting If You Love Somebody Set Them Free - Sting & the Police Love Spreads - Stone Roses Dumb Love - Stone Temple Pilots Interstate Love Song - Stone Temple Pilots Pop's Love Suicide - Stone Temple Pilots Show Me That You Love Me Gal - Sugar Minott Double Shot (Of My Baby's Love) - Swingin' Medallions Love Like A Man - Tanga Chicks Everyone Falls In Love - Tanto Metro & Devonte Love Story - Taylor Swift The Way I Loved You - Taylor Swift You Don't Love Me - T-Bone Walker Sowing The Seeds Of Love - Tears For Fears I'd Love To Change The World - Ten Years After I Don't Want A Lover - Texas Love Shack - The B-52's Share Your Love With Me - The Band All You Need Is Love - The Beatles And I Love Her - The Beatles Can't Buy Me Love - The Beatles Hallelujah, I Love Her So - The Beatles It's Only Love - The Beatles Love Me Do - The Beatles Love You To - The Beatles Lovely Rita - The Beatles She Loves You - The Beatles Step Inside Love/Los Paranoias - The Beatles You've Got to Hide Your Love Away - The Beatles Let Love Speak Up Itself - The Beautiful South One Last Love Song - The Beautiful South How Deep Is Your Love - The Bee Gees To Love Somebody - The Bee Gees All We Need Is Love (Christmas In The Yard) - The Big Yard Family Ft. Shaggy Too Afraid to Love You - The Black Keys Do You Love Me/Mother Popcorn (You Got To Have A Mother For Me) - The Blues Brothers Everybody Needs Somebody To Love - The Blues Brothers Who's Making Love - The Blues Brothers Do You Love Me Now? - The Breeders Love, Peace and Happiness - The Chambers Brothers Are You Gonna Be There (At The Love-In) - The Chocolate Watchband Lover's Rock - The Clash Love Potion No.9 - The Clovers I Never Loved A Man - The Commitments That's The Way Love Is - The Commitments Her Love Rubbed Off - The Cramps Love Me - The Cramps Love Removal Machine - The Cult Friday I'm In Love - The Cure Friday I'm In Love - The Cure Lovecats (12" remix) - The Cure Lovesong - The Cure I Believe In A Thing Called Love - The Darkness Love Is Paranoid - The Distillers Chapel Of Love - The Dixie Cups The Doobie Brothers - Here to Love You - The Doobie Brothers The Doobie Brothers - Real Love - The Doobie Brothers Hello, I Love You - The Doors Love Her Madly - The Doors Love Hides - The Doors Love Me Two Times - The Doors Who Do You Love - The Doors Planet Love - The Dylans Vince The Loveable Stoner - The Fratellis Tunnel Of Love - The Fun Boy Three Hearts, Love and Honour - The Headstones Love in Plaster - The Hives Caravan Of Love - The Housemartins For Your Precious Love - The Impressions Lovers - The Irish Descendants My Lagan Love, Drowsy Maggie, Dionne Reel - The Irish Descendants I Guess I'll Always Love You - The Isley Brothers Take Some Time Out For Love - The Isley Brothers Love Stinks - The J. Geils Bands Give Love On Christmas Day - The Jackson 5 I Am Love - The Jackson 5 Love Song - The Jackson 5 Love You Save - The Jackson 5 The Love You Save - The Jackson 5 House That Love Built - The Jeff Healey Band I Love Rock N Roll - The Jesus And Mary Chain Love Makes The World Go Round - The Jets Love Me Or Leave Me - The Jimmy Cotton Blues Quartet Ruby, Don't Take Your Love to Town - The Killers Keep Love Right - The Kleptones Love - The Kleptones Love Song For Yoshimi - The Kleptones What Time Is Love? [LP Mix] - The KLF Got No Love - The Kooks Love It All - The Kooks You Don't Love Me - The Kooks Love Me - The Little Willies Dedicated To The One I Love - The Mamas & the Papas The Right Somebody to Love - The Mamas & The Papas Words Of Love - The Mamas & the Papas A Christmas Love Song - The Manhattan Transfer LoveMe - The Mavericks Sit Down, I Think I Love You - The Mojo Men Green Gloves - The National I Love The Dough (ft. Jay-Z and Angela Winbush) - The Notorious B.I.G. Car Crash Love - The Odds Love Is The Subject - The Odds Love of Minds - The Odds Sweetness & Love - The Odds Christmas Ain't Christmas (Without The One You Love) - The O'Jays I Love Music Part 1 - The O'Jays There Goes Another Love Song - The Outlaws Love Disease - The Paul Butterfield Blues Band Love March - The Paul Butterfield Blues Band Our Love Is Driftin' - The Paul Butterfield Blues Band Love Theme From Sid And Nancy - The Pogues Jump (For My Love) - The Pointer Sisters Love Delicatessen - The Presidents Of The United States Of America Lunatic To Love - The Presidents Of The United States Of America Message Of Love - The Pretenders Thin Line Between Love And Hate - The Pretenders Love My Way - The Psychedelic Furs Daytime Dilemma (Dangers Of Love) - The Ramones Fare Thee Well Love - The Rankin Family Expelled From Love - The Raveonettes Love Trilogy - The Red Hot Chili Peppers No Chump Love Sucker - The Red Hot Chili Peppers Blinded By Love - The Rolling Stones Hide Your Love - The Rolling Stones Can't Buy Me Love - The Royal Philharmonic Pops Orchestra Will You Still Love Me Tomorrow - The Shirelles I Love To See You Smile - The Simpsons Love? - The Simpsons Temple Of Love (1992) - The Sisters of Mercy Last Night I Dreamt That Somebody Loved Me - The Smiths Jungle Love - The Steve Miller Band True Fine Love - The Steve Miller Band Between Love & Hate - The Strokes Baby Love - The Supremes Stop In The Name Of Love - The Supremes Where Did Our Love Go - The Supremes You Can't Hurry Love - The Supremes Double Shot (Of My Baby's Love) - The Swingin' Medallions Love is All - The Tallest Man on Earth Love Lost - The Temper Trap Last Night I Dreamed You Didn't Love Me - The Tragically Hip Love Is A First - The Tragically Hip Love's Gone Bad - The Underdogs Guess I'm Falling In Love (live) - The Velvet Underground I Love You - The Velvet Underground Satellite Of Love - The Velvet Underground Some Kinda Love - The Velvet Underground Who Loves The Sun - The Velvet Underground A Martyr for My Love for You - The White Stripes Fell In Love With A Girl - The White Stripes Well It's True That We Love One Another (feat. Holly Golightly) - The White Stripes You Don't Know What Love Is (You Just Do as You're Told) - The White Stripes Love, Reign O'er Me - The Who Who Do You Love - The Woolies For Your Love - The Yardbirds Love King (Remix) Feat. Jeezy - The-Dream Caligulove - Them Crooked Vultures No one loves me and neither do I - Them Crooked Vultures Now That We Found Love - Third World Get That Love - Thompson Twins In the Name of Love '88 - Thompson Twins Love on Your Side - Thompson Twins Old Fashioned Love Song - Three Dog Night Love In a Vacuum - 'Til Tuesday The One I Love w. Keri Hilson and D.O.E - Timbaland Addicted To Love (Live) - Tina Turner Love Thing - Tina Turner What's Love Got To Do With It - Tina Turner Louder Than Love - TKA (It Looks Like) I'll Never Fall In Love Again - Tom Jones Love Me Tonight - Tom Jones Without Love - Tom Jones Love Is A Long Road - Tom Petty Saving all my love for you - tom waits Planet Love - Tom Wilson It's Only Love - Tommy James & the Shondells Loved One - Tommy James & the Shondells Love's Closin' In On Me - Tommy James & the Shondells I Do Not Know A Day I Did Not Love You - Tony Bennett Love Look Away - Tony Bennett Love Me Tender - Tony Bennett When Joanna Loved Me - Tony Bennett Yesterday I Heard The Rain (Esta Tarde Vi Llover) - Tony Bennett For My Lover - Tracy Chapman Love Will Come Through - Travis The Humpty Dumpty Love Song - Travis Burning Love - Travis Tritt What Of A Love Unspoken - Tre' I Love To Boogie - T-Rex I Was a Lover - TV on the Radio Love Dog - TV on the Radio Lover's Day - TV on the Radio Everyone I Love Is Dead - Type O Negative Love You To Death - Type O Negative Do You Feel Loved - U2 Everlasting Love - U2 Love And Peace Or Else - U2 Love Comes Tumbling - U2 Luminous (Hold On To Love) - U2 Pride (In The Name Of Love) - U2 U2 - Love Rescue Me - U2 When Love Comes To Town - U2 (I Can't Help) Falling In Love With You - UB40 Can't Help Falling In Love - UB40 There Goes My Baby (Prod. By Jim Jonsin & Written By Rico Love) - Usher DJ Got Us Falling In Love Again - Usher feat. Pitbull Ain't Talkin' 'bout Love - Van Halen Feel Your Love Tonight - Van Halen Love Walks In - Van Halen When It's Love - Van Halen Why Can't This Be Love - Van Halen Crazy Love - Van Morrison Have I Told You Lately That I Love You - Van Morrison Warm Love - Van Morrison I Love You - Vanilla Ice I'll Always Be In Love With You - Walker T-Bone I'm Still In Love With You - Walker T-Bone Love Is Just A Gamble - Walker T-Bone Love Explosion - Weezer Love Is The Answer - Weezer I Love Rocky Road - Weird Al Yankovic You Don't Love Me Anymore - Weird Al Yankovic A Boy Like That / I Have A Love - West Side Story La, La, Love You - Weston Greatest Love of all - Whitney Houston I Wanna Dance With Somebody (Who Loves Me) - Whitney Houston I Will Always Love You - Whitney Houston Love Will Save The Day - Whitney Houston Nobody Loves Me Like You Do - Whitney Houston Saving All My Love For You - Whitney Houston You Give Good Love - Whitney Houston I Just Want To Make Love To You - Willie Dixon Violent love - Willie Dixon She Loves My Automobile (with ZZ Top) - Willie Nelson To All The Girls I've Loved Before (with Wyclef Jean) - Willie Nelson Don't Knock My Love (Part 1) - Wilson Pickett Everybody Needs Somebody To Love - Wilson Pickett I Found A True Love - Wilson Pickett I'm In Love - Wilson Pickett What Did My Lover Say? - Wolf Parade Love At First Sight - XTC Love On A Farmboy's Wages - XTC Gun Love - ZZ Top

i don't know

What goes after Love Will Never Do on Janet Jackson's 1990 hit?

Janet Jackson's 10 Biggest Hit Songs R&B About.com compiled a list of Jackson’s top 20 greatest hits, check out the list below: 1993: “That’s The Way Love Goes” Janet Jackson’s first platinum single and 4th number one hit on the Billboard Hot 100. With over three million copies sold worldwide she earned a Grammy Award for Best R & B Song. 1993: “Again” “Again,” composed by Janet Jackson, Jimmy Jam, and Terry Lewis for the movie Poetic Justice, earned an Academy Award nomination and a Golden Globe nomination for Best Original Song. She starred in the film with Tupac Shakur. 2000: “All For You” Janet Jackson’s tenth number one single on the Billboard Hot 100 in 2000. Remaining at the top of the chart for seven weeks more than any other song that year, the song earned a Grammy Award for Best Dance Recording and an ASCAP Award for Song of the Year. 1989: “Miss You Much” Janet Jackson’s first platinum single in 1989 and the song spent 4 weeks at the top of the Billboard Hot 100. On top of its Billboards success, it was the longest-running number one of 1989 and was also the second-best selling single and the biggest radio airplay song of the year. 1986: “When I Think Of You” Janet Jackson’s first number one single on the Billboard Hot 100. At 20 years-old she became the youngest artist to top the chart since Stevie Wonder hit number one at the age of 13 in 1963. 1989: “Rhythm Nation 1814” From BMI Pop Awards for Most Played Song and Songwriter of the Year, to a Billboard Award for Top Dance/Club Play Single and a Grammy Award for Best Long Form Music Video, Rhythm Nation received several honors, influenced several artist such as Lady Gaga and even sparked a new fashion trend—an all black military style look. 1986: “Control” Competing against her legendary brother, Michael Jackson, Janet won a Soul Train Music Award for Best R & B/Soul or Rap Music Video. 1986: “What Have You Done For Me Lately” The first single from Janet Jackson’s third album Control. It was nominated for a Grammy for Best R &B Song and Jackson performed it at the 29th annual Grammy Awards in 1987. 1995:”Scream” with Michael JacksonThe first single from Michael Jackson’s ninth studio album, HIStory: Past, Present and Future, Book I, and his first duet with sister Janet. The video won a Grammy and three MTV Video Music Awards. 1990: “Love Will Never Do Without You” Janet Jackson’s became her fifth number one hit on the Billboard Hot 100. Read more at RandBabout.com …

Without You

Which Gloria co-founded Ms magazine?

20 Reasons Why Janet Jackson is a Superstar Career Highlights Updated December 07, 2015. During her extraordinary career, Janet Jackson has achieved ten number one Billboard Hot 100 singles,13 number one R&B singles, and 19 number one hits on the Hot Dance/Club Play charts. She made history in 1989-90 with Janet Jackson's Rhythm Nation 1814 which is the only album to produce seven top five hits. Here are "Janet Jackson's 20 Greatest Hits." Janet Jackson. Christina Radish/Redferns 1.  1993 - "That's The Way Love Goes" In 1993, "That's The Way Love Goes" became Janet Jackson's fourth number one hit on the Billboard Hot 100 and her first platinum single. It sold over three million copies worldwide and earned a Grammy Award for Best R&B Song. continue reading below our video 5 Urban Myths That Rule the Ages Janet Jackson attending the 66th Annual Academy Awards at Dorothy Chandler Pavillion in Los Angeles, CA on March 21. 1994,. Barry King/WireImage 2.  1993 - "Again" "Again," composed by Janet Jackson, Jimmy Jam, and Terry Lewis for the movie 1993 Poetic Justice, earned an Academy Award nomination and a Golden Globe nomination for Best Original Song. She starred in the film with Tupac Shakur Janet Jackson. Robert Mora/Getty Images 3.  2000 - "All For You" The title song from Janet Jackson's album All For You became her tenth number one single on the Billboard Hot 100 in 2000. It remained  at the top of the chart for seven weeks, more than any other song that year. "All For You" earned a Grammy Award for Best Dance Recording and an ASCAP Award for Song of the Year. Janet Jackson. Kevin Mazur/WireImage 4.  1989 - "Miss You Much" "Miss You Much" became Janet Jackson's first platinum single in 1989. The song spent four weeks at the top of the Billboard Hot 100 and was the longest-running number one hit of 1989. It was also the second-best selling single and the biggest radio airplay song of the year. Janet Jackson. Graham Wiltshire/Redfern 5.  1986 - "When I Think Of You" In 1986, "When I Think Of You" became Janet Jackson's first number one single on the Billboard Hot 100. 20 year-old Jackson became the youngest artist to top the chart since Stevie Wonder hit number one at the age of 13 in 1963. Jant Jackson performing on her 'Rhythm Nation' tour in 1990. Mick Hutson/Redferns 6.  1989 - "Rhythm Nation" The title song of Janet Jackson's 1989 album Rhythm Nation 1814  received numerous honors, including BMI Pop Awards for Most Played Song and Songwriter of the Year, and a Billboard Award for Top Dance/Club Play Single. The Rhythm Nation 1814 film also won a Grammy Award for Best Long Form Music Video. Janet Jackson. Kevin Mazur/WireImage 7.  1986 - "Control" The title song of Janet Jackson's 1986 album Control won a Soul Train Music Award for Best R&B/Soul or Rap Music Video. Her competition included Michael Jackson , and her victory in the category symbolized that she was not longer in the shadow of her famed brother.  Janet Jackson. Michael Ochs Archives/Getty Images 8.  1986 - "What Have You Done For Me Lately" "What Have You Done For Me Lately" was the first single from Janet Jackson's third album Control and began her emergence as a music star. It was nominated for a Grammy for Best R&B Song, and Jackson performed it at the 29th annual Grammy Awards in 1987. Janet Jackson and Michael Jackson. Barry King/WireImage 9.  1995 - "Scream" with Michael Jackson "Scream" in 1995 was the first single from Michael Jackson's ninth studio album, HIStory: Past, Present and Future, Book I, and his first duet with sister Janet. The $7 million video won a Grammy and three MTV Video Music Awards. Janet Jackson. Peter Still/Redferns 10.  1990 - "Love Will Never Do Without You" "Love Will Never Do Without You" from Janet Jackson's 1989 album Rhythm Nation 1814 became her fifth number one hit on the Billboard Hot 100. Prev

i don't know

A Fistfull of Dollars was filmed on location in which country?

Fistful Of Dynamite - The Bridge ( filming location ) Sergio Leone - YouTube Fistful Of Dynamite - The Bridge ( filming location ) Sergio Leone Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 3, 2011 MY FACEBOOK PAGE http://www.facebook.com/pages/On-The-... One of the best scenes in "Fistful Of Dynamite" (aka "Duck You Sucker, Giu' la testa), directed by the great Sergio Leone. Starring: James Cuburn & Rod Steiger. The bridge was located in Almeria, Spain Giù la Testa, roughly translated as Duck Your Head) also known as Duck, You Sucker! and Once Upon a Time... the Revolution is a 1971 Spaghetti western film directed by Sergio Leone. Leone was known to prefer the title Duck, You Sucker!, which he was convinced was a frequently used American phrase. Its plot is centered on two individuals, a poor Mexican bandit (played by Rod Steiger) and an ex-Irish Republican Army revolutionary (James Coburn), who meet during the turbulent Mexican Revolution Compared to Leone's previous films, the Clint Eastwood "man with no name" trilogy and Once Upon a Time in the West, his new work A Fistful of Dynamite gained lukewarm reviews and little notice. One reason could be Leone's insistence on using the Duck, You Sucker title, which gave potential movie-goers the mistaken impression that the film would be a comic western. (Duck, You Sucker is a fairly direct translation of the repeated phrase of the film, "Giù la Testa, coglione!" in the Italian version, where however the movie was titled just "Giù la Testa"). Leone was convinced the phrase "duck, you sucker" was a popular American expression, contrary to the advice of his American stars Rod Steiger and James Coburn that they had never heard of that phrase. When the film was edited for a re-release in 1972, it was re-titled A Fistful of Dynamite by the studio, hoping to capitalize on Leone's first hit, A Fistful of Dollars. Although the film is often overlooked in Leone's œuvre, many critics have praised its cinematography and its quirky score by Ennio Morricone. The film itself has gained greater stature over time. Category

Italy

Which country lies immediately to the south of Estonia?

A Fistful of Dollars (1964) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A Fistful of Dollars ( 1964 ) Per un pugno di dollari (original title) R | A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge. Director: From $2.99 (SD) on Amazon Video ON DISC Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 28 titles created 21 Mar 2011 a list of 34 titles created 23 Oct 2012 a list of 47 titles created 08 Feb 2013 a list of 49 titles created 19 Oct 2013 a list of 48 titles created 11 months ago Title: A Fistful of Dollars (1964) 8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards  » Photos Two bounty hunters with the same intentions team up to track down a Western outlaw. Director: Sergio Leone A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery. Director: Sergio Leone A mysterious stranger with a harmonica joins forces with a notorious desperado to protect a beautiful widow from a ruthless assassin working for the railroad. Director: Sergio Leone A Missouri farmer joins a Confederate guerrilla unit and winds up on the run from the Union soldiers who murdered his family. Director: Clint Eastwood When an innocent man barely survives a lynching, he returns as a lawman determined to bring the vigilantes to justice. Director: Ted Post A mysterious preacher protects a humble prospector village from a greedy mining company trying to encroach on their land. Director: Clint Eastwood Retired Old West gunslinger William Munny reluctantly takes on one last job, with the help of his old partner and a young man. Director: Clint Eastwood A gunfighting stranger comes to the small settlement of Lago and is hired to bring the townsfolk together in an attempt to hold off three outlaws who are on their way. Director: Clint Eastwood When a mad man calling himself 'the Scorpio Killer' menaces the city, tough as nails San Francisco Police Inspector Harry Callahan is assigned to track down and ferret out the crazed psychopath. Director: Don Siegel An I.R.A. explosives expert on the run in Mexico meets an amoral Mexican bandit; together they are drawn into the Mexican revolution. Director: Sergio Leone Two Western bank/train robbers flee to Bolivia when the law gets too close. Director: George Roy Hill A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life. Director: Sergio Leone Edit Storyline An anonymous, but deadly man rides into a town torn by war between two factions, the Baxters and the Rojo's. Instead of fleeing or dying, as most other would do, the man schemes to play the two sides off each other, getting rich in the bargain. Written by Andrew Hyatt <dres@uiuc.edu> In his own way he is perhaps, the most dangerous man who ever lived! See more  » Genres: Rated R for violence | See all certifications  » Parents Guide: 18 January 1967 (USA) See more  » Also Known As: A Fist Full of Dollars See more  » Filming Locations: Mono (Western Electric Sound System) Color: Did You Know? Trivia Originally called "The Magnificent Stranger", the title wasn't changed to "A Fistful of Dollars" until almost three days before the movie premiered in theaters. In fact, nobody had bothered to inform its main star, Clint Eastwood , of the change, and as a result Eastwood remained virtually unaware of the positive buzz surrounding the movie until an agent pointed it out to him in a Variety Magazine article three weeks later. See more » Goofs During the final scene of the shoot out in the cemetery, when Ramon is joking with his peers, there is noticeable damage to the film negative visible. See more » Quotes Silvanito : I'm alive, and I want to remain with the living, understand? And when I'm dead, I want to remain with the dead. And I would be unhappy if somebody living forces me to remain with the living. The movie that started it all 7 October 2003 | by dtucker86 (Germany) – See all my reviews Clint Eastwood was best known to American audiences for his role as Rowdy Yates in the series Rawhide. The series had ended and he was offered this strange new and challenging role in this movie of the American West that was made in Italy! Eastwood said his wife read that script and liked it. She said it was really "wild" because it was written in Western "slang" by Italians who really didn't understand English. He did this picture almost as a lark, and then read that it had become one of the biggest hits in Europe and then when it was released in America it outgrossed even the most popular current American films and made Clint Eastwood both a star and a phenomenon. Its strange to me that the best films ever made about the American west should have been made by Sergio Leone, an Italian who couldn't even speak English. Clint Eastwood said that all he knew in Italian was "arrevadershi" and all Leone knew in English was "goodbye" and yet these two combined to make an awesome film. As the poncho clad "Man With No Name", Eastwood created a role that hit us like a punch in the face and really re-defined the definition of the true Western hero. Eastwood tore out pages and pages of the dialogue and reduced his character to the bare bones to make him more mysterious. Leone said that he clad Eastwood in that sweat stained serepe to give him a cloak of mystery and put the cheroot in his mouth as a pendant between his two cold eyes and it worked like a charm. He broke all the rules and re-defined screen violence. I read that Leone wanted to make a blood and guts Western and show to the audience "I want them to feel what the hell it is like to get shot" and he does it! The scene where Clint is beaten to a pulp is one of the most graphic that you will ever see. It would have killed most other men! 79 of 105 people found this review helpful.  Was this review helpful to you? Yes

i don't know

"Which TV series intro said, ""Return with us now to those thrilling days of yesteryear""?"

RETURN WITH US NOW TO THE THRILLING DAYS OF YESTERYEAR! CLAYTON MOORE AS THE LONE RANGER RIDES AGAIN! Click on the above button to hear "Hi Yo Silver, Away"

Lone Ranger

In which year was the University of Alaska Anchorage founded?

The Man Behind The Mask: A Profile Of The Lone Ranger : NPR Inspired by the recent release of the movie The Lone Ranger, we return to the thrilling days of yesteryear — 2008 — for an encore broadcast of a profile of the Lone Ranger for the series "In Character." AUDIE CORNISH, HOST: It's ALL THINGS CONSIDERED from NPR News. I'm Audie Cornish. My colleague, Robert Siegel, is off today for the holiday. But, we're going to return with him now to a thrilling day of yesteryear. Yesteryear being five years ago. That's right it's a shameless re-run. And our excuse is the new "Lone Ranger" movie, which has opened to mixed reviews. The old TV show, which aired in the 1950s, was a favorite of Robert's when he was a boy. So, for our 2008 series, In Character, Robert marked "The Lone Ranger's" 75th anniversary. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") FRED FOY: Look up there at the headwall. ROBERT SIEGEL, HOST: In 1874, six Texas Rangers were betrayed by a guide and ambushed at Bryant's Gap. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") FOY: It's an ambush, men. Slow down and find cover quick. (SOUNDBITE OF GUNSHOTS AND A NEIGHING HORSE) SIEGEL: Writhing on the canyon floor, they came under rifle fire from a gang of outlaws on the cliffs above. (SOUNDBITE OF GUNSHOTS) SIEGEL: Five died, the sixth was left for dead and would have died that day but for an amazing coincidence. After the shooting was over, an Indian man happened upon the scene of the ambush. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") JAY SILVERHEELS: (as Tonto) Be still. Him not hurt you. SIEGEL: The ranger who was wounded but still clinging to life had saved that Indian from outlaw raiders for a few years earlier, when the two were just boys. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") SILVERHEELS: (as Tonto) Why you - you Kemosabe. CLAYTON MOORE: (as The Lone Ranger) Kemosabe? That sounds familiar. SIEGEL: The Indian recognized his voice companion, carried into a nearby cave and nursed him back to health. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) The other rangers, Tonto, all dead? SILVERHEELS: (as Tonto) Mmm. SIEGEL: Including Captain Dan Reid, the Ranger's own brother. The Indian did the subtraction. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") SILVERHEELS: (as Tonto) You all alone now, last man. You are lone ranger. MOORE: (as The Lone Ranger) Yes, Tonto, I am a lone ranger. (SOUNDBITE OF THEME MUSIC) UNIDENTIFIED MAN: The Lone Ranger... SIEGEL: He has been The Lone Ranger ever since. On radio, in movies, in novels, on television, in comic books, his story has been embroidered, embellished and rewritten. But he always wore a mask, he always pursued justice and he never accepted praise or payment. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) Hi-yo, Silver, away. FRAN STRIKER, JR.: Well, my name is Fran Striker, Jr. And my father's name was Fran Striker and he was the creator and author of "The Lone Ranger." SIEGEL: In 1933, Fran Striker - a self-described hack writer - was in Buffalo, New York, writing radio scripts for, among other stations, WXYZ in Detroit. JR.: And they were buying five programs a week from him. Some of them were mystery series. Some of them were Secret Service series. SIEGEL: And the owner of WXYZ, George Trendle, wanted a Western. Fran Striker started writing and, over the course of a dozen episodes, a character took shape - a paragon of virtue. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) I'll shoot to wound, not to kill. A man must die, it's up to the Lord to decide that; not the person behind the six shooter. UNIDENTIFIED MAN #1: May I offer you gentlemen to drink? MOORE: (as The Lone Ranger) No, thanks. A man drinks that kind of medicine to forget something he does want to remember. JR.: The Lone Ranger always used dead-on perfect English. That's what George Trendle read the scripts for. SIEGEL: He didn't even have a hint of a Texas accent about him, as he spoke. JR.: Well, nobody has been west of Buffalo or Detroit, either. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") (SOUNDBITE OF KNOCKING) MOORE: (as The Lone Ranger) (Unintelligible) open the door, sheriff. UNIDENTIFIED MAN #2: A masked man. MOORE: (as The Lone Ranger) Back inside. UNIDENTIFIED MAN #2: You've got a lot of nerve. MOORE: (as The Lone Ranger) Don't make a move for your guns... GARY HOPPENSTAND: My name is Gary Hoppenstand and I am a professor of American Studies, who specializes in popular culture studies. And I am also currently editor of the Journal of Popular Culture, which is the largest scholarly journal of its type in the world. SIEGEL: Professor Hoppenstand ranks The Lone Ranger among a handful of important iconic figures in American popular culture. A vigilante lawman who protects the criminal justice system by working outside it, a hero made for radio audiences of the Great Depression. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") UNIDENTIFIED MAN #3: (as Jim) I reckon we ain't no choice but to sell out of this polecat I tried to find new begin somewhere. UNIDENTIFIED MAN #4: A hundred and fifty dollars is a lot of cash, Jim. UNIDENTIFIED WOMAN: Don't you take it, Jim. What will we do when the 150 is gone? We won't have enough then, not even this house and the clean. UNIDENTIFIED MAN #4: (as Jim) All right. HOPPENSTAND: In the 1930s, the perception was that there was a failure of government to protect the American people. And so, this is a character - masked - who use vigilante techniques to basically protect those who can't help themselves. And so, this was a character who found a decided audience, experiencing those kinds of things in their daily lives, while also having been wonderful escapist enjoyment, as well. (SOUNDBITE OF SONG, "BOB DYLAN'S BLUES") BOB DYLAN: (Singing) Well, The Lone Ranger and Tonto, they're riding down the line, fixing everybody's troubles, everybody's except mine... SIEGEL: For the first 10 episodes of "The Lone Ranger," the Ranger actually rode alone. This was before they cooked up the back-story of the ambush at Bryant's Gap. As writer Fran Striker told us son, Fran Jr., that posed a problem for creating dialogue. JR.: The problem being that The Lone Ranger had nobody to talk to, if he was a lone ranger. So they had suggested that the creative sidekick for The Lone Ranger. Script 11 introduced Tonto, and he was developed solely for the purpose of giving the Lone Ranger somebody to talk to. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) All right, Tonto, you'll be a lot of help. We'll ride together. SILVERHEELS: (as Tonto) Me glad, Kemosabe. Me fight good for you. (SOUNDBITE OF GUNSHOTS) MOORE: (as The Lone Ranger) Take cover, Tonto. MARK ELLIS: I always loved The Lone Ranger is like your idealized white man. And Tonto is your idealized Native American. SIEGEL: Writer Mark Ellis compiled the fictional timeline of The Lone Ranger's life. ELLIS: As a kid, my idea of a Native American was based on basically Tonto, who was a good person. He was very moral. He was very smart even if he spoke rather broken English. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") SILVERHEELS: (as Tonto) Me call you Kemosabe. That means Trusty Scout. JR.: If The Lone Ranger accepts the Indian as his closest companion, it's obvious to the child listener that great men have no racial or religious prejudice. SIEGEL: Fran Striker, Jr. says in all "The Lone Ranger" episodes there is never a disparaging word about any minority group. Of course, what had sufficed as racial equality in 1933 could easily provoke cynicism by the time the show was on television in the 1950s or in reruns in the '60s. Again, Mark Ellis. ELLIS: Bill Cosby used to do a routine where he could never understand why Lone Ranger would always send Tonto into town for supplies, and then would get beaten up. BILL COSBY: And I'd always holler at the radio: Tonto, don't go to town. (LAUGHTER) COSBY: They're going to beat you up again, man. (LAUGHTER) COSBY: You know, just one time: Tonto. Yes, Kemosabe. You go to town. You go to hell, Kemosabe. (LAUGHTER) (SOUNDBITE OF SONG, "YOU DON'T MESS AROUND WITH JIM") JIM CROCE: (Singing) Just because and they say you don't tug on Superman's cape. You don't spit into the wind. You don't pull the mask on that old Lone Ranger. And you don't mess around with Jim. Ah-do-dah-do-dah-dah... (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) I'll hide my identity somehow. SILVERHEELS: (as Tonto) You mean like mask? MOORE: (as The Lone Ranger) That's it, Tonto. From now on, I'll wear a mask. SIEGEL: Why the mask? Well, the idea was that the Butch Cavendish Gang - the bad guys who had killed his comrades in the ambush - shouldn't know that one of them had survived and was out to seek revenge. TERRY SALOMONSON: And in order to keep his identity secret, he used a mask and never used his name, so he could go after the gang. The mask is, as the legend goes, was cut from his dead brother's vest. SIEGEL: That's Terry Salomonson, lifelong fan and collector of "Lone Ranger" memorabilia. Of course, that doesn't explain why he always wore the mask, even when he and Tonto were riding alone across the Texas wilderness. SALOMONSON: Over caution. SIEGEL: Over caution. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) No one is going to know I'm alive. I'm supposed to be dead and I'm going to stay that way. HOPPENSTAND: He wears a mask that is the very symbol of the outlaws that the Lone Rangers go after. SIEGEL: Professor Gary Hoppenstand. HOPPENSTAND: I think what it plays into is the audience's sense of escapist fantasy. The idea is that in their imagination all they need to do is don their own mask and they, too, could have the sort of grand and exciting adventures, where they're doing exciting and good things. SIEGEL: So who actually knew The Lone Ranger's face? Well, his nephew did and, of course, Tonto did. And, this may be surprising, but President Ulysses S. Grant did. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) Mr. President. UNIDENTIFIED MAN #5: (as President Ulysses S. Grant) Who are you? Who let you come in here with that mask on your face? Take it off if you want to speak to me. SIEGEL: Terry Salomonson explains this encounter. SALOMONSON: President Grant summoned him to a railroad siding in St. Louis because of the actions of a particular group of individuals that were trying to carve out their own country, so to speak, in the West. And that started off a 64-episode series entitled "The Legion of the Black Arrow." And President Grant requested that the Lone Ranger come in for a meeting to say is there something we can do, and how can you fight against it. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (as The Lone Ranger) There. UNIDENTIFIED MAN #5: (as President Ulysses S. Grant) You know, your face is just what I thought it would be. What I hoped it would be. MOORE: (as The Lone Ranger) Thank you, sir. SIEGEL: The Lone Ranger was a patriot - in real life, too. Again, Fran Striker, Jr., son of the writer. FRAN STRIKER JR.: Interestingly, during World War II, my father was called to Washington by the War Department and they had a favor. He had a number of Ranger programs where the Lone Ranger would help the Calvary out at the end of the program. And the War Department thought that it would be nice if the Calvary could help the Lone Ranger out. (LAUGHTER) JR.: And that was their PR effort for the year, I guess. And dad said, of course. (SOUNDBITE OF SONG) UNIDENTIFIED MAN #6: (singing) The adventure of Lone Ranger and Tonto, that masked alias rider. Hi-yo, Silver, away... SIEGEL: Something else about the Lone Ranger, he rode a white stallion named Silver and his six-shooter fired silver bullets. MICHAEL CHABON: Gotta love the silver bullets. The silver bullets are genius. SIEGEL: That's novelist Michael Chabon. (SOUNDBITE OF TV SERIES, "THE LONE RANGER") MOORE: (As Lone Ranger) Silver bullets will serve as sort of a symbol. Tonto suggested the idea. A symbol which means justice by law. SIEGEL: It didn't hurt that the Lone Ranger had inherited a silver mine. Writer Mark Ellis says these props were designed to be indelible in the mind's eye. MIKE ELLIS: The silver bullets, the mask and the white stallion, Silver, those were what was known, I guess, in the old days of radio as shiny things for the mind so that the imagination could latch onto and made it easier to visualize the characters and the places. SIEGEL: And people did. Time was, kids had Lone Ranger rings, hats, masks, Lone Ranger giveaways from cereal boxes. Novelist Michael Chabon says the charm still works. CHABON: My 4-year-old son and I just stumbled upon some books we have from the 1950s. We have two Lone Ranger Golden Books and my son was just immediately enrapt. There's something about the mask and the hat and the horse and the silver bullets and the faithful Indian friend. And there's something really powerful there in that character. I mean, there's some reason why the Lone Ranger continues to endure, even though he's far less visible now than he once was. FOY: We never dreamed that this would become a legend when we were doing the show. SIEGEL: Fred Foy is 86. In 1948, he got the job at WXYZ in Detroit to be the announcer on "The Lone Ranger" and he filled the same job on the TV show that followed. FOY: And it's so beautiful to know that you had so many people who sat back and enjoyed your work. And I'm very flattered to hear that. SIEGEL: I was wondering if you could give us up in the clear, a rendering of the opening. FOY: The opening. Okay. And that includes all of it. All right. Let's see what happens here. A fiery horse with the speed of light, a cloud of dust and a hearty Hi-yo Silver. The Lone Ranger, with his faithful Indian companion, Tonto, the daring and resourceful masked rider of the plains led the fight for law and order in the early Western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past comes the thundering hoof beats of the great horse, Silver. The Lone Ranger rides again. Hi-yo, Silver, away. SIEGEL: You have the magical power to make people feel they're five years old once again. FOY: Oh, well, thank you. SIEGEL: That was announcer Fred Foy back in 2008. Foy died three years ago. Everyone else I mentioned is five years older now, including the Lone Ranger. He's 80. Copyright © 2013 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information. NPR transcripts are created on a rush deadline by Verb8tm, Inc. , an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

