Edward Smith (June 17, 1913 – January 29, 1998) was an American football running back in the National Football League (NFL) for the Boston Redskins and Green Bay Packers.  He played college football at New York University and was drafted in the third round of the 1936 NFL Draft.

During the 1935 football season, Smith posed for the Heisman Trophy study with the now-iconic straight or "stiff" arm.

Sculptor Frank Eliscu asked Smith, his former high school classmate, to pose for a commissioned work involving a football player.  They both attended George Washington High School in New York City's Washington Heights neighborhood. Smith did not realize that the sculpture, for which he posed, became the fabled Heisman Trophy until 1982.  A documentary filmmaker tracked down Smith through his brother-in-law, Bob Pastor, a former heavyweight boxer who fought Joe Louis twice.  The Downtown Athletic Club subsequently presented Smith with a Heisman Trophy of his own in 1985.

Smith was what sportswriters used to refer to as a triple-threat: he ran, passed and often quick-kicked in New York University's single-wing offense during the 1933–1935 seasons. Smith suffered a torn ligament in his left leg and a hemorrhage in his right leg and NYU went 3–4–1 in 1934. The 1935 Thanksgiving game was the last of Smith's collegiate career.   The first Heisman Trophy presentation was on December 5, 1935.

The Boston Redskins drafted Smith in the NFL's first ever draft in February 1936.  He was selected in round three, the #20 pick overall.  Smith graduated from NYU in the spring of 1936 and proceeded to a career in professional football.  The pay was $200 a game for the twelve-week season.

Smith played with the Redskins in the 1936 season.  The Redskins played in the 1936 NFL Championship Game at New York's Polo Grounds on December 13, 1936.  The Skins lost to the Green Bay Packers 21-6.  Smith played with the Green Bay Packers under coach Curly Lambeau in the 1937 season.  His ligament injury returned while playing in Green Bay and Smith left professional sports.  He later played and coached semi-pro football in Springfield, Massachusetts in 1941.  As player-coach, Smith again connected with Vince Lombardi, who played under Smith.

Smith and his wife Hilda lived most of their life in Washington Heights. Smith worked for Otis Elevator in the post-war era.

References

1913 births
1998 deaths
American football running backs
Boston Redskins players
George Washington Educational Campus alumni
Green Bay Packers players
NYU Violets football players
Players of American football from New York City

Ed Smith (running back)


In philosophy, determinism is the thesis that there are conditions that make future events happen the way they happen. Today, the term is mostly used in natural philosophy: there are natural laws and causality that govern certain aspects of nature. Some of those laws are not probabilistic, they apply all the time. The opposite position to this idea is called indeterminism. If there are really conditions that cause future events to be uniquely determined in advance, this will cause problems supporting the idea that there is free will.  Other ideas that need the thesis of determinism are called fatalism and predestination.

Famous people who supported the idea
Alfred Jules Ayer (1910–1989)
Arthur Schopenhauer (1788-1860)
Georg Büchner (1813–1837)
Albert Einstein (1879–1955)
Sigmund Freud (1856–1939)
Thomas Hobbes (1588–1679)
Paul Thiry d'Holbach (1723–1789)
David Hume (1711–1776)
William James (1842–1910)
Pierre-Simon Laplace (1749–1827)
John Locke (1632–1704)
Marshall McLuhan (1911–1980)
Julien Offray de La Mettrie (1709–1751)
John Stuart Mill (1806–1873)
Max Planck (1858–1947)
Baruch de Spinoza (1632–1677)

Related pages
Deterministic algorithm
Deterministic chaos
Deterministic system
Cultural determinism

Determinism


Manya Shochat (1880–1961)  was a Russian-Jewish politician and the "mother" of the collective settlement in Palestine, the forerunner of the kibbutz movement.

Biography
Manya Wilbushewitch (also Mania, Wilbuszewicz/Wilbushewitz; later Shochat) was born in the Grodno Governorate of the Russian Empire (present-day Belarus) to wealthy Jewish parents and grew up on the family estate near Łosośna. She was a descent of Comte Vibois an officer in Napoleon's army who converted to Judaism after marrying a Jewish woman. One of her brothers, Isaac, studied agriculture in Russia. He was expelled for slapping a professor who, in the course of a lecture, stated that the Jews were sucking the blood of the farmers in Ukraine. In late 1882, he left for Palestine and joined the Bilu movement. His letters home were a powerful influence on young Manya. Another one of her brothers, an engineer named Gedaliah, also went to Palestine in 1892 and helped fund his younger siblings' education.

As a young adult, Manya went to work in her brother's factory in Minsk to learn about working class conditions. In 1899, she was imprisoned and underwent lengthy interrogations about her contacts with Bund revolutionaries. Whilst in prison she fell in love with Sergey Zubatov, agent provocateur and head of the Tsarist Secret Police in Moscow. Zubatov conceived a plan that matched Manya's ideological notions, through which workers would form "tame" organizations that would work for reform rather than for overthrow of the government. She was persuaded that this would also help achieve rights for Jews. Manya proceeded to found the Jewish Independent Labor Party in 1901. The party was successful in leading strikes because the secret police supported it, but was loathed by the Bund and other Jewish socialist groups. The party collapsed and its members rounded up in 1903 following the Kishinev pogrom. Experiencing, as she put it, 'severe emotional distress' following the failure of her political organization and arrest of her friends she contemplated suicide. According to Shabtai Teveth she killed a door-to-door salesman who called at her hideout in Odessa thinking he was a member of the secret police. She dismembered the body and sent the remains to four different locations of the Russian Empire.  She accepted an invitation from her brother Nachum, who was the founder of the Shemen soap factory in Haifa, to accompany him on a research expedition to some of the wilder places of Palestine. She arrived on January 2, 1904.

"I couldn't see what direction I should take in my life. I agreed to join my brother's expedition, because, in fact, I was indifferent to everything. For me it was just another adventure."

"The Hauran remained without a redeemer - and my soul cleaved unto this place."

Manya fell in love with the beauty of the land and was especially touched by the plight of the Jewish settlement in the Hauran. Baron Edmond de Rothschild had bought land in the area, but the Ottoman government stipulated that no Jews be allowed to settle there. A small group that had disregarded the decision was evicted, so the Baron resorted to leasing out the plots of land to Arab Fellahin. Manya decided to visit all of the Baron's colonies and see for herself why they were in financial straits. She became acquainted with and was greatly impressed by Yehoshua and Olga Hankin. Her decision to stay was due in a large part to their influence.

Family
In May 1908, Manya married Israel Shochat, who was 9 years younger than her. She had 2 children with him: Gideon (Geda), 1912, and Anna, 1917.

By 1921 Manya and Israel were no longer living together. Despite Israel's relationships with other women they continued their political activities together and Manya repeatedly nursed him during his recurring bouts of illness. According to Rahel Yanait Manya attempted to commit suicide in the early 1920s.

Gideon Shochat was a pilot in the British Royal Air Force (RAF) during World War II and later became one of the founding pilots of the Israeli Air Force, rising to the rank of colonel. He committed suicide in 1967. In 1971, his daughter Alona married Arik Einstein, a famous Israeli performer. They had 2 daughters together. They later divorced, the daughters remaining with their mother. They later became Orthodox Jews, and the daughters married Uri Zohar's sons. Zohar was a good friend of Einstein and became one of the leading figures in the Orthodox community.

In a 1986 interview in Haaretz Anna revealed how estranged she and her brother became from their parents. Geda had been left in Palestine when Manya and Israel were exiled to Bursa. He was first looked after in Kinneret but later cared for by an Arab family. After the war the children were bought up in the children's house in Kfar Giladi.

In Palestine
As a result of her first visit, Manya reached a conclusion which anticipated that of Arthur Ruppin. She understood that the model of plantation settlement, favored by Baron Rothschild, where Jewish owners employed Arab workers and were subject to economic overseers, could never be the basis for Jewish national life. It led to financial difficulties and disaffection. She concluded that only collective agricultural settlement could produce Jewish workers and farmers who would be the basis for building a Jewish homeland. Her first priority was finding a solution for the problem in Hauran.

Manya left for Paris, where one of her brothers was editor of an agricultural journal, to research the feasibility of her ideas and then to convince the Baron to back them. In 1905, a fresh wave of pogroms swept the Russian Empire. Meir Cohen, an old friend from Minsk, came to Paris seeking the aid of the Jewish community to buy arms so they could defend themselves. Manya laid aside the Hauran project and put her efforts towards fundraising instead. She convinced Rothschild to donate 50 000 gold francs to that end.

Guns and ammunition were bought in Liège and smuggled into Russia. To deliver the final consignment, Manya disguised herself as a young rabbanit from Frankfurt, bringing eight cases of scriptures, a gift for the yeshivot of Ukraine. The guns were successfully delivered to the Jewish underground. Not one was lost.