i don't know

What was John Huston's last movie?

The Dead (1987) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Gabriel Conroy and wife Greta attend an early January dinner with friends at the home of his spinster aunts, an evening which results in an epiphany for both of them. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 48 titles created 12 Sep 2011 a list of 25 titles created 23 Jul 2014 a list of 39 titles created 03 Oct 2014 a list of 39 titles created 02 Jan 2015 a list of 37 titles created 22 Aug 2015 Search for " The Dead " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Another 9 wins & 14 nominations. See more awards  » Photos The last 24 hours in the life of Geoffrey Firmin, a lonely, depressed English consul who retreats to alcohol for solace. Director: John Huston Two men, working as professional boxers, come to blows when their careers each begin to take opposite momentum. Director: John Huston A professional hit man and hit woman fall in love. Director: John Huston A psychiatrist involved in a radical new therapy comes under suspicion when his patients are murdered, each according to their individual phobias. Director: John Huston A Southerner--young, poor, ambitious but uneducated--determines to become something in the world. He decides that the best way to do that is to become a preacher and start up his own church. Director: John Huston A major heist goes off as planned, until bad luck and double crosses cause everything to unravel. Director: John Huston A defrocked Episcopal clergyman leads a bus-load of middle-aged Baptist women on a tour of the Mexican coast and comes to terms with the failure haunting his life. Director: John Huston Truncated adaptation of Stephen Crane's novel about a Civil War Union soldier who stuggles to find the courage to fight in the heat of battle. Director: John Huston Bizarre tale of sex, betrayal, and perversion at a military post. Director: John Huston Two British soldiers in India decide to resign from the Army and set themselves up as deities in Kafiristan--a land where no white man has set foot since Alexander. Director: John Huston On their way to Africa are a group of rogues who hope to get rich there, and a seemingly innocent British couple. They meet and things happen... Director: John Huston In a story set during the Hundred Years War, a student who has abandoned his studies in Paris, pairs with a young noblewoman with whom he has fallen in love. Director: John Huston Edit Storyline John Huston's last film is a labor of love at several levels: an adaptation of perhaps one of the greatest pieces of English-language literature by one of Huston's favorite authors, James Joyce; a love letter to the land of his ancestors and the country where his children grew up; and the chance to work with his screenwriter son Tony and his actress daughter Anjelica. The film is delicate and unhurried, detailing an early January dinner at the house of two spinster musician sisters and their niece in turn-of-the-century Ireland, attended by friends and family. Among the visiting attendees are the sisters' nephew Gabriel Conroy and his wife Gretta. The evening's reminiscences bring up melancholy memories for Gretta concerning her first, long-lost love when she was a girl in rural Galway. Her recounting of this tragic love to Gabriel brings him to an epiphany: he learns the difference between mere existence and living. The all-Irish cast and careful period detail give the piece richness... Written by Russ W. <russwlkr@ix.netcom.com>

The Dead

Who won Super Bowl III?

John Huston's The Dead - Finale - YouTube John Huston's The Dead - Finale Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Oct 29, 2009 "Upon all the living and the dead"... The final scene of John Huston's "The Dead", adapted from James Joyce's unequaled masterpiece. Simply one of the best pieces of writing of all times. Category

i don't know

What is Marie Osmond's real first name?

Marie Osmond - Biography - IMDb Marie Osmond Jump to: Overview  (3) | Mini Bio  (1) | Spouse  (3) | Trivia  (29) | Personal Quotes  (3) Overview (3) 5' 5" (1.65 m) Mini Bio (1) Marie Osmond was born on October 13, 1959 in Ogden, Utah, USA as Olive Marie Osmond. She is a producer and actress, known for Donny and Marie (1975), Marie (2012) and The Talk (2010). She was previously married to Brian Blosil and Steve Craig . Spouse (3) Was on Broadways "Anna and the King". She appeared in The Muppets ' "She Drives Me Crazy" music video. Has five adopted children. Children: Stephen Blosil (aka Stephen James Craig) (b. 1983 - father is first husband Steve Craig ), Jessica Marie (b. 1987), Rachael Lauren (b. 1989), Michael Brian (b. 1991 - February 26, 2010), Brandon Warren (b. 1996), Brianna Patricia Lynne (b. 1997), Matthew Richard (b. 1999) and Abigail Olive May (b. 2002). Sister of Alan Osmond , Donny Osmond , Jay Osmond , James A. Osmond , Merrill Osmond , Virl Osmond , Tom Osmond and Wayne Osmond . All nine Osmond siblings studied karate under Chuck Norris . Turned down the starring role in the movie, Grease (1978) on "moral grounds". In October, 1999 she disclosed her treatment for severe bout of postpartum depression, following the birth of her 7th child, Matthew, on July 6, 1999. She became so despondent that she left her husband and kids planning never to return. Osmond said she basically gave the baby, and credit card, to her babysitter, got in her car and drove off believing her kids would be better off without her. She reconsidered later when her husband reached out to her by cell phone. In addition to being an international celebrity, Marie is also a businesswoman. In 1991, she launched the "Marie Osmond Fine Porcelain Collector Dolls" line on QVC and at Disney theme parks. It has become QVC's top selling doll line, has been nominated for Trendsetter of the Year in the collectibles industry, and has moved into the retail and direct response markets. She began sculpting a number of her own dolls in 1993, and she received three Dolls of Excellence award nominations during the 1997 International Toy Fair. In 1998, she reached a hallmark achievement by selling her 1,000,000th doll on QVC. Co-founder/co-host, with John Schneider , of Children's Miracle Network, a project of The Osmond Foundation. The largest annual broadcast in fund raising history, it has raised in excess of 1.8 billion dollars since 1983, 100 percent of which has stayed in the local area in which it was raised for medical treatment, research and assistance, benefiting children's hospitals throughout the U.S. and Canada. In 1989, the Country Music Foundation presented Marie with the prestigious Roy Acuff Award in recognition of her efforts on behalf of children. She is a close childhood friend of Shawn Southwick .

Olive

Who sang a solo at Prince Charles and Lady Di's wedding?

Marie Osmond - Biography - IMDb Marie Osmond Jump to: Overview  (3) | Mini Bio  (1) | Spouse  (3) | Trivia  (29) | Personal Quotes  (3) Overview (3) 5' 5" (1.65 m) Mini Bio (1) Marie Osmond was born on October 13, 1959 in Ogden, Utah, USA as Olive Marie Osmond. She is a producer and actress, known for Donny and Marie (1975), Marie (2012) and The Talk (2010). She was previously married to Brian Blosil and Steve Craig . Spouse (3) Was on Broadways "Anna and the King". She appeared in The Muppets ' "She Drives Me Crazy" music video. Has five adopted children. Children: Stephen Blosil (aka Stephen James Craig) (b. 1983 - father is first husband Steve Craig ), Jessica Marie (b. 1987), Rachael Lauren (b. 1989), Michael Brian (b. 1991 - February 26, 2010), Brandon Warren (b. 1996), Brianna Patricia Lynne (b. 1997), Matthew Richard (b. 1999) and Abigail Olive May (b. 2002). Sister of Alan Osmond , Donny Osmond , Jay Osmond , James A. Osmond , Merrill Osmond , Virl Osmond , Tom Osmond and Wayne Osmond . All nine Osmond siblings studied karate under Chuck Norris . Turned down the starring role in the movie, Grease (1978) on "moral grounds". In October, 1999 she disclosed her treatment for severe bout of postpartum depression, following the birth of her 7th child, Matthew, on July 6, 1999. She became so despondent that she left her husband and kids planning never to return. Osmond said she basically gave the baby, and credit card, to her babysitter, got in her car and drove off believing her kids would be better off without her. She reconsidered later when her husband reached out to her by cell phone. In addition to being an international celebrity, Marie is also a businesswoman. In 1991, she launched the "Marie Osmond Fine Porcelain Collector Dolls" line on QVC and at Disney theme parks. It has become QVC's top selling doll line, has been nominated for Trendsetter of the Year in the collectibles industry, and has moved into the retail and direct response markets. She began sculpting a number of her own dolls in 1993, and she received three Dolls of Excellence award nominations during the 1997 International Toy Fair. In 1998, she reached a hallmark achievement by selling her 1,000,000th doll on QVC. Co-founder/co-host, with John Schneider , of Children's Miracle Network, a project of The Osmond Foundation. The largest annual broadcast in fund raising history, it has raised in excess of 1.8 billion dollars since 1983, 100 percent of which has stayed in the local area in which it was raised for medical treatment, research and assistance, benefiting children's hospitals throughout the U.S. and Canada. In 1989, the Country Music Foundation presented Marie with the prestigious Roy Acuff Award in recognition of her efforts on behalf of children. She is a close childhood friend of Shawn Southwick .

i don't know

Calabar international airport is in which country?

Calabar Margaret Ekpo International Airport Home  /  World Airport Directory  /  Nigeria  / Calabar Margaret Ekpo International Airport Calabar Margaret Ekpo International Airport Country: Nigeria Airport serving the Cross River State in southeastern Nigeria Local time GMT (winter/summer): +1/+1 Geographic coordinates:  Latitude (4.98), Longitude (8.35) IATA code: CBQ

Nigeria

"Who said, ""A man is only as old as the woman he feels?"""

Airlines operating from Nigeria's International Airports Mallam Aminu Kano International Airport (KAN) Lagos Murtala Muhammed International Airport Situated in Ikeja, Lagos State, the Murtala Muhammed International Airport serves Lagos, southwestern Nigeria and the rest of the Nation. The Airport was built during World War Two, and was originally called Lagos International Airport, however it was renamed in the mid 1970's. The following Airlines offer international flights via Murtala Muhammed International Airport: Airliner

i don't know

Which country did Thor Heyerdahl's Kon-Tiki set sail from on its journey to Eastern Polynesia?

Thor Heyerdahl’s Kon-Tiki Voyage - History in the Headlines Thor Heyerdahl’s Kon-Tiki Voyage October 6, 2014 By Christopher Klein The Kon-Tiki voyage, 1947 Thor Heyerdahl’s Kon-Tiki Voyage Author Thor Heyerdahl’s Kon-Tiki Voyage URL Google Born on October 6, 1914, in Larvik, Norway, Thor Heyerdahl was no armchair anthropologist. He gained worldwide fame in 1947 when he crossed the Pacific Ocean on a primitive balsawood raft to prove his theory that South Americans could have originally populated Polynesia. On the 100th anniversary of Heyerdahl’s birth, look back at his historic Kon-Tiki voyage. In 1937, fledgling Norwegian zoological researcher Thor Heyerdahl traveled to the South Pacific with his newlywed wife to study the flora and fauna of the isolated Marquesas Islands. As he collected a menagerie of specimens on the tiny Polynesian island of Fatu Hiva, however, Heyerdahl’s curious mind drifted from thoughts of living creatures to those of ancient civilizations. Aware of the prevailing scholarly wisdom that people from Southeast Asia had arrived from the west to first populate Polynesia, the Norwegian couldn’t help but notice the trade winds and breakers rolling across the Pacific Ocean from the east. Heyerdahl noted the presence of South American plants such as the sweet potato in Polynesia and the similarities between stone figures on Fatu Hiva and the monoliths erected by ancient South American civilizations. He saw parallels in the physical appearances, rituals and myths of Polynesians and South Americans, and around the glow of a fire, he listened as an elder spoke of a demigod named Tiki who brought his ancestors to the island from a big country beyond the eastern horizon. Heyerdahl on board Kon-Tiki. (Credit: Archive Photos/Getty Images) Heyerdahl returned to Norway with fish, jars of beetles and a new dream—to challenge conventional wisdom and demonstrate that the first people who settled Polynesia came from the east, not the west. He abandoned his zoology studies and developed an ethnological theory that two waves of people from the Americas populated the South Pacific. The first wave, Heyerdahl said, arrived around A.D. 500 from pre-Incan Peru by way of Easter Island on rafts that drifted on the currents of the Pacific Ocean; the second came approximately 500 years later from the coast of British Columbia by way of Hawaii. Critics thought the theory impossible and said the open rafts of South America’s pre-Incan civilizations were hardly seaworthy enough to make an oceanic crossing. Heyerdahl, however, was determined to prove that such a voyage was possible—even if it meant risking his life. Although the Norwegian had no sailing experience and couldn’t even swim, he announced plans to make the perilous crossing on a log raft built only with tools available to pre-Columbian South Americans. “Your mother and father will be very grieved when they hear of your death,” one skeptical diplomat told Heyerdahl when hearing of his plan. Promising “nothing but a free trip to Peru and the South Sea islands and back,” Heyerdahl recruited a five-man crew who built a 30-by-15-foot raft made of nine balsawood logs harvested from the Ecuadorian jungle lashed together with hemp ropes. An open bamboo cabin with overlapping banana leaves covering the roof provided the only protection from the elements. With a smash of a coconut against the bow, the vessel was christened Kon-Tiki after the legendary Peruvian sun god who had vanished westward across the sea, a mythical figure who served as the mirror image to the Polynesian demigod Tiki who had arrived from the east. On April 28, 1947, Kon-Tiki departed Callao, Peru, with six men and a Spanish-speaking green parrot aboard. Borne along by the northeast-east trade winds that billowed the massive square sail bearing the image of the bearded Kon-Tiki, the raft groaned and creaked as it drifted across the vast blue desert of water. Although the vessel carried a radio that the crew used to provide daily meteorological and oceanographic observations, a rescue would have been nearly impossible given their remote location in the ocean. They navigated with just the sun, stars, currents and winds as their guides. They maneuvered the raft with only the sail, paddles and a temperamental steering oar as they beat against waves that in stormy conditions towered higher than their masts. Kon-Tiki on display in Oslo, Norway. (Credit: Getty Images) Each morning the cook collected the flying fish that flopped onto the deck overnight. The seaweed and shellfish that grew on Kon-Tiki’s underside lured sardines, tuna, dolphins and at least one unwelcome visitor. One day when crewmember Knut Haugland leaned over to wash his hands, he came face-to-face with a 30-foot whale shark, the world’s largest fish species. “Its body rose to the surface like a small mountain,” he recalled in his diary. After circling the vessel for an hour, the enormous sea monster thankfully found other ocean prey. On the voyage’s 93rd day, Heyerdahl and his crew finally spotted palm trees on the horizon. The winds and currents, however, kept the vessel out at sea. More than a week later, as dawn broke on August 7, they spotted a reef on the starboard side. As the fragile timber raft approached the jagged reef, the cresting waves grew and sent tons of water splashing over Kon-Tiki. The crew clung to whatever they could as the mast snapped and the swells heaved them onto the Raroia atoll in the Tuamotu Archipelago near Tahiti. All arrived safely—except for the parrot that had vanished during a storm out at sea—after covering 4,300 nautical miles in 101 days, an average speed of 42.5 miles per day. Heyerdahl had proved that an ancient voyage from South America to Polynesia was possible. However, he could not prove that it had actually occurred, and most scholars continue to dismiss his theory and believe the first Polynesian settlers arrived from Southeast Asia. Heyerdahl poses in front of Kon-Tiki display, 1990. (Credit: AGNETE BRUN/AFP/Getty Images) Heyerdahl recounted the epic voyage in the bestselling 1950 book “Kon-Tiki: Across the Pacific by Raft” and in a documentary the following year that won the Academy Award. He continued to conduct research expeditions to Easter Island, the Galapagos Islands and South America until his death in 2002, and he led voyages across the Atlantic and Indian Oceans in primitive vessels similar to Kon-Tiki to prove how other ancient civilizations may have been interconnected. The raft he sailed across the Pacific Ocean in 1947 is now on display at the Kon-Tiki Museum in Oslo. Tags

Peru

Donna Gaines is better known by which name?