Manya returned to Palestine in 1906 to further pursue her Hauran plan. Towards the end of the year, she traveled to the United States to raise funds for that and arms for Russian Jews. Whilst in America she met Judah Magnes, and they formed a long lasting friendship.The idea of collective settlements in general, and the Hauran scheme in particular, received no support. She realized that the only way to convince people that it could work was by putting it into practice, so she returned to Palestine in 1907. Manya shared her idea with members of "Poalei Tzion" and "Hapoel Hatzair". Hankin convinced Eliahu Krauze to give them stewardship over a failing agricultural experiment in Sejera for a year. Manya was appointed manager responsible for establishing a training farm at Sejara. The farm was used as cover by Bar Giora a newly formed underground militia founded by Israel Shochat and Yitzhak Ben-Zvi. The following year Bar Giora reinvented itself as HaShomer. Its goal was to take over the responsibility of guarding Jewish settlements which had previously being using local watchmen.

She married Israel Shochat in May 1908.

They moved to the German Colony, Haifa in 1910. Three years later they moved to Constantinople where Manya taught German whilst Israel studied for an Ottoman law degree

In November 1914 she was arrested and sent to Damascus for interrogation and was subsequently deported, along with her husband to Bursa, in Turkey. They returned around Passover, 1919, after attending the Poalei Tziyon convention in Stockholm.

In 1921 she was in Tel Aviv when riots broke out with Arab mobs attacking Jews in Jaffa. Along with other Hashomer members, she took part in the fighting. At great risk, she would walk around, disguised as a Red Cross nurse, to keep an eye out on developments. Her experience in Russia came in handy as they attempted to smuggle in grenades for the defenders of Petah-Tikva. She hid them among baskets of vegetables and eggs. The car they were in got mired just outside the town. A patrol of Indian cavalry approached. Their role was to search all travelers for arms. With great presence of mind, Manya averted disaster. She ran up to the patrol, begging them to help rescue the car from the mud. While they were pulling it out, she watched the baskets, saying that she didn't want the eggs to break. The cavalry then even provided an escort until they got into town.

After the riots were over, she traveled to the United States to raise funds for the defense efforts. Due to a series of differences of opinion between her and Pinhas Rutenberg, the transfer of funds was frozen and the two didn't speak for years. However, she did manage to send several thousand dollars to her husband who was waiting in Vienna, earmarked for the purchase of weapons for the Haganah. Israel Shochat oversaw the procurement and shipment of the weapons to Palestine.

Following the dissolution of Hashomer in 1920 Manya and other veterans established a new secret organisation calling themselves the Circle. One of their bases was at Kfar Giladi and their first action, May 1923, was the assassination of Tawfiq Bey, a senior police officer in Jaffa at the time of the riots.

In 1924 she was among those arrested in connection with the assassination of Jacob de Haan. She subsequently broke off relations with Ben Gurion over his failure to come to her defence when it was known that the Haganah in Jerusalem had ordered the killing.

In 1925 she joined Brit Shalom, a Jewish group that advocated a bi-national state in Palestine.

Manya and Israel Shochat were active in the Gdud HaAvoda (lit.: the "Work Battalion") and clandestine immigration, as well as arms smuggling. In 1930, Manya Shochat was among the founders of the League for Arab-Jewish Friendship. In 1948 she joined the Mapam party.

Literary and cultural references
Mania Shochat's life is the subject of a novel by Israeli author Dvora Omer. Manya Shochat is a main character in Amos Gitai's 2003 film, Berlin-Jerusalem.  Her character's name in the film is Tania Shohat.

References

Further reading
Zionism and Israel Information Center
 "Darki Be'Hashomer'" (My Path to Hashomer) Manya Schochat, in "Sefer Hashomer; Divrei Chaverim" A book edited and published by Yitzhak Ben-Zvi, Israel Schochat, Mati Meged and Yochanan Tversky.
 Biography of Manya Shochat at Zionism and Israel Information Center
 Biography of Manya Shochat at Jewish Women's Archive
 Before Golda: Manya Shochat. A Biography. Rachel Yanait Ben-Zvi (1976; translated by Marie Syrkin 1989) Biblio Press, New York.

1880 births
1961 deaths
People from Grodnensky Uyezd
Belarusian Jews
Emigrants from the Russian Empire to the Ottoman Empire
Jews from Ottoman Palestine
Jews from Mandatory Palestine
Jewish socialists
Israeli people of Belarusian-Jewish descent
Mapam politicians
Members of the Assembly of Representatives (Mandatory Palestine)
Russian Zionists
Russian socialists
20th-century Israeli women politicians
Kibbutz Movement
Immigrants to Ottoman Palestine

Manya Shochat


Ballet flats are derived from soft ballet slippers, having very thin heels or the appearances of no heel at all. The style often features a ribbon-style binding around these flats' low top areas. Some ballet flats are open toed. The essence of the ballet flat has been on since at least the 15th or 16th century. They're worn primarily by women, although men may wear them too. They went out of fashion during the 18th and 19th century, but took off again after Audrey Hepburn wore the shoes in 1957's Funny Face.

Ballet
Footwear

Ballet flat


Edmund Thomas Blacket (25 August 1817 – 9 February 1883) was an Australian architect, best known for his designs for the University of Sydney, St. Andrew's Cathedral, Sydney and St. Saviour's Cathedral, Goulburn.

Arriving in Sydney from England in 1842, at a time when the city was rapidly expanding and new suburbs and towns were being established, Blacket was to become a pioneer of the revival styles of architecture, in particular Victorian Gothic. He was the most favoured architect of the Church of England in New South Wales for much of his career, and between late 1849 and 1854 was the official "Colonial Architect to New South Wales".

While Blacket is famous for his churches, and is sometimes referred to as "The Wren of Sydney", he also built houses, ranging from small cottages to multi-storey terraces and large mansions; government buildings; bridges; and business premises of all sorts. Blacket's architectural practice was highly influential in the development of Australian architecture. He worked with a number of other architects of both Australian and international importance: James Barnet, William Wardell and John Horbury Hunt. Among his children, Arthur, Owen and Cyril followed him into the profession. The successful architect William Kemp also trained in his practice.

Edmund Blacket is regarded by descendants of the Blackett family as "a man of the strictest probity with a great love for his profession, who also studied the classics, and was considered the leading authority on Classical Greek in Sydney, loved music, playing the organ at the temporary wooden pro-Cathedral, was a competent wood-carver and an amateur mechanical engineer".

Early life

Edmund Blacket was born on 25 August 1817 at 85 St Margaret's Hill (later Borough High Street) Southwark, London, England, the seventh child of James Blacket and Margaret Harriot née Ralph. His father was a prosperous draper or slopseller of Smithfield, London. The family were Nonconformists, and Edmund's grandfather Edward Ralph, a former clockmaker, had been minister of a Congregational church at Maidstone. Blacket was educated at Mill Hill School, near Barnet, and although he showed an early interest in architecture, spending his holidays sketching and measuring old buildings, his father opposed him taking up the profession.
On leaving school, Blacket went to work in his father's office and three years later, at the age of 20, took a position in a linen mill in Stokesley, Yorkshire. This mill was owned by his father in partnership with a Thomas Mease and operated by Edmund's brothers John and James. However, the Blackets ended the partnership with Mease in July 1837 as they were unhappy about certain financial matters, and by March 1838, the issue was in Chancery.

In about 1837, although lacking formal training, Blacket began work for the Stockton and Darlington Railway as a surveyor. This was the period of rapid expansion of the railways and in railway engineering and innovation. As a railway surveyor one of Blacket's jobs would have been the design of railway stations. He continued in Yorkshire until 1841, taking every possible opportunity to draw ancient buildings and their details, which included spending his 23rd birthday surveying Whitby Abbey.

In June 1841, Blacket was at the family home on Brixton Hill, when his father entered him on the census returns as "Draper". During the same year, he worked for the Archbishop of Canterbury in London as Inspector of Schools, and at that time learnt the craft of making stained glass He spent the year "in misery", being in love with Sarah Mease, the daughter of his father's former business partner. Their marriage was opposed by the families, and having been in love probably from 1837 or earlier, they were finally wed on 27 April 1842 in the medieval parish church of Wakefield, (which later became Wakefield Cathedral) with neither set of parents present. Blacket's diaries indicate that he had become a member of the Church of England and had a great love for the Anglican Liturgy. His brother Henry Blackett became a high church Anglican clergyman.

On 13 June 1842, Blacket and his new wife left England on the passenger vessel Eden, bound for Sydney, but with New Zealand as their intended final destination. Blacket later wrote, "Neither my Father or Mother would bid me good bye, so my old Uncle offered to see us off." He had letters of introduction to prominent residents of Sydney, including Sir Charles Nicholson, Thomas Sutcliffe Mort and a recommendation to Bishop William Grant Broughton from the Archbishop of Canterbury. Blacket suffered from sea-sickness for the first month, although Sarah did not. After about 55 days the ship called at Bahia in Brazil, where he made sketches of church doors and other items that interested him. He also acquired a marmoset monkey which disturbed his sketching for the rest of the voyage. He spent the rest of the voyage carving a wooden crucifix.

The Eden sailed into Sydney Harbour on 4 November 1842 with Blacket, who kept a shipboard diary, writing that he had never seen such "an exquisite scene". The Blackets were also greatly impressed by the crew of Māori oarsmen in the pilot boat. The first building that Blacket saw in Sydney Town was the simple copper-clad steeple of Francis Greenway's St. James's Church. He went ashore and found lodgings opposite the little Methodist Chapel with its Doric portico in Princes Street. Sarah wrote home that "almost everyone keeps a carriage" and that Sydney Town had just achieved the status of a city, the first mayor having been elected. Blacket was a prepossessing young man, handsome, well-mannered, elegantly dressed and with £600 in capital. He soon found suitable employment and the Blackets relinquished their plans to travel on to New Zealand.