Project MUSE - White-Skinned Gods: Thor Heyerdahl, the Kon-Tiki Museum, and the Racial Theory of Polynesian Origins Thor Heyerdahl, the Kon-Tiki Museum, and the Racial Theory of Polynesian Origins Scott Magelssen (bio) Thor Heyerdahl’s 1947 performative experiment, to sail a raft from Peru to Polynesia, was lauded as a feat of ingenuity and endurance. Largely undertreated is the racially motivated theory undergirding Heyerdahl’s Kon-Tiki project — that the first settlers in Polynesia were a race of bearded, white-skinned supermen who remained deities in both South American and Polynesian mythology. Contemporary commemorations, however, emphasize feel-good stories of human achievement over Heyerdahl’s racist performance. Click for larger view View full resolution Figure 1. Thor Heyerdahl aboard Kon-Tiki, several weeks into his voyage across the Pacific Ocean from Peru to Polynesia. (Courtesy of the Kon-Tiki Museum) Like many others, I spent most of my life only vaguely understanding the significance of Thor Heyerdahl. In 1947 the Norwegian adventurer built a log raft using ancient South American practices and sailed the Pacific Ocean from Peru to Polynesia in a riveting adventure that captured the world’s attention. He published his book on the crossing in 1948; the first English-language edition was published in 1950. I grew up with a paperback copy of Heyerdahl’s best-selling account of the voyage, Kon-Tiki: Across the Pacific by Raft, on my family’s bookshelf, but I had never read it. However, from the beginning of my formal research on historical simulations, I repeatedly encountered the story of Heyerdahl as a game-changer when it came to using performance to generate understanding about the past. Heyerdahl’s performative experiment, sailing a balsa raft christened with the name of the Peruvian sun god from South America to Polynesia, proved possible his theory of east-to-west colonization of the islands. The foundational text on living history, Jay Anderson’s Time Machines (1984) , positions Heyerdahl as a [End Page 25] pioneer who legitimized the use of hands-on practices to figure out those of the past: “It was the 1947 Kon-Tiki expedition [...] that established [Heyerdahl] as the best-known of the experimental archaeologists,” writes Anderson, “After the Kon-Tiki voyage, simulation became a more acceptable research tool ( Anderson 1984 :89). Anderson’s follow up to Time Machines, the Living History Reader, puts Heyerdahl in a category of influence with John D. Rockefeller, Jr., who financed Colonial Williamsburg, and James Deetz, who, in one of his first acts as director of Plimoth Plantation, jettisoned the fairy-tale buckled-hatted Pilgrims from the 1620s village the day before opening the 1969 season, initiating a new era of social history and kitchen-sink realism in living museums ( Anderson 1991 :3). Theatre and performance scholars are no strangers to the performative innovations Heyerdahl ushered into the mid-20th century, either. The physical “recreation” of a primitive seagoing balsa raft fits within the same kind of mid-century experimental archaeology techniques used by Richard Southern in reconstructing morality play stages for his Medieval Theatre in the Round (1957) and those Peter Arnott used to deduce ancient Athenian staging techniques in Greek Scenic Conventions in Fifth Century B.C. (1962) . What Arnott called proof through the “hard school of practical production” suggests an axiom that doing it by-hand is a kind of Occam’s razor for purifying and endorsing historical conjecture as common-sense truth. There’s no question that Heyerdahl laid the ground rules for what Anderson calls “living history as a research tool,” and Heyerdahl serves as an early example of what would come to be practiced by anthropologists and performance studies scholars such as Victor Turner, Richard Schechner, and Dwight Conquergood. Turner and Schechner’s collaborations at NYU and the University of Virginia in the early 1980s involved experiments in performative ethnography, in which classes of students would research and simulate social or ritual dramas. 1 Conquergood’s essays laid out goals and best practices for performance as a supplement to written ethno-graphic research ([2002] 2007:376). Those of us in performance studies take it as a given that embodied practices are a way of knowing; that is, performance generates and disseminates meaning in manners equal to, though different from, text-based forms of communication. 2 And historical meaning is no exception. Marvin Carlson writes, “when the kinesthetic imagination is united with memory, the result [...] is some species of ‘living history’” (2000:247). I took up these ideas in formulating my analysis of immersive participatory simulation or “simming,” and would come to formulate a conception of simmings that use hands-on, “sandbox” techniques for learning about the past as “performative historiography” ( Magelssen 2014 :19, 34ff; see also Magelssen 2010 ). [End Page 26] I’d been lugging celebratory accounts of Heyerdahl’s early work around with me since I was a Master’s student researching historical simulations in the 1990s, so I finally decided it was time to read Kon-Tiki. I picked up a copy at a local used bookstore a couple of years ago. What I read bowled me over. Right there, hidden in plain sight, is Heyerdahl’s claim that Con-Ticci Viracocha, the deity connected to a pre-Incan civilization and the raft’s namesake — Heyerdahl changed the spelling for branding purposes — was white. Kon-Tiki was never indigenous to what is now South America, he maintained, but was rather a bearded newcomer with Caucasoid features from the north and east who’d brought the Indians out of their primitive savagery into civilization (indigenous South Americans were darker skinned and didn’t grow facial hair for the most part). Heyerdahl writes in the first chapter of Kon-Tiki what the Incas told the Spaniards, whom they greeted as divine on their arrival to Peru: The colossal monuments that stood deserted about the landscape were erected by a race of white gods which had lived there before the Incas themselves had become rulers. These vanished architects were described as wise, peaceful instructors, who had originally come from the north, long ago in the morning time, and had taught the Incas’ primitive forefathers architecture and agriculture as well as manners and customs. They were unlike other Indians in having white skins and long beards; they were also taller than the Incas. ( Heyerdahl [1950] 1956 :17) The white, bearded men, having taught the brown-skinned indigenous Peruvians everything they knew, were ousted from the civilization’s center at Lake Titicaca after a great battle. “Finally they left Peru as suddenly as they had come; the Incas themselves took over power in the country, and the white teachers vanished forever from the coast of South America and fled westward across the Pacific” (17). Click for larger view View full resolution Figure 2. A photo of Kon-Tiki at Sea, probably taken from the lifeboat tethered to the raft. (From Heyerdahl 1950 ) “White gods?” Surely I’d misread. Heyerdahl’s expedition was lauded by the midcentury popular media as a feat of ingenuity and endurance. The 1947 voyage of the Kon-Tiki, with its edge-of-the-seat battles with freak weather, sharks, and against-all-odds reliance on primitive navigation, not only inspired a host of new academic projects using performative historiography as lynchpin evidence for understanding past human practices, it spurred a wave of post-war optimism about human achievement and global cooperation. In addition to the bestselling book, Heyerdahl’s 1950 film, which used footage from the voyage, won that year’s Academy Award for best documentary feature. By the mid-1950s, Kon-Tiki had become a household name, which appeared on everything from cocktail menus to tourist hotels. [End Page 27] Heyerdahl’s theory of cultural hyper-diffusion was definitely there in the text, and was as racist as it sounded. Hyper-diffusionism is the hypothesis that culture originated in a single, ancient, advanced civilization, and that all subsequent cultures spread from this point of cultural origin. I imagined that his views were most likely an artifact of late-19th-century pseudoscience and had only made it into the hands of millions of readers as a result of its timing. The world had just experienced a devastating war, with inconceivable atrocities on both sides, and faith in humanity was down several notches. Here was a tale of bravery and endurance that reminded audiences what human beings were capable of, and the remarkable voyage offered an exotic break from a world that had gone dark. But this didn’t explain Heyerdahl’s continued popularity throughout the remainder of the 20th century and now well into the 21st. While his theories were hardly accepted by the academic community (the east-to-west theory of Polynesian colonization never held much water with anthropologists, and archaeologists and historians would quickly determine the Peruvian raft was based nearly entirely on conjecture), Heyerdahl enjoyed a high profile in popular culture, becoming an international celebrity and brand by the second half of the 20th century. He reprised the Kon-Tiki expedition with the papyrus reed boat Ra II across the Atlantic in 1970 and the Tigris from Iraq to Djibouti in 1978. He established himself as an eminent environmental and peace activist, receiving awards and decorations from several countries and became a sought-after speaker. An asteroid was named in his honor. 3 The 2012 Norwegian feature film directed by Joachim Rønning and Espen Sandberg based on the Kon-Tiki expedition, released in English in 2013, was nominated for both an Oscar and a Golden Globe for best foreign-language film. The film, the most expensive ever made in Norway and the highest grossing in that country’s box office in 2012, testifies to the enduring power of Heyerdahl’s story — notably that of Heyerdahl’s east-to-west theory of Polynesian origins, not his theory that Kon-Tiki was white. Unlike the movie, the book’s racist passages remain unexpurgated, yet it continues to do a brisk business. Nearly 11,500 readers gave it an average of 4.07 out of 5 stars on Goodreads.com, and 248 Amazon users, who can only rate a title if they submit a written review, give it 4.6 out of five stars ( Goodreads.com 2015 ; Amazon.com 2015 ). Click for larger view Figure 3. Kon-Tiki in a colorized image from NASA. (From NASA Science News “Reed Rafts to Rockets,” April 2002) It was not as if Heyerdahl himself had backed off his racist views of cultural diffusion. Not only did he never publically recant his theories, he continued to pursue them with his unconventional research. One of his last projects, unfinished at the time of his death in 2002, was an [End Page 28] attempt to prove that the Norse God Odin was a real person who brought “culture” to northern Europe from Azerbaijan and Russia. Heyerdahl positioned his conjectural raft with its racially loaded namesake as the protagonist on the epic stage of the Pacific in a historiographic struggle to topple paradigms of early human migration of his day and insert the neolithic white-skinned navigator as prehis-tory’s dominant bringer of culture to the Americas and the South Seas. It would be problematic enough if Heyerdahl’s project was an exercise in “playing Indian,” Philip J. Deloria’s term for non-Native appropriation of Native imagery (see Deloria 1998 ). But because Heyerdahl in fact believed that the ancient seafarers from South America were not indigenous Peruvians at all but rather a race of blond- or red-bearded, white-skinned men, treated as gods by the benighted Indians in Central and South America to whom they brought culture before sailing westward to Polynesia, he was doing something much worse. Clearly, the notion that the indigenous peoples of what is now South America did not have the wherewithal to come up with their own culture without the help of white, bearded men from the north is patronizing and racist. But the subsequent claim that the westward migration to Polynesia from the coast of South America was undertaken not by the indigenous Indians of Peru, but by these same white men, is a move that completely cuts both indigenous South Americans and Polynesians out as active agents in the discourse about how humanity — and specific cultural traits — spread across the globe. The Kon-Tiki raft, in other words, while ostensibly performing “American Indians in the Pacific” (the title of one of Heyerdahl’s subsequent books) ultimately divested indigenous peoples of the Americas and the Pacific of their place in global migration history. By the mid-1960s 50 million copies of this history had been sold around the world. Why, with the continued success of the raft’s legacy and its cross-platform accomplishments as a property, has the racially motivated theory undergirding it remained largely under-acknowledged in both academic and popular discourses? Why haven’t Heyerdahl’s bona fides as an experiential archaeologist and a do-gooder been exposed as crackpot? The answer, I would eventually find, is that the racist aspects of Heyerdahl’s enterprise have been consistently and explicitly hushed as unpalatable by those who still stand to gain from it. The troubling foundation of the Kon-Tiki legacy and of Heyerdahl’s racist views of indigenous Americans and Pacific Islanders, that is, have been deliberately downplayed. The significance of an impression management campaign on this scale was not lost on me, but I’d be kidding myself if I didn’t admit there was something personal here. Until this rude awakening, not only had I been proud to claim Heyerdahl as a famous countryman (I’m Norwegian on my father’s side), but I’d also been holding him up all these years as a kind of discursive godfather. Without Heyerdahl’s momentous act of performative historiography in 1947, the odds are I wouldn’t be the simulations scholar I am today. I felt I had been duped and I wanted to set the record straight. My investigation, then, began with research into Heyerdahl’s early writings and ultimately took me to the most purportedly educational of spaces: the museum established to permanently display and interpret the Kon-Tiki’s voyage. In other words, I would take up how (and what and who) the Kon-Tiki continues to perform. The story of the Kon-Tiki expedition is readily available in Heyerdahl’s books, the various media adaptations of them, and in blow-by-blow accounts on the internet. Still, the briefest summary is in order here. Heyerdahl’s early attempts to publish his hyper-diffusionist theory of white racial origins of Polynesian culture as an academic project were foiled by the establishment, who refused to take his unorthodox arguments seriously. Undeterred, he pulled together a crew of Norwegian war heroes, a Norwegian engineer, and one Swede (a fellow migration theorist), to prove the validity of his idea through a reconstruction of the Pacific journey itself. The planning alone was a feat: Heyerdahl secured funding and contracts with the US military, permissions from the Peruvian government to use their naval shipyard for building the raft, contacts and suppliers for building materials deep in the South American forests, and press deals with the New York Times to publish real-time reports from the voyage. He oversaw the [End Page 29] building of a traditional balsa log raft based on various images of vessels from the 18th and 19th centuries and accounts from around the time of Spanish first-contact. 4 Click for larger view View full resolution Figure 4. Jorge Juan and Antonio de Ulloa’s depiction of an 18th-century South American balsa raft, one of Heyerdahl’s sources for his conjectural reconstruction. ( Juan and de Ulloa [1748 ] From Wikimedia Commons) The raft began the voyage across the Pacific from Callao, Peru, toward the Marquesas island group in April of 1947, catching the Pacific Ocean’s Humboldt Current. During the voyage, Heyerdahl wired accounts of the journey to the press, the crew encountered a whale shark and undiscovered species of fish, and there were harrying adventures with the weather, man-eating sharks, and navigating the ocean by ancient means. The crew befriended a stowaway crab they named Johannes, who would make it the whole way, but their parrot companion, Lorita, given by a “friendly soul” in Lima before the raft sailed, was lost in a storm (in the 2012 film, she was eaten by a shark). One hundred and one days after launching from Callao, the Kon-Tiki crashed and wrecked itself on the reef off Raroia atoll, the crew waded to shore, and Heyerdahl finally had the proof he sought for the possibility of westward migration (see Heyerdahl [1950] 1956 ; and Heyerdahl and Nordemar 1950 ). Heyerdahl frames his 1948 narrative of the expedition with his hyper-diffusionist theories. By his own accounts, Heyerdahl had come up with the idea of westward migration to Polynesia when he and his wife, Liv, were on the island of Fatu Hiva in the Marquesas in 1937. There, at least according to his story in Kon-Tiki, he heard tales of the islanders’ ancestors arriving from the East and perceived cultural and botanical correspondence between the Marquesas and South America. The connection to the Peruvian sun god Con-Ticci Viracocha only became apparent afterward. The way he tells it, the Spanish historical accounts of being greeted by the Incas as if they were the returning white visitors who had sailed west into the sunset after bringing culture to the Indians rang a bell with the stories he had heard the Fatu Hiva islanders tell of their ancestors who came across the sea from a land where the sun rises. Heyerdahl’s own amateur studies of archaeology and ethnography while in Polynesia led him to draw comparisons between artifacts and linguistic terms and phrases across the islands with those of indigenous peoples of pre-contact Americas. He was particularly drawn to stone humanoid figures on the Pacific islands and across the Americas that shared traits suggesting beards, and Polynesian origin stories indicating that the islands’ inhabitants came from the east. 5 The preponderance [End Page 30] of these comparisons led him to declare, against prevailing scientific opinion, that the original peoples of Polynesia and the “white gods” of Peru were one and the same: I was no longer in doubt that the white chief-god Sun-Tiki, whom the Incas declared that their forefathers had driven out of Peru on to the Pacific, was identical with the white chief-god Tiki, son of the sun, whom the inhabitants of all the eastern Pacific islands hailed as the original founder of their race. And the details of Sun-Tiki’s life in Peru, with the ancient names of places round Lake Titicaca, cropped up again in historic legends current among the natives of the Pacific islands. View full resolution Figure 5. Drawings by crew member Erik Hesselberg of some of the stone figures and reliefs Heyerdahl used as archaeological evidence that bearded men were in South America before the Incas. (From Hesselberg 1950 ; courtesy of Simon & Schuster) Even in these first pages of his account of the Kon-Tiki expedition, Heyerdahl mis-assigns credit due to others’ accomplishments, and not just those of the pre-Incan Amerindians. Heyerdahl’s accounts of his theory’s provenance were later revealed to be exaggerated, and the hypothesis he claimed was original to him is hardly that. Heyerdahl scholar Axel Andersson reports that in 1937 Thor and Liv had visited with a Norwegian compatriot, one Henry Lie, who as a young man in 1909 had jumped a merchant ship and settled in the Marquesas on the large island of Hiva Oa. Lie had similarly been fascinated with the historic peoples of the island group, and it was he who suggested to Heyerdahl that the origin stories referencing a light-skinned people from the east had a correspondence with stories from South America. Lie brought Heyerdahl to see ancient sacred pillars on the island that had, according to legend, been erected by an earlier mysterious people who had been defeated in a race war by Polynesians arriving after them. By the [End Page 31] following year Heyerdahl published På Jakt efter Paradiset (In Search of Paradise) with his first claims that the original inhabitants of Polynesia had been light-skinned, with blond, wavy hair, so similar to that of the Vikings they could be related to those most commanding of voyagers. 7 In his article, “Did Polynesian Culture Originate in America?” appearing in International Science in 1941, Heyerdahl articulated in a scholarly venue the hyper-diffusionist theory he would publically pursue for the rest of his life. He posited that Polynesia was settled in waves, first from neolithic South America and later (around 1000 AD) from what is now British Columbia ( Heyerdahl 1941 :18). He made his case with a list of similarities he observed in statues, carvings, pottery, hieroglyphs, petroglyphs, words, place names, architecture, and the seemingly shared racial characteristics of Polynesian, South American, and North American peoples. An editors’ note at the beginning of the essay expressed a measure of ambivalence and an explicit distancing from his claims: “While taking exception with some of the author’s conclusions, the editors have found the above article stimulating and thoroughly worthy of attention. The responsibility for any or all statements made therein must, naturally, rest with the author” (in Heyerdahl 1941 :26). It would appear, however, that in addition to the controversial nature of his claims, Heyerdahl’s theory of hyper-diffusion was likewise not original to him, or at least he did not originally deduce it from studying archaeology in the Americas as he led his readers to believe. Heyerdahl’s reminiscences in Fatu Hiva: Back to Nature (1974a and b ) put him in Berlin in 1935, before moving to Fatu Hiva with Liv, discussing with Hans F.K. Günther (a race theorist who would become the architect of the Third Reich’s Nuremburg Laws) the possibility that “the world’s great civilizations had emanated from one white culture-bearing race that had migrated to the most distant corners of the world, a staple of the Aryanism or Nordicism so linked with the Nazi project” ( Andersson 2010 :18). In correspondence after their visit in Berlin, Günther asked Heyerdahl to “bring him some craniums from Fatu Hiva as he wanted to test the nineteenth-century hypothesis that the Polynesians had been part of the Aryan race” (18). 8 While Heyerdahl may have gotten his views of racial superiority from the Nazis, Andersson surmises, he wasn’t a Nazi himself. When World War II broke out in 1939 he emigrated to the United States where in 1942 he enlisted in the Norwegian Army-in-exile. He was eventually dispatched to Finnmark in 1944 to take part in the resistance fighting the German occupation of Norway with the Free Norwegian Forces. After the Kon-Tiki voyage secured him more clout, at least in the popular publishing world, Heyerdahl expounded his theories of the origins of Polynesian peoples in his 800-page American Indians in the Pacific: The Theory Behind the Kon-Tiki Expedition (1952) . Despite its title, a substantial portion of the book again argues that the first settlers of Easter Island and Polynesia were not indigenous Amerindians but bearded white men with Caucasian-like traits and that the present-day Polynesians only display mixed-race features after intermingling with subsequent waves of Mongoloid and Negroid settlers, first from the Pacific Northwest and later [End Page 32] from Asia and Melanesia. 9 In the essay “The Bearded Gods before Columbus,” first published in 1971, Heyerdahl returns again to the question of Polynesian origins. “Tall and red-haired persons with full beards were equally unknown on either side of Polynesia when the Europeans arrived,” he writes. “The short, round-headed yellow-brown peoples of Indonesia and South America were equally anatomically beardless. How then could the Polynesian islanders have obtained their deviant Europoid features?” ([1971] 1979:97). Heyerdahl finds his answer to this question by analyzing accounts of the soft, brown or blond, wavy hair and cranial characteristics and narrow features of pre-Inca mummified remains in Polynesia and South America, and makes his connection. “If [...] we assume that these mummies are what they appear to be — embalmed individuals with non-Mongoloid and clearly Caucasoid traits — then we have found in pre-Inca Peru what we were looking for: a natural source of the uru-keu strain on the adjacent islands of Polynesia, and an explanation of the blond ancestors of the Easter Islanders, cited by them as having come from a desert land to the east known as the ‘Burial Place’” ( Heyerdahl [1971] 1979 :103). Click for larger view View full resolution Figure 7. Specimens of pre-Inca mummies with what Heyerdahl alleged were European-like traits. (From Heyerdahl 1952 ; courtesy of Museo Nacional de Arqueología, Antropología e Historia del Perú) [End Page 33] In addition to consulting records of human remains for “Bearded Gods,” Heyerdahl inventoried origin stories of Peru: “Common to all accounts of how culture reached Peru is the admission that the Incas lived more or less as savages till a light-skinned, bearded foreigner and his entourage came to their country, taught them the ways of civilization, and departed” ([1971] 1979:106). The leader of these visitors, Heyerdahl’s Kon-Tiki amalgam, is described in various accounts as being tall, fair-skinned, with a flowing beard down to his waist, and flowing robes. He spoke lovingly and gently to the barbarians, leading them out of evil and human sacrifice, teaching instead loving-kindness and char ity (107). Heyerdahl finds similar fair-skinned figures among early histories of the Mayans and Aztecs (111ff). He suggests that the tall, blond, blue-eyed type would have come from the same stock as that found in Phoenicia and in the “Afro-Asiatic civilizations that extended from Mesopotamia to the Atlantic coast of Morocco.” The tall, blond-haired peoples of the Nordic cultures now living in northern Europe, argued Heyerdahl, would have originally come from the same region (124). Heyerdahl would go on to demonstrate the possibility of pre-Columbian westward migration from the Mediterranean to the New World with another performative act of experimental archaeology, the voyage of the reed boat Ra II from Morocco to Barbados in 1970. As with the Kon-Tiki expedition, there was more than just the narrative of migration being performed in the Ra II expedition. Heyerdahl sailed with an international crew to demonstrate that cultures could live and work in harmony with one another (his crew comprised adventurers and travel journalists from the US, Italy, the Soviet Union, Mexico, a Copt photographer from Egypt, and a French Arabic reed boat builder from Chad). By the end of the 1970s, then, Heyerdahl claimed to have successfully demonstrated, through his performative experiments in simulating neolithic maritime human practices, that it was possible in a single lifetime for a group of fair-skinned people to make it from the Caucasus region to South America to Polynesia. Heyerdahl had already laid the groundwork for establishing links between these fair-skinned folk and his own Norse stock. In other words, he argued that he’d proven the possibility that a white race, now considered Nordic, brought culture to and initiated many of the great civilizations of the world several centuries before Columbus. For all his work as a world peace advocate, Heyerdahl was an unreconstructed racist (as well as a sexist). Andersson puts it well when he describes Heyerdahl’s prose as informed by his view of a “monochromatic universe.” In Heyerdahl’s mind, writes Andersson, people were either white or brown, and the indigenous peoples of South America were most definitely brown, or derogatorily “swarthy” as were the present-day Polynesians. As is usual in racist pseudoscience the implication was that these physical traits translated into psychological characteristics. Brown people were not only beardless but also inferior and plebeian. The whites were the bearded culture-bringing patricians. ( Andersson 2010 :86) In American Indians in the Pacific, Heyerdahl unfavorably contrasts the present-day peoples in the area around Tiwanaku, the capitol of the pre-Incan empire near Lake Titicaca in what is now Bolivia, with his white Indians: “It is clear that the mobile culture-bearers behind such a dynamic high-culture, which in its art and architecture surpassed (but inspired) the culture of the subsequent Incas, must have included individuals with outstanding intelligence, abilities and ambitions, which cannot be judged by the low standards of the historically known Aymara-(Colla-) Indians of the district” ( Heyerdahl 1952 :229). Heyerdahl’s insistence on what Diana Taylor and others have described as hemispheric hierarchies — an indocrinated perception that more advanced people come from the north and the east ( Taylor 2007 ) — is indicative of the skewed global perception that postcolonialist and performance studies scholars have been working against. Clearly much has been written about the racial discourse of the late 19th century in which Heyerdahl steeped himself, the stereotypes masked by progressive social Darwinism, and the patronizing white man’s-burden-attitude of [End Page 34] the global north-and-east toward the global south-and-west. And, as others point out, it is easy enough to connect the dots to depict a Heyerdahl who, well intentioned as he might have been, was a product of his racist time. 10 But the larger issue at stake is that Heyerdahl was not simply perpetuating the discursive and quotidian racism of his time; his performance of his story of the past on the global stage, while unconvincing to scientists, actually wrought historiographic damage on both indigenous South American origin beliefs and on the popular conception of native people’s place in global history. Anthropologist Graham E.L. Holton writes in his essay “Heyerdahl’s Kon Tiki Theory and the Denial of the Indigenous Past” that the diffusionism of the late 19th century resulted in an entrenched minimization of the accomplishments of prehistoric indigenous peoples in historical discourses from art to engineering: The consequence of the ingrained prejudices has been that the “Other” have been denied their past in the imagining and representation of world prehistory. As long as the image of prehistoric, non-literate, “primitive” societies is linked to contemporary Third and Fourth Worlds, their prehistoric past remains strongly implicated in contemporary politics and life. The portrayal of the periphery was often ignored, and excluded the achievements of subaltern cultural development, thereby creating a distorted view of the past that equated “non-literate” with low mental capacity, primitivity, and a denial of autonomy or full human rights. (2004:178) Holton asserts that these pseudoscientific beliefs not only robbed indigenous peoples of their claim to history, but also were used to legislate and deny land and benefits to indigenous populations. “Heyerdahl’s Kon Tiki theory strips away claims the Quechua and Aymara Indians, for example, might have to identify with the great artistic and engineering accomplishments still visible on their ancestral lands” (177). Holton points out that Heyerdahl actually mobilized this racial theory to help secure cooperation from the Peruvian government for the expedition: “Peru’s President Bustamente supported the Kon Tiki expedition because it claimed white Indians owned the land before the Incas, thereby eliminating potential Quechua lands rights” (178). Holton traces a trend in which “Great White Race” theories have similarly “been used by the governments of Bolivia, Paraguay, and Brazil to glorify their prehistory and oppose land rights claims by their indigenous peoples (177–78). Effectively, the feel-good performance of Thor Heyerdahl and the crew of the Kon-Tiki in 1947 performed racist historical-cultural pillaging, affecting both pop-culture imagination and the lives of real indigenous peoples in its wake. To wit, Heyerdahl and his six-man crew were in fact simulating neither the maritime prowess of indigenous South Americans nor that of Pacific islanders when making the 101-day journey on the Kon-Tiki. It was Heyerdahl’s white, bearded god and his men whom they were simming. Dramaturgically speaking, the Scandinavian bodies aboard the raft could correspond visually quite well with their referents, especially after not shaving and letting their hair grow over the course of the voyage. Andersson comments on the perceivable fidelity: “Being themselves very white, and most conspicuously bearded, the crew of the Kon-Tiki itself played their part perfectly in Heyerdahl’s reconstruction of the colonizing westward journey of his mythic white race” (2010:87). 11 The upshot, both in Con-Ticci’s time and Heyerdahl’s, was that the white people could be the “American Indians in the Pacific” more [End Page 35] successfully than any brown or red ones could. Just as he had on Fatu Hiva, where he rebuked the islanders for not living by purer, more natural means, Heyerdahl was demonstrating that a Norsemen could do primitive better than any aboriginal peoples. “To claim that a white race was the ultimate and preferred primitive added up to a final colonial conquest of the foreign,” Andersson writes. “Heyerdahl’s theory reduced the non-white races into being uninventive and unnecessary. His itinerant white race reserved for itself the role not only of being the perfect primitive, but also, paradoxically, the harbinger of civilization” (158). To put this another way, the white guy out-Natived the Native, a trope continually rehearsed in Western representation from Tarzan to Last of the Mohicans to Avatar. Heyerdahl’s historiographic and performative act of divestiture is fourfold: First of all, the Kon-Tiki expedition and its follow-up accounts deny the ancient indigenous peoples of Peru their history in the building of the great pre-Incan civilization. Secondly, the historical first inhabitants of Polynesia, identified by mainstream anthropologists as being from Southeast Asia, Micronesia, and Melanesia, are likewise divested of a historical place at the table. “Whence had the Polynesians obtained their vast astronomical knowledge and their calendar, which was calculated with astonishing thoroughness?,” Heyerdahl queried: Certainly not from Melanesian or Malayan peoples to the westward. But the same old vanished civilized race, the “white and bearded men,” who had taught the Aztecs, Mayas, and Incas their amazing culture in America, had evolved a curiously similar calendar and similar astronomical knowledge which Europe in those times could not match. ([1950] 1956:152) Third, contemporary Polynesians are kept from claiming their ancestors as the cultural founders of the islands because Heyerdahl insisted they were only a mongrelized remnant of a once pure white-skinned race. Finally, 20th- and 21st-century indigenous peoples of the Americas were painted by Heyerdahl’s brush as illegitimate claimants to the lands they have occupied for centuries, with real political and historic consequences. Click for larger view Figure 8. The crew aboard Kon-Tiki, now bearded after several weeks at sea. (From Heyerdahl 1950 ) Coming to this point in my research, I figured Heyerdahl’s run as an international figure of inspiration had to be over. The jig was up. All the attention the Norwegian feature film generated must have by now scared up his racist footprint and outmoded worldview in the popular media. One didn’t have to consult Anthropological Forum for smoking-gun evidence. It was right there in his best-selling book, now repackaged with the picture from the movie poster on [End Page 36] the front. But reminders that this was not the case were everywhere I looked. The Norwegian Postal Service put Heyerdahl and the Kon-Tiki on a 2014 set of stamps commemorating the 100th anniversary of his birth. When I brought up my project in polite conversation with my dermatologist while she poked my face with injections of corticosteroid (my own beard had fallen out in an episode of alopecia), she told me she’d just seen a documentary video about David de Rothschild’s Plastiki publicity event. The Plastiki, a splashy advocacy project inspired by Heyerdahl’s environmental work, involved constructing a vessel from 12,500 recycled plastic bottles and sailing it in 2010, like the raft it was winkingly named for, across the South Pacific ( Plastiki 2013 ; Thor Heyerdahl Institute n.d. ; National Geographic n.d. ). If even my dermatologist was conversant with the Kon-Tiki story in spite of everything I’d learned, I asked myself, what was continuing to allow it a purchase on the popular imagination? I decided I needed to find some answers by going to the Kon-Tiki Museum in Norway, and to see if there at least the celebratory framing of Heyerdahl had been tempered in the last decades. I bought a ticket to fly to Oslo in March 2014. Norway is great for maritime history. On the banks of Oslo Fjord on Bygdøy Peninsula, some of the mightiest vessels are permanently displayed in museums dedicated to Nordic prowess on the seas. Here, one finds immaculately preserved Viking longships, as well as polar explorer Roald Amundsen’s Fram and Gjøa. Nestled amongst the church-like exhibition buildings housing the remains of mighty vessels is the Kon-Tiki Museum, which exhibits the considerably less mighty balsa log raft. Opened in 1950 before being relocated in 1957 to its present site, the Kon-Tiki Museum was conceived by Heyerdahl and his fellow crew member Knut Haugland (Haugland, a highly decorated war hero who’d fought in the Norwegian resistance, served as director of the museum for its first 40 years). It currently operates as a privately funded nonprofit institution. The museum displays not only the Kon-Tiki, but also the papyrus boat Ra II (the Tigris was burned at the conclusion of its voyage as a protest against war in the Red Sea region). It also features an experiential Easter Island exhibit with walk-through simulations of underground tunnels, and displays devoted to Heyerdahl’s work as an environmental advocate and humanitarian. But the main attraction of the museum has always been the artifact for which it is named. As of the beginning of 2014, the Kon-Tiki Museum has had over 17 million visitors ( Kon-Tiki Museum 2014–15 ). Click for larger view View full resolution Figure 9. Kon-Tiki as it is displayed in its gallery at the Kon-Tiki Museum in Oslo, Norway. Spring 2014. (Photo by Scott Magelssen) As I prepared for my trip to the museum I wondered what I’d encounter. I figured the museum had a basic set of choices in how to commemorate the raft and its legacy: (1) They could promote Heyerdahl’s racial theory of the white, culture-bearing race (probably not a good idea); (2) They could historicize the Kon-Tiki, explaining Heyerdahl’s views on race were grounded in outmoded theory, even in his own time, fostering discussions about race in the present (a commendable goal for any history museum); or (3) they could choose to celebrate the human ingenuity and adventure part, and leave the more problematic racial theory out entirely. [End Page 37] The museum sits a stone’s throw from the fjord, on the banks opposite Oslo City Center (tourists can get to the museum by way of the peninsula, or they can take a ferry across the water). Across the street is the Maritime History Museum, and next door are tall, yellow A-frame structures housing masted vessels of the great age of arctic exploration. The Kon-Tiki Museum building is, by comparison, fairly low-slung: the front façade of white concrete is only one story high, though the brick-red roof slopes gently upward from there. The main entrance is framed on the left by a 10-foot tall bas relief of a primitive escutcheon-shaped, bearded face, the face identified by Heyerdahl as that of Con-Ticci Viracocha on a stone statue found in Tiwanaku cult site in Bolivia in the early 1930s. This figure adorned the sail of his raft, forever symbolizing Heyerdahl’s bearded god. 12 To the right stands an example of the moai, the mysterious monolithic figures that charged Heyerdahl’s imagination to fantasize the part Easter Island played in the westward peopling of the Pacific. Once inside, the visitor does not get a glimpse of the actual Kon-Tiki until well into the exhibition space. To be sure, the dramaturgy of the visitors’ structured movement through the museum rehearses an archetypical narrative of exotic discovery, calling for penetration deeper and deeper into the various caverns and corridors of the museum, building suspense and anticipation for the sacred object in the innermost sanctum. One must first pass the gift shop, wend through the exhibits devoted to the Ra II and the Tigris, past other interpretive displays, and finally up a set of switchback ramps before encountering the restored raft. Click for larger view View full resolution Figure 10. The exterior of the Kon-Tiki Museum, with Con-Ticci Viracocha’s face to the left of the main entrance, and Easter Island Moai to the right. Spring 2014. (Photo by Scott Magelssen) As the centerpiece of the permanent exhibition, the Kon-Tiki is arranged in-situ: visitors can admire the deck, the mast and sail, and a bamboo hut that served as cabin for the six-man crew, all floating on a sea of blue taffeta and cellophane waves, then descend a set of stairs to view the raft from beneath in sub-marine diorama, evocatively lighted with rippling undersea effects. Seaweed trails from the massive balsa logs. Colorful south sea fish and sea turtles, suspended from delicate wires, appear to approach the curious raft for a closer look. At the center of the underwater scene, an immense fiberglass whale shark lurks just below the balsa logs, and a collection of smaller taxidermy sharks are posed cutting through the water around their larger cousin. Back up top, several tiered rows of pews on either side of the exhibit allow visitors to simply sit and contemplate the raft in hushed admiration, appropriate for what is semiotically marked as a sacred space. Perhaps they meditate on the way the Kon-Tiki is a monument to human ingenuity? A relic of epic adventure? A symbol of courage? Any and all of these things, if [End Page 38] Click for larger view View full resolution Figure 12. The 10-meter fiberglass model depicting the whale shark the crew encountered on the voyage, in an underwater exhibit beneath Kon-Tiki at the Kon-Tiki Museum. (Photo by Cecilia Løyning Stokkeland) [End Page 39] the comments from several nations in the museum’s visitor log book are any indication. Typical visitors will likely not interpret the spectacle as a testament to the lengths a racial theorist will go to prove that white supermen colonized the Pacific long before the brown-skinned islanders found there today. At least there’s nothing in this room that would suggest to them anything of this nature. The walls around the Kon-Tiki display are dedicated to arrangements of artifacts associated with the voyage in glass vitrines, as well as interpretive panels telling the history of the project from inception to completion. The text of the displays hews to Heyerdahl’s narratives from his 1948 book and other writings. Regarding the moment the idea of westward migration to Polynesia first occurred to Heyerdahl, one panel, titled “An idea comes to life,” says, In 1937–38 Thor Heyerdahl and his wife Liv spent a year on the island of Fatu Hiva in the Pacific Ocean. Thor studied zoology, and the couple conducted comprehensive fieldwork. One night Liv remarked that the ocean waves always struck the eastern shore of the island. This caught Thor’s attention. One of the elders on the island had told him that his ancestor, Tiki, had come to Fatu Hiva from a large country beyond the sea. Thor had also noticed that the stone statues on the island had a remarkable similarity to statues found in South America. Could science be wrong? Was it possible that East Polynesia [was] inhabited by people who had come, not from the West, but from the East? This idea would occupy Heyerdahl’s mind for the rest of his life. ( Kon-Tiki Museum 2014a ) Here, the museum tells Heyerdahl’s own version of events: he came up with the whole theory of Polynesian cultural origins from scratch, based on his prescient observations — neither Henry Lie nor Hans Günther figure into the account. Noteworthy also is the scientific pedigree the labels stretch to give him (“Thor studied zoology”), though Heyerdahl never finished his course of study. The next panel describes the cold reception with which Heyerdahl’s ideas were met by academics in New York City; how they wouldn’t even read his thesis. Only emboldened by the opposition he faced, the wall text continues, he determined that in order to prove his theory “he would have to do it himself. He did not know it then, but he had just introduced the concept of experimental maritime archaeology.” And the reverent narration goes on from there: how he hand-picked his crew of decorated war heroes, how despite protests and in the face of reason he ventured into the dangerous forest during the rainy season to secure the balsa logs, and how even though “living with experts’ predictions regarding their imminent deaths must have been a tremendous strain on the crew” they ventured with their leader to throw themselves at the “mercy of the sea.” Right below these interpretive panels at knee height are storytelling panels for children, with the cartoon character of Johannes the Crab narrating in a more kid-friendly way, with text like: “I’m going to tell you a story about my friend, Thor, and the boat trip we went on together,” and, holding up a Polaroid of an apparently bearded terra cotta figure, “He read and read, and finally he found the story of the Indian Chief Kon Tiki, who had sailed from South America to Polynesia on a large raft made of balsa wood.” (Johannes grows a beard, too, and meets a “really cute lady crab from Polynesia” at the end of his journey) ( Kon-Tiki Museum 2014b ). Video screens and kiosks throughout show footage from the expedition, and the Oscar-winning documentary is screened daily in the cinema at noon. Everything is artfully arranged and tastefully illuminated with professional lighting. I spent two days in the relatively small museum. I visited every display, gazed into every diorama, did every experiential exhibit, and read every label. What I found, to my dismay, but not exactly to my surprise, was that the Kon-Tiki Museum chose the third option in telling the raft’s story. Nowhere does the museum mention Heyerdahl’s conviction that Kon-Tiki was white, nor was there any accounting of Heyerdahl’s diffusionist theory of origin, nor an explicit mention of the bearded, white, godlike men from the East. The man the museum presents was a determined individual, driven by science and adventure, persistent in his search for the truth, [End Page 40] and who braved danger against the better judgment of doubters to go where the established scholars would not dare. As a visitor to the Kon-Tiki Museum, what I left with was an impression of the exhibit as an exercise in willful forgetting. Here, Thor Heyerdahl is not a racial theorist bent on proving that a pre-Columbian white race from the East brought culture to Central and South America, Easter Island and Polynesia. Instead, the museum’s story of Thor Heyerdahl is one of inspiration, of a man driven by science and adventure, but, moreover, a worker for world peace and environmental causes. Panels and text drawing attention to Heyerdahl’s alarm at evidence of human pollution of the world’s oceans within just a few short decades of the Kon-Tiki voyage, his emphasis on teams comprised of several nationalities and cultures working together on the Ra II (that Heyerdahl would have perceived his whole crew as representatives of the Caucasoid type not withstanding), and his burning of the Tigris after completing its navigation of the Indus Valley as a protest against human conflict present him as a model of progressive thinking. At the gift shop, souvenirs and balsa miniatures of the raft, as well as Heyerdahl’s original Kon-Tiki book, the one with the glossy new front cover sporting the movie poster, are available for purchase. Many of Heyerdahl’s other titles are for sale, too, though American Indians in the Pacific is notably absent. As I have argued elsewhere, museums have long held a place in the popular perception as sites of authority, which cement and reify narratives and meaning through not only the visual display of their collections, but through curating the visitors’ movements through the exhibits and carefully choreographing the pacing, the order, and the spatial arrangement of their encounters. 13 Museum critics Tony Bennett and Timothy W. Luke, after Michel Foucault, highlight the hidden structuring and policing of visitors’ bodies and behavior through visible and invisible power relations (see Bennett 1995 ; Luke 2002 ). “[H]istory exhibitions,” as Luke puts it, “formalize norms of how to see without being seen” (2002:3). This is certainly the case with the Kon-Tiki Museum, which steers the visitors through a spectacular array of Heyerdahl artifacts and informational panels. Heyerdahl the man accumulates mythic weight as visitors draw nearer and nearer to the relic at the center, which by the time it is reached will be charged with the fullness of his life’s legacy, even though it is representative of one of Heyerdahl’s earliest exploits. More recently, performance scholar Jill Stevenson has pushed further the conception of the relationship between museum practices and the meaning with which visitors leave. Stevenson argues that meaning at museums is a co-production between the exhibit space and the beliefs and values the spectators bring to the encounter. The “event’s dramaturgy,” in other words, “can only be fully realized” by means of the visitor’s beliefs at play in the exchange (2013:38). Stevenson’s example is the Creation Museum, an evangelical institution in Northern Kentucky that tells the story of an earth only a little over six thousand years old, an earth where dinosaurs shared the Garden of Eden and Noah’s Ark with our ancestors in Genesis. The Creation Museum uses the same techniques as high-end mainstream science museums, including slick signage, interactive exhibits, and animatronic dinosaurs. Visitors associate these conventions sensorially with authority and responsible curatorial practices. Therefore they trust the institution, because such practices are usually grounded in a style that equips learners with information at their own pace and according to their own choices. “[C]entral to the Creation Museum’s performance,” argues Stevenson (quoting Kenneth Chang), is the contention that the exhibits simply give visitors “the freedom to see what they want to see” ( Chang 2009 ) [...] For creationist visitors who believe that the evolutionary thinking of “secularized” science has misled and corrupted society, the Creation Museum’s [End Page 41] performative displays supply them with feelings of stability and certainty — as well as strategies for sustaining those feelings after they leave. By constructing a materially realized creationist narrative, the museum transforms belief into embodied experience. ( Stevenson 2012 :95) Stevenson discusses the manner in which this process takes place cognitively in visitors’ bodies by drawing on the foundational work of Gilles Fauconnier and Mark Turner on “conceptual blending” (2003) 14 and that of Simon Shepherd (2004) who writes that museum visitors perform the intended narratives of the museum by engaging in a complicit manner with the institution’s spaces. Because visitors to the Creation Museum expect to be “confronted by” and “to take meaning from” a museum much as they would a performance of a play, “many museum-goers will arrive at these spaces with their bodies open to the venue’s rhythmic possibilities” ( Stevenson 2012 :103). Unlike the Creation Museum, however, in which most visitors already believe the museum’s narrative (God’s Word) as a resistance to the mainstream scientific view of evolution and of a universe billions of years old (Man’s Word), the Kon-Tiki Museum does not explicitly purport to tell a story that resists a mainstream narrative. In essence, by not explicitly arguing that Heyerdahl’s expedition proved that Polynesia was peopled via westward migration from the Americas, merely that he proved the possibility, the museum lays no claim to the truth of diffusion theory. The continued power of the raft is rooted in its function as the symbol of a man who, against all odds and naysayers, proved that if neolithic humans had wanted to conquer the Pacific from the coast of Peru, they could have done it just like Heyerdahl and his crew. It’s an ingenious bluff: by making no secret of the fact that we think about migration to Polynesia differently than Heyerdahl did in 1947, the museum signals to the visitor that it is telling the straight story. Surely, logic follows, if the museum is confident enough to admit that the jury is still out on whether Heyerdahl got it wrong, we can relax and assume that Heyerdahl was basically right. Thus any students of human civilization who might sense something awry in the big maps of the Pacific Ocean with left-pointing arrows from the Southern Cone to Easter Island Polynesia can let down their guard. 15 But there’s more. In one of the last panels, “What really happened to Con-Tiki Viracocha” the English-language interpretive text suggests that maybe Heyerdahl was on to something after all: We will probably never establish whether the South American Indian chief Con-Tiki Virachocha [sic] actually sailed across the Pacific and settled in Polynesia or not. A DNA study from the late 1990s showed that the inhabitants of Polynesia had more in common with people from eastern Asia than with the people in South America. At the same time, DNA studies from Easter Island and the Marques Islands show traces of DNA from South America. [End Page 42] Click for larger view ( Kon-Tiki Museum 2014c ) DNA testing. Loanword. Like the Creation Museum, the Kon-Tiki Museum is using the same sensorial markers of authority used by mainstream educational institutions to convey curatorial responsibility and to instill in visitors a sense of trust. And the phrase “We will probably never establish” signals to the visitor that she is being equipped with all the evidence we have at hand and the choice of conclusion to draw is hers to make. Heyerdahl’s racial theory, both inside and nearly everywhere outside the museum, remains unremarked. In letting the belief stand, per Stevenson, that it will “simply give visitors ‘the freedom to see what they want to see’” the Kon-Tiki exhibit materially realizes the visitor’s belief and transforms that belief into embodied experience: “So happy to be here and to finally see the rafts!!!” exclaims one comment in the [End Page 43] visitor log book. “Thank you — Long live the ‘dreamers’!” Min Yin writes, “Since my childhood, he is my hero, it’s great to be here!” “3-12-14 Here from California USA,” writes Michelle C. “Amazing Museums!” “Hola! Visitando desde México. Me encanta la ciudad y su gente. Que Frio! ☺ Muy buen museo. Gracias, Paola” ( Kon-Tiki Museum 2014d ). I couldn’t begin to read the many languages, much less all the Asian and Cyrillic characters, but the exclamation marks, hearts, and smiley faces adorning the comments suggested they registered similar enthusiasm, star-struck admiration, and praise for the museum. So far the exhibits and the visitors’ endorsements had done nothing to disabuse me of the opinion that Heyerdahl’s whole story had been whitewashed into palatable entertainment content, a tourism commodity, and an export industry. I knew from the writings of Richard Handler and Eric Gable on Colonial Williamsburg, though, that often the historians and curatorial and programming staff who work behind the scenes hold a much more complicated view of their museum’s subject than the otherwise celebratory account delivered to the guests by the interpretive staff on the “front lines” ( Handler and Gable 1997 :121). I arranged to speak with Reidar Solsvik, Archive Manager/Researcher at the Kon-Tiki Museum during my visit. 16 I began with what I hoped were softball questions. I asked Solsvik whether the raft on display in the main exhibition was entirely original, or whether restorations and repairs necessitated replacing parts. Not all of the Kon-Tiki is original to the expedition, explained Solsvik, though it is difficult to gauge exactly how much of it is reconstructed. The Kon-Tiki’s crash landing hadn’t been nearly as disastrous as the photos make it look. The greater damage came when the raft was towed away from the reef of Raroia atoll where it had run aground, and it suffered further damage when it was moored for a year (1947–48) at a dock in Oslo Fjord. Not only did the ropes suffer from sewage and oil in the fjord, but vandals carved their names in the balsa logs and souvenir hunters made off with various chunks of the vessel. I shook my head in disapproval while I scribbled my notes. Solsvik continued. The sail, the mast, the logs, and all the cross-legs, save the front two are original. But the replacement legs, he added, are not visible to visitors. Solsvik allowed he was fairly convinced that one of the cross-legs was put back out of place during the restoration. As for the deck, the hut is new, as is the bamboo in the main structure, but some of the support planks are original. The steering oar is also reconstructed, but, Solsvik noted, was “made by the same people that made the original one.” Solsvik went on to tell me about the current renovations to the museum, including a soon-to-open exhibit on “Tiki” culture, the cocktail lounge craze with all things Polynesian, which started with rummy drinks served in California in the 1920s and ’30s, but became more popular with the war in the Pacific, and then acquired a household name, Tiki, thanks to Heyerdahl’s voyage. We talked about Heyerdahl’s savvy spelling of Kon-Tiki so that he could copyright and sell products associated with the voyage to make some of the money back for the private investors who had financed the project. 17 The son of a businessman, Heyerdahl anticipated the potential for financial returns that would come with branding the name, but, says Solsvik, he also set limits to what products or ideas he would allow to be associated with the raft. Solsvik expounded: always mindful of the serious profile of the experiment, Heyerdahl avoided sponsorship deals that would compromise its “scientific integrity.” 18 Solsvik also remarked on [End Page 44] the fortuitous historicity of the 1947 expedition and how it, along with concomitant claims to UFO sightings across the US, helped pull a generation out of the postwar angst. He shared his own regrets that such “replica testing” is no longer possible in this age of increasing bureaucracy, where it would be impossible to get national authorities to sign off on the kind of risks Heyerdahl took with the Kon-Tiki. Now that the European Union is standardizing everything from the curve of bananas to the diameter of the cucumber, he rued, a golden age of experimental archaeology has ended. I gave him a slow, grim nod of, what, agreement? Sympathy? I wanted to maintain the rapport it seemed we had established from this shift in the tenor of our conversation. After covering developments in the museum including new acquisitions and new programming, and the current state of affairs with experimental archaeology, I steered the conversation to a point where I could broach the questions I’d come here to address. “This is a sensitive topic,” I ventured, “but one of the more controversial aspects associated with Thor Heyerdahl is his diffusionist theory of migration...” “Controversial these days,” cut in Solsvik. Heyerdahl’s theories were not problematic in his own time, he explained. They had only been called into question within the last decades, due, in Solsvik’s opinion, to a dispositional change he chalks up to the negative influence of Continental philosophy. Heyerdahl’s tarnishing has been the result of “postmodern research theorists like Jacques Derrida” in the 1980s and 1990s, he maintained, who believed in “whipping oneself for the sins of former generations.” Solsvik then proceeded to lay out a kind of prepared set of statements in Heyerdahl’s defense, from which I gleaned that Heyerdahl’s motives and legacy had been brought into question before and that the museum anticipated the critiques. Between the 1950s and 1970s, for instance, Heyerdahl actually helped positively change how indigenous people were viewed by the rest of the world. They went, during that period, from being the underdogs to exotic to finally people with knowledge and who deserved equal rights with nonindigenous people. Heyerdahl helped change the way they were referred to from brown and black people to proper names of peoples. In point of fact, Solsvik argued, Heyerdahl himself, in American Indians in the Pacific, wrote that this expedition was not about race. His basic method was to “take the stories from indigenous people and to try to find a grain of truth.” As to whether the original inhabitants of Polynesia were Caucasian, Solsvik told me that Heyerdahl did not necessarily think they were Caucasian but rather Africans from the Berber culture, and that he was much more explicit about this in his writings later on. I nodded again, but this last item, that Heyerdahl didn’t think the original inhabitants of Polynesia were Caucasian, contradicted everything I had come to know about him. Since my conversation with Solsvik, I have gone back over every one of Heyerdahl’s accounts I could lay hands on. The closest I could find to Solsvik’s contention that the expedition was not about race was one of Heyerdahl’s asides in Kon-Tiki: “[W]e did not mean to eat llama flesh or dried kumara potatoes on our trip, for we were not making it to prove that we had once been Indians ourselves” ([1950] 1956:33). But, as to whether those who voyaged across the Pacific, and the Atlantic before that, were non-Caucasians from Africa, Solsvik either didn’t have the whole story, or he was deliberately giving false testimony by omission, whether on his own authority or in his role as representative of the museum. [End Page 45] Heyerdahl does wonder, in American Indians in the Pacific, whether the Atlantic currents couldn’t easily convey vessels from Africa to the Caribbean and Central and South America: “Venturesome explorers, or lost weatherdriven craft off the Canary Islands or the West African coast, would [...] be likely to be drawn away from the Old World and end up where Maya and Aztec history begin” ( Heyerdahl 1952 :345). But in this passage the lost or venturesome Africans to whom Heyerdahl is referring are not black people from sub-Saharan Africa, but what he describes up to that point as the blue-eyed and blond peoples among the Berbers, Caucasoid Arabs who occupied the northwest corner of the continent. In the same section he cautions against limiting one’s conclusions that only black sea voyagers could have made it to the pre-Columbian Americas: “There is a popular but erroneous belief that black people, if anything, would be all that Central America could receive with the African current in prehistoric times.” Heyerdahl continues: One may look east or north — or even for a local evolution — when searching for the origin of the Caucasian-like element in aboriginal America; it is incautious only to close one’s eyes to their existence. In the present work it will be safe to refer to all the widely diverging ethnic groups which were at home in the New World before Columbus as aboriginal Americans, though it is a known fact that no American tribe or nation has an ancestry fundamentally autochthonous to its domain. From a Polynesian point of view the Inca and the pre-Inca alike are strictly natives of America. (345) Had he been any more explicit that the neolithic seafarers were not Caucasian in his writings later on? No. Until the very end of his life, Heyerdahl pursued evidence for his conviction that the earth’s culture had sprung from the same source, proceeding over land and sea from a single starting point: the Caucasus region from which the continents radiate. The culture bearers were a single race of white gods. Kon-Tiki was Odin. I left my conversation with Solsvik with the distinct impression that the museum had done a lot of work to divert and distract the public from Heyerdahl’s “White God” theory that infused his whole life’s work and hundreds upon hundreds of pages of published material. Thor Heyerdahl as an adventurer and activist erased Thor Heyerdahl the racial theorist. The rigor of research, construction, and navigation stood in for the narrative of white dominance the Kon-Tiki performed. And the indigenous peoples of South America and Polynesia disappear into the periphery, while the artifacts, fiberglass castings of Easter Island monoliths, and sound and light shows take center stage. And something that Solsvik told me toward the end of our conversation really seemed to be indicative of the experience the museum offered. Time and time again, he said, what visitors remember from the museum — and what they come back with their children years later to see — is the whale shark lurking beneath the Kon-Tiki. The whale shark was a mere footnote to the story of the expedition, but here it offers a powerful thrill factor, powerful enough to make the Kon-Tiki story about engagement with the exotic denizens of the Pacific rather than one man’s problematic and outmoded engagement with human history. What to make of all this? The Kon-Tiki Museum visitors encounter a restoration of a reproduction of an event that never happened. If it is not performing the past, what is the Kon-Tiki performing? Can we even talk about Kon-Tiki as a performative “reconstruction” without an original? And how do we talk about the ways Heyerdahl and his raft are represented in contemporary culture? What does it mean to perform history by only including the feel-good parts (as do the museum, the feature film, the environmentalist spin-offs)? It’s a question we should ask about representing all historical events, and a question to which I continually return, both in my own research and with my students. Holton figures that the reason no one ever really batted an eye at the racial ideology that undergirded Heyerdahl’s Kon-Tiki expedition was because “[t]he conviction that indigenous peoples were culturally and racially inferior [...was] ingrained in popular culture and sciences in Western Europe and North America by the late nineteenth century” ( Holton 2004 :176). In [End Page 46] other words, the world wasn’t shocked by Heyerdahl’s racism, because he wasn’t saying anything they disagreed with. At the same time, efforts to dismantle racist laws and policies had already been happening for decades on the global scene, including anti–racial discrimination language in the 1945 United Nations charter. And even the quickest of literature reviews reveals that both scholarly and popular printed considerations of Heyerdahl’s theories found the racial superiority aspects preposterous. Anthropologist Edward Norbeck, who reviewed American Indians in the Pacific, wrote: “It will be difficult for many persons to avoid reading racism from his work” (1953:93). And Geoffrey Gorer, reviewing the same book for The Observer wrote that Heyerdahl’s sections about the “fair-skinned bearded culture-bearers [...] read more like studies of Atlantis or Mu than like serious archaeology” (1952:7). Solsvik’s contention that Heyerdahl’s theories were not controversial in his own time, then, is simply wrong. If the Kon-Tiki Museum isn’t careful, its silence on the subject of Heyerdahl’s racial views could be interpreted as continued complicity with 19th-century views. To tell only part of the story, the heartwarming and inspirational part, is not satisfactory. Yes, Heyerdahl’s peacenik and environmentalist activism are and ought to be lauded. But a cover up is not a responsible way to honor the good work Heyerdahl did for peace activism and environmentalism. It’s time that popular culture puts the narrative of Heyerdahl the hero to bed and owns up to the more uncomfortable part of the story, as most scientists have done. Museums are the places that can put forward this public conversation in a responsible and discerning way.