Family relationships

Blacket was an enthusiastic writer, leaving a shipboard journal in the form of an ordinary school exercise book and sending many letters to his family in England, and to his children, particularly his youngest daughter Hilda, to whom he once sent thirty stamps, as an encouragement to write back.

In 1849 Blacket assisted his cousin Thomas Blacket Stephens in his immigration to Sydney. Thomas went on to be a prominent citizen and politician of Brisbane, Queensland. Blacket's brother Russell, who joined him in Australia in 1858, ran a school in Wollongong and was the father of Wilfred Blacket, barrister.

All his other brothers and sisters remained in England, and their descendants include his great nephews Patrick, Lord Blackett and Basil Phillott Blackett. The breach with his parents and in-laws apparently healed. After his father's death in 1858 he wrote to his mother-in-law that "there has never been an instance in which I have failed to receive a letter from him, and in addition he has regularly directed and posted to me the Illustrated London News and Punch." The first edition of the former paper was published shortly before he left England, and would have kept him informed of architectural developments in England.

Architectural influences and development
In England, towards the end the 18th century, architecture was dominated by the simple symmetrical Classical forms of Georgian architecture. This style was transported to Sydney along with the first English settlers and the accompanying military regiments. However, among England's elite there was a growing taste for the picturesque Gothic style. This too was introduced to Australia, and Sydney's convict architect, Francis Greenway, employed it in the construction of the Government Stables with battlements and towers.

Changes within the Church of England and an academic interest in the historic styles promoted the formation of the Oxford Architectural Society and the Cambridge Camden Society which, though differing in their philosophies, both promoted the medieval styles—Gothic in particular—as being those suitable for church architecture and its correct liturgical function. The purpose of the architect was seen as being to create designs of such archaeological correctness that they reproduced the styles of ecclesiastical architecture prior to the Reformation, as is demonstrated in the work of the renowned Augustus Welby Pugin.

On his arrival in Sydney, Blacket possessed a small library of architectural books, and he kept abreast of the latest trends by subscribing to journals. Although there were a number of buildings with Gothic details in the colony at the time, in particular the existing south transept of the new cathedral, these structures had strongly Classical elements beneath their medieval detailing. Blacket was the first architect in Australia who truly understood the principles of the Gothic style and who could design a church that would satisfy the august societies of Oxford and Cambridge. Since it was the wish of so many colonials, not the least of whom was the Bishop, to assuage their homesickness by at least attending a church that reminded them of one in Cornwall, Yorkshire or East Anglia, Edmund Blacket was to become a very popular man.

Although probably at his best when designing in the Medieval ecclesiastic styles and the Florentine palazzo style which he employed for commercial premises, Blacket followed the trends of Victorian architecture in London through his subscription and library membership. Some of his later churches, particularly those in brick, were to have a robust quality, often with Early French Gothic rose windows with plate tracery or a simple quatrefoil. Blacket quickly adopted the colonial Georgian form of domestic architecture, to which he then applied a variety of details. He was also introduced to the architectural trends in both North America and Scotland by John Horbury Hunt and James Barnet respectively. From the 1870s his commercial and domestic buildings began to acquire eclectic details and incised ornament.

"Architect and Surveyor"
The early 1840s were a time of economic depression in New South Wales brought on by a severe drought in 1839, so Blacket was very fortunate to immediately gain employment from Bishop Broughton as Inspector of the Schools in connection with the Church of England in the Colony. This position involved the design and supervision of the building of schools, churches and parsonages. As the colony rapidly expanded, many school buildings were designed to be multi-purpose, serving as churches on Sunday and sometimes as court houses. Blacket began work on 1 January 1843, and on 18 January delivered to the Bishop the plans for the church of All Saint's, Patrick Plains (now Singleton). He estimated that it could be built for £700. It was eventually completed in 1850 for £713.11s.6d. Other churches that he supervised, designed or extended were St John's Ashfield (1843), St Mary's Balmain (1843), St Paul's Carcoar (1845), the old St Stephen's, Newtown (1845) and Christ Church St Laurence, Sydney.

In May 1843, he put up a brass plaque on his door, advertising himself as "Architect and Surveyor" and writing to his brother Frank in London: "There is nothing to be gained here by hiding ones talent in a bushel." In the same letter he wrote of his aim to "improve the taste of the discerning public upon ecclesiastical architecture". In July of the same year, he began this by giving his first lecture, on Norman architecture, presumably at the Sydney School of Arts. Towards the end of the year, he and Sarah rented a house from Dr Hammett in Stanley Street, off College Street, where he was soon to receive an important architectural commission. Their first child, Edith, was born at Stanley Street the following year.

Christ Church St Laurence was designed by Henry Robertson in 1840. From 1843, Blacket undertook the completion of the interior and then in the 1850s he built the tower and spire. This was to become a highly significant project for Blacket. The Church of England in Sydney had been founded in 1788 by the first Anglican priest in the colony, Richard Johnson. This foundation came at a time of austerity within the Church of England, predating the Oxford Movement. The first churches in Australia, such as St James', King Street, were essentially "preaching boxes" in which the pulpit was placed centrally against one of the long walls and surrounded by tiered seating of box pews, each designated for a family.

Blacket was instrumental in introducing to Christ Church St Laurence all the elaborate High Church details in the style of the great Catholic architect, Augustus Welby Pugin. Sydney Evangelicals were shocked at the furnishing, the liturgy and the robed male choir, seeing it as "scandalous", and "papist". Later, Blacket was to be one of the architects to transform Greenway's St James in keeping with a High Church mode of worship (as it remains today). The Reverend WH Walsh at Christ Church St. Laurence enthusiastically helped Blacket to gain other important commissions. Blacket also had a private practice during this time, one of the most notable of his commercial commissions being the Kent Brewery for Henry Tooth. From 1843 onwards he also began receiving commissions for private houses.

Diocesan Architect

St Paul's, St Mark's and St Philip's
In 1847 Blacket was officially appointed Diocesan Architect for the Church of England, while still continuing with his private practice. The designs of three of Blacket's most significant churches date from 1847 to 1848. These are St. Paul's, Redfern, St. Mark's, Darling Point and St. Philip's, Church Hill. As Joan Kerr points out, Blacket has used these three buildings as essays on the three main periods of English Gothic architecture: Early English, Decorated and Perpendicular, his motive being perhaps to impress Sydney with his scholarship.

Of these three buildings, St. Paul's is the most derivative of other Victorian models, the arrangement of triple aisles of almost equal height, each with an open timber roof is repeated many times in the work of Pugin and his followers. However, the window traceries, which are of the most complex of the three English styles and for which drawings still exist, display Blacket's mastery of Gothic design.

For St Mark's, Darling Point, Blacket showed the committee a design based upon an engraving of the church at Horncastle, Lincolnshire. Unlike St. Paul's, St Mark's has a high nave lit by small clerestory windows with trefoil lights above the aisles. The building work was interrupted in 1851 by the departure of men for the Australian gold rushes. The spire, which is a feature of the leafy streetscape of Darling Point Road, was chosen from 14 different versions prepared by the architect, and was paid for privately.

At St Philip's, Church Hill, Blacket was to replace the church built by Governors Hunter and Bligh and justifiably known as "the ugliest church in Christendom". Bishop Broughton, both here and at St Paul's, wanted the design based on his beloved Magdalen Tower at Oxford. But although Blacket used the paired windows at St Philip's, the design was not a replica. Blacket was masterly at designing in the Perpendicular style and, as with other designs (such as the spire of St Mark's), he produced alternative versions which he slotted into place on the drawing or glued on as flaps, so that the Parish Council could choose. In this case they selected a design with double the usual number of windows in the clerestory level, and also two large windows in the southern side of the chancel as well as the six-light window in the eastern end, so this church, in contrast to St Paul's, Redfern, is unusually light. Unlike the Decorated Gothic tracery at St Paul's, the Perpendicular Gothic tracery is repetitious in its form. The visual effect of the church is one of harmony and elegance of proportion. Because of the Evangelical nature of this church, there is no figurative decoration, but the east window by James Powell and Sons of Whitefriars, "variegated with flowers and interspersed with texts", cost £200 and is one of the finest non-pictorial windows in Sydney.

St. Andrew's Cathedral

Blacket's association with St Andrew's, the Anglican Cathedral of Sydney, began in 1846. Grand plans for a square church had been made by Governor Lachlan Macquarie and his architect Francis Greenway, but these had been abandoned after proceeding no further than the laying of the foundation stone in 1819. By the time of Blacket's arrival, St Andrew's was under construction to a design by James Hume. It was to be a Neo Gothic structure of a relatively timid design and scale, cruciform and with narrow transepts. The foundations were laid, the south transept was almost complete, and in places the walls were  high. The work had ceased through lack of funds owing to the drought. In 1846 Blacket, who was seen by the committee to have a greater grasp of architectural principles and design than Hume, was appointed to replace him as architect of the cathedral.

While the cathedral was under construction, a temporary wooden cathedral was erected, and one of Blacket's first jobs was to create a stained-glass window for it. Being unable to acquire coloured glass, he painted plain glass and fired it, using part of the crypt beneath St James, King Street, as his studio. This window, which predated commercial stained glass manufacture in Australia, has been lost. Blacket was very pleased with it and wrote to his brother Frank "the folk who come to see it ... can hardly believe it is not stained glass."

Blacket's design for the cathedral was restricted by the foundations that were already in place and the existence of Perpendicular tracery built to Hume's design in two of the aisle windows. The challenge to Blacket was to create a building which worked within the limitations of scale but still had the imposing quality of a cathedral. Once again, Bishop Broughton's aim was to have a replica of the Magdalen College tower, but Bishop Selwyn of New Zealand had laid the foundation stone in 1842, and his recommendation had been for two towers. Blacket initially designed towers that accommodated the wishes of both Bishops, but he also wrote to a relative in Yorkshire asking them to send drawings of the façade of York Minster.

By 1847, all of Blacket's proposed changes, including the elaborate façade and lengthening of the nave had been accepted. In order to make sure that his design was truly the best possible solution, he sent copies of his plans to England, to both the Oxford Society and the Cambridge Camden Society for comment. His design was acceptable to both, the Oxford Society in particular waxed lyrical, saying that his design "had realised the idea of a cathedral, as diverse from a parish church". However, Oxford wanted the roof of the aisles to be of steeper pitch, and a decorative moulding (or string course) around the interior walls, while Cambridge wanted more pinnacles and just one large window in the transept ends. Blacket obliged by making such changes as he could, but the string course and the rebuilding of the paired windows in the existent transept were impractical. Blacket had the model-maker J.C. White construct a detailed cardboard model of a scale 1 inch to 8 feet. This pleased the committee and the cathedral was finished much as demonstrated on the model, but with one very significant change: the west front, while retaining its form, had it details redesigned, in the light of the drawings that he received from Yorkshire.

Blacket's modification of the west front is to a much richer and more vertical design. This was achieved by the adoption of several features of the famous façade of York Minster, including abandoning the paired "Magdalen College" windows in the uppermost stage in favour of large mullioned windows framed by a flamboyant arch rising to the level of the ornate parapet. These are more strongly modelled than at York, and meet the obliquely set pinnacle above them in a continuous upward-sweeping movement. Another such flamboyant moulding rises from the tall central window to overlap the gable in a manner both complex and inventive.

The interior, despite its small scale, and the large size of the piers, has a lofty, spacious and elegant appearance. It was furnished with richly carved furniture designed by Blacket himself and a cycle of 27 windows by John Hardman & Co. of Birmingham depicting the life and teachings of Jesus Christ. The cathedral was opened and consecrated on 30 November 1868 by Broughton's successor, Bishop Frederic Barker.

Joseph Kinsela writes, "Such is Blacket's grasp of English Late Gothic style that the interior could be taken for the product of the fifteenth century. There are no Victorian clichés.... Not many Australians are aware of the architectural status of St. Andrew's Cathedral...[it] is the equal of the best 19th century work in this style." However, not everyone was enthusiastic at the time, one critic writing, "We are compelled to say that seldom has so dull an inanity been produced at so great a cost."

Colonial Architect
On 1 December 1849, while the construction of St Andrew's Cathedral was proceeding, Blacket was appointed Colonial Architect for New South Wales, succeeding Mortimer Lewis. He occupied this position for nearly five years, but there are few buildings remaining in Sydney from this employment with the exception of the small Water Police Office in a robust Classical style. His largest job was the Glebe Island Abattoirs and the Moreton Island Lighthouse was also a significant undertaking. He spent much of his time in the country, supervising the building of wooden bridges, some of which have survived. When in Sydney, he was called out frequently to look at the leaking roof of Government House, but roof drainage was not one of Blacket's talents.

In 1851, gold was discovered, both in New South Wales and in Victoria. While trade and commerce thrived, the building industry lost its workforce. While work on many of the ecclesiastical buildings that Blacket had designed and continued to supervise came to a standstill, the Government had a sudden requirement for coach houses, escort stations and lockups, as well as a design for a secure coach to transport gold. Designs for all these were provided by the Colonial Architect, probably closely following plans sent from England.

In 1853, the Blacket family moved to a rented house in Glebe. It was a wild place at that time and Sarah feared for Edmund's safety as he walked home. The family had expanded to six children: Edith, was born in 1844, Alice in 1846, Arthur in 1848, Marian in 1850, Owen in 1851 and Hilda in 1854. The cost of living greatly increased owing to the gold rush and with six children to support and earning £300 a year, Blacket left the Public Service in September 1854, to be succeeded by William Weaver.

University of Sydney
Blacket was involved with the foundation of Sydney University from the outset, and played a role in selecting the site on the Parramatta Road at the top of a rise overlooking Grose Farm (now Victoria Park). He was appointed University Architect on 23 May 1854, several days before he resigned as Colonial Architect, and he continued to supervise building for the Government for some months.

One of his first tasks as University Architect was to persuade the august committee to accept the notion that Perpendicular Gothic really was the only right and appropriate style for the building, because of its association with most colleges of both Oxford and Cambridge. The notes that he made for this speech are still in existence. Blacket was able to show the committee the sort of building that he intended, having to hand J. T. Emmett's design of the Congregational College on Finchley Road, north of London. Blacket asked his friend, the artist Conrad Martens, to create a watercolour drawing from his plans and elevations. Although the plans can not be located, the drawing is owned by the university and was engraved to appear in a newspaper.

The building is in the Perpendicular Gothic style with a front of  broken at the centre by a tower of , beneath which there is a lofty archway, and surmounted by large pinnacles. The façade is broken by two gabled bays to the left, and one to the right, the right side of the building terminating in the Great Hall. While the whole exterior of the building, with its glowing sandstone, battlemented roofline and array of glinting leadlight windows give an imposing effect on top of the hill, it is the Great Hall that is regarded as the finest part of the design. The interior is loosely based on that of the Great Hall of Westminster, having a magnificent hammer-beam roof and a large mullioned and transommed window at each end. The windows of the long sides are placed high above an ornamented course in order that portraits may be hung beneath them, except at the south western corner where there is a large oriel window. The building has many rich details including the angels, which are carved on every hammer beam. The glass, by the English firm Clayton and Bell, represents men of learning, and is said to be the oldest complete cycle of Victorian stained glass. The Senate is said to have asked Blacket to sign his buildings; the Blacket coat of arms are on a chimney on the south wall of the main wing, and his initials, ETB, are on the façade of the Great Hall.

Completed in 1861, the university soon became a tourist attraction; Anthony Trollope wrote home in 1874 that the Hall was "the finest chamber in the colonies", and that he could remember no college of Oxford or Cambridge which possessed a hall "of which the proportions are so good".

J. M. Freeland says of the architectural scene in Sydney in the 1860s, "The real architects of Sydney, in general, liked, respected and helped each other as friends. This peaceful situation was partly due to the overpowering presence of Edmund Blacket. Blacket bestrode the Sydney Architectural scene like a colossus."

During the period of the building of Sydney University, Edmund and Sarah added another two children to the family; Cyril was born in 1857 and Horace in 1860, taking the total to eight. In 1857, Edmund designed and built a home for his family, "Bidura", on Glebe Point Road. Nearby was "Toxteth Park", home of the solicitor, George Allen, a grand house built by the Regency architect, John Verge. The presence of this house seems to have influenced Blacket's design as the house he built for himself is entirely of a Colonial Regency style, with a hip roof and French doors opening onto a veranda with open cast-iron pilasters. In 1859, Blacket received his last letter from his father, who died in November 1858.

Other buildings

Schools and institutions
At the University of Sydney, Blacket built the Anglican St. Paul's College and supervised the building of the Catholic College of St John's after the resignation of its designer William Wardell. Insofar as the building was completed, he was faithful to Wardell's design, but he omitted several features, such as the western cloister, for lack of funds. In 1881, Blacket designed the Clarke Buildings of Trinity College, a residential college affiliated with the University of Melbourne. These residential buildings were executed in brick, with decorative stone features and carved columns. He later also added a kitchen and staff accommodation block. A design for a chapel at the college was not proceeded with. The Clarke Buildings were extended and completed and Arthur Blacket in 1888.

One of Blacket's best known commissions was the extension of Sydney Grammar School in 1855. The building, occupying a highly visible position fronting onto College Street and overlooking Hyde Park in the City of Sydney, was begun by Edward Hallen in 1832, to a Regency design, but considerably smaller than intended. Because of the structure of the school board, Blacket's plans for the extension had to go before the Legislative Council for approval. He added a wing to either end of the building, respecting the proportion of the original, but with two floors where the earlier stage had one, and with the centre of Hallen's building having a Doric portico. The portico was not constructed until 157 years later, and in the intervening period, the design looked strangely vacant in the middle.

Blacket also designed the Avoca Street front of the Prince of Wales Hospital at Randwick, Mudgee Hospital and the ornate Blind Asylum on the corner of William Street.