i don't know

Which element is named after Pierre and Marie Curie?

Elements Named for People - Element Eponyms bohrium (Bh, 107) – Niels Bohr curium (Cm, 96) – Pierre and Marie Curie einsteinium (Es, 99) – Albert Einstein fermium (Fm, 100) – Enrico Fermi gallium (Ga, 31) – both named after Gallia (Latin for France) and its discoverer, Lecoq de Boisbaudran (le coq, the French word for 'rooster' translates to gallus in Latin) hahnium (105) – Otto Hahn (Dubnium, named for Dubna in Russia, is the IUPAC-accepted name for element 105) lawrencium (Lr, 103) – Ernest Lawrence meitnerium (Mt, 109) – Lise Meitner mendelevium (Md, 101) – Dmitri Mendeleev continue reading below our video 10 Best Universities in the United States nobelium (No, 102) – Alfred Nobel roentgenium (Rg, 111) – Wilhelm Roentgen (formerly Ununumium) rutherfordium (Rf, 104) – Ernest Rutherford seaborgium (Sg, 106) – Glenn T. Seaborg

Curium

By the end of the 20th century how many times had Meryl Streep been nominated for an Oscar?

Nexus Research Group - How the elements were named Named after Strontian, a small village in the Western Highlands of Scotland. 2. Elements named after Heavenly Bodies Helium He From the Greek word "Helios" - the Sun. In 1868 during an eclipse of the Sun, Scientists observed a spectral line caused by an unknown element. They named the element Helium. Twenty seven years later in 1895, the element was discovered on Earth. Neptunium Np Named after the planet Neptune. Find the position of the three planets Neptune, Pluto and Uranus in the Solar system. Now find the position in the Periodic Table of the three elements named after these planets... Plutonium Named after the planet Pluto Uranium U Named after the planet Uranus. The element was discovered in 1789, shortly after the discovery of the planet. 3. Elements named from Mythology Tantalum Ta Named after the Greek mythological king, Tantalus. It was discovered in 1802 and great difficulties were encountered in dissolving its oxide in acid to form salts. It proved to be a tantalising problem! Niobium Nb Named after Princess Niobe, the daughter of King Tantalus. According to legend, father and daughter were always found together and were very much alike. The two elements Niobium and Tantalum are usually found together in nature and their properties are very similar. Niobium was discovered in North America in 1801 and was originally named Columbium. It was renamed in 1844 after the connections with tantalum was realised. Find the positions of both elements in the periodic table Thorium Th Named after Thor, the Scandinavian God of War and Thunder. It was discovered and named in 1828. Coincidentally, thorium is used today as a nuclear fuel in nuclear weapons and reactors. Titanium Ti Named after Titans, the Greek supermen. Titanium is an extremely strong metal which resists attack by acids. Vanadium Named after Vandis, the Scandinavian Goddess of Beauty. The salts of vanadium have beautiful colours. 4. Names that describe their Properties Argon Ar From the Greek word "argos" which means idle or lazy. Argon is one of the laziest, least reactive elements of all. Bromine From the Greek word "chloros" which means green. Chlorine is a green gas. Cobalt Co From the German word "kobold" which means goblin or evil spirit. Miners working in the cobalt mines sometimes died unexpectedly. For this reason the miners thought that the mines contained evil spirits. The real reason for these unexpected deaths was that cobalt ores usually contained highly poisonous arsenic. Dust from the ore probably got on their food or was breathed in, causing sudden deaths. Hydrogen H From the Greek words "hydro" and "genes" which mean water and forming. When hydrogen burns in the air, it forms water. Iodine I From the Greek word :iodos" which means violet. Iodine is a grey solid at room temperature. It gives off a violet coloured vapour when warmed. Nickel Ni From the German word "kupfernickel" which means "Old Nick's Copper" or "False Copper". Salts of nickel resemble salts of copper. When nickel ore was first mined, the miners thought the ore was copper. They were mystified when the ore was smelted to give a silvery metal (nickel) and not red copper metal as had been expected. They called this metal "Devil's Copper" - Kupfernickel. Oxygen O From the Greek words "oxy" and "genes" meaning acid forming. Most non-metals burn in oxygen to form acids eg. sulphur. Phosphorous P From the Greek word "phosphorus" which means "light bearing". It was also the ancient name for the planet Venus, usually the brightest "star" in the night sky. Phosphorous glows in the dark and catches fire in the air to give a bright flame. Radium Ra From the Latin word "radius" which means "ray of light". Radium was discovered in 1898 by Pierre and Marie Curie. It gives out invisible and dangerous radiation ie. it is radioactive. When concentrated, radium glows in the dark. 5. Elements named after Famous Scientists Curium

i don't know

Both Richard and Karen Carpenter came fro which state?