Banks and commercial premises
Many of Blacket's banks date from the 1850s and 60s, as do many of his houses. Whereas churches and associated buildings were generally of the Gothic and occasionally of the Romanesque style, the Classical style was more usual for banks, many of them stylistically based upon the palaces of Renaissance Florence. These included The Bank of Australasia and The English, Scottish and Australian Bank, both on George Street, The Exchange Buildings on Spring and Gresham Streets and The Liverpool and London Insurance Company on Margaret Street. Of the banks and offices that Blacket designed within the Sydney CBD, several survived into the 1970s but were eventually demolished to make way for high-rise development. One bank's neoclassical exterior survives on the corner of George and King Street, but the interior was gutted in 2011 to accommodate Louis Vuitton's flagship Sydney store. As late as 2008, when it housed the Blacket hotel, a few internal fittings – a staircase, and the bank vault among others – remained. Many of his small shops and commercial premises exist in other parts of Sydney such as Redfern and King Street, Newtown, but invariably with the street level façade altered beyond recognition.

Other commercial buildings included Mort's Wool Stores at Circular Quay, which are now demolished, and David Cohen's & Co general store in High St Maitland, which was originally three stories but only the ground floor, occupied by Centrelink, is now remaining after a fire in 1970.

Houses

Blacket built houses both great and small. They ranged from a little five-room house for E. O. Heywood on Glebe Point Road to Henry Cary Dangar's castle-like Grantham, formerly on Pott's Point. With its battlements, turrets, grand staircase and magnificent harbour views, Grantham rivalled Government House. Joan Kerr writes, "It was one of the grandest houses in Australia and certainly the grandest of this baronial Gothic type. Its demolition was an appalling loss...." Henry Gilbert Smith, the founder of , was a favourite client whilst Blacket was in private practice, having designed his Georgian house, Fairlight House, two versions of the Style Hotel (both since demolished), and St Matthew's Church (also demolished), all in the Manly area.

Blacket also built several Anglican Church rectories, most of which are in a simple, asymmetrical, Gothic Revival style with gables and some Gothic detailing in the bargeboards and verandas, such as those at Berrima and Bega. He also remodelled Thomas Sutcliffe Mort's house Greenoaks in the Gothic style—it was since renamed Bishopscourt as the residence of the Archbishop of Sydney until its sale to private interests.

A common residential commission late in the practice was for rows of terraces. As three of his four sons, Arthur, Owen and Cyril, joined him, terraces became a major occupation for "Blacket and Sons". A row with decidedly eccentric aesthetic details, for which Cyril was almost certainly responsible, exists in Petersham, and is similar to those designed for W. H. Paling in 1881.

Churches

As an architect, Blacket is most famous for his churches. The exact number that he designed is unknown but totals more than a hundred, earning him the epithet, "The Wren of Sydney". His little country churches, in golden sandstone where available, with their steep gables and small bellcotes are so familiar in New South Wales, and established such a strong tradition to be imitated in stone, weatherboard and brick, that they are often seen as so commonplace as to be unremarkable.

Blacket's churches range from small multi-purpose school-cum-churches to cathedrals. Several of his finest churches are among the most highly valued heritage buildings in Australia.

Small churches

While the general outline of these buildings, with steeply pitched roofs, lower chancels and small bellcotes are easily recognisable, the form varies from tiny buildings like St Mark's Greendale, (1848) to the somewhat larger cruciform St Michael's, Wollongong, (1858). Even at a church as remote as St Mark's, which was surrounded by fields and forest, and had neither village nor full-time priest, the details of the design commanded Blacket's care, the little building having an elegant gable over its fluted doorway, and floral bosses, long since destroyed, at the ends of its drip moulding.

Blacket's small church designs varied in style from Norman at St Silas, Waterloo; to staid Early English Gothic as at St Peter's, Watson's Bay (1864) and St Thomas's, Narellan (1880); to Perpendicular at Holy Trinity, Berrima, (1847) a comparatively wide church spanned by a hammerbeam roof of unusual design.

Larger churches

Many of his larger churches are among Blacket's best known buildings. The designs are extremely varied; Blacket could work in any of the medieval styles, and built larger churches in all of them, while the forms of the buildings range from the aisleless hall of St Mary's, Waverley; to the aisleless cruciform church of St Paul's, Burwood; to the triple-gabled church of St Paul's, Redfern, the aisled church of St Michael's, Surry Hills and the clerestoried church of St Stephen's, Newtown.

St. John the Evangelist, Glebe, 1868, is Blacket's most famous design in the Norman style, in which rich mouldings and carved capitals form a striking contrast with the plain round arches. Blacket also designed the major furnishings.

St. Thomas', North Sydney (1877–84), is a cathedral-sized building in the Early English style, it is of very robust external appearance, being of rusticated masonry and internally, very spacious. Designed by Blacket near the end of his career, it was built by his sons and grandson who provided the designs for much of the furnishings. Like a number of his later works, it has a rose window of an early French Gothic type. The spire was never completed.

All Saints Church, Bodalla, was designed to commemorate the life of Thomas Sutcliffe Mort, 'father of Australian dairying', and was built between 1880 and 1901 from granite quarried on Mort's estate. While a Blacket design, it is unlikely that he ever saw the site or the church which was overseen by his son Cyril. However, it also features hand-wrought iron hinges and straps said to have been designed by Blacket himself.

St Michael's Anglican Church, Surry Hills was first designed in 1854, but Blacket modified and reduced it, as required, to cut costs. The church plan accepted in 1882 is rare among Blacket's designs in having simple Geometric Gothic tracery in its windows rather than the Flowing Decorated style of which he was a master. All Saints, Woollahra, on the other hand, presents Late Geometric Gothic at its most opulent and ornamental.

Blacket's preferred style for a medium-to-large church was Flowing Decorated Gothic. Unlike the other historic periods of Gothic architecture, this style permitted him to vary the design of the tracery from window to window. This was far more time-consuming and costly than designing in the Early English or even the Perpendicular style, but it gave free rein to Blacket's creativity and skills as a draughtsman. During his time spent in Yorkshire during his youth, Blacket would have become familiar with two of the most famous of all Flowing Decorated windows in England, the west window of York Minster and the east window of Selby Abbey. The influence of these designs, and that of the equally famous east window of Carlisle Cathedral, can be seen in Blacket's east windows at Goulburn Cathedral; St Stephen's, Newtown; and St Paul's Burwood.

Cathedrals
Edmund Blacket was to design four cathedrals for the Church of England, All Saints, Bathurst, 1845; St. Andrew's, Sydney, (appointed architect 1846); St. Saviour's, Goulburn, 1874; and St. George's, Perth, 1878.

All Saints Cathedral, Bathurst, was a simple, lofty Norman design in the attractive local red brick of all Bathurst's older buildings. It was greatly enlarged in the late 19th century, and then mostly demolished and replaced because of subsidence.

St. George's Cathedral, Perth, is also of brick, and the details are of a simple Early English design. Blacket designed a single tower and spire, asymmetrically placed and of majestic proportions. When a tower was eventually built, it was not of Blacket's design.
Joan Kerr indicates that St. Saviour's Cathedral, Goulburn was one of Blacket's favourite buildings, as, unlike his cathedrals in Sydney and Perth, he was not hampered either by distance, or a previous architect's foundations. It was here that Blacket was able to really indulge a love of Flowing Decorated ornamentation. There are three very large windows, of seven and six lights in the chancel and transept ends, each with highly elaborate and distinct tracery, inspired by, but not identical to, famous Medieval windows. That in the North transept has a wheel based on the Visconti emblem of a window in Milan Cathedral, but by the judicious placement of two small tracery lights, Blacket has turned it into a sunflower, an emblem frequently used by one of the stained glass firms he employed, Lyon and Cottier. Other decorative features include the foliate carving of the capitals, much of it in the stiff-leaf style of Wells Cathedral; pierced cinquefoil openings in panels above the hammerbeams; and a screen of white New Zealand stone. The stained glass includes windows by two of England's major firms: John Hardman & Co. and Heaton, Butler and Bayne, and Sydney's two leading firms: Lyon and Cottier and Ashwin and Falconer.

Goulburn occupied much of the last nine years of Blacket's life, and ultimately, his family donated the crucifix which he had carved on his voyage to Sydney. At St. Saviour's, as at St. Georges, Blacket's tower and the ornate crocketed spire was not built in his lifetime. The tower, without the spire and pinnacles, was completed in the late 20th century.

Spires

The most visible signs of Blacket's career are the spires that he positioned on hilltops around Sydney and in several country towns. Unfortunately, among those proposed but never realised are the spires of three of Blacket's grandest churches, Goulburn Cathedral, St Thomas's, North Sydney and All Saints, Woollahra.

Among those that were completed, two are outstanding, those of St John's Anglican Church, Darlinghurst and St Stephen's, Newtown. As with the design of any spire, the architect faces the challenge of placing a structure of octagonal plan upon one of square plan and both structurally and visually bridging the difference. In both examples Blacket makes it "difficult to determine where the tower ends and the spire begins".

At St Stephen's (1871), the tower has an accompanying stair turret that rises to the level below the tall upper belfry window. At that level, both the tower and the top of the turret are encircled by a battlement, as if the tower itself might well end there, as it does at St Paul's, Redfern. But it does not; it rises, somewhat narrower, and visually reduced by the clever play of overlapping forms. Each of the tall windows on the four sides is set into a slightly projecting plane, with its own gable, very similar in form to that which Blacket often used around doors. These rise like dormers between the broaches, overlapping the meeting of the spire and the tower, so the horizontal definition between the two occurs only at the corners. Unfortunately, in the 1990s the large poppyhead on the top of the spire became unsafe and was removed which has lessened the visual impact.