Rolling Stone's cover story features The Carpenters - Rolling Stone All Stories Karen Carpenter, the solo singing half of a brother and sister musical duo that has sold over 25 million records world-wide, has classic "good looks" but with something extra. It is the something extra that makes her interesting to look at, some unrealized firmness in her features, a womanliness she does not always allow herself to express. It comes out when she sings – in the emotion that makes her voice intriguing and beguiling. Karen insists on the right to be normal, even though she is a celebrity known all over the world, but it is impossible for her or for her brother Richard to regain the placid existence of their youth. At a back table in Beverly Hills' La Scala restaurant, Karen described some conditions that would tend to make an "ordinary" life impossible for her. While everyone else at dinner (including her brother) was enjoying sumptuous pasta, she had before her a simple green salad and iced tea. She was, as usual, on a diet. "A lot of kids write and ask me for advice," Karen began. "Some of the things they ask are normal. How do you get into the business? How do you learn to sing? "A lot write and say they were hung up on drugs, but since they've heard our music they've gotten off of them. "But a lot of kids who write have mental hang-ups. They're lonely, they want to know why their parents don't love them, why do their brothers and sisters hassle 'em. They haven't had a good life at all, and they just live for our music. "They ask for advice that I'm not capable of giving. Because I'm not a doctor. It's hard to tell someone how to live their life even if you know 'em, let alone if you've never seen them. It's hard. It really is. One girl, her boyfriend had gone to Vietnam and gotten himself killed. She wanted to kill herself, and what should she do? I said, God, don't kill yourself! I mean . . . what do you tell 'em? "Another girl, in Phoenix . . . Remember, Richard?" "Oh yes," Richard Carpenter said, looking up from his meal. "The first time we played Gammage Auditorium. That big hall Frank Lloyd Wright designed." "This girl. It was her mother's third marriage. The stepfather hated her. Truly sad. What else, Richard?" "Something to do with her brother," Richard said slowly. "I can't remember." "The ones that are really . . . freaky, if you answer once and they write back, then I give them to our manager, Sherwin Bash. You can't really get involved. It gets too heavy. You have to handle each one in a different manner. When you're playing with personal feelings, with someone who's that hung up on you . . . " One of the first times the Carpenters worked with their current opening act was in a huge coliseum in Houston. During Skiles and Henderson's comedy turn, a young man walked up the ramp to the stage and sat down at Karen's drums. Skiles and Henderson thought maybe the Carpenters were putting them to some kind of test, and the group supposed the guy at the drums was part of the comics' act. He punched a policeman who approached him and was forcibly carried off, shouting, "Don't touch me! I'm engaged to Karen Carpenter!" At the jail it was found he had on his person a wedding ring and airplane tickets for the honeymoon. Another man who inserted himself memorably into Karen's life began his courtship with a letter which she received while they were playing Tahoe. Torturously scrawled like a five-year-old's mash note, it read, "Guess what. I've been waiting all this time to marry Melanie but it looks like it's not gonna come off, so you know who I picked to be my next old lady? That's right, Karen – you!" She and Richard laughed and kept the letter just for kicks, as they keep all the "strangies." Three months later a GTO with Jesus saves stickers on the back bumper pulled up in front of a home in Downey, California, where Richard and Karen lived with their parents. Their father was in the garage working on a car. The fellow in the GTO got out and asked him if Karen was home. "Yes," said her father, who cannot learn to lie. "I'd like to speak to her." "I really think she's busy right now." "Oh," the fellow said, "she'll want to speak to me." "Why is that?" "Well," he explained, "you know all those songs she's been singing for the last four years? She's been singing them to me." He showed up the next day, and the day after that. They came to recognize his car as it approached, the GTO of this guy who was not playing with a full deck, the guy who had written the letter they laughed at in Tahoe. The night Richard and Karen went to the Ali-Norton fight at the Inglewood Forum with Herb Alpert, they returned to find the GTO parked and empty in front of their house. While their parents were away GTO had pried open a door, setting off the burglar alarm. The police had come instantly. GTO had been very calm. He was not there to rob anything. He was engaged to Karen Carpenter and he had just come in to say hello. They locked him up for 72 hours, after which he returned for his car. He sat in the car for another day. A neighbor called the police. As he was leaving, the black-and-whites pulled up, fencing him in. That was the day Karen had had enough. The police said they couldn't arrest him, all they could do was escort him to the city line, to Norwalk, mere minutes away. "Look," she said, "let's be serious about this. The guy has broken into my home. I don't know anything about the law. But don't tell me I'm supposed to be calm about this guy sitting and staring at my house, looking for me. If you just take him to Norwalk he'll turn around and come right back here." Sitting there, day after day, staring at the house. The police said that he had spent some time in a home. He had been in a mental home. The police wanted her to go outside and say hello to him. Since he wanted so badly to speak to her, maybe that would satisfy him. She told them they were crazy. The final day of his vigil he got out of his car and walked to the far end of the house. Perhaps that's where he thought her room was. He stood there ten minutes and at the top of his lungs screamed her name, over and over . . . "Some people center their whole lives around us," Karen continued. "They only live to see us, to hear us. That's getting awfully heavy. "People get so involved. It's sad to see kids cry if they can't get backstage to see us. They go to sleep with our album covers. Sometimes their mothers send them to be autographed. Especially Close To You. You should see them . . . all crumpled up . . . "Only the really important letters are handled personally. There was a 12-year-old girl in Utica, New York, who was dying and who wanted a drum set. We got her the drum set. She was supposed to die a couple months before we played Utica, but she wanted to see that show so bad that she stayed alive for it. A few weeks after that . . . that was it. That also happened with a little girl in Notre Dame. "It's weird to think you could have a meaning like that for someone, to make someone go on living. That's a hell of a responsibility. Someone loving something that much, to keep them alive . . . It's a very strange feeling, to think you could have that much . . . power . . . " Karen concentrated on articulating thoughts she did not seem often to entertain. "That you could mean that much to someone. It's an eerie feeling. I don't dig being responsible that way. "I mean . . . we only wanted to . . . make a little music . . . " I guess I'm really very lucky That I've got this thing to play Cause it can really make me feel good Even when it's cloudy and grey Yes, after years and years of practice And awful allergies that made me sneeze And now the other guys are out playin' with their girlfriends And I was still. . . bangin' on the keys And it got me I hope ya like what I do It's for you And I'll try and sing right too* Sometimes I feel like a . . . robot. Richard Carpenter is technically handsome but really much more interesting looking than that easy term implies. His face reflects his sarcasm, talent, arrogance and pride; his mere good looks are a product of careful grooming. He is a creature of his own design. As assiduously as he has done everything else, Richard transformed himself from a gangly, short-haired, hornrimmed music student into a chubby fellow with Prince Valiant bangs, then into a thin young millionaire with a certain poise and a Sebring cut. Richard never stops working. It is he who is the driving force behind the Carpenters. It is he who selects the material, arranges it, makes most important decisions and in general keeps the ball in the air. If he is not actively making music, he is thinking about it. His preoccupation extends from the most obvious attention to his own group's performance, through a general and encyclopedic awareness of current pop product, down to the tiniest particular factors bearing on actual sound: that the turntable at L.A. radio station KIIS is a mite slow, for instance, and that KLOS's is a bit fast. Recent cuts he likes include "Puzzle People" ("a perfect track!"), Paul Simon 's ballads ("great strings, great everything") and "Jet." Among the pop musicians he has most admired are Frank Zappa , Brian Wilson and Jim Morrison. Music is almost his sole interest in life. He does not read books. He is not concerned with politics and feels no affinity for either major party, although he was outraged at the 18-minute gap in the White House tapes and at the lenient sentence given Spiro Agnew, two developments which managed to come to his attention. "I'm not into much besides my music," he says frankly. "And cars. And investing my money. I like to have money, because I like what it gives me. I like to buy nice clothes. I like to eat well at good restaurants. If I hear about some new amplifier or something I want, I like being able to say without thinking twice, 'Yeah, get it.'" He did not always have that option, and some of his single-mindedness may come from remembering the financial difficulties experienced earlier in his life when their parents worked wonders with a lower middle-class income in order to give their children what they wanted. "When we were trying to make a go of our music," Richard said, "our parents bought everything they could afford for us. We had a drum set, a piano. Basically the whole thing. But we couldn't really afford to buy amplifiers, or an electric piano, or even mike stands. "When we wanted to buy a tape recorder, to make demos of this first group we had . . . Dad, he wanted to get it for me, but we just couldn't swing it. It took us months to save enough even to make a down payment on a little Sony." The Carpenters' early history is not as smooth as some might assume. Children of a lithographic printer, they grew up in New Haven, Connecticut, where 16-year-old Richard studied piano at Yale. The family moved to California in 1963, to Downey, a low-lying, bland suburb near L.A. International Airport. Richard continued his music studies at Cal State Long Beach, where he became interested in vocal arranging and was accompanist for the school choir. A few months after high-schooler Karen had begun playing drums, the Carpenter Trio was formed – a jazz instrumental group consisting of Karen, Richard and a bass-playing friend. In 1966, the trio won a city-wide "Battle of the Bands" televised from the Hollywood Bowl, with Richard taking the Best Instrumentalist award as well. The trio was signed to an abortive contract with RCA, and some instrumental tracks were cut which pleased no one. Karen had started to sing by this time, but RCA was not interested in listening to her. While Richard and Karen Carpenter were recording light jazz instrumentals for RCA, the company was also cutting vocal tracks with a young unknown singer named Herb Alpert who was unsuccessfully trying to stir up RCA interest in an idea he had for a trumpet record. When the trio disbanded, Richard and Karen became the nucleus of a vocal group called Spectrum which stressed the harmonies Richard had loved in choral work. Spectrum included four other members – all of them Cal State students – two of whom would eventually find a home in the Carpenters' organization Danny Woodhams, who sings and plays in the Carpenters' touring band, and John Bettis, a tail end folkie who became Richard's lyricist. Spectrum, all dressed alike and singing original compositions, not pop hits, had difficulty getting gigs. For the year they were together (1968) they mostly played Hoot Night at L.A.'s Troubadour Club, waiting their turn to appear for 15 minutes on the same stage as other unknown hopefuls like Jackson Browne and Brewer and Shipley. After some unsatisfactory contract talks with White Whale Records, Spectrum disbanded. Richard and John Bettis worked at Disneyland for a time, singing on Main Street dressed in 1900s ice cream suits, writing songs on Pepsi napkins during spare moments. Soon Richard created a vocal sound similar to Spectrum's with a new group made up of just him and his sister Karen; they achieved harmonic blend through overdubs. Demo tapes were cut in the garage of well-known session bassist Joe Osborn, and Richard made the rounds of the record labels as he had done for Spectrum. He was turned away at the A&M gate, but in 1969 a friend of a friend got the Carpenters' tape a hearing from that company's now famous cofounder Herb Alpert. Alpert gave the Carpenters freedom in, the studio, said nothing when their first album stiffed, and brought them "Close To You," a little-known Burt Bacharach-Hal David tune which became their first Number One single. The rest is well-known. Twenty-five million singles and albums sold. (Even their atypical debut LP, Offering, is headed for the million-dollar mark.) Three Grammy awards, phenomenal concert attendance in all countries, with concerts bringing them up to $30,000 a night. The Carpenters refrained from issuing figures telling their monetary worth, but they do state they are both millionaires. Their investments include two shopping centers in Downey and two apartment complexes, one named "Just Begun" and the other "Close To You." According to the success ethic, they should be completely untroubled. Life, alas (or fortunately), is not that simple. The Carpenters have real pressures and problems, hard feelings and confusions which few would associate with the image of the group. Richard and Karen themselves are far from fully acknowledging these feelings. They suffer under strains which even they only dimly comprehend. The Carpenters seem to be going through what they would like to be a transition period. They have an idea of what they are unhappy with but apparently no clear picture of what would make them more content. They would like to change the image people have of them. They would like to change their way of life. It is just that they are not at all certain what they would like to become. They are reluctant to give up the sheltered existence they have known, and change is such a foreign concept to them they can only approach it with great caution. Well into their 20s, they still live with their parents in the suburb where they grew up. They are about to move from Downey at last – not into two separate homes, however, but into one home for the two of them. There is evidence the Carpenters' special circumstances have made it especially difficult for them to break old habits. Their parents have remained parents. When told that Richard and Karen would be driving back to Los Angeles immediately after the final evening performance of a recent Las Vegas engagement, their mother warned, "I wish they wouldn't do that. They are just too tired after a show." The Carpenters are protected from outside stresses not just by their parents but by a retinue of publicity and management people who carefully screen anyone wishing to make the acquaintance of Richard and Karen. One of the things Richard and Karen are particularly sensitive about at the moment is their home in Downey. It was decorated in their parents' taste, which embraces a Japanese garden, artificial waterfalls, and Astroturf and was probably always meant to be a present to the elder Carpenters. Although unsure of where they are going and how to get there, they are on firmer ground discussing grievances incurred in getting where they are. During dinner at Au Petit Cafe, a Hollywood restaurant the Carpenters frequent, Richard and Karen made forays into personal territory. Or rather, Richard expounded while Karen demurred to his lead. Richard had many things he very much wanted to discuss. It seemed he had had few opportunities to explain himself on these points, and what he wanted most was to be understood. He was openly angry about the Carpenters' image, about the wholesome halo made to hover over the two of them from the very first. The problem, he thought, began and was perpetuated by the publicity pictures and album covers prepared by their record company. "The pictures, the album covers, the eight-by-ten glossies." He sighed in disgust. "There had been no brother-sister act since Fred and Adele Astaire. They just hadn't known what to do in a photography session. You can't be embracing. And yet . . . they wanted that. "We didn't say anything when we were getting started except 'yes sir.' So they said: 'OK, sit on the floor back-to-back and smile. Put your arm on his shoulder and smile. Richard, put your arm around her waist and smile.' Every stock Steve and Eydie pose you could imagine. "In Europe, just last month, it was the same thing. Press conferences with 80 photographers, all saying. Smile! Cheer up! Come on, smile smile smile! I'm sick of smiling. But they're all upset if you don't. So we oblige them, and we get it back in the press. 'The sticky-sweet Carpenters – still smiling those Pepsodent smiles!' "This . . . thing they've built up, where it's implicitly understood the Carpenters don't smoke, the Carpenters don't drink. Never would swear. Never would listen to rock music. They can't figure out how the fast car could have gotten in there. It's like we're Pat Boone, only a little cleaner. As if all we do all day is drink milk, eat apple pie and take showers. I don't even like milk. "Not that we're totally opposite from that; we're not. But there's an in-between, you know what I mean? I don't drink a whole hell of a lot. I do have wine with dinner. I voted to make marijuana legal. I believe in premarital sex. But then, I don't smoke." "The image we have," Karen said, "it would be impossible for Mickey Mouse to maintain. We're just . . . normal people." Richard returned to the subject of press photos and album covers. "Some I can stomach, as far as sending 'em out with the press kits. But I'm still waiting for something that really knocks me out. And some, especially that Close To You cover . . . zero imagination. "They took me to Mister Guy's for that, outfitted me in all this stuff that didn't fit worth a damn. I can't buy stuff off the rack. I have big shoulders and I sort of taper in. I said, it doesn't fit. They said, you let us worry about it. The coat had to be pinned. The coat is held . . . in . . . with all these pins, all the way down, just for the picture. Cashmere coat, must have cost 250 bucks. Super expensive pants. Shoes. The whole outfit. "They give her some expensive dress and then they take us and sit us – for an album cover that's sold four million copies or something – took us to Palos Verdes, have us scramble down a 200-foot embankment. Waves splashing over the $400 outfits. Freezing, sopping wet. We're supposed to record that night. And they sit us on a rock. And here's this amateur right next to us, some amateur just out on the weekend, takin' pictures of his girlfriend – the same identical pose! And I'm thinking . . . something isn't right here . . . 'OK, sit,' they say, and, 'OK, smile!' And there's the album cover. "When they brought it in I said, 'I don't like it.' They said, 'Learn to love it.' "I have never learned to love it. I hate it. "That's all the early stuff was, the same old thing, whether we did it at A&M or whether we went to this guy or that guy. And it still is! "The Song For You cover. Whew . . . it's hard to explain. They came up with this heart, against a big red background. I said, 'It's gonna look like a Valentine's Day card.' 'Oh no, you're wrong,' they said, 'this is hip, it's, it's camp. People will look at this and they'll say, oh yeah it's the Carpenters all right, but they're putting us on.' I said, 'They're gonna think it's a Valentine's Day card.' I mean, that's what it looks like: a bunch of syrupy love songs, all packaged up with a heart on the front. "On top of that they put these stickers with a picture of the two of us, cheek to cheek, smiling . . . in the heart! It looked so: . . . sweet! So . . . lovey dovey! "Then they decided they wanted to redo it, after it was released. Probably the first album that ever sold a million copies that they took back and redid the cover. They thought it would be 'improved.' It was worse. I mean . . . they're experimenting on our album cover. "The cover for Now And Then. That was supposed to be – very original – a picture of us standing in front of the house, smiling. I said, 'No. No no.' Then it was, well what else can we do now that we're here, how about if you get in your car and drive down the street. "Immediately someone sees the picture of us in the car and says, 'You're not smiling. You look mad.' 'No,' I said, 'I just don't smile when I drive. If I were smiling it would look like a 1952 DeSoto ad!'" The photos and the album covers contribute to an image which is then reacted to by the media, a process which really exasperates Richard. "This guy from Louisville, who went on and on about 'the vitamin-swallowing, milk-fed Carpenters.' You could just read between the lines, he was so up tight that we wouldn't give him an interview. 'I'll show them!' The most inane things . . . Remember, Karen? About . . . their songs are about . . . Karen falls in love with someone who's test-piloting an airplane, and the plane crashes, and . . . It was so ridiculous we kept it. "We've narrowed the interviews we give now down to . . . practically none. "This DJ from Toronto called me up on the air. It was different, I'll grant you that. He opens up by saying, 'What's the difference between you and Paul and Paula?' 'There were two of them. There's two of us,' I said. 'That's where it ends.' 'OK,' he says, 'what about Sonny and Cher?'" Karen: "She's thinner." "'All right,' he says finally. 'I know where it's at. We might as well bring it out. I've listened to the lyrics of your songs. I know that Karen's singin' 'em to you. I know they're about incest. You want to talk about this?' I couldn't believe it. I was stunned. I tried to explain, absolutely not. Imagine – I tried to explain! 'I don't even write all of those songs. They just happen to be love songs. Karen sings them. I sing and arrange. We happen to be brother and sister.'" "I remember how you threw the phone down when that was over." "Yeah. That was the last phone interview we ever did." "In Toronto, when we did the oldies medley, some writer thought we were a group from the Fifties and that those were our hits! How do you deal with people who have the intelligence of an ant?" "We get good reviews, but they're surface good. 'They were here, boy, it's nice to see an all-American group. The audience was dressed neatly. The music wasn't too loud.' They never get into why the music's good. Or bad. It's just image. "I wouldn't mind a bad review of things that are bad." Richard carries a great many things in his head. Every pop hit since 1962, for instance; theme songs from all the Fifties TV comedies and every detail of the Carpenters' struggle to be accepted. To an outsider their rise may seem meteoric, but for Richard it is an ongoing story, with past details as fresh and clear as yesterday's rehearsal. Bitterness is one of the qualities he subliminally projects, although he hastens to cover its traces when he becomes aware of them. One of the Carpenters' first gigs was a charity show where they met Burt Bacharach, who complimented them lavishly and asked them to prepare and perform a medley of his tunes for another upcoming benefit. Initially he gave them carte blanche, but when he heard the medley Richard had arranged he dictated all kinds of changes the day before the show, necessitating frantic all-night work from the group, who had to learn a radically different medley from the one they had been rehearsing for weeks. When Richard first told this story, the confusion and hurt he felt at the time lay heavy in his words, but as Karen embroidered the incident, essentially repeating what he had said, his attitude reversed completely and he finished by denying any thoughtlessness or folly on Bacharach's part, as if it were necessary that he officially remember his relationship with the man who wrote "Close To You" as nothing short of perfect. There are touchy areas, places he is not willing to probe. He fills his conversation with verbal shorthand and cliches. ". . . type of thing." "I was stunned." (Karen, too, on the brink of a revelation about someone, will stop short and say instead, "Well . . . she's quite a character.") He has no time to probe those areas. He is busy working, maintaining the style of life and work he and his sister have become accustomed to in the last five years. "It all changed very gradually," Karen said. "For a long time it was the same," Richard picked up. "First of all, you don't get a royalty check for six months. In six months we had three gold records: 'Close To You,' 'We've Only Just Begun' and the Close To You album. But we were still at our old house, still living in the same neighborhood, with the Number One record in the United States and it was odd." "Then we decided to move, to the other side of the tracks. There's a street in Downey that's both north and south of the tracks. We were south of the tracks." "Right. There's actually tracks in Downey to be on the wrong side of. We bought a place right around fall of '70, when 'Begun' was out, and we moved in December, when 'For All We Know' was released." "Even so, we were scared." "Well, you know some royalties are going to come in, you just know it. You've sold those records. But you still haven't seen it. We were wondering if we should buy a place that cost so much." "Then the first royalty check came. Herbie [Alpert] signed it himself, and he'd written 'hello' all over it, made all kinds of little drawings. . ." "Yeah. And it was for 50." Fifty what? "Fifty thousand." "I'd never seen anything like that in my whole life," Karen recalled. "We sat and stared at it all through dinner. I'd never seen that many zeros . . ." "That's when you start noticing a change. That's an awful lot of money. You know? You still feel the same inside, you're still the same person. But to come from the financial situation we grew up with, right into staring at something like that . . ." "It take a long time for it to sink in. There are all these habits you've been brought up with all your life. That you don't just go plowing through a store, buying everything you like. I'm getting better at it, but . . . Compared to a lot of other people, what I buy is nothing. Like my accountant told me last week to go spend some money." "He was kidding, Karen," Richard smiled. "That was humor from the accountant." But Richard grew reflective. "I never thought it would get as big as it has," he said. "I never thought it would have as many pressures as it does. How could you imagine it? Before, when the two of us were going to college, it was just screwing around. We rehearsed and said, 'Someday we'll make it,' and . . . no worries. What worries? Our biggest worry was not being able to afford some microphone we wanted." "The first thing you know you need to do is get a contract," Karen said. "If you're lucky enough to do that, you say, 'I've got to have a hit.' When you get your hit . . ." "Everyone tells you. 'That's not enough. You need another one right away. You don't want people thinking you're a one-hit group, do you? There are lots and lots of those around.' "Waiting for our second hit. We were in New York to do the Sullivan Show. 'We've Only Just Begun' had taken off, but WABC hadn't put it on their playlist yet. I was worried about it, because WABC was the biggest, the most important station in the world. And they weren't playin' it, and I was worried. Then ABC went with it, and it was the last station, and I knew the record was a smash, I knew we had our second Number One. "Then the promotion man in New York says, 'I gotta tell ya, kids, the whole ball of wax . . . is three. Three, it really puts you in the money.' "I suppose the guy was serious. I guess he really believed that and the whole thing, but . . . "Ever since then it's been, 'OK, get an album out, OK you gotta go here to perform, OK you have to do this, OK now that.' Sometimes I feel like a big . . . like a robot. "And yet . . . I can't complain. This is what we worked for. It's all stuff I want to do. I want to play the Warsaw Concerto with the Boston Pops. I want to record a new album. I love to go out and perform. "It's just so exhausting. We haven't had three days off in all these years, not three days where we were totally free of interviews, rehearsing, composing. It's become a business, whether we like to think of it that way or not. Even though it started as music, and it still is music, you've got like 30 people working for you, and a corporation, the whole thing." The Carpenters' corporation is dubbed "Ars Nova." Richard is its president and chief decision maker. "You get problems, things you never thought you would have to deal with, things you never knew existed. What it's like to have people working for you, keeping them all happy." "And while all these people are working at the things that have to be done, nothing can be done without an OK from us. So we have to think about all those things still. "It's not like being a doctor, where you work hard for so many years and then at last you've got your practice, your office, your regular routine. Your El Dorado. In the record business you can have money piled up to the ceiling. You can say, 'Well, I could retire tomorrow.' But you don't wanna retire. So you always have to worry about that next hit. "It got to me. I had like an anxiety thing happen to me. It was November of '72. We were out for too long. We were out for six weeks of one-nighters. We didn't have a single in release. It was in between 'Goodbye To Love' and 'Sing.' And there's always, like for the person picking the single and doing the creative thing, there's always that nagging thought: 'Will we find another single?' On top of going from city to city to city, six weeks of dingy weather, each day more rotten than the last. Business was good, crowds were good, the group was fine, but . . . Holiday Inn after Holiday Inn . . . "It just got to me. One night – man, I just didn't know what – it just hit me. "What happened is, a lot of little things started goin' wrong. Which doesn't mean anything. Every now and then you have a concert where a lot of little things go wrong. I got up there, I didn't like the feel of the place. Which doesn't mean anything either. We've played a lot of places just like it. It was a big domey . . . ice rink. It was freezing, and . . . and there was this rumble. The acoustics were so awful, and I hear this rumble, and . . . then there's a mistake in the music . . . then a chord fell out . . . "I felt like I was losing control. I mean, I never felt that bad. I mean you can't describe it. You just get scared and you – don't – know – why type of thing. 'I – don't – wanna – be – here I – don't – wanna – do – this – show.' "But you're onstage. What are you going to do? What are you going to do? I was so afraid, because I didn't know what was going to happen. I felt I was really going to lose it. "There was just something, some part of my mind was telling me not to. 'Don't stop. You can't just walk off. You have to finish the show.' I mean, all those people there . . . "So then by that time we were getting into the second part, into the oldies medley, things I could do without thinking much, and . . . I got control of myself. We didn't stop or anything." Having said this much, Richard seemed to want to retreat from the episode. "Evidently I just wasn't in the greatest frame of mind. I mean, who's to say? I can't tell all the things that led to it. Ordinarily, and ever since then, if the flute player's mike falls off or something, we roll anyway. But I just . . . I felt it was really gonna . . . get me." Karen clutched at herself, gripped by a comic phantom. "Aah – it's got me!" "Not funny," Richard said levelly. "Oh. Not funny." "I did not enjoy it." Chastened, she said, "Well, I knew something was going on. I looked over at him and he had the weirdest expression on his face." Richard said, "Well it wasn't a nervous breakdown. I've never had anything like that. "Just about then that article about the Beach Boys was printed in Rolling Stone. Someone showed it to me, and I read about Brian Wilson freaking out on that airplane. And I said, gee, maybe that's what's . . . happening to me. Brian of course, being the genius that he is, could handle that. "No, I just felt it was time to . . . pull back a little. "But who would have thought it could get even that heavy? I mean, who knows about anxiety when you're 20, and you're doin' the things you love. Lugging big amps onto the Troubadour stage for hoot night. Having a wonderful time. "Then you get all the things you've worked for so hard all along, and it changes. And there's lots and lots of pressure. But still . . . it's something you want to do!" What would happen if the group took things at a slower pace? "I don't know," he said, as if he had never given it thought. "It wouldn't affect record sales or anything. The part we'd have to cut down – which we are, bein' we cut the summer four – is the concerts. We can't cut down on recording. We only come out with one album a year anyway, so . . . That's what it would have to be. "The way I see it, I mean, we have to cut down a little. It was getting to be too much. Now we've had the Europe thing, now we have the Japanese thing, and the summer tour, before that the April tour, and . . . yeah, May. It was too much. "But it's what we worked for, you know. And we reall . . . It's exhausting, and it's a lotta problems, but I still . . . It's something we like to do. The whole thing is. "But we have to cut down." "I want to start cutting down." When the Carpenters tour certain parts of America it would not be much of an exaggeration to say that Richard and Karen are like visiting deities. A paucity of entertainment in these areas combined with the Carpenters' huge appeal ensures almost entire towns will turn out for their concerts. Thus it was in Beckley, and Wheeling, West Virginia; in Richmond, Virginia, and in Hershey, Pennsylvania. They bring glamour to scenes of devastation, to small cities scarred by open mines and strewn with tornado debris. Their limousine glides through narrow streets suited to Dublin slums, past felled trees, railroad yards, mounds of coal, wrecked house trailers . . . Glimpsed from the driver's seat the three figures in the rear look like a Fellini parody of Don't Look Back. Karen, in dark glasses and fox fur collar, chews gum as she gazes at the dreary town gliding by. Randee Bash, Sherwin's daughter and Richard's girlfriend, her gamin face animated or bored, hangs on Richard's arm and on his every word. Richard, projecting nervous hauteur, holds in his lap the Sony CF550 cassette player-radio which he personally carries everywhere. Richard tunes the radio to the local pop station – he imitates the morning man's nasal boss-jock tones. "Yes they've got that sound here in St. Clairsville, Ohio!" The clackety-click of tapping on metal in time to the music: Karen's long carmine nails. In every town they play, mention of their names brings smiles to faces young and old. "They're really special. Lotta groups been through here, but . . . they are the only ones really worth seein'." Their records are on all jukeboxes, squeezed between the country records that predominate. Muzak plays their hits, and Karen and Richard prick up their ears, comment on the arrangements. This is Carpenter country. (But then, so is Las Vegas. So is Europe, and Japan.) They are quite gracious when asked for autographs, considering how often they are approached in restaurants, after concerts, while riding in limousines. "I'm going to act like a fan now," a driver will announce. "My other daughter would never forgive me if I got one for her sister and not for her," a woman at the Sheraton Inn will say ingratiatingly as she begs for a second signature. Approached during breakfast in Richmond, Virginia, by a rotund and particularly nervy fellow bearing five napkins to be individually inscribed, Karen blurted in disbelief, "Oh, f – !" Touch me and I end up singing . . ." Karen is in some ways like a child, which is not surprising. A star since 19, a committed musician even longer than that, she probably missed out on one or two normal stages of adaptation to "the real world." Richard is similarly detached, but he is older; Karen at 24 most noticeably shows the effects of an early success. She has been sheltered and pampered and behaves accordingly. Finished at lunchtime with the gum she often chews, she drops it unwrapped into a clean ashtray, where it glistens wetly like a kitten's tongue throughout the meal. She is capable of doing childlike things with the unself-consciousness of a ten-year-old: Giving directions to some destination, she uses her body like a walking car, driving down an imaginary boulevard, pivoting herself to the left for a turn . . . Onstage she sometimes projects the air of a spoiled, slightly heartless prom queen toying with the emotions of the audience, a willing collective beau. "There she is," one of the Carpenters' band muttered sourly one morning as Karen and her hairdresser/wardrobe girl, laden with traveling bags and beauty kits, descended downstairs to a Sheraton Inn lobby. "The princess." But petulance or overobvious use of privilege are mere compensations for being in a position she is not truly able to enjoy. She is the star of the show, but her lot seems more like a band singer's of an earlier decade, the amiable thrush along for the ride; except Karen rides private jets instead of band buses, and there's not much hearty fraternization going on. The partially forced naivete, the occasional bitchiness on the road, the comic Imogene Coca mask which fits her so imperfectly are all forms of a will which cannot find its proper outlet. So long has she deferred to her brother, it seems, she cannot express a distinct personality of her own. The two of them are like a couple married too long, in whom passion has been replaced by accommodation. When agreed-upon patterns are deviated from, the transgressor (usually Karen) is quickly slapped down. Then again, Richard can be stronger only because Karen lets him. The closest she is to her brother is when they are making or talking about music: During a rehearsal, discussing a four-bar break, the two of them will suddenly burst into song as if they possessed ESP. On tour, huddled over a coffee-shop table, discussing the chart positions of their latest releases, she consoles him when their single hasn't debuted as high on the Top Hundred as might have been hoped. At other times, when she needs reassurance from him, at least in public he isn't there. So Karen retreats into giggles and facial takes, becomes a gum-chewing comedienne or a spoiled princess who doesn't allow herself to think out loud with strangers. Or close friends? Or even alone? When she really comes alive is when she sings; she changes completely. Joking or talking one moment, she becomes a different person the very next, as soon as she opens her mouth. Out comes that unique and wonderful voice, exactly as on record, expressing fascinating contrasts: chilling perfection with much warmth; youth with wisdom. Then she seems to be someone who knows something of life. She must be aware of the transformation she brings about, yet when asked to describe what happens at such a moment, all she will guardedly say is, "I don't know what you mean. I'm not thinking of anything in particular. I'm just . . . trying to get it right." At breakfast in the coffee shop of the Beckley Ramada Inn, Karen said she had a sore throat. Richard had a complaint of his own. The group had ordered an expensive piece of sound equipment from the firm that supplies the hardware for their concerts, and the equipment was months overdue. Richard seemed in some way to blame Karen, because her sometime boyfriend worked for the firm when the order was placed. He began nagging her in a scolding manner. "We were supposed to have that thing by January. Then we were going to get it for Europe. Then they said it would come in time for this silly little tour. And now – they're telling us, wait till Japan. Karen. I want that $15,000 back." Karen floundered, out of her depths and for once in more human waters. Piteously, unconsciously touching her throat, she said, "Look. Richard. I don't know anything about that equipment. All I know is, I don't feel very well." Elliot Abbott, Sherwin Bash's dry-humored representative, began uncharacteristically to hum "Tea For Two" in a strained and significant voice, as if to remind them of a writer's presence at the table. They didn't notice. Richard stared at his sister as if she were pulling feminine rank on him by having a sore throat, but for the moment he let the matter drop. The waitress – this one had decided to treat the Carpenters as just plain folk – brought the news that there was no orange juice this morning. "No orange juice?" Richard slumped against Randy in astonishment and mock despair. "Gee, I guess this is gonna be the first time in 17 years that Richard hasn't started his day with a big double glass of orange juice," Karen offered. Richard nodded like an endearing little boy. His disappointment was partly comical and dispelled the previous moment's mood, but it also betrayed a real letdown. Not a $15,000 letdown, but certainly something worth remembering. "Boy, there've been a lot of firsts on this tour," he said. "No grapefruit yesterday, no ice cream the day before . . ." "No vanilla ice cream," Karen said with wonderment. "I almost died when I heard that one. Could not believe it." "And now this." Allowing for unforeseen mechanical annoyances, the show itself is as seamless as could be. It never varies. It features all of the Carpenters' many hits: "Rainy Days and Mondays," "Top of the World," "Close To You," "We've Only Just Begun," all the others. There is a fun oldies medley, narrated in terrific boss-jock fashion by superb guitarist Tony Peluso, the man responsible for the incredible solo on "Goodbye To Love." The Carpenters' conservatively mod wardrobe consists of expensive and attractive "semi-hip" ensembles, generally embroidered or sequined denim suits. Karen and Richard's patter has been created for them by a professional writer, and they speak it word-for-word during every performance. "How many of you remember the Mickey Mouse Club? You do? I want you to think back to the end of the show, when the camera would focus in on two of the littlest Mouseketeers: Karen and Cubby. Well, I'm not the same Karen. But the newest member of our band is the same Cubby! Ladies and gentlemen, let's have a big round of applause for our drummer, Cubby O'Brien!" When they speak nonmusically to their audiences, for some reason – insecurity? a misguided sense of propriety? – they become something very close to the image of wholesomeness they are so weary of. They are here to present a series of tunes as professionally as possible, and there will be no nonsense please! The music is wonderful. Karen sings like a dream, a wish fulfilled, a sorrow resolved in the telling. Richard conducts from his electric keyboard with the precision and brilliance that has won him respect as an arranger and producer from such peers as Henry Mancini and Burt Bacharach. When Karen plays the drums she flails away with unthinking enthusiasm; she is a very good drummer. It all makes an excellent show. In Wheeling, West Virginia, the Carpenters play two shows back to back in the Capitol Music Hall, home of the WWVA Jamboree, a well-known counterpart of the Grand Ole Opry. The hall holds approximately 3000. Both concerts are sold out, and an official guesses that if a third performance had been scheduled it too would have attracted a capacity crowd. The Wheeling audiences are respectful without being dull, enthralled but enthusiastically appreciative on cue: the kind of audiences Richard likes. The setting helps a marvelous ratty old theater with proscenium stage, velvet curtains, balconies – "A dump," as Karen says. The night before, in Beckley, the Carpenters had played semi-in-the-round in a domed athletic stadium, and the informal atmosphere had encouraged a lively cheering and whooping which Richard had found rude. Here in Wheeling the loudest sound except applause to be heard from the other side of the footlights is a shushed and sibilant hiss, a whispered chorus of many young women singing softly along with Karen on "Close To You." One of the thousands attending the first show of the evening is an eight-year-old girl named Karin, who is dying of cancer. She weighs 40 pounds. Her fondest wish was to see the Carpenters perform in person. This was arranged for her by the men who are serving as the Carpenters' drivers in Wheeling. There is no limousine service in Wheeling or St. Clairsville, the town in Ohio across the river where the group is staying; these part-time chauffeurs were recruited from their usual jobs as drivers for the town's private ambulance service and funeral home. Through their work they had heard of Karin, and they made possible the special treatment which allows her attendance tonight. Karin is lying on the wide shelf of a balcony, looking down on the stage from the left. Sitting behind her in aluminum folding chairs are her mother and a hospital nurse. Karin rests on a litter, dressed in pajamas, covered by blankets, supported by pillows. She clutches a teddy bear to her side, and in one attenuated hand is a tattered Kleenex like a paper lily. When introduced to someone saying he is with the Carpenters, Karin beams suddenly with an intensity that is hard to bear. The skin on her face, on all her body, is sparse and taut, barely covering the bones. Her head is skeletal and looks enlarged, too big for the wasted frame that carries it. Karin reminds one of embryos photographed in the womb, but her gaze is informed with a century's wisdom not native to the unborn, nor to eight-year-old humans. Her being has taken on through pain a beauty it seems blasphemous to contemplate. With great effort she summons the energy to speak. "I really like their songs," she says. "I really like to listen to them." In each of their concerts the Carpenters perform their hit "Sing" with the help of a local children's choir recruited from whatever town they are playing. The Wheeling Elementary School Choir is in tune and particularly well-kempt, fresh-faced and exuberant as they cheerily endorse the virtue of facing life while delivering your personal melody. "Aren't they somethin'?" Karen Carpenter asks, and the audience applauds its endorsement of these adults of the future, and Karin applauds them too. The Carpenters' unofficial observer leaves the balcony before the concert's finale, before the end of the show that someone has stayed alive to see. As the Carpenters finished, there was much applause from their second capacity audience of the night, but the cheering faded and stopped before the hem of the curtain had quite touched the boards of the stage of the Wheeling Jamboree. As her brother led her off gently by the arm, Karen asked in subdued alarm, "What was – what happened? What went wrong?" Richard, walking her briskly toward the stairs to the basement dressing rooms, amused by her faith in the infallibility of their magic, said with a chuckle, "Well honey, sometimes it just doesn't . . . work . . ." The 12-passenger Hansa jet was less than full. Murky weather enveloped the small airfield and promised a bumpy 40-minute trip ahead. Police cars had stood guard around the Carpenters' two chartered planes. Autographs had been extracted in return for a swift departure: Sign these albums, and you're free to leave. Now, inside the small craft, a stewardess prepared to quietly distribute orange juice, coffee, beer, vodka; copies of Time, National Lampoon, Rolling Stone. She made no announcements. The Carpenters had made it clear at the start of this tour they wished no extraneous disturbances. It was a short field. The pilot took all of the runway to lift the Hansa up into the bleak gray morning. Karen confessed to her hairdresser she had chosen the wrong color socks the night before – orange instead of tan to match today's slacks – then settled back, no one beside her, resigned to the flight. Richard, eyes closed, his head on Randee's shoulder, seemed to be listening for the sounds of the landing gear retracting. He counted the thuds with the fingers of his right hand: one . . . two . . . three . . . He nodded, satisfied. He gave himself up to sleep. Below, through drizzle and hazy clouds, a grim panorama of American landscape inched by beneath the plane carrying Richard and Karen away from and toward what they had created for themselves. This story is from the July 4th, 1974 issue of Rolling Stone.