At St John's the design is even more complex, because, near the top of the upper window, the tower itself suddenly appears to become octagonal in horizontal section, before the spire is reached. The change to the section is masked by the presence of four large pinnacles which rise from the corners at this point, as if they were sitting on the buttresses but are in line with the tower itself. Behind the pinnacles, once again Blacket has placed an encircling battlement which appears to mark the point where the tower ceases to be tower and becomes spire, or vice versa. Harmonious with the four crocketed pinnacles, and on the same level, are little dormer windows.

Morton Herman writes of the spire of St Mark's, Darling Point, that it is a conspicuous landmark for miles around, "contrasting...yet part of the silhouette of the hill, amply demonstrating Blacket's ability to make buildings seem inevitable on their sites." Herman says of the Sydney landscape that "had St Mary's, Waverley, and All Saint's, Woollahra, gained their intended spires the main heights of the whole district would have culminated in Blacket spires and provided impressive sights from all points of view".

Later life

On 15 September 1869, Sarah Blacket died, aged 51 years. Cyril and Horace were at this time only 12 and 9 respectively. Marion, the third daughter, was 19. She was to remain unmarried and in her father's household, caring for her four young siblings. Sarah's body was buried in Balmain Cemetery with a simple headstone of a gabled Gothic form. According to Morton Herman, Blacket had "always consulted her about every important matter, before he ever gave a final decision, for as long as she lived".

A year after Sarah's death, Blacket sold "Bidura" and moved to Balmain, living for a time in a house owned by his brother Russell. He was to remain in Balmain until about 1880, despite the fact that it was a notorious place with its own force of six police necessary to keep order. In his last few years he lived in "Roland Villa", Petersham, near the home of his son Cyril and his wife.

Death

Edmund Blacket died suddenly from "apoplexy" on Friday 9 February 1883 aged 65 at his home "Roland Villa", Croydon Street, Petersham, Sydney. The daily papers, as far away as Perth, where St. George's Cathedral was under construction, carried obituaries praising him and citing Sydney University as "probably the finest structure in the Australian Colonies". His funeral on Saturday 10 February 1883 was well attended and the coffin bearers included three of Australia's most distinguished architects: William Kemp, John Horbury Hunt, and the Colonial Architect, James Barnet.

Blacket was buried with his wife in Balmain Cemetery, and his name was added to the tombstone that he had designed for her, but at the closure of Balmain Cemetery in 1942, their ashes were removed to St. Andrew's Cathedral, where an enamel hatchment and a small brass plaque mark the place of their interment. Their memorial stone was relocated to Camperdown Cemetery.

As a person, Blacket was held in high esteem, those who knew him recalling his good qualities for later historians; H. G. Woffenden wrote in the 1960s: "Edmund Blacket was an upright God-fearing man who shunned controversy, professional publicity and social acclaim. An exemplary husband and father, he had been churchwarden and alderman, and was widely respected and admired for honesty, diligence, accuracy, fortitude and propriety."

Influence

Blacket's architectural practice was to be one of the most influential in Australia's history. His first articled pupil was William Kemp whose apprenticeship was interrupted when Blacket became Colonial Architect. During the 1860s, Blacket's son Owen began training, followed by Cyril in 1872 and the older son, Arthur, who worked in the "Blacket and Sons" business in the 1880s.

In 1880, Cyril travelled to England where he took his examination at the Royal Institute of British Architects, returning to Australia to put up his plate as "Cyril Blacket A.R.I.B.A.". In 1903, he was elected president of the New South Wales Institute of Architects. After Edmund's death, Cyril and Arthur worked for a time as "Blacket Brothers", the most famous building of this period being the Hunter Baillie Memorial Presbyterian Church (1886) which from its position on the ridge pays homage across the suburbs of Annandale and Camperdown to their father's spire of St Stephen's, Newtown, on the parallel ridge. Cyril's other well-known work is the chapter-house for St. Andrew's Cathedral. Two later Blackets, Cyril's son Pendril and Harold Wilfred Blacket were to follow the family tradition as architects.

During the 1850s, Blacket employed James Barnet, who had emigrated from Scotland, having studied architecture under C.J. Richardson. He worked for Blacket as Clerk of Works for Sydney University, and it has been suggested that the massive hammer-beam roof of the Great Hall may have been his design. Barnet was to become the most successful of the Colonial Architects, with many of his public buildings still serving their original purposes.

Of all the architects associated with Blacket, the one who would become most famous was John Horbury Hunt, who worked with him from 1863 to 1868. It was at this time, that Blacket's architecture developed bolder forms, based upon Norman, Transitional and Early French Gothic architecture, rather than the more refined Gothic. This is particularly noticeable in the presence of simple round windows divided by four circles of tracery in the gables of several churches of this time. Blacket permitted his staff to enter competitions, and it was while at Blacket's office that Horbury Hunt won the commission for Newcastle Cathedral, to be executed in his preferred material of brick. The brick church at Tumut, consecrated in 1873, is ascribed to Blacket, but appears to owe much to Hunt. Hunt, who lived most of his early life in North America, had previously worked under Edward Clarke Cabot. One of the innovations that he introduced to Australian architecture while working for Blacket was the saw-tooth roof for industrial building, which was employed at Mort's Woolstore. Hunt appears to have been influenced by the Arts and Crafts Movement, particularly Philip Webb, and ultimately he created buildings of great originality such as the Anglican Cathedrals of Grafton and Armidale.

Critique
Not all critiqued Blacket's contribution favourably, with Woffenden opining in his 1967 biography drawn from his thesis that Blacket "... put tradition before innovation... [and] as a consequence stylistic development was severely restricted; quality declined as other less dedicated practitioners exploited popular taste by substituting burlesque plagiarism for scholarly eclecticism."

Partial list of works

While Edmund Blacket's university buildings have been maintained and continue in use, few of Blacket's commercial buildings have survived, with none of his Sydney banks remaining. Residential buildings are better represented, and include cottages, terrace houses and mansions.

Of Blacket's more than 100 designs for churches, 84 can be identified as having been built to his plans, with a number of others being detailed or substantially designed by his sons Arthur and Cyril. In addition he supervised the building of several other churches and made major contributions to a dozen more, such as the towers and spires at St John's, Darlinghurst and Christ Church St. Laurence, the chancel of St John's, Camden and the roof of St. Judes, Randwick.

See also

 Architecture of Australia
 Francis Greenway
 John Horbury Hunt
 John H. Buckeridge
 Burcham Clamp

References

Notes

Citations

Bibliography
 Freeland, J. M. Architect Extraordinary, the Life and Work of John Horbury Hunt: 1838–1904, (1970) Cassell Australia,
 Freeland, J. M. Architecture in Australia, (1972) Pelican,
 Herman, Morton. The Blackets, an Era of Australian Architecture, (1963) Angus and Robertson,
 Kerr, Joan. Our Great Victorian Architect, Edmund Thomas Blacket, (1817–1883), (1983) The National Trust of Australia,
 Kinsela, Joseph. St Andrew's Cathedral, Pictorial History & Guide, (1986) Argyle Press Goulburn,
 Kinsela, Joseph. Goulburn Cathedral, (1984) Argyle Press,

External links

1817 births
1883 deaths
People educated at Mill Hill School
New South Wales architects
Gothic Revival architects
Australian ecclesiastical architects
English emigrants to colonial Australia
Architects from London
Architects from Sydney
Architects of cathedrals
Burials in Balmain Cemetery
19th-century Australian architects

Edmund Blacket


Ugolino della Gherardesca (March 1289), Count of Donoratico, was an Italian nobleman, politician and naval commander. He was frequently accused of treason and features prominently in Dante's Divine Comedy.

Biography
In the 13th century, the states of Italy were beset by the strife of two parties, the Ghibellines and the Guelphs. While the conflict was local and personal in origin, the parties had come to be associated with the two universal powers: the Ghibellines sided with the Holy Roman Emperor and his rule of Italy, while the Guelphs sided with the Pope, who supported self-governing city-states.

Pisa was controlled by the Ghibellines, while most of the surrounding cities were controlled by the Guelphs, most notably Pisa's trading rivals Genoa and Florence. Under the circumstances, Pisa adopted the "strong and vigilant government" of a  "armed with almost despotic power".

Ugolino was born in Pisa into the della Gherardesca family, a noble family of Germanic origins whose alliance with the Hohenstaufen Emperors had brought  to prominence in Tuscany and made them the leaders of the Ghibellines in Pisa.

Between 1256 and 1258 he participated in the war against the philo-Genoese giudicato of Cagliari, in Sardinia. Ugolino then obtained the south-western portion of the former Judicate, with its rich silver mines, where he founded the important city of Villa di Chiesa, today Iglesias.

As head of his family, the Ghibelline party and podestà of Pisa, Ugolino took action to preserve his power in the face of the political hostility of Pisa's neighbours. In 1271, through a marriage of his sister with Giovanni Visconti, judge of Gallura, he allied himself with the Visconti, the leaders of the Guelphs in Pisa. In doing so, he aroused the suspicions of his fellow Ghibellines.

The subsequent disorders in the city in 1274 led to the arrest of both Ugolino and Giovanni, who were accused of plotting to undermine Pisa's government and, with the support from Tuscany's Guelphs, share power among themselves. Ugolino was imprisoned and Giovanni banished from Pisa. Giovanni Visconti died soon afterwards, and Ugolino, no longer regarded as a threat, was set free and banished. In exile, Ugolino immediately began to intrigue with the Guelph cities of Florence and Lucca. With the help of Charles I of Anjou, he attacked his native city and forced it to make peace on humiliating terms, pardoning him and all the other Guelph exiles. After his return, Ugolino at first remained aloof from politics but quietly worked to reassert his influence.

In 1284, war broke out between Pisa and Genoa and both Ugolino and Andreotto Saracini were appointed as captains of two divisions of fleets by Albertino Morosini, the  of Pisa. The two fleets met in August in the Battle of Meloria. The Genoese fought valiantly and destroyed seven Pisan galleys and captured twenty-eight. Among the eleven thousand captives was the Podestà. Ugolino and his division set the sign of surrender and withdrew, deciding the battle in favour of Genoa. This flight was later interpreted as treachery but not by any writer earlier than the 16th century.

When Florence and Lucca took advantage of the naval defeat to attack Pisa, Ugolino was appointed  for a year and succeeded in pacifying them by ceding certain castles. When Genoa suggested peace on similar terms, Ugolino was less eager to accept, for the return of the Pisan prisoners, including most of the leading Ghibellines, would have diminished his power.

Ugolino, now appointed  for ten years, was now the most influential man in Pisa but was forced to share his power with his nephew Nino Visconti, son of Giovanni. The duumvirate did not last, as Ugolino and Nino soon quarrelled. In 1287, Nino, striving to become Podestà, entered into negotiations with Ruggieri degli Ubaldini, Archbishop of Pisa, and the Ghibellines. Ugolino reacted by driving Nino and several Ghibelline families out of the city, destroying their palaces and occupying the town hall, where he had himself proclaimed lord of the city.

In April of that year, Ugolino again refused to make peace with Genoa, even though the enemy was willing to be content with financial reparations. Ugolino still feared the return of the captured Pisans, who saw Ugolino as the cause for their prolonged captivity and had sworn to get their revenge for this.

In 1288, Pisa was hit by a dramatic increase in prices, resulting in food shortages and riots among the bitter populace. During one of these riots, Ugolino killed a nephew of the Archbishop, turning the latter against him. On 1 July 1288, after leaving a council-meeting discussing peace with Genoa, Ugolino and his followers were attacked by a band of armed Ghibellines. Ugolino withdrew into the town hall and repelled all attacks. The Archbishop, accusing Ugolino of treachery, aroused the citizens. When the town hall was set on fire, Ugolino surrendered. While his illegitimate son was killed, Ugolino himself – together with his sons Gaddo and Uguccione and his grandsons Nino (surnamed "the Brigand") and Anselmuccio – were detained in the Muda, a tower belonging to the Gualandi family. In March 1289, on orders of the Archbishop, who had proclaimed himself , the keys were thrown into the Arno river and the prisoners left to starve.

Their corpses were buried in the cloister of Saint Francis Church and remained there until 1902, when they were exhumed and transferred to the Gherardesca family chapel.

Literary afterlife

The historical details of the episode are still involved in some obscurity, and although mentioned by Villani and other writers, it owes its fame entirely to Dante's Divine Comedy. Dante's account has been paraphrased by Chaucer in the Monk's Tale of the Canterbury Tales, as well as by Shelley. Irish poet Seamus Heaney also recounts the legend in his poem "Ugolino", a free translation from Dante, found in his 1979 book Field Work. Giovanni Pascoli writes of Ugolino in 'Conte Ugolino', a poem from his Primi Poemetti.

Ugolino in Dante's Inferno

Dante placed Ugolino and Ruggieri in the ice of the second ring (Antenora) of the lowest circle of the Inferno, which is reserved for betrayers of kin, country, guests, and benefactors.

Ugolino's punishment involves his being entrapped in ice up to his neck in the same hole with his betrayer, Archbishop Ruggieri, who left him to starve to death. Ugolino is constantly gnawing at Ruggieri's skull. As Dante describes it,

Ugolino's gnawing of Ruggieri's head has been interpreted as meaning that Ugolino's hatred for his enemy is so strong that he is compelled to "devour even what has no substance." Ugolino, though punished for his betrayal of his people, is allowed some closure for the betrayal that he himself was forced to suffer under Ruggieri, when he is allowed to act as Ruggieri's torturer for eternity. According to Frances Yates, both are "suffering the torments of the damned in the traitors' hell; but Ugolino is given the right to oppress ... Archbishop Ruggieri with a ghastly eternal punishment which fits his crime."

Ugolino and his children

According to Dante, the prisoners were slowly starved to death and before dying Ugolino's children begged him to eat their bodies.

Ugolino's statement that hunger proved stronger than grief has been interpreted in two ways, either that Ugolino devoured his offspring's corpses after being driven mad with hunger, or that starvation killed him after he had failed to die of grief. The first and more ghastly of these interpretations has proved the more popular and resonant. For this reason Ugolino is known as the "Cannibal Count" and is often depicted gnawing at his own fingers ("eating of his own flesh") in consternation, as in the sculpture The Gates of Hell by Auguste Rodin, in Ugolino and his Sons by Jean-Baptiste Carpeaux and in other artwork, though this may also simply refer to Ugolino's own statement in the poem that he gnawed his fingers in grief.

Ugolino in Borges
The case of Ugolino and Ruggiero is behind the story of the short story "The Wait" (La espera) of Jorge Luis Borges in the collection named The Aleph (El Aleph) (1949).

Scientific analysis of the remains

In 2002, paleoanthropologist Francesco Mallegni conducted DNA testing on the recently excavated bodies of Ugolino and his children. His analysis agrees with the remains being a father, his sons and his grandsons. Additional comparison to DNA from modern day members of the Gherardesca family leave Mallegni about 98 percent sure that he has identified the remains correctly. However, the forensic analysis discredits the allegation of cannibalism. Analysis of the rib bones of the Ugolino skeleton reveals traces of magnesium, but no zinc, implying he had consumed no meat in the months before his death. Ugolino also had few remaining teeth and is believed to have been in his 70s when he was imprisoned, making it further unlikely that he could have outlived and eaten his descendants in captivity. Additionally, Mallegni notes that the putative Ugolino skull was damaged; perhaps he did not ultimately die of starvation, although malnourishment is evident.

In 2008, Paola Benigni, superintendent to the Archival Heritage of Tuscany, disputed Mallegni's findings in an article, claiming that the documents assigning the burial to Ugolino and his descendants were Fascist-era forgeries.

Notes

Literature

Paola Benigni, Massimo Becattini. "Ugolino della Gherardesca: cronaca di una scoperta annunciata". Archeologia Viva 128 (2008). pp. 64–67.
Thomas Caldecot Chub. Dante and His World. Boston: Little, Brown and Co. (1996).
Joan M. Ferrante. The Political Vision of the Divine Comedy. Princeton: Princeton University Press (1984).
Robert Hollander. "Inferno XXXIII, 37–74: Ugolino's Importunity". Speculum 59(3) (July 1984), p. 549–55. doi:10.2307/2846299. JSTOR 2846299.
Robert Hollander. Circle 9 The Trustees of Princeton University (1997).
James Miller. Dante & the Unorthodox; The Aesthetics of Transgression. Waterloo, Canada: Wilfrid University Press (2005).
Gilbert, Allan H. Dante's Conception of Justice. Duke University Press, 1925.
Francesco Mallegni, M. Luisa Ceccarelli Lemut. Il conte Ugolino di Donoratico tra antropologia e storia (2003). .
Nicole Martinelli, "Dante and the Cannibal Count", Newsweek (1 February 2007).
Guy P. Raffa.  Circle 9, Cantos 31–34. University of Texas at Austin (2002).
Theodore Spencer.  "The Story of Ugolino in Dante and Chaucer". Speculum 9(3) (July 1934), p. 295–301. doi:10.2307/2853896. JSTOR 2853896.
Paget Toynbee, A Dictionary of the Proper Names and Notable Matters in the Works of Dante, Oxford University Press (1968).
Frances A. Yates. "Transformations of Dante's Ugolino". Journal of the Warburg and Courtauld Institutes 14(1/2) (1951), p. 92–117. doi:10.2307/750354. JSTOR 750354.

External links
World of Dante, canto 33:  Multimedia website with Italian text and Allen Mandelbaum's translation, as well as art
The Princeton Dante Project

1210s births
1289 deaths

Year of birth uncertain
Deaths by starvation
People from Pisa
Counts in Italy
Culture in Pisa
History of Pisa
Cannibalism in fiction
13th-century Italian nobility
Medieval admirals
Wars of the Guelphs and Ghibellines
Characters in the Divine Comedy

Ugolino della Gherardesca


Hollywood Records is an American record label of the Disney Music Group. The label focuses in pop, rock, alternative, hip hop, and country genres, as well as specializes in recordings for a more mature audience (generally falling well outside the lines for the flagship Walt Disney Records label).