Connecticut

What was Mr. Magoo's first name?

Death of Karen Carpenter - InfoBarrel Death of Karen Carpenter 0 Beyond Caring Anorexia nervosa: it’s a harsh sounding term for a misunderstood condition that mostly affects young women. As with all illnesses and conditions, celebrities and the obscure alike are victims.  [And the use of the term “victim” is appropriate—no one asks to be given a set of circumstances, biological misfires, or organo-chemical brain imbalances that lead to death unless he or she has true suicidal tendencies.]   Credit: AP; stock One of popular music’s richest and most distinctive singing voices and half of the multi-million selling, brother-sister soft-rock duo, Carpenters, had her career cut short less than a month shy of her 33rd birthday.  Karen Carpenter, unlike many other celebrities, though, did not die of a drug overdose or from alcohol-related health problems.  Instead, she succumbed to issues related to starving to death. Baby K Karen Anne Carpenter entered the world on March 2, 1950.  In the post-WWII boom times, her parents, Harold and Agnes, lived a typical middle-class lifestyle in New Haven, Connecticut; Harold worked for a container company and Agnes was a hausfrau.  This part of Connecticut, though roughly 80 miles northeast of the heart of New York City, was considered then and now as one of the many Connecticut “bedroom communities” of the Big Apple.  [Some of these Connecticut towns were heavily “exclusive” with exorbitant real estate prices, and other socially exclusionary tactics to keep blacks and Jews from living there.  Other towns, including New Haven, would become “white flight” communities filled almost exclusively with white people fleeing from the integration of the early 1960s in New York and later school desegregation and mandated busing in the early 1970s.] Credit: pinimg.com An older brother, Richard Lynn Carpenter, (b: October 15, 1946) awaited her upon arrival in the Carpenter home after her hospital birth.  Richard (named for an uncle, his father’s younger brother, Richard Lynn) displayed an early musical “ear”.  He recalls listening to his father’s 78-rpm discs of music ranging from classical recordings to swing band material while still a toddler.  And when he was able to clearly make his wishes known, he asked his parents to buy specific recordings by artists he’d heard on the radio: Nat King Cole was an early favorite, as well as Perry Como, and others of the smooth “crooner” types.  He also loved the craziness of Spike Jones and His City Slickers .  [This early exposure to the softer side of pop music would inform and cement his later efforts with his own forays into music, referencing light jazz and the lush arrangements by the early greats he’d heard as a child.]  Richard’s interest in music led him to want to play it, too.  His first instrument was an accordion (when he was 8), but he quickly abandoned this in favor of the piano (an instrument he would become proficient enough to be considered a prodigy in his childhood), and by the age of 12 he decided he wanted a career in show business as a musician.  Other keyboard instruments would follow soon enough; Richard had enough musical skill that at age 15 he was studying piano at Yale.  While at Yale Richard was part of a jazz trio (piano/bass/drums) that managed to play a few shows in and around New Haven. The Carpenters (this typical Eisenhower-era American white-bread family of a mother, father, and two offspring) lived quietly.  Richard, introspective as a child, tended to spend much time playing the piano and listening to music either on the radio or on records .  Credit: Youtube His baby sister, Karen, though, tended toward the more gregarious, and tomboyish , pursuits of street baseball , softball (preferring pitching when playing), and whatever other pick-up sports the neighbor kids were playing.  [After she was famous, she featured on the television show, “This is Your Life”, an “ambush” program that interviewed a celebrity, then had surprise walk-ons from that person’s past (such as a high school teacher or priest or some such who would come on-stage and offer up anecdotes about the celebrity “victim”).  Karen mentioned on this show her love of pitching, and later when her group, Carpenters, formed a softball team in the early 1970s she was their pitcher .] She was friendly and personable and had many playmates outside the home, but she was extraordinarily close to big brother, Richard (though living in his shadow somewhat—he developed his talent early and tended to be the center of attention then).  Chubby Girl Growing weary of New England’s notoriously bad winters and wanting to further Richard’s musical education (with an eye toward a potential career in the entertainment industry) father Harold uprooted the Carpenter clan in June 1963.  They headed to California and landed in Downey, California.  [Downey is a Los Angeles suburb built on a centuries old Spanish occupied site whose founder, John Gately Downey, not only became the state’s youngest governor—at age 32—he also established the Southern California citrus industry in 1865 when he imported several varieties of oranges, believing they would thrive in the warm climate.]  The teenaged Richard Carpenter went to high school in Downey and while there he enrolled in University of Southern California to continue piano classes.  Offered a chance to get out of high school physical education classes by joining the marching band Richard couldn’t take advantage of the situation—the piano is not an easily transported instrument on a sports field or for marching in formation.  However, the high school’s band director was impressed enough by Richard’s playing that he offered the boy a slot playing piano in a revue of Gershwin he was staging for the school, and this turned into a spot in this man’s side combo, where Richard was able to play out regularly. Karen, meanwhile, was blossoming into her own person.  It wasn’t until after the Carpenters moved to Downey that the teen Karen took any interest in music (whereas Richard lived for music, for Karen it had only been incidental in her life).  Through Richard’s activities, however, Karen also developed a love of music and wanted something to play herself.  She decided to try out for the school marching band and was given the glockenspiel. After working at it a bit and practicing with her band mates she became more interested in the drums , particularly the playing style of one of the other band members.  Back at home with this newfound urge to bash something Karen set herself up with a makeshift drum kit: chopsticks and a few bar stools.  She began accompanying the records she liked with this ad hoc kit—when her parents realized she may have a talent for drumming, they bought her a proper drum set.  Not surprisingly, considering all the hours she’d put in on her bar stools, she was able to play proficiently.  She also was allowed to drop the laconically gum-chewing instrument she had been given—the glockenspiel—and was now a drummer in the marching band.  [And Karen Carpenter would in later years be voted “Best Drummer” in many readers’ polls, including topping one poll in Playboy in 1975 that sent John Bonham, Led Zeppelin’s legendary madman drummer, through the roof with a tirade against her: “. . . I came in [second place] after Karen Carpenter in the Playboy drummer poll!  She couldn’t last ten minutes with a Zeppelin number.”  Bonham would die five years later in 1980, age 32, aspirating his own vomit after a night of binge drinking.] But Karen was also developing not only into a little drummer girl but into a young woman.  And for some reason she had it in her head that she was overweight for her age.  This probably stemmed from the fact that in 1964 the vanguard of female models seen in print ads and on television were thinner and thinner, culminating in the late 1960s with the excruciatingly scrawny and emaciated looking Twiggy (runway model; still living) and Edie Sedgwick (socialite New York scenester; died in 1971 of a barbiturate overdose ) as the “ideal” female forms.   Credit: YoutubeYoung Karen perhaps began to notice this trend.  Maybe some of her friends were thinner than she—this was California, after all, more particularly Los Angeles the home of Hollywood and the “beautiful” people.  Regardless of how Karen came to believe she was “fat”, believe it she did.  She tried doing things like watching what she ate.  Her exercising increased.  Meanwhile, Richard had watched over the past year as Karen practiced her drumming. He believed he could get something put together featuring him and Karen.  Richard approached his friend and fellow musician, Wesley Jacobs, with an idea of forming a jazz combo that would also include sister Karen.  Richard, Karen and Wesley started The Richard Carpenter Trio in 1965.  [And there weren’t many female drummers in the mid 1960s .  The only other one of merit during that time was Maureen Tucker of The Velvet Underground, and in order to not raise a fuss about being a girl, Maureen cut her hair short and went by the name “Mo” Tucker for the longest time as a performer with the Velvets, at least in that band’s earliest days.  It is unlikely that during Mo Tucker’s starting out with the Velvets that Karen Carpenter—living in a totally different sphere, cozy as she was on the West Coast, removed from the hip New York art scene of the mid to late Sixties—had heard of either The Velvet Underground or Maureen Tucker.]     The group signed up for an annual battle of the bands that played at the legendary Hollywood Bowl in 1966.  Karen sang sparingly for the group on occasion, but for the competition they went with an instrumental version of “Girl from Ipanema” and a song of Richard’s called “Iced Tea”.  On June 24, 1966, The Richard Carpenter Trio took first at this showcase; they were approached by RCA records almost immediately, and they began cutting sides for the label (cover tunes with some of Richard’s classical/jazzy touches applied, and one Richard original). In Los Angeles, many people were struggling musicians, and Richard was friends with some of them.  A bassist he knew, Joe Osborn, had a garage studio in LA that others used for recording or sounding out.  [The studio burned in 1974, and all the master tapes recorded there by many artists were lost, including some by those of Jan & Dean.]  Osborn had also started a record label called Magic Lamp Records, and he was in the market for talent to work on the label.  In May 1966 (a month before The Richard Carpenter Trio’s win at the Hollywood Bowl), Richard had gone to Osborn’s garage one night (for a scheduled 1:00 AM session!) to help suss out a trumpet player that Osborn was interested in playing with.  A friend of Osborn’s, lyricist and sometime banjo player, John Bettis, was in attendance, and he already knew Richard and Karen.  Richard played to accompany the trumpeter.  [John Bettis himself also played trumpet and it is unclear if the audition was really Bettis on trumpet or another anonymous player—sources are unclear on this meeting.]  Karen’s voice, before their win at the Battle of the Bands, had matured into the powerhouse it would become.  She was there at the session, having tagged along with Richard on this little adventure.  During the audition, he coaxed her into singing for Osborn while Richard played along.  She did; Osborn, while blown away by her performance, may have set a match to the gasoline can that was Karen’s concerns about her body image.  Of the 16-year old, after hearing her sing, he blurted, “Never mind the trumpet player; this chubby little girl can sing!” While there is no doubt that Osborn meant no harm (and was perhaps lamely being what he thought was complimentary), there can also be no doubt about the reception his off-the-cuff remark had with Karen. The chubby little girl, Karen Carpenter, was devastated. Anna Rexia The term “anorexia nervosa”—the literal starving of oneself by denying oneself food or using purgatives (laxatives, vomit inducers, diuretics) to lose weight—had been coined in 1873.  The person suffering from the condition perceives himself or herself to be “fat” (no matter how little he or she weighs, the perception is “too fat”).  This is true even when the bones protrude and the head looks like nothing more than a skull with a tight, thin skin drawn over it, with hollow eye sockets and sharp, jutting cheek bones.  It affects mostly women, though some men have exhibited the behavior, too. Credit: public domain Almost all women who are anorexic also stop having menstrual cycles—this secondary condition is called amenorrhea.  This bodily change comes about because women need a certain percentage of body fat to conceive (the body “knows” it has enough fat reserves to at least get pregnant and maintain energy while being stripped of valuable nutrients by a growing fetus).  Women with anorexia have no such fat reserves, and their bodies give up menstruating as there is no need to prepare a uterus for implantation of a fertilized ovum when the body “knows” it is in no condition for pregnancy to occur. Anorexic women deny themselves food, or eat very sparingly.  A related condition is called bulimia.  This is an eating disorder wherein a woman will eat food, often to excess, and immediately afterward will force herself to vomit, either by sticking a finger in her throat (engaging the gag reflex, with vomiting as a result) or by using things such as ipecac syrup (to induce vomiting).  The condition is often disparagingly referred to as “splurge ’n’ purge” or “scarf ’n’ barf”.  The finger preferred by any bulimic to induce vomiting is usually called (morbidly) “the trigger finger”.  One of the signs of bulimia (other than obvious, sudden, and unexplained weight loss) includes unusual longitudinal skin striations on the trigger finger from repeated daily scraping across the bulimic’s incisors as the finger is quickly withdrawn from the mouth.  Further evidence of a bulimic is bad dentition—repeated regurgitations result in tooth enamel erosion from ejected stomach acids (multiple times daily).  While not every anorexic is bulimic, most bulimics exhibit anorexic behavior, first starving themselves (the anorexic behavior), then binge eating, resulting in the bulimic behaviors of purging.  While the condition had been identified in the late 19th Century it was so rare that the term “anorexia” was barely heard outside medical circles in the 1960s.  Certainly, the general public knew of no such condition.  And likely, neither Karen Carpenter nor her mother had not heard the word in their lives (although the artsy, late 1960s’ sub-culture dilettante Edie Sedgwick—part of the Andy Warhol “Factory” contingent—was both anorexic and bulimic, leaving her looking frail and waif-like).  Credit: Youtube Karen Carpenter, still living at home at age 17, was 5’4” tall (about 163 cm) and weighed 145 pounds (roughly 66 kg).  While this may be around 20 to 25 pounds overweight for her height and gracile frame, she was by no means even close to being grossly fat, let alone obese, by mid 1960s’ standards (never mind about being “large” by today’s hefty averages—she would be considered, at her normal weight, downright thin compared to what one sees at every turn in today’s sloppily overweight teens girls ).  She grew increasingly anxious about her body and her weight.  Karen’s concerns were addressed by her obliging mother, and Karen was taken to see a doctor.  This man, in turn, put her on a new, faddish diet of the times called the Stillman Diet. The Stillman Diet was invented by a medical doctor, Irving Stillman, in 1967.  Much of the diet made sense (high-protein, low carbohydrates, plenty of water), but one aspect was disastrous.  Unlike a later, similar version of this diet (the Atkins Diet, high-protein, low carbohydrates) the Stillman Diet strove toward no fat ingestion.  Despite the reputation fat has, the human body needs a certain amount of it to remain stable and healthy.  It is fat reserves (as pointed out above) that allow women to become pregnant.  It is fat the body relies upon as “food” during times of little or no sustenance.  Finally, if no fat is taken in, the human organism uses every other source of fuel it has available before completely exhausting its fat reserves (regardless of how little fat remains, the body still tries to hold some in reserve).  Then, as the process continues, the body enters “starvation” mode, cannibalizing its muscle tissue for energy, shutting down certain organs, and using available fat and other internal nutrient supplies to “feed” the more vital organs, such as the heart and the brain (and when starving, the body will cut off supplies to every other major and minor bodily organ and function—including the heart—to keep the brain alive before death finally occurs). The Stillman dieter was allowed lean beef, veal, chicken, turkey, and fish.  Non-fat cottage cheese or non-fat milk was also allowed, and eggs were okay to eat (high in protein).  Any herb and spice—including salt, pepper, and “hot” sauces—were also okay as they contained little in the way of carbohydrates or fats. Verboten were condiments that contained fat.  Also forbidden were butter and salad dressings (both of which contain fats and oils, whether animal or vegetable).  Beverages with no calories (such as coffee or tea—if unsweetened) were allowed, as were the few low-caloric soft drinks of the day (Diet Rite, Tab, and Fresca spring to mind as the options in the late 1960s). There were two interesting aspects of the diet.  The first was a mandated 8 glasses of water (to be consumed regardless of whatever else the dieter drank that day).  [There is no medical basis for this; the belief stems solely from an old wives’ tale.  Different people, because of differing metabolic rates, require different levels of water intake.  Too much water dilutes the electrolytic solutions the body uses to send bio-electrical signals across nerve synapses and can lead to death just as handily as dehydration—too little water—can.  However, the half-gallon of water required per day in the Stillman Diet, while likely harmless, would cause the dieter to urinate more frequently than the average person, thus falsely adding to the “weight loss” by shedding water weight.] Another interesting facet of the Stillman weight loss plan that was revolutionary for its day was the requirement that the dieter eat six small meals daily instead of the traditional three larger ones.  This is actually a very good idea for anyone dieting as it allows them to eat at shorter intervals throughout the day without getting so ravenous between meals they overeat when meal time comes.  Furthermore, recent studies have shown that by eating smaller meals throughout the course of the day a person’s blood sugar and energy levels can be maintained more steadily (good for people with Type II diabetes) and can lead to healthy weight loss as well (by providing small, non-gluttonous portions of food). The Stillman Diet had been promoted as a “lose weight quick” scheme.  Karen Carpenter, bound to lose the weight she felt was “too much” as quickly as she could, adhered to the Stillman Diet with almost religious fervor, drinking her half-gallon of water daily, watching her food intake, and following the plan to the letter. Credit: advocate.com Superstar The year before she started her diet regimen, Karen had cut four songs for Joe Osborn’s newly-minted label, Magic Lamp Records, in 1966.  Because she was a minor, her parents had to sign a contract on her behalf (on May 13, 1966) to allow her to record for the Magic Lamp label.  Of the songs she cut, two were selected, “I’ll Be Yours” b/w “Looking For Love”, for release as a single.  [Both songs were written by Richard; the performance is credited on the single as a solo by Karen Carpenter.  She played drums on the songs, too.]  This 45-rpm disc was released in a limited run of 500 copies, but failed to garner much interest.  [The disc is very rare and highly collectible—a lone copy that found its way to eBay in recent years sold for almost $1800 US.  Magic Lamp Records folded within a year after its debut.]The RCA deal after the win at the Hollywood Bowl soured quickly.  Wes Jacobs’ contribution to The Richard Carpenter Trio, in addition to stand-up bass, was the tuba!  And RCA saw no future (after listening to the three demos—two covers and a Richard original—the Trio recorded) in a jazz band that highlighted the tuba as one of its main “voices”.  Richard, Karen, and Wes were offered $500 to sever their contract with RCA, which they took.  The Richard Carpenter Trio split up at that point (Wes Jacobs went on to Julliard).   Credit: Downey High SchoolRichard and buddy John Bettis took time out to play at Disneyland (with Bettis on banjo and Richard on piano) as a cornball musical act playing turn-of-the-century tunes at Coke Corner on Main Street, USA.  Because the pair often included contemporary or oddball tunes outside the “approved” standards, Disneyland fired them after four months.  Karen, Richard, John Bettis (who mostly wrote songs), and several others from Long Beach State (where Richard had been in classes) formed a group called Spectrum.  They played around and developed a small following.  It was around the time of forming Spectrum that Karen had gone to see a doctor about her perceived weight issue.  It is likely that because she was being placed in a more central position as a vocalist—and thus more visible—she became increasingly self-conscious about being “the little chubby girl”.  The Stillman Diet worked for Karen—she lost 25 pounds in the six months following the start of the diet.  [This is a healthy average loss of about a pound or so per week.]  Her weight dropped to a svelte 120 pounds, and she looked great. Credit: YoutubeMeanwhile, Spectrum was drawing attention, with Richard and John Bettis putting more effort into writing original material instead of covering others’ songs.  Karen’s vocal skills were called into play more often as Richard wanted to get away from the purely instrumental sounds of his previous efforts.  She had a rich and deep singing voice for a woman, and her tone in those years was different from what was mostly heard on radio (the only other popular female singer at the time with such a deep singing voice was Cher).  Truly believing Richard had hit upon a winning formula of personnel and style Joe Osborn had him and the rest of the band come back to his studio to cut some demos to shop around. Three songs were cut, all originals. Richard had been mulling a name change around that time and he decided (with Karen’s input and blessing) to name the band simply “Carpenters”.  [They are officially “Carpenters” not “The Carpenters”.]  With this done, the demos were made available for local A&R men.  No one was biting, though, and Carpenters played as much as they could while still shopping around for a record label. Herb Alpert, (the “A” in A&M Records), had one of Richard’s demo tapes cross his desk in 1969.  A virtuoso trumpeter, Alpert was a successful musician and recording artist himself with his pop-jazz, Mexican-flavored, instrumental LPs selling millions. Herb liked what he heard, and got the group to come in and see him.  Jerry Moss, (the “M” in A&M Records) wasn’t so sure, and he was a bit reluctant to add Carpenters to the A&M roster. However, Herb Alpert forced the issue and Carpenters were signed to A&M on April 22, 1969 (at 19, Karen was still considered a minor, and once again her parents had to sign on her behalf). Their first outing for A&M was tepid as they were still feeling their way.  Released in November 1969, the LP, Offering, carried an interesting version of the Beatles’ “Ticket to Ride” as its lead-off single.  In Carpenters’ hands the rocking “Ride” was slowed down and became a lushly orchestrated ballad.  It was a minor hit.  And in short order, when Carpenters became internationally recognized, this album was reissued under a new title, Ticket to Ride (to capitalize on the single’s success).  The disc featured ten tracks written or co-written by Richard, and three cover tunes.  And—in an artistic move that would never be repeated on subsequent Carpenters’ albums—the lead vocal duties were shared between Karen and Richard (in later efforts all lead vocals would be handled by Karen). Karen played drums on this LP and several of the band’s later tracks.  Live, Richard wanted to get her from behind the drum kit so she could be seen as she sang.  This led to Karen’s giving up playing the drums live in the early 1970s—Elvis’ drummer (legendary skin smasher and highly sought session player, Hal Blaine) later became the main man on the drum stool (both on the road and in the studio). [Other than Blaine, former child star—of the 1950s’ TV show, “The Mickey Mouse Club”—Carl “Cubby” O’Brien was Carpenters’ other main drummer as needed.] Carpenters would go on to become the biggest-selling act of the 1970s, with many hits (some #1’s and multiple entries in the Top 10 and Top 40).  Scattered among the originals written by Richard (or by Richard and John Bettis) were covers given new life by Karen’s contralto voice and Richard’s amazing skill at arranging.  One of these covers was “Superstar”, an iconic performance by Carpenters that is the quintessential version of this song (written by Bonnie Bramlett and Leon Russell in 1969). The original working title of the tune was “Groupie Song”, and it is about a female groupie waiting for her “music man” to come back through town again.  The song was covered by other artists before Carpenters.  Among these was the first recording, “Groupie (Superstar)”, credited to Delaney & Bonnie and Friends Featuring Eric Clapton as a B-side of a Delaney & Bonnie single.  An ad hoc live recording by Rita Coolidge, then a back-up singer for a touring Joe Cocker, was released on his live album, Mad Dogs and Englishmen, in August 1970.  This track was listed as simply “Superstar”.   Bette Midler did it in August 1970 on Johnny Carson’s Tonight Show, and Cher recorded it in September 1970. Richard had heard Bette Midler do the song on Carson’s show and fell in love with it.  He ran it to ground, but Karen initially felt ambivalent about it, and reported later that originally she did not like the song one bit.  It grew on her after Richard’s re-arrangement was completed.  It was recorded in early 1971 and released in August of that year.  It rose to #2 on the pop charts and cemented the orchestrated, easy-yet-powerful pop/vocal style Carpenters would ride to their own superstardom over the next several years. Not Thin Enough Carpenters had an eight-week summer replacement TV show in 1971.  They toured and recorded.  Karen had maintained her 120-pound weight since starting the Stillman Diet in 1967 up until 1973.  Even during those times after rehearsals or a recording session if the band went out for burgers or whatever afterward she never succumbed to the junk-food temptations, sticking with her dietary regimen.  It was perhaps the increased visibility of her role in the band as front woman, center stage, however, that maybe made her decide her body—as it was at its quite comfortable 120 pounds (around 55 kg)—was somehow not good enough or not thin enough. She employed the help of an exercise “guru”, and she began an exercise regimen that, while shedding fat weight, added muscle bulk (causing her to weigh more on a scale, though muscle mass is healthier than fat mass).  She was appalled by the weight gain (not caring that is was in a more compact form as muscle).  She gave up the exercise regimen and assured those around her that she would return to “normal” dieting.  It is at this point the true anorexic behaviors set in. While displaying obsessive-compulsive behaviors and a marked sense of perfectionism Karen took the next step toward self-destruction.  Somehow (and it is unclear how she “discovered” or otherwise learned this particular nasty piece of information) Karen found out that taking large doses of laxatives could help her lose weight even quicker than the Stillman Diet had!  [A few years later she also started taking a prescription thyroid medication that she did not need because it sped up her metabolism and caused her to lose weight even faster still.] Because of Carpenters’ popularity it is visually documented (and easily seen) how quickly Karen Carpenter, once in the throes of full-on anorexia (the denial of almost all food, not just fattening foods; the use of laxatives; pill intake; and the secretiveness that goes with eating disorders) deteriorated.  On May 1, 1973, at the request of President Richard Nixon, Karen and Richard Carpenter played the White House—a press photo of Karen flanked by the President and Pat Nixon shows her to be healthy in appearance. Credit: A&M Records An excellent song written by brother Richard and partner John Bettis, “Yesterday Once More”, was a major hit in 1973 after its release in mid May of that year.  It hit #2 on the pop charts. In a later 1978 televised performance of the song (with Richard at the piano and Karen sitting opposite with her arms resting on the piano’s top) she had clearly developed the skeletal look that would become the norm for her for the remainder of her life.  Her head seems outsized perched atop her obviously emaciated body.  As a point of reference her left arm looks so thin it appears to be nothing but bone with a shirt sleeve over it.  Further visual records show Karen learning to disguise some of her downward spiral by wearing billowy clothing (slacks that gathered snugly at the waist but had ballooning legs, blouses or jackets with ample sleeves and wider shoulders, etc.).  Richard and Karen appeared on television often during the early 1970s, and in each successive appearance, she looked just a bit more hollow-eyed and scrawnier, though hiding it relatively well.  Again, this early part of the decade was a time when the public knew little or nothing about anorexia or what it looked like.  By late 1975, Karen weighed only 91 pounds (about 41 kg).  She was so drained she had to take a couple months off to recuperate, and the group had to cancel some scheduled shows. Karen, surprisingly, still lived at home with her parents (up until she was 26).  Richard had moved out some time before, and he and Karen bought some apartment buildings together as investments with their Carpenters’ earnings.  Karen and Richard did a one-off TV special in 1976 (that featured, among others, the late John Denver as a guest).  In a musical skit on this show Karen re-visited her “origin” story (hating the glockenspiel in marching band, wanting to play drums) that segued into her manically running around the studio where multiple drum kits were set up on platforms.  As a light jazzy backing track played, she raced around keeping time on the kits; then, with some trick camera work, the home audience saw multiple Karens, drumming on different kits, playing against herself as it were.   She was clearly having a good time doing this, and she looked as if she might have gained a pound or two versus some recent appearances, too. In 1976 she bought two apartments in Century City, gutted and merged them, and had them converted into one large condo into which she moved, leaving her parents’ home for good.  She managed to put herself out there romantically, too, during the mid 1970s.  She “dated” some up-and-comers of those years, men like comedian Steve Martin and TV stars Mark Harmon and Tony Danza. Carpenters had a strong fan base, but in the face of punk, New Wave, an emerging music called “rap”, and the remnants of disco their musical style was perceived as passé by the end of the 1970s.   While never critical darlings (though much of their earliest works were critically well-received, later efforts were panned many times) they also found their record sales slipping as consumers abandoned them.  Willing to try anything to regain their throne Carpenters recorded what was one of their most adventurous outings (and also, perhaps, one of their most excruciating and embarrassing).  This was their September 1977 opus, with a title almost as long as the song: “Calling Occupants of Interplanetary Craft (The Recognized Anthem of World Contact Day)”. Credit: howstuffworks.com “World Contact Day” was a freak show instituted in the early 1950s by a group—laughably calling themselves the “International Flying Saucer Bureau” or “IFSB”—who believed in both space aliens and telepathy.  IFSB was founded in Connecticut by a crackpot named Albert Bender in 1952.  In brief, this group contended that, on a specific day, if the group members projected its “mental energy” toward space, alien races “out there” could “hear” and would reciprocate by contacting Earth in turn.  The group focused on a specific message to be transmitted across the Cosmos by their collective brain power: “Calling occupants of interplanetary craft!  Calling occupants of interplanetary craft that have been observing our planet EARTH.  We of IFSB wish to make contact with you. We are your friends, and would like you to make an appearance here on EARTH. Your presence before us will be welcomed with the utmost friendship.  We will do all in our power to promote mutual understanding between your people and the people of EARTH.  Please come in peace and help us in our EARTHLY problems.  Give us some sign that you have received our message.  Be responsible for creating a miracle here on our planet to wake up the ignorant ones to reality.  Let us hear from you.  We are your friends.” Needless to say, any attempts to contact extraterrestrials by IFSB using their methods were epic failures .  A year after its establishment, Bender shut IFSB down and disappeared from the public eye.  Nine years later he came out publicly and claimed three mysterious “men in black” had visited him and forced him to stop his activities. “Calling Occupants [. . . ]” clocks in at over seven minutes.  It was written, and first performed, by the Canadian prog-rock band, Klaatu, in 1976 (whose version is also over seven minutes long).  The tune is a paean to the IFSB’s attempts to contact extraterrestrials and incorporates the “psychic” group’s “telepathic” message as part of the song’s lyrics.  It’s a typically flatulent, overwrought, mid 1970s art-rock song.      In Richard Carpenter’s hands, it rises to something larger-than-life.  He used 160 musicians to make the record, and while his arrangement is fairly “traditional” in most respects, there is an odd (and jarring) cabaret-style musical break in the middle section of the song (in the original as well, but campier in Carpenters’ version).  Karen’s vocals are alternately subtle and soaring, and are much too serious and shimmering for such a goofy song. More interesting than the track itself, though, is a film they made, a pre-MTV concept performance.  The little movie opens with a radio-station DJ (played by Carpenters’ guitarist, Tony Peluso) taking requests on the air.  An alien voice calls in, there is a bit of comedy as Peluso tries to understand what is being said, then the scene cuts to Karen against a star-filled background as she delivers the song’s opening lines quietly. Per her norm by then, she wears a very baggy pants suit, cinched tight at the waist, which billows out from her body, hiding her scrawny frame. For its time (and considering that it was Carpenters and not Steven Spielberg putting this film together) it employs quite a few (for its day) decent special effects in the form of alien beings, starships, galactic vista, and superimpositions of the band against various celestial backgrounds.  While it looks a little hokey today, the film was the best thing back then about this otherwise horrible song.  Married . . . Without Children While Karen had “dated” her share of men (among them Alan Osmond, of The Osmonds’ dynasty) the nature of her relationships is not known (meaning it is unclear—and unimportant—if she was sexually intimate with many men or few men or none at all during the 1970s).  She had always expressed a desire to have children and in 1980 she met a man whom she thought could give her the stability of home and hearth she yearned after.  This man, Thomas James Burris, was a real-estate developer, so he had his own means of support and didn’t need her money to keep him. The two were simpatico enough that within only a short time after meeting they married on August 31, 1980.   Karen was 30 and entering her first marriage; Burris was 39 and divorced.  He also had an 18-year-old son, and Karen took to the boy as a good, caring step-mother would. The wedding ceremony was in the Beverly Hills Hotel, and Karen sang a new song for the occasion (“Because We Are in Love”, released later in 1981).  She apparently must have been in love because in one of her wedding pictures she looks positively radiant, and it is clear she had gained a few (much-needed) pounds before her wedding.  Her face was fleshed out, and one can barely see her clavicle protruding from her open-necked dress. Credit: blogspot.comUnfortunately, Burris also had a secret. With at least one child to his credit he had gotten a vasectomy some time before meeting Karen.  He did not advise her of this particular little factoid, however, and when she found out she was crushed.  [It didn’t matter that in her anorexic condition there was no way she could have become impregnated, and she may not have known that particular physiological fact.]  The sin of omission—and this was a very big deal to her—was enough to end the marriage (at least in practice) after 14 months of presumably wedded bliss. She started divorce proceedings.

i don't know

Which rock star featured in Marvel's 50th issue of Marvel Premiere in 1979?

Marvel Premiere (série VO) - Comics VF Comics VF Creative team Writer(s) Marvel Premiere is an American comic book anthology series published by American company Marvel Comics . It ran for 61 issues from April 1972 to August 1981. [1] Contents Publication history[ edit ] The series introduced new characters and reintroduced characters who no longer had their own titles. Writer Roy Thomas and penciler Gil Kane revamped Him as the allegorical Messiah Adam Warlock in Marvel Premiere #1 (April 1972). [2] Doctor Strange took over the series with issue #3 [3] and writer Steve Englehart and artist Frank Brunner began a run on the character with issue #9. [4] The two killed Dr. Strange's mentor, the Ancient One , and Strange became the new Sorcerer Supreme. Englehart and Brunner created a multi-issue storyline in which a sorcerer named Sise-Neg ("Genesis" spelled backward) goes back through history, collecting all magical energies, until he reaches the beginning of the universe, becomes all-powerful and creates it anew, leaving Strange to wonder whether this was, paradoxically, the original creation. Stan Lee , seeing the issue after publication, ordered Englehart and Brunner to print a retraction saying this was not God but "a" god, so as to avoid offending religious readers. The writer and artist concocted a fake letter from a fictitious minister praising the story, and mailed it to Marvel from Texas; Marvel unwittingly printed the letter, and dropped the retraction order. [5] In 2010, Comics Bulletin ranked Englehart and Brunner's run on the "Doctor Strange" feature ninth on its list of the "Top 10 1970s Marvels". [6] Iron Fist first appeared in issue #15, written by Roy Thomas and drawn by Gil Kane. [7] Other introductions include the Legion of Monsters, the Liberty Legion , [8] Woodgod , the 3-D Man , [9] and the second Ant-Man ( Scott Lang ). [10] The series also featured the first comic book appearance of rock musician Alice Cooper . [11] Later in the title's run, Marvel Premiere was used to finish stories of characters who had lost their own series including the Man-Wolf in issues #45–46 [12] [13] and the Black Panther in issues #51–53. [14] [15] [16] [17] #1–2 - Adam Warlock (moved to his own series) #3–14 - Doctor Strange (moved to his own (second) series) #15–25 - Iron Fist (moved to his own series) Collected editions[ edit ] Marvel Masterworks Warlock Vol. 1 includes Marvel Premiere #1–2, 288 pages, February 2007, ISBN 978-0785124115 Essential Doctor Strange Vol. 2 includes Marvel Premiere #3–14, 608 pages, December 2007, ISBN 978-0785116684 Essential Iron Fist Vol. 1 includes Marvel Premiere #15–25, 584 pages, October 2004, ISBN 978-0785115465 Essential Marvel Horror Vol 1 includes Marvel Premiere #27, 648 pages, October 2006, ISBN 978-0785121961 Essential Werewolf by Night Vol. 2 includes Marvel Premiere #28, 576 pages, November 2007, ISBN 978-0785127253 Invaders Classic Vol. 1 includes Marvel Premiere #29–30, 248 pages, July 2007, ISBN 978-0785127062 The Chronicles Of Solomon Kane includes Marvel Premiere #33–34, 200 pages, December 2009, ISBN 978-1595824103 Weirdworld includes Marvel Premiere #38, 312 pages, April 2015, ISBN 978-0785162889 Dominic Fortune: It Can Happen Here and Now includes Marvel Premiere #56, 184 pages, February 2010, ISBN 978-0785140429 See also[ edit ] Marvel Premiere Classic — a line of hardcovers collecting "classic" (pre-2000) storylines in the Marvel and related Universes. ^ Marvel Premiere at the Grand Comics Database ^ Sanderson, Peter ; Gilbert, Laura, ed. (2008). "1970s". Marvel Chronicle A Year by Year History. London, United Kingdom: Dorling Kindersley . p. 155. ISBN   978-0756641238 . Roy Thomas and artist Gil Kane allowed 'Him' to meet another [Stan] Lee-[Jack] Kirby character, the godlike High Evolutionary.   ^ Sanderson "1970s" in Gilbert (2008), p. 156: "Dr. Strange began a new series of solo adventures. He got off to an impressive start with this story scripted by Stan Lee and illustrated by Barry Windsor-Smith." ^ Sanderson "1970s" in Gilbert (2008), p. 160 ^ Cronin, Brian (December 22, 2005). "Comic Book Urban Legends Revealed #30" . Comic Book Resources . Archived from the original on February 4, 2012. Retrieved December 26, 2008. We cooked up this plot-we wrote a letter from a Reverend Billingsley in Texas, a fictional person, saying that one of the children in his parish brought him the comic book, and he was astounded and thrilled by it, and he said, “Wow, this is the best comic book I’ve ever read.” And we signed it “Reverend so-and-so, Austin Texas”-and when Steve was in Texas, he mailed the letter so it had the proper postmark. Then, we got a phone call from Roy, and he said, “Hey, about that retraction, I’m going to send you a letter, and instead of the retraction, I want you to print this letter.” And it was our letter! We printed our letter!   ^ Sacks, Jason (September 6, 2010). "Top 10 1970s Marvels" . Comics Bulletin . Archived from the original on August 3, 2013. Retrieved August 3, 2013.   ^ Sanderson "1970s" in Gilbert (2008), p. 165: "Marvel combined the superhero and martial arts genres when writer Roy Thomas and artist Gil Kane created Iron Fist in Marvel Premiere #15." ^ Sanderson "1970s" in Gilbert (2008), p. 175: "Invaders writer/editor Roy Thomas decided to create another team of Golden Age superheroes." ^ Sanderson "1970s" in Gilbert (2008), p. 179: "In Roy Thomas' story set in the 1950s, test pilot Chuck Chandler...was somehow imprinted on his brother Hal's glasses."

Alice Cooper

Who was runner-up when Jody Scheckter won motor racing's Formula One Championship?

Marvel Premiere (série VO) - Comics VF Comics VF Creative team Writer(s) Marvel Premiere is an American comic book anthology series published by American company Marvel Comics . It ran for 61 issues from April 1972 to August 1981. [1] Contents Publication history[ edit ] The series introduced new characters and reintroduced characters who no longer had their own titles. Writer Roy Thomas and penciler Gil Kane revamped Him as the allegorical Messiah Adam Warlock in Marvel Premiere #1 (April 1972). [2] Doctor Strange took over the series with issue #3 [3] and writer Steve Englehart and artist Frank Brunner began a run on the character with issue #9. [4] The two killed Dr. Strange's mentor, the Ancient One , and Strange became the new Sorcerer Supreme. Englehart and Brunner created a multi-issue storyline in which a sorcerer named Sise-Neg ("Genesis" spelled backward) goes back through history, collecting all magical energies, until he reaches the beginning of the universe, becomes all-powerful and creates it anew, leaving Strange to wonder whether this was, paradoxically, the original creation. Stan Lee , seeing the issue after publication, ordered Englehart and Brunner to print a retraction saying this was not God but "a" god, so as to avoid offending religious readers. The writer and artist concocted a fake letter from a fictitious minister praising the story, and mailed it to Marvel from Texas; Marvel unwittingly printed the letter, and dropped the retraction order. [5] In 2010, Comics Bulletin ranked Englehart and Brunner's run on the "Doctor Strange" feature ninth on its list of the "Top 10 1970s Marvels". [6] Iron Fist first appeared in issue #15, written by Roy Thomas and drawn by Gil Kane. [7] Other introductions include the Legion of Monsters, the Liberty Legion , [8] Woodgod , the 3-D Man , [9] and the second Ant-Man ( Scott Lang ). [10] The series also featured the first comic book appearance of rock musician Alice Cooper . [11] Later in the title's run, Marvel Premiere was used to finish stories of characters who had lost their own series including the Man-Wolf in issues #45–46 [12] [13] and the Black Panther in issues #51–53. [14] [15] [16] [17] #1–2 - Adam Warlock (moved to his own series) #3–14 - Doctor Strange (moved to his own (second) series) #15–25 - Iron Fist (moved to his own series) Collected editions[ edit ] Marvel Masterworks Warlock Vol. 1 includes Marvel Premiere #1–2, 288 pages, February 2007, ISBN 978-0785124115 Essential Doctor Strange Vol. 2 includes Marvel Premiere #3–14, 608 pages, December 2007, ISBN 978-0785116684 Essential Iron Fist Vol. 1 includes Marvel Premiere #15–25, 584 pages, October 2004, ISBN 978-0785115465 Essential Marvel Horror Vol 1 includes Marvel Premiere #27, 648 pages, October 2006, ISBN 978-0785121961 Essential Werewolf by Night Vol. 2 includes Marvel Premiere #28, 576 pages, November 2007, ISBN 978-0785127253 Invaders Classic Vol. 1 includes Marvel Premiere #29–30, 248 pages, July 2007, ISBN 978-0785127062 The Chronicles Of Solomon Kane includes Marvel Premiere #33–34, 200 pages, December 2009, ISBN 978-1595824103 Weirdworld includes Marvel Premiere #38, 312 pages, April 2015, ISBN 978-0785162889 Dominic Fortune: It Can Happen Here and Now includes Marvel Premiere #56, 184 pages, February 2010, ISBN 978-0785140429 See also[ edit ] Marvel Premiere Classic — a line of hardcovers collecting "classic" (pre-2000) storylines in the Marvel and related Universes. ^ Marvel Premiere at the Grand Comics Database ^ Sanderson, Peter ; Gilbert, Laura, ed. (2008). "1970s". Marvel Chronicle A Year by Year History. London, United Kingdom: Dorling Kindersley . p. 155. ISBN   978-0756641238 . Roy Thomas and artist Gil Kane allowed 'Him' to meet another [Stan] Lee-[Jack] Kirby character, the godlike High Evolutionary.   ^ Sanderson "1970s" in Gilbert (2008), p. 156: "Dr. Strange began a new series of solo adventures. He got off to an impressive start with this story scripted by Stan Lee and illustrated by Barry Windsor-Smith." ^ Sanderson "1970s" in Gilbert (2008), p. 160 ^ Cronin, Brian (December 22, 2005). "Comic Book Urban Legends Revealed #30" . Comic Book Resources . Archived from the original on February 4, 2012. Retrieved December 26, 2008. We cooked up this plot-we wrote a letter from a Reverend Billingsley in Texas, a fictional person, saying that one of the children in his parish brought him the comic book, and he was astounded and thrilled by it, and he said, “Wow, this is the best comic book I’ve ever read.” And we signed it “Reverend so-and-so, Austin Texas”-and when Steve was in Texas, he mailed the letter so it had the proper postmark. Then, we got a phone call from Roy, and he said, “Hey, about that retraction, I’m going to send you a letter, and instead of the retraction, I want you to print this letter.” And it was our letter! We printed our letter!   ^ Sacks, Jason (September 6, 2010). "Top 10 1970s Marvels" . Comics Bulletin . Archived from the original on August 3, 2013. Retrieved August 3, 2013.   ^ Sanderson "1970s" in Gilbert (2008), p. 165: "Marvel combined the superhero and martial arts genres when writer Roy Thomas and artist Gil Kane created Iron Fist in Marvel Premiere #15." ^ Sanderson "1970s" in Gilbert (2008), p. 175: "Invaders writer/editor Roy Thomas decided to create another team of Golden Age superheroes." ^ Sanderson "1970s" in Gilbert (2008), p. 179: "In Roy Thomas' story set in the 1950s, test pilot Chuck Chandler...was somehow imprinted on his brother Hal's glasses."

i don't know

How many years after men's field hockey became an Olympic sport did the women's game become an Olympic event?

Women Women More WOMEN'S PROGRAM HISTORY The USA Softball Women’s National Team is the most decorated program in the sport’s history, owning an unmatched 26 Olympic, World Championship, Pan American or World Cup of Softball Gold Medals. Team USA won three consecutive Olympic Gold Medals (1996, 2000, 2004) and a silver medal at the 2008 Olympic Games. The Women’s National Team has captured the past seven Pan American Championships and have captured nine World Championship Gold Medals. AT THE PAN AMERICAN GAMES Since softball was introduced into the Pan American Games in 1979, the USA Softball Women's National Team has dominated, winning six of the seven gold medals and a silver in 1983. The USA will again be the odds-on favorite to capture the gold medal when in travels to Toronto, Ontario, Canada for the 2015 Pan American Games. In seven Pan American Games, the USA Softball Women's National Team has been nothing short of outstanding. The USA has won 72 of 75 games for a winning percentage of .960. In 75 games the USA has outscored their opponents 505 to 31. Since losing to Canada 5-4 in the gold medal game of the 1983 Pan American Games in Venezuela, the USA has put together a 51-game win streak in capturing gold medals in the last five Pan American Games. In 1987 in Indianapolis, IN the USA defeated Puerto Rico 4-1 in the gold medal game. In 1991 the USA routed Canada 14-1 for the gold medal and in 1995 the USA captured their third consecutive gold medal with a 4-0 win over Puerto Rico. At the 1999 Pan Am Games in Winnipeg, Canada the USA needed extra innings to defeat host Canada 1-0 in eight innings and capture its fourth consecutive title. The USA outscored its opponents 83-1. At the 2003 Pan Am Games in Santo Domingo, Dominican Republic, the USA was as dominating as ever posting a perfect 9-0 record while outscoring its opponents 59-1. With the USA as the heavy favorite, Canada, Puerto Rico and Cuba are expected to battle the Red, White and Blue for the title in Rio de Janeiro, Brazil in 2007. In 2011, with a Pan American Games roster full of 17 rookies, the USA Softball Women's National team recorded the program's eighth Pan American Games gold medal.  The U.S. completed the tournament with a perfect 9-0 record. AT THE WBSC WOMEN'S WORLD CHAMPIONSHIPS The USA Softball Women’s National Team has participated in 13 WBSC Women’s World Championships and has finished out of the medals only once, the 1982 World Championships in Chinese Taipei. It took Australia, Chinese Taipei and an outbreak of stomach flu to make it happen. The USA Softball Women’s National Team program has brought home a total of nine gold medals,making them perhaps the most successful team sport on the Olympic program over the last three decades. They have also collected foursilver World Championship medals In World Championship play, the USA has amassed a lifetime record of 124-11. The USA offense has outscored its opponents collectively 812-56.  AT THE OLYMPIC GAMES The U.S. went 8-1 to capture the first ever gold medal at the 1996 Olympics. The U.S. defeated China 3-1 in the gold medal game. Its lone loss of the Games came to Australia (2-1) in round-robin play. At the 2000 Olympics the U.S. had its 112 game win streak snapped with a 2-1 11 inning loss to Japan in round-robin play. The U.S. proceeded to lose two more games (2-0 to China and 2-1 to Australia). It was the first time in the history of USA Softball that a Women’s National Team lost three games in a row.  The U.S. rebounded to win five consecutive games including wins in the playoffs over China (3-0 in 10 innings), Australia (1-0) and Japan (2-1 in eight innings) in the gold medal game to capture its second consecutive gold medal. In Athens at the 2004 Olympic Games, the U.S. Women’s National Team was anointed as the “Real Dream Team” by Sports Illustrated. The performance by the U.S. Olympic Softball Team will go down in history as one of the most dominant ever. The U.S. squad led by Mike Candrea was considered the best women’s softball team ever assembled and possibly the most dominant Olympic team of any sport. With its perfect 9-0 record and its string of eight consecutive shutouts, this team proved it was indeed something ‘Special’. The U.S. outscored its opponents 51-1 in nine games and did not allow a run until the sixth inning of its final game. The team’s domination is well documented in the record books as the U.S. set 11 different Olympic records during the 2004 Olympics. Below are the Olympic Records Broken by Team USA during the 2004 Olympic Games:  OLYMPIC RECORDS BROKEN Most Doubles: 11- USA (2004) Previous was 10-Australia (1996)  Most Triples: 4- USA (2004)  Previous was 2- Japan (1996)  Most Runs Batted In: 46- USA (2004)  Previous was 32- USA (1996)  Most Runs Scored: 51- USA (2004)  Previous was 41- USA (1996)  Fewest Runs Allowed: 1- USA (2004 Previous was 7- Australia, China and USA (2000)  Most Stolen Bases: 8- USA (2004) Previous was 7- Japan (2000)  Most Shutouts: 8- USA (2004) Previous was 5- USA & China (2000)  Most Stolen Bases: 5- USA, Natasha Watley (2004) Previous was 3, Jackie Smith, N. Z. (2000)  Most Consecutive Victories: 9- USA (2004) Previous was 8, Japan (2000)  Highest Team Batting average: .343 USA (2004) Previous was .296- USA (1996)  Highest Slugging %: .559 USA (2004)  Previous was .465- JAPAN (1996)  Most Hits: 73 USA (2004) Previous was 70- USA (1996)  Lowest Earned Run Average: 0.12 USA (2004) Previous was 0.25- USA (2000)  Batting Average: Lisa Fernandez .545 USA, (2004) Previous was .524 (Chika Kodama, Japan (1996)  Most Home Runs: 5, Crystl Bustos USA (2004)  Previous was 4, Haruka Saito, Japan (1996) & Peta Edebone, Australia (2000)  Most Runs Batted In: Crystl Bustos, 10 (2004 Previous was 9, Shelia Cornell, USA (1996)  Most Runs Scored: 9, Crystl Bustos, 9 (2004) Tied  Chanfung Zhang, China (’96)  Most Wins: 9 – USA (2004)  Previous was 8 – USA (1996) & JAPAN (2000) USA Softball Olympic Wrap-Up:A Message of Hope USA Softball’s 2008 Olympic story wasn’t a fairy tale ending nor did the team close the book with a ‘happily ever after.’ But despite the finish, the message in the end wasn’t about winning or losing, it was about ‘hoping for ever after.’ In 2005, the IOC made a decision that will forever affect the sport of softball. With the ’08 Games being the final hurrah, the U.S. certainly wanted to complete the ‘grand slam’ coming home with a fourth-consecutive gold medal. Fortunately they came home with a medal, but unfortunately it was not of the golden variety, but silver. Dating back to September of 2007, the Women’s National team selected an 18-member roster to journey the country in preparation for competition in the 2008 Olympic Games. With training camps every month, the team worked to earn a spot on the 15-member roster that would compete in what would be for now softball’s last Olympic stand in Beijing. With a February 19 start date, on the KFC Bound 4 Beijing tour, the journey began in Tucson, Arizona and stretched to every corner of the country. The Red, White and Blue reached the likes of Birmingham, Alabama and Stratford, Connecticut to Midland, Texas and Sacramento, California. With a 59-1 overall tour record, the U.S. was poised, confident, and prepared to begin the battle that awaited them in Beijing. Being three-time defending Olympic Gold Medalists, the target was on their back with seven other teams waiting in wings to steal the coveted gold medal. With a week of practice in Beijing, the team was fortunate to experience one of the most celebrated and decorated Opening Ceremonies in Olympic history. To add, President George W. Bush made a special visit to practice that created memories to last a lifetime. He laughed with the team and encouraged them to keep doing what they were doing to inspire little girls across the country to be athletes and role models. He promised to them to help get the sport of softball back on the Olympic program. On August 12, the U.S. met its first opponent in Olympic rookie team Venezuela. Pitcher Jennie Finch (La Mirada, Calif.) opened the Games in successful fashion with a record setting victory. The U.S. put up 11 runs for an Olympic record for most runs scored in a game while Finch and Monica Abbott (Salinas, Calif.) combined for a no-hitter. Olympic rookie Caitlin Lowe (Tustin, Calif.) led the U.S. effort with a 3-for-4 debut with one RBI coming on a solo inside the park home run. Game two began the three-game gauntlet of facing its toughest opponents in Australia, Canada and Japan in as many days. Left-handed pitcher Cat Osterman (Houston, Texas) became just the second U.S. pitcher to ever toss an Olympic complete game no-hitter on August 13 with a 3-0 shutout over rival Australia. The south paw was almost perfect in the contest recording 13 strikeouts and allowing just three runners to reach base via the walk. Next up was northern neighbor Canada, but Mother Nature won out as rain suspended the game in the fourth inning. With the U.S. trailing 1-0, play resumed against Canada the next day after the U.S. captured win No. 3 with a 7-0 five inning game against Japan. The U.S. used a four-run first inning attack en route to victory over Japan while connecting on eight hits including a new Olympic record with four home runs in the contest; two of which came from Jessica Mendoza (Camarillo, Calif.). From the circle, Abbott garnered her first Olympic victory tossing five complete innings allowing just one hit and retiring four batters via the strikeout. The Canada game then resumed and the U.S. battled from behind coming up with an 8-1 win and improving to 4-0. Capitalizing on Canadian errors, the U.S. took the lead in the sixth and sealed the win in the seventh taking the game out of reach for the Canadians. From the circle, Osterman garnered the win as the U.S. would have three games remaining until the playoffs. Riding an 18-game Olympic win streak dating back to 2000, the U.S. quickly extended the streak to 21 after three consecutive run-ahead rule victories. First was Chinese Taipei in a 7-0 five-inning triumph that saw Olympic newcomers Vicky Galindo (Union City, Calif.) and Lauren Lappin (Anaheim, Calif.) earn their first hits in their Olympic careers while veteran Finch earned her second win of the Games with a six-strikeout performance. Then it was the Netherlands with an 8-0 five-inning victory where south paw Abbott recorded the first perfect game in Olympic history for a USA Softball athlete. She recorded nine strikeouts in the 15-batters faced and the U.S. used three home runs improving to 6-0. Cruising right a long, the U.S. closed round-robin action with a 9-0 win over Olympic host China. Using a first inning nine-run rally, the U.S. secured the No. 1 seed in the playoffs for the second consecutive Olympic Games. Japan finished as the No. 2 seed with Australia at No. 3 and Canada landing at No. 4. With a fourth-gold medal just two games away, the U.S. opened playoffs with a heart pumping 4-1 extra-inning win over Japan. Facing Japanese pitching ace Yukiko Ueno, who had defeated the U.S. on four occasions since the 2004 Games, the game displayed softball at its finest. The pitching of Abbott held off the Japanese through eight innings before the efforts of Lowe and power hitter Crystl Bustos (Canyon Country, Calif.) put four runs on the board in the top of the ninth to seal the victory. With the win, the U.S. would move to its fourth consecutive Olympic Gold Medal game. And Japan again would be the opponent. Ueno and crew fought back through the bronze medal game with a 12-inning thriller against Australia who came away with the bronze as the Japanese advanced. Facing Japan for the third time in six days, the game drew a crowd of over 8,000 as history was being made with what could be the final Olympic Gold Medal game for softball. With Osterman in the circle, the U.S. came out strong in the gold medal game holding Japan through the first two innings before they struck first with a 1-0 lead in the third. Eri Yamada then drove an Osterman pitch over the fences for a home run and the 2-0 lead. A thirty-minute rain delay then halted play, but the U.S. quickly responded as home run leader Bustos put the game at 2-1 with one swing of the bat with a home run to left field. Continuing to play from behind, it just wasn’t in the cards for the U.S. as they left six runners stranded in the final innings before Japan added another run for the eventual 3-1 win. Stunned with disbelief, the U.S. walked away with the silver medal as Japan captured its first Olympic Gold. With tears of sadness not only for the outcome but also the sport’s sendoff, the medal stand drew emotions for the U.S. players from deep within. Laura Berg (Santa Fe Springs, Calif.), Bustos, Kelly Kretschman (Indian Harbour Beach, Fla.), Tairia Flowers (Tucson, Ariz.) and Lovieanne Jung (Fountain Valley, Calif.) all left their cleats at home plate symbolizing an end to five outstanding USA Softball careers. But as the tears began to dry and hugs contagiously spread, something happened on the field that night that was greater than a victory and more emotional than a defeat. The international softball world sent a message of hope. All three medal winning teams gathered together and spelled out “2016” in softballs just in front of home plate. The enemy lines disappeared and a chant of the words “Back Softball” emerged. Arm in arm, the softball world was uniting in a message to the IOC….and hoping for “happily ever after.”

seventy two

In what year of the 1990s was baseball's World Series canceled?

Women Women More WOMEN'S PROGRAM HISTORY The USA Softball Women’s National Team is the most decorated program in the sport’s history, owning an unmatched 26 Olympic, World Championship, Pan American or World Cup of Softball Gold Medals. Team USA won three consecutive Olympic Gold Medals (1996, 2000, 2004) and a silver medal at the 2008 Olympic Games. The Women’s National Team has captured the past seven Pan American Championships and have captured nine World Championship Gold Medals. AT THE PAN AMERICAN GAMES Since softball was introduced into the Pan American Games in 1979, the USA Softball Women's National Team has dominated, winning six of the seven gold medals and a silver in 1983. The USA will again be the odds-on favorite to capture the gold medal when in travels to Toronto, Ontario, Canada for the 2015 Pan American Games. In seven Pan American Games, the USA Softball Women's National Team has been nothing short of outstanding. The USA has won 72 of 75 games for a winning percentage of .960. In 75 games the USA has outscored their opponents 505 to 31. Since losing to Canada 5-4 in the gold medal game of the 1983 Pan American Games in Venezuela, the USA has put together a 51-game win streak in capturing gold medals in the last five Pan American Games. In 1987 in Indianapolis, IN the USA defeated Puerto Rico 4-1 in the gold medal game. In 1991 the USA routed Canada 14-1 for the gold medal and in 1995 the USA captured their third consecutive gold medal with a 4-0 win over Puerto Rico. At the 1999 Pan Am Games in Winnipeg, Canada the USA needed extra innings to defeat host Canada 1-0 in eight innings and capture its fourth consecutive title. The USA outscored its opponents 83-1. At the 2003 Pan Am Games in Santo Domingo, Dominican Republic, the USA was as dominating as ever posting a perfect 9-0 record while outscoring its opponents 59-1. With the USA as the heavy favorite, Canada, Puerto Rico and Cuba are expected to battle the Red, White and Blue for the title in Rio de Janeiro, Brazil in 2007. In 2011, with a Pan American Games roster full of 17 rookies, the USA Softball Women's National team recorded the program's eighth Pan American Games gold medal.  The U.S. completed the tournament with a perfect 9-0 record. AT THE WBSC WOMEN'S WORLD CHAMPIONSHIPS The USA Softball Women’s National Team has participated in 13 WBSC Women’s World Championships and has finished out of the medals only once, the 1982 World Championships in Chinese Taipei. It took Australia, Chinese Taipei and an outbreak of stomach flu to make it happen. The USA Softball Women’s National Team program has brought home a total of nine gold medals,making them perhaps the most successful team sport on the Olympic program over the last three decades. They have also collected foursilver World Championship medals In World Championship play, the USA has amassed a lifetime record of 124-11. The USA offense has outscored its opponents collectively 812-56.  AT THE OLYMPIC GAMES The U.S. went 8-1 to capture the first ever gold medal at the 1996 Olympics. The U.S. defeated China 3-1 in the gold medal game. Its lone loss of the Games came to Australia (2-1) in round-robin play. At the 2000 Olympics the U.S. had its 112 game win streak snapped with a 2-1 11 inning loss to Japan in round-robin play. The U.S. proceeded to lose two more games (2-0 to China and 2-1 to Australia). It was the first time in the history of USA Softball that a Women’s National Team lost three games in a row.  The U.S. rebounded to win five consecutive games including wins in the playoffs over China (3-0 in 10 innings), Australia (1-0) and Japan (2-1 in eight innings) in the gold medal game to capture its second consecutive gold medal. In Athens at the 2004 Olympic Games, the U.S. Women’s National Team was anointed as the “Real Dream Team” by Sports Illustrated. The performance by the U.S. Olympic Softball Team will go down in history as one of the most dominant ever. The U.S. squad led by Mike Candrea was considered the best women’s softball team ever assembled and possibly the most dominant Olympic team of any sport. With its perfect 9-0 record and its string of eight consecutive shutouts, this team proved it was indeed something ‘Special’. The U.S. outscored its opponents 51-1 in nine games and did not allow a run until the sixth inning of its final game. The team’s domination is well documented in the record books as the U.S. set 11 different Olympic records during the 2004 Olympics. Below are the Olympic Records Broken by Team USA during the 2004 Olympic Games:  OLYMPIC RECORDS BROKEN Most Doubles: 11- USA (2004) Previous was 10-Australia (1996)  Most Triples: 4- USA (2004)  Previous was 2- Japan (1996)  Most Runs Batted In: 46- USA (2004)  Previous was 32- USA (1996)  Most Runs Scored: 51- USA (2004)  Previous was 41- USA (1996)  Fewest Runs Allowed: 1- USA (2004 Previous was 7- Australia, China and USA (2000)  Most Stolen Bases: 8- USA (2004) Previous was 7- Japan (2000)  Most Shutouts: 8- USA (2004) Previous was 5- USA & China (2000)  Most Stolen Bases: 5- USA, Natasha Watley (2004) Previous was 3, Jackie Smith, N. Z. (2000)  Most Consecutive Victories: 9- USA (2004) Previous was 8, Japan (2000)  Highest Team Batting average: .343 USA (2004) Previous was .296- USA (1996)  Highest Slugging %: .559 USA (2004)  Previous was .465- JAPAN (1996)  Most Hits: 73 USA (2004) Previous was 70- USA (1996)  Lowest Earned Run Average: 0.12 USA (2004) Previous was 0.25- USA (2000)  Batting Average: Lisa Fernandez .545 USA, (2004) Previous was .524 (Chika Kodama, Japan (1996)  Most Home Runs: 5, Crystl Bustos USA (2004)  Previous was 4, Haruka Saito, Japan (1996) & Peta Edebone, Australia (2000)  Most Runs Batted In: Crystl Bustos, 10 (2004 Previous was 9, Shelia Cornell, USA (1996)  Most Runs Scored: 9, Crystl Bustos, 9 (2004) Tied  Chanfung Zhang, China (’96)  Most Wins: 9 – USA (2004)  Previous was 8 – USA (1996) & JAPAN (2000) USA Softball Olympic Wrap-Up:A Message of Hope USA Softball’s 2008 Olympic story wasn’t a fairy tale ending nor did the team close the book with a ‘happily ever after.’ But despite the finish, the message in the end wasn’t about winning or losing, it was about ‘hoping for ever after.’ In 2005, the IOC made a decision that will forever affect the sport of softball. With the ’08 Games being the final hurrah, the U.S. certainly wanted to complete the ‘grand slam’ coming home with a fourth-consecutive gold medal. Fortunately they came home with a medal, but unfortunately it was not of the golden variety, but silver. Dating back to September of 2007, the Women’s National team selected an 18-member roster to journey the country in preparation for competition in the 2008 Olympic Games. With training camps every month, the team worked to earn a spot on the 15-member roster that would compete in what would be for now softball’s last Olympic stand in Beijing. With a February 19 start date, on the KFC Bound 4 Beijing tour, the journey began in Tucson, Arizona and stretched to every corner of the country. The Red, White and Blue reached the likes of Birmingham, Alabama and Stratford, Connecticut to Midland, Texas and Sacramento, California. With a 59-1 overall tour record, the U.S. was poised, confident, and prepared to begin the battle that awaited them in Beijing. Being three-time defending Olympic Gold Medalists, the target was on their back with seven other teams waiting in wings to steal the coveted gold medal. With a week of practice in Beijing, the team was fortunate to experience one of the most celebrated and decorated Opening Ceremonies in Olympic history. To add, President George W. Bush made a special visit to practice that created memories to last a lifetime. He laughed with the team and encouraged them to keep doing what they were doing to inspire little girls across the country to be athletes and role models. He promised to them to help get the sport of softball back on the Olympic program. On August 12, the U.S. met its first opponent in Olympic rookie team Venezuela. Pitcher Jennie Finch (La Mirada, Calif.) opened the Games in successful fashion with a record setting victory. The U.S. put up 11 runs for an Olympic record for most runs scored in a game while Finch and Monica Abbott (Salinas, Calif.) combined for a no-hitter. Olympic rookie Caitlin Lowe (Tustin, Calif.) led the U.S. effort with a 3-for-4 debut with one RBI coming on a solo inside the park home run. Game two began the three-game gauntlet of facing its toughest opponents in Australia, Canada and Japan in as many days. Left-handed pitcher Cat Osterman (Houston, Texas) became just the second U.S. pitcher to ever toss an Olympic complete game no-hitter on August 13 with a 3-0 shutout over rival Australia. The south paw was almost perfect in the contest recording 13 strikeouts and allowing just three runners to reach base via the walk. Next up was northern neighbor Canada, but Mother Nature won out as rain suspended the game in the fourth inning. With the U.S. trailing 1-0, play resumed against Canada the next day after the U.S. captured win No. 3 with a 7-0 five inning game against Japan. The U.S. used a four-run first inning attack en route to victory over Japan while connecting on eight hits including a new Olympic record with four home runs in the contest; two of which came from Jessica Mendoza (Camarillo, Calif.). From the circle, Abbott garnered her first Olympic victory tossing five complete innings allowing just one hit and retiring four batters via the strikeout. The Canada game then resumed and the U.S. battled from behind coming up with an 8-1 win and improving to 4-0. Capitalizing on Canadian errors, the U.S. took the lead in the sixth and sealed the win in the seventh taking the game out of reach for the Canadians. From the circle, Osterman garnered the win as the U.S. would have three games remaining until the playoffs. Riding an 18-game Olympic win streak dating back to 2000, the U.S. quickly extended the streak to 21 after three consecutive run-ahead rule victories. First was Chinese Taipei in a 7-0 five-inning triumph that saw Olympic newcomers Vicky Galindo (Union City, Calif.) and Lauren Lappin (Anaheim, Calif.) earn their first hits in their Olympic careers while veteran Finch earned her second win of the Games with a six-strikeout performance. Then it was the Netherlands with an 8-0 five-inning victory where south paw Abbott recorded the first perfect game in Olympic history for a USA Softball athlete. She recorded nine strikeouts in the 15-batters faced and the U.S. used three home runs improving to 6-0. Cruising right a long, the U.S. closed round-robin action with a 9-0 win over Olympic host China. Using a first inning nine-run rally, the U.S. secured the No. 1 seed in the playoffs for the second consecutive Olympic Games. Japan finished as the No. 2 seed with Australia at No. 3 and Canada landing at No. 4. With a fourth-gold medal just two games away, the U.S. opened playoffs with a heart pumping 4-1 extra-inning win over Japan. Facing Japanese pitching ace Yukiko Ueno, who had defeated the U.S. on four occasions since the 2004 Games, the game displayed softball at its finest. The pitching of Abbott held off the Japanese through eight innings before the efforts of Lowe and power hitter Crystl Bustos (Canyon Country, Calif.) put four runs on the board in the top of the ninth to seal the victory. With the win, the U.S. would move to its fourth consecutive Olympic Gold Medal game. And Japan again would be the opponent. Ueno and crew fought back through the bronze medal game with a 12-inning thriller against Australia who came away with the bronze as the Japanese advanced. Facing Japan for the third time in six days, the game drew a crowd of over 8,000 as history was being made with what could be the final Olympic Gold Medal game for softball. With Osterman in the circle, the U.S. came out strong in the gold medal game holding Japan through the first two innings before they struck first with a 1-0 lead in the third. Eri Yamada then drove an Osterman pitch over the fences for a home run and the 2-0 lead. A thirty-minute rain delay then halted play, but the U.S. quickly responded as home run leader Bustos put the game at 2-1 with one swing of the bat with a home run to left field. Continuing to play from behind, it just wasn’t in the cards for the U.S. as they left six runners stranded in the final innings before Japan added another run for the eventual 3-1 win. Stunned with disbelief, the U.S. walked away with the silver medal as Japan captured its first Olympic Gold. With tears of sadness not only for the outcome but also the sport’s sendoff, the medal stand drew emotions for the U.S. players from deep within. Laura Berg (Santa Fe Springs, Calif.), Bustos, Kelly Kretschman (Indian Harbour Beach, Fla.), Tairia Flowers (Tucson, Ariz.) and Lovieanne Jung (Fountain Valley, Calif.) all left their cleats at home plate symbolizing an end to five outstanding USA Softball careers. But as the tears began to dry and hugs contagiously spread, something happened on the field that night that was greater than a victory and more emotional than a defeat. The international softball world sent a message of hope. All three medal winning teams gathered together and spelled out “2016” in softballs just in front of home plate. The enemy lines disappeared and a chant of the words “Back Softball” emerged. Arm in arm, the softball world was uniting in a message to the IOC….and hoping for “happily ever after.”

i don't know

Albert Giacometti found fame as what?

NPR's Morning Edition -- Giacometti Retrospective at the Museum of Modern Art   Click to enlarge Dec. 17, 2001 -- To many, the sculptures of Alberto Giacometti have become icons of the anxious mood of the post-World War II era: Thin, solitary figures with long arms and legs, betraying just a hint of human form. The Swiss artist was one of the surrealists, but found fame with a style of sculpture that was completely original. Giacometti would have been 100 this year -- and in an appropriate gesture by the first museum to ever buy his work, the Museum of Modern Art in New York City is holding a commemorative exhibition with works from Giacometti's long career. David D'Arcy reports for Morning Edition that even now, what the artist's sculptures actually express is a matter of debate. Most art critics assumed that those thin figures were rising from the ashes of Europe after the Holocaust, embodiments of a worldview that came to be called existentialism. Spoon Woman, 1926-27   Click to enlarge Giacometti himself often said they were his homage to the ancient Greek and Egyptian art he saw and sketched at the Louvre Museum in Paris. But many critics say it is the very ambiguity of the images that give them such power. Giacometti did not intend to become a sculptor when he began his art career in Paris. A few years before he died in 1966, he told a French television interviewer that he took up the form because it wasn't easy: "I did not want to spend my whole life making sculpture. I started sculpting because it was the art that I understood the least about. I should have moved on to other things that suited me better, but I couldn't tolerate the fact that I wasn't suited for sculpture. So kept doing it, so I'd get it out of my system." In a famous encounter, the head of the surrealist movement, Andre Breton, asked Giacometti whether any artist cared what a human head looked like. Giacometti said, "I do." Point to the Eye, 1932 Mus�e national d'art moderne, Centre Georges Pompidou, Paris.   Click to enlarge That ended his relationship with the surrealists -- but the thin sculptures that began taking shape in Giacometti's studio still have echoes of the surreal, said Tobias Bezzola of the Kunsthaus Zurich, which collaborated with MoMA on the show. The breadth of the MoMA exhibit, with about 200 works from all stages of the artist's career, proves Giacometti's skill as a painter, too. In the last decade of his life, Giacometti turned to nature, concentrating on portraits, when the trend in art was abstraction. Six decades of Alberto Giacometti's work are on view at the Museum of Modern Art through Jan. 8, 2002. Search for more broadcast coverage on art museums . Other Resources • The Museum of Modern Art, New York has an extensive Flash presentation with examples of the art in the Giacometti exhibit , along with extensive critical notes following the progression of his career.

Sculpture

Who first flew in Friendship 7?

'Man Pointing', Alberto Giacometti, 1947 | Tate Alberto Giacometti Object: 1780 x 950 x 520 mm Collection Catalogue entry Display caption Man Pointing was made very rapidly for Giacometti’s first exhibition in New York. He recalled: ‘I did that piece in one night between midnight and nine the next morning. That is, I’d already done it, but I demolished it and did it all over again because the men from the foundry were coming to take it away. And when they got here, the plaster was still wet.’ It was originally intended to be part of a larger composition, with the left arm positioned loosely around a second figure. Giacometti later abandoned the idea, and considered Man Pointing to be a complete work. Gallery label, July 2012 Alberto Giacometti 1901-1966 N05939 Homme signalent (Man pointing) 1947 Inscribed 'A. Giacometti 3/6' on upper surface of base and 'Alexis. Rudier | Fondeur. Paris' back of base Bronze, 70 x 35 1/2 x 24 1/2 (178 x 90.2 x 62.2) Purchased from the artist (Knapping Fund) 1949 Exh: Alberto Giacometti: Sculpture, Paintings, Drawings, Arts Council Gallery, London, June-July 1955 (15, detail repr.); Alberto Giacometti, Kunsthalle, Bern, June-July 1956 (18, repr.); XXXI Biennale, Venice, June- October 1962 (Giacometti 82); Alberto Giacometti, Kunsthaus, Zurich, December 1962-January 1963 (29, repr.); Alberto Giacometti: Sculpture Pantings Drawings 1913-65, Tate Gallery, July-August 1965 (33, plaster repr.); Alberto Giacometti, Orangerie des Tuileries, Paris, October 1969-January 1970 (48, repr.) Lit: James Lord, A Giacometti Portrait (New York 1965), p.34; Reinhold Hohl, Alberto Giacometti: Sculpture Painting Drawing (London 1972), pp.135-9, 302, repr. p.117 Repr: Andrew Carnduff Ritchie, Sculpture of the Twentieth Century (New York 1952), p.210; John Rothenstein, The Tate Gallery (London 1958), pl.23 This is one of several sculptures made very quickly for inclusion in Giacometti's first New York exhibition at the Pierre Matisse Gallery in January-February 1948. Giacometti told James Lord in 1964: 'I did that piece in one night between midnight and nine the next morning. That is, I'd already done it, but I demolished it and did it all over again because the men from the foundry were coming to take it away. And when they got here, the plaster was still wet.' In 1951 he made a second male figure - very upright, with arms to the sides - as a companion piece, and the group was exhibited in 1951 at the Galerie Maeght as 'Groupe 2 Hommes' 1947-51. The pointing man had one arm loosely round the second figure, and with the pointing finger was drawing his companion's attention to something in the distance. (Cf. Cahiers d'Art, 1951, pp.76 and 88 for photographs ). But whereas the pointing man was in bronze , the new figure was only in plaster. When asked whether he had intended a two-figure group from the beginning, Giacometti replied as follows (letter of 20 October 1953): 'As for the sculpture of the pointing man of 1947 I wanted from the start to make a composition of two figures, but when the first was made (that of the Tate Gallery) it was entirely impossible for me to make the second and I didn't even begin it. It was not until 1951 that I had the urge to try to make it and the plaster figure was exhibited at Maeght's in my exhibition of 1951. It was not what I wanted and immediately after the exhibition I destroyed the plaster figure which was never cast in bronze, it therefore no longer exists and I have since completely abandoned the idea of making it. Therefore the first figure: the pointing man will remain on its own.' Reinhold Hohl points out that this sculpture is directly related to the 'Mannequin' of 1933 ('both describe space through a figure which marks the limits of its presence with an extended, space-encompassing arm') and that Ernst Scheidigger's well-known photograph of 'Man Pointing' standing at the intersection of the Rue Hippolyte-Maindron and the Rue du Moulin Vert (very near Giacometti's studio) gives the impression of a policeman on traffic duty - perhaps with Giacometti's consent. Published in: Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.278, reproduced p.278

i don't know

Who had a 50s No 1 with Stagger Lee?

The Annotated "Stagger Lee" "Delia whistled a different tune--what tune could that be?" The Annotated "Stagger Lee" Words by Robert Hunter; music by Jerry Garcia Copyright Ice Nine Publishing; used by permission. 1940 Xmas evening with a full moon over town Staggerlee met Billy DeLyon and he blew that poor boy down Do you know what he shot him for? What do you make of that? Baio, Baio, tell me how can this be? You arrest the girls for turning tricks but you're scared of Staggerlee Staggerlee is a madman and he shot my Billy dead Baio you go get him or give the job to me Delia DeLyon, dear sweet Delia-D How the hell can I arrest him when he's twice as big as me? Don't ask me to go downtown - I wouldn't come back alive Not only is that mother big but he packs a .45 Baio Delia said just give me a gun He shot my Billy dead now I'm gonna see him hung She waded to DeLyon's Club through Billy DeLyon's blood Stepped up to Staggerlee at the bar Said Buy me a gin fizz , love As Staggerlee lit a cigarette she shot him in the balls Blew the smoke off her revolver, had him dragged to city hall Baio, Baio, see you hang him high He shot my Billy dead and now he's got to die Delia went a walking down on Singapore Street A three-piece band on the corner played "Nearer, My God, to Thee" but Delia whistled a different tune...what tune could it be? The song that woman sung was Look out Staggerlee The song that Delia sung was Look out Staggerlee The song that woman sung was Look out Staggerlee The song that Delia sung was Look out Staggerlee Key: F (Bridge in G) Time signature: Cut time Chords used: F, C, B-flat, A A-flat, G7, A7, Em, D, G, Songbook availability: Shakedown Street First performance: August 30, 1978, at Red Rocks Amphitheatre in Morrison, Colorado. "Stagger Lee" appeared in the first set, between "Mama Tried" and "Looks Like Rain." The show also featured the first "I Need A Miracle" and "If I Had the World to Give." The song has had a fairly consistent place in the repertoire over the years, disappearing now and then for extended periods. In Robert Hunter's Stagger Lee There are a number of tunes entitled "Stagger Lee" which have been recorded over the years. They all derive from a series of tales and songs in African- American folklore. See Tony Kullen's essay, available at Alex Allan's site: Stagger Lee: A Historical Look at the Urban Legend for a detailed look at the topic. One serious attempt to ascertain the possible historical existence of Stacker Lee was made, in an article by Richard E. Buehler, "Stacker Lee: a Partial Investigation into the Historicity of a Negro Murder Ballad," published in the Keystone Folklore Quarterly in the Fall, 1967 issue (pp. 187-191.) Buehler identifies a Stacker Lee who was a Confederate officer and subsequently an upstanding member of the community, and who is unlikely to have been the model for the badman of legend. And while Buehler suggests several lines for further research, no one seems to have taken up the task--notably the possibility that the key to the historicity of the ballad may lie in the name "Billy Lyons," rather than in Stacker Lee. This historical Stacker Lee unearthed by Buehler was the member of the Lee family of steamboat owners, and he points out that "Many of the Lee Line boats were named for members of the Lee family, and one of them was the Stacker Lee (hence the name of Miss Ferber's showboat [immortalized in her book, Show Boat ]). This boat was commissioned in 1906 and went down in 1916." (p. 188) Blair Jackson, in his magazine "Golden Road" said this about "Stagger Lee": ""Stagger Lee," who pops on the Shakedown album is a fabled character who some suggest dates back to the Civil War. Variously called "Stag-O-Lee," "Stack-O-Lee," and other names, the song is about a scoundrel who killed Billy Lyons because he stole Stag's Stetson hat. Stag-O-Lee was upset about the death, though--because he failed to shoot Billy right between the eyes. Songwriters over the years have elaborated on the story, bringing in the bad man's deals with the devil, etc. It's been recorded often, by everyone from Mississippi John Hurt (his 1928 version is one of the first on record) to Professor Longhair and Doc and Merle Watson." The Digital Tradition folk song database has two versions of the song. Here's a partial list of other "Stagger Lee"'s, in alphabetical order by performer: Archibald: Imperial X5358. Bechet, Sidney: "Old Stack O'Lee Blues" on The best of Sidney Bechet (Blue Note, CDP 7243 8 28891 2 0, 1994) Bookbinder, Roy: "Stack O Lee" on Ragtime millionaire (Yellow Bee Productions, 5BG-2023, 1977) Brozman, Bob: "Stack o Lee Aloha" on A truckload of blues Calloway, Cab: "Stack O' Lee Blues" on Cab Calloway and His Orchestra, 1931-1932 (Classics 526, 1990) Dodds, Johnny: "Stack O'Lee Blues" on side B of "Melancholy" Domino, Fats: "Stack & Billy" on Let's play Dylan, Bob: "Stack a Lee" on World gone wrong (Columbia, CK 57590, 1993) Edwards, Cliff: "Stack O' Lee, Part 1" and "Stack O' Lee, Part 2" (ca. 1924) on I'm a bear in a lady's boudoir (Yazoo, L-1047, 1975) Jazz, Folk Songs, Spirituals and Blues (Original Blues Classics, 2530 564 2, 1958) The Green Mountain Boys: "Stagolee" on The Green Mountain Boys (Green Mountain Records, GMS 1053, 197?) Guthrie, Woody: "Stagolee" on (Smithsonian/Folkways Records, 02481, 1992, originally recorded 1956) Houston, Cisco: "Stagolee" on Hard traveling (Folkways, FA 2042, 1954) Hull, Papa Harvey, Long "Cleve" Reed, and the Down Home Boys: "Original Stack O'Lee Blues" (ca. 1927) on The Songster tradition: complete recorded works in chronological order (1927-1935) (Document Records, DOCD-5045, 1991) Hurt, Mississippi John: "Stack O' Lee Blues" on 1928 sessions , vol. 1: Ballads. (Folkways, FP 251, 1927) Johnson, Tex: "Stack o Lee" on Gunfighter ballads Julius Lester accompanying himself on the guitar (Vanguard, VRS-9199, 1965) Lewis, Furry: "Billy Lyons and Stack O'Lee" on Furry Lewis (1927-1929): complete recorded works in chronological order (Document Records, DOCD-5004, 1990) Recording also includes "Kassie Jones part 1 and 2. Lomax, Alan (compiler): "Stackerlee," by an unknown performer on Negro prison songs from the Mississippi State Penitentiary (Tradition, TLP 1020, 195?) "Recorded by Alan Lomax in 1947 at the Mississippi State Penitentiary at Parchman, Mississippi" Lomax, Alan: Memphis Slim: "Stack Alee" on Broken soul blues New Lost City Ramblers: "Stackerlee" on The New Lost City Ramblers (Folkways Records, FA 2399, 1962) Noble, Ray: "Stack O' Lee" (ca. 1935) on Ray Noble and his American Dance Orchestra (Jazz Archives, JA-22, 1975) Old Tom Moore and more (Global Village, C 309, 1991) Price, Lloyd: "Stagger Lee" by Harold Logan and Lloyd Price (based on traditional material) (1958) Rainey, Ma: "Stack O'Lee Blues" on Ma Rainey's Black Bottom The complete Madam Gertrude "Ma" Rainey mastertakes' collection, 1923/28 (King Jazz, KJ-182 FS, 1994) Senter, Boyd: "Original Stack O'Lee Blues" on Solos and Senterpedes: 1927-1928 Sol Hoopii's Novelty Trio: "Stack O'Lee Blues" on B side of "Farewell Blues" Travis, Merle: "Stack O'Lee" on Rough, Rowdy and Blue has this story: "The Magic Hat You see, it happened like this: Stack was crazy about Stetson hats; specially them great big five gallon hats with dimples in the crown. And he had a whole row of em hangin on pegs and you could look at em along the wall of his rickety shanty on Market Street in St. Louis, where he lived with his woman, Stack o' Dollars, that I'm goin to tell you about later. He had a dimpled and lemon colored yaller hat, and a black Sunday one with two white eyes to wear to funerals with his new brogans, and lots of other ones, all kinds and colors. But his favorite one was an oxblood magic hat that folks claim he made from the raw hide of a man-eatin panther that the devil had skinned alive. And like I told you, how come Stack to have it was because he had sold his soul to old Scratch. You see, Satan heard about Stack's weakness, so he met him that dark night and took him into the grave yahd where he coaxed him into tradin his soul, promisin him he could do all kinds of magic and devilish things long as he wore that oxblood Stetson and didn't let it get away from him. And that's the way the devil fixed it so when Stack did lose it he would lose his head, and kill a good citizen, and run right smack into his doom." (p. 123) I'd be Nearer, my God, to Thee, Nearer, my God, to Thee, Nearer to Thee! There let my way appear, Steps unto heaven; All that Thou sendest me, In mercy given; Nearer, my God, to Thee, Nearer, my God, to Thee, Nearer to Thee! Then with my waking thoughts, Bright with thy praise, Out of my stony griefs, Bethel I'll raise; So by my woes[?] to be, Nearer, my God, to Thee, Nearer, my God, to Thee, Nearer to Thee! And if on joyful wing, Cleaving the sky, Sun, moon, and stars forgot, Upward I fly; Still all my song shall be--- Nearer, my God, to Thee, Nearer, my God, to Thee, Nearer to Thee!

Lloyd Price

Who wrote the novel Gentlemen Prefer Blondes?

The Stagger Lee Files The Stagger Lee Files Exploring and Decoding the Legend of the   Black Badman Known as Stagger Lee   by James P. Hauser except where otherwise noted.  All rights reserved.     A researcher, looking for the historical figure who inspired the legend about the black badman known as Stagger Lee, uncovered a newspaper story which reported that a man named Lee Shelton, also known as Stag Lee, shot another man named William Lyons in a dispute over a hat.  That article, as it appeared in the December 28, 1895 edition of the St. Louis Daily Globe-Democrat, is reproduced below (Note 1).   Shot in Curtis's Place William Lyons, 25, colored, a levee hand, living at 1410 Morgan Street, was shot in the abdomen yesterday evening at 10 o'clock in the saloon of Bill Curtis, at Eleventh and Morgan Streets. by Lee Sheldon, also colored.  Both parties, it seems, had been drinking and were feeling in exuberant spirits.  Lyons and Sheldon were friends and were talking together.  The discussion drifted to politics and an argument was started, the conclusion of which was that Lyons snatched Sheldon's hat from his head.  The latter indignantly demanded its return.  Lyons refused, and Sheldon drew his revolver and shot Lyons in the abdomen.  Lyons was taken to the Dispensary, where his wounds were pronounced serious.  He was removed to the city hospital.  At the time of the shooting, the saloon was crowded with negroes.  Sheldon is a carriage driver and lives at North Twelfth Street.  When his victim fell to the floor Sheldon took his hat from the hand of the wounded man and coolly walked away.  He was subsequently arrested and locked up at the Chestnut Street Station.  Sheldon is also known as "Stag" Lee. Note:  Shelton's last name was misspelled in the article as Sheldon.   Stagger Lee: A Classic African American Folktale:   The legend of Stagger Lee is one of the most important and enduring stories from American folklore.  It is a tale that originated from  African-American oral tradition, and it also  has become a very popular story within the white community.   There are many different versions of the tale, but here is the general storyline.  Stagger Lee (also known as Stagolee, Stack O' Lee, Stackerlee, Stackalee etc.) gets into a dispute with a man named Billy DeLyon (also known as Billy the Lion or  Billy Lyons) after losing his Stetson hat to Billy while gambling.  Stagger Lee pulls a gun--sometimes identified as a .45, other times as a "smokeless .44"--on Billy who then pleads to be spared for the sake of his wife and children.  Showing no mercy, Stagger Lee cold-bloodedly shoots and kills his opponent.  The killer's reputation for "badness" is a key to the story.  According to some classic musical recordings of the legend (such as "Mississippi" John Hurt's "Stack O'Lee Blues"), the authorities are too frightened of Stagger Lee to arrest him for his crime.  In some versions of the tale, he is eventually caught by the authorities, but the judge refuses to sentence him to prison because he fears that the badman will strike back against him.   In certain tellings of the story, Stagger Lee appears in hell after he is killed or executed, but is so "bad" that he takes control of the devil's kingdom and turns it into his own badman's paradise.   Discovering the Meaning Behind the Legend: I started thinking about the significance of the African-American song tradition surrounding the legend of Stagger Lee after I heard the white rock musician Huey Lewis's recording  "Stagger Lee" which he based on Lloyd Price's classic hit from the late 1950s.  Lewis recorded a straight cover of Price's record, but he made a very significant change to the lyrics--the backup vocalists sing "Whoa! Stagger Lee" in Lewis's version, but they chant "Go! Stagger Lee" in Price's record.  After recognizing this change, I began to wonder why the backup singers in Price's version seem to be urging Stagger Lee on to kill his opponent.  It also puzzled me why Price had sung a song about the killing of a human being in such an exuberant manner.  I began to consider whether the song was symbolic.  It occurred to me that possibly there was more to the story than could be gotten from a strictly literal interpretation of the lyrics.  (The great black writer and folklore collector Zora Neale Hurston maintained that every single African-American folk tale makes some kind of point.) I began to do research and found that, according to folklore experts, Stagger Lee was a symbol of resistance and freedom to African-Americans.  This was because, while southern blacks  had to abide by the twisted laws and customs which created segregation and the Jim Crow system, Stagger Lee defied white authority and was so "bad" that he could get away with it.  He was an admired figure whose legend revolved around his badness, a badness which put him above the white man's law and allowed him to pass freely through the racial boundaries established by Jim Crow. The Stagger Lee Files are the result of my explorations into what lies behind the legend.  I am trained to do research (I'm a librarian by trade), and looking into the mysteries behind the legend has gotten me completely hooked.  Lee Shelton's killing of William Lyons may be the event that inspired the tale of Stagger Lee, but it is now only a small part of the badman's story, a story which has led me down many paths in the history of America and its music, culture and people.  If I've piqued your curiosity, below you will find more information and details about the legend and the music that told Stagger Lee's story.  You'll also find some of my own ideas and theories related to the significance and meaning of the great badman and folk hero known as Stagger Lee.   Stagger Lee, Liberation, and the Ultimate Rock 'n' Roll Record: Cecil Brown, in his book Stagolee Shot Billy, points out that the Stetson hat represented manhood to black Americans.   He explains that the struggle between Stagger Lee and Billy over the hat represents a fight for manhood.  One of the main points I make in my essay below (titled "Stagger Lee: From Mythic Blues Ballad to Ultimate Rock 'n' Roll Record") is that this struggle for manhood was symbolic of the struggle for black freedom.  I also argue that Lloyd Price's classic 1958 recording "Stagger Lee" is a record which points to victory for African-Americans in their fight for freedom, just as certain black spirituals pointed to the day when slavery would end.  I believe that Price's version of the Stagger Lee legend is a landmark record which reflects the outlaw's transformation from badman to hero, with his victory over Billy acting as a symbol of liberation.  My essay goes on to show that by looking at the relationships between three forms of African-American music--blues, jazz, and rock 'n' roll--Price's "Stagger Lee", the first rock 'n' roll version of the legend, may be seen as a prime candidate for the title of definitive or ultimate rock 'n' roll record.      The Stetson Hat: In Mississippi John Hurt's "Stack O' Lee Blues", he laments that Billy was murdered over a five-dollar Stetson hat.  Bob Dylan's extraordinary version of the song, based on an obscure 1927 recording by Frank Hutchison titled "Stackalee", echoes that sentiment as in a wailing voice he repeatedly lays the blame for all the trouble on "that John B. Stetson hat."   Was the fight between Stagger Lee and Billy simply a dispute over stolen property?  Or was it something more?  To learn about the significance of the Stetson hat in the badman's legend, click on the link below:     Stagger Lee: The Original Gangsta Who was the original gangster?  Was it Schoolly D, the man who some say invented gangsta rap?  Or was it Sweetback, the character created by Mario Van Peebles for his 1971 film Sweet Sweetback's Baadasssss Song?  Some folks have even suggested that Jack Johnson, the first black boxer to become heavyweight champ, is the original gangster.  And some folks will argue that the OG is Stagger Lee because he is the archetype for the black badman.  Rolling Stone magazine referred to Stagger Lee as the original gangsta in its December 9, 2004 issue.  For more on Stagger Lee as the Original Gangster click here: The Original Gangsta     Stagger Lee's Brothers: Many individuals from America's history can be seen as Stagger Lee figures including Malcolm X, boxers Jack Johnson and Muhammad Ali, rapper Tupac Shakur, Black Panther Bobby Seale, and politician Adam Clayton Powell Jr.  The spirit of Stagger Lee can also be found in characters such as Sweetback and Superfly who starred in the blaxploitation films of the 1970s.  A Stagger Lee figure from American literature is Bigger Thomas, the badman in Richard Wright's Native Son.  More on this subject can be found here: Stagger Lee's Brothers     The Search for the Real Stagger Lee: For information about the search for the historical figures behind the legend, click here:  The Search for the Real Stagger Lee     The Original Stagger Lee Essay In August 2005, this website underwent a change in format.  The original format featured a long seven part essay.  The new version of this site takes various aspects of the Stagger Lee legend and breaks them out into separate sections, each of which contain relatively shorter length writings.  It's the author's goal to take much of the material which is in the original Stagger Lee essay and incorporate it into the new format.  Also, a lot of new information will be added which was not in the original Stagger Lee essay. The seven part essay from the original version of the Stagger Lee Files is available by clicking here:  Original Stagger Lee Essay     Sources (Bibliography/Webliography): For a list of some of the many sources, including books, articles, and web pages, which were consulted in writing the Stagger Lee Files, click here:  Sources / Bibliography   -----------   For more information on the legend of Stagger Lee, read Cecil Brown's book Stagolee Shot Billy , published by Harvard University Press.    -----------    For a great graphic novel about Stagger Lee, read Stagger Lee by Derek McCulloch and Shepherd Hendrix  

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