Founded in December 1989, its current roster includes artists such as New Hope Club, Sofia Carson, Tini, Area21, Queen, The Moss, Little Image, Almost Monday, Andy Grammer, Daisy the Great, Netta, and Kenzie. The label also releases soundtrack albums and digital releases from Marvel Studios, 20th Century Studios, Searchlight Pictures, ABC, National Geographic, Hulu, 20th Television, FX, and ESPN since their acquisitions by The Walt Disney Company.

History

1989–1995: Founding
Hollywood Records was founded in December 1989 by Michael Eisner, then CEO of The Walt Disney Company as a way of expanding the company's music operations by looking to develop and promote the careers of a wide variety of artists in various genres. At the time, the company was limited to the release of soundtracks from Touchstone, and Hollywood Pictures films. The first act to be signed to the label was The Party, after being formed from Mouseketeers on The Mickey Mouse Club.  Lawyer Peter Paterno was the first president of the label, until his resignation in 1993 because of the division's lackluster sales. After failing to sign new artists such as Nirvana, The Smashing Pumpkins, Naughty by Nature, Cypress Hill and Dr. Dre, the label experienced its first major success in February 1990, when it acquired the North American distribution rights to Queen's entire catalog for $10 million. The following year, the first Queen album under Hollywood, Innuendo, was released. The deal's outlook as an important economic opportunity was immediately affected by the death of the band's lead singer Freddie Mercury, although the band's catalog sales managed to successfully generate nearly $94 million in revenue for Disney from 1991 to 1995.

1995–1998: Formation and early years

Bob Pfeifer was named president of the label in March 1995 after a whole year without a president, but problems continued to the label and Pfeifer was fired in 1997, after the label revealed that he had lost over 150 million dollars since 1990. In 1997, Disney acquired Mammoth Records, in order to get an already-established record label that could succeed. However, the acquisition of Mammoth was a failure and the label was closed and integrated to Hollywood in 2003. Additionally, during this time, they had signed Duran Duran to a three-album contract, and subsequently released Pop Trash, only to terminate their contract after disappointing album sales. In 1998, the company decided to form Buena Vista Music Group (now Disney Music Group), integrating the operations of Walt Disney Records along with Hollywood, Lyric Street, Mammoth, and Walt Disney Music Publishing. Bob Cavallo, former manager of Earth, Wind & Fire and Prince was appointed as chairman of the group, and president of Hollywood Records. This movement looked to organize the music operations of the company under a more integrated direction.

1998–2012: First major success
After some years of development, Hollywood Records had its first major success in 1998, when Fastball's second album All the Pain Money Can Buy was released and put the label into the mainstream with the hit single The Way. 5 years later, Metamorphosis, Hilary Duff's studio debut album, was released and became a success to the label, selling over three million copies in the United States. The launch of Duff's career represents a new business model for the record, utilizing the synergies around the company, including important outlets like Disney Channel, Radio Disney, ABC Family & ABC. Duff's albums released under Hollywood proved to be equally successful including Duff's sophomore album and 2005's Most Wanted. A similar business model was utilized in subsequent Hollywood's artists such as Miley Cyrus, Demi Lovato, Selena Gomez, the Jonas Brothers and Bridgit Mendler with several records that attained Platinum or Gold certifications. These artists' music careers proved the label to be successful. At the same time, the label continued to develop the careers of acts with a less mainstream profile such as Grace Potter & the Nocturnals, Breaking Benjamin or Plain White T's, but who had been successful in its own terms. The label also continued to release soundtracks from films and television shows, mainly those derived from Marvel Studios productions in conjunction with Marvel Music. In 2010, Hollywood absorbed the remaining operations of country music label Lyric Street Records, which became an imprint for the catalog of the defunct-label, currently managed by Hollywood. Later that same year, Queen left EMI Records for Universal Music-owned Island Records, with Hollywood continuing to remain the group's North American music distributor.

2012–present: Ken Bunt
In January 2012, after 14 years of a successful tenure, Bob Cavallo retired as chairman of the group and Ken Bunt was appointed as president of the group. Several changes have been done under his tenure, including the retirement of long-time executives from the Cavallo's era like Abbey Konowitch, Justin Fontaine and Jhon Linda and the appointment of new A&R's like Mio Vukovic and Mike Daly. In March 2013, Disney Music Group and Universal Music Group announced the expansion of their relationship with a new commercial and creative agreement that enable Hollywood Records' artists to collaborate with the roster of producers and songwriters that are part of Universal. Since 2013, Hollywood Records also uses the brand name DMG Nashville to specialize in country music. The genre label was founded to provide music licensing for Bigger Picture Music Group. After Bigger Picture's closure in 2014, DMG Nashville released its first studio album; Lucy Hale's Road Between. Starting in 2020, Hollywood Records has released a series of EPs under the name Music for the Movement, with social justice and protest songs.

Hollywood Basic

Hollywood BASIC [sic] was Hollywood's short-lived hip-hop subsidiary, run by Dave Funkenklein, which existed from 1990 to 1995. It did not survive the distribution transition its parent made to PolyGram Records, and all of its recordings were deleted, save for those by Organized Konfusion, which were repressed under the new deal. It was the first label to record DJ Shadow, releasing his "Lesson 4" (a reference to Double Dee and Steinski) as the B-side of a 1991 single by Lifers Group, a hip hop group composed of prisoners at East Jersey State Prison in Rahway, New Jersey. It also released Shadow's Legitimate Mix on the B-side of a single by the group Zimbabwe Legit in 1992. Arguably the most high-profile release was due to be BASIC Queen Bootlegs, a 10-track collection of hip-hop remixes and reinterpretations of tracks by the rock band Queen and featuring roster names plus guests such as Ice Cube. Although the BASIC Beats Sampler confirmed its release date for April 1992, the album was not commercially released although it has since leaked online.  Other notable releases came from Organized Konfusion; its challenging second album, Stress: The Extinction Agenda (1994), was widely acclaimed. The label was also home of Charizma and Peanut Butter Wolf, although, following the shooting death of Charizma in 1993, the music the duo recorded for the label was not released. This would later inspire Peanut Butter Wolf to found Stones Throw Records in order to make this music available. Acts on Hollywood BASIC's roster included Charizma and Peanut Butter Wolf, Lifers' Group, Organized Konfusion, Raw Fusion, Hi-C, and Zimbabwe Legit.

Artists

Distribution

Upon its 1989 launch, Hollywood was distributed in the United States and Canada by Elektra Records, at the time owned by Disney rival Time Warner. Distribution in North America switched to PolyGram (acquired by Universal Music Group) in 1995 (partnered with A&M in Canada until Polygram's acquisition by Universal Music in 1999). Today, Universal Music Group markets and distributes Hollywood Records catalog worldwide. Also, several Hollywood artists including Demi Lovato, Bridgit Mendler, Selena Gomez & the Scene, Nick Jonas & the Administration, Joe Jonas, Miley Cyrus, Sofia Carson, Jonas Brothers, Sabrina Carpenter, and the new addition Dixie D'Amelio directly signed to Universal Music UK's Fascination Records. There were reports in 2011 that Disney Music Group would start an independent US distribution arm for its label's releases, but as of February 2012, those plans have yet to be enacted. Universal Music Group acquired most of EMI in 2013 but pledged not to renew its European license with Disney; both sides eventually changed their minds. In March 2013, Disney Music Group and Universal Music Group announced the expansion of their relationship with a new commercial and creative agreement that enabled Hollywood Records' artists to collaborate with the roster of producers and songwriters that are part of Universal Music.

See also
 CDVU+
 Fox Music
 List of record labels
 Marvel Music

References

External links

 Hollywood Records extends deal for Senior Management

American companies established in 1990
American record labels
Record labels based in California
Alternative rock record labels
American country music record labels
Heavy metal record labels
Hip hop record labels
Pop record labels
Rock record labels
Soundtrack record labels
Companies based in Burbank, California
Disney Music Group
Labels distributed by Universal Music Group
Record labels established in 1990
1990 establishments in California

Hollywood Records


The Estorick Collection of Modern Italian Art is a museum in Canonbury Square in the district of Islington on the northern fringes of central London. It is the United Kingdom's only gallery devoted to modern Italian art and is a registered charity under English law.

The Estorick Collection was founded by the American sociologist and writer Eric Estorick (1913–1993), who began to collect art when he moved to England after the Second World War. Estorick and his German-born English wife Salome (1920–1989) discovered Umberto Boccioni's book Futurist Painting and Sculpture (1914) while they were on their honeymoon in 1947. Before the end of their trip they visited the erstwhile Futurist Mario Sironi in Milan and bought most of the contents of his studio, including hundreds of drawings. They built up the collection mainly between 1953 and 1958. The collection was shown in several temporary exhibitions, including one at the Tate Gallery in London in 1956, and the key works were on long-term loan to the Tate from 1966 to 1975. The Estoricks rejected offers to purchase their collection from the Italian government and museums in the United States and Israel. Six months prior to his death Eric Estorick set up the Eric and Salome Estorick Foundation, to which he donated all his Italian works.

The Estorick Collection moved to its current premises in Northampton Lodge, previously the home and office of Sir Basil Spence, the British architect, a converted Grade II-listed Georgian house, in 1998. The project was supported by a grant from the Heritage Lottery Fund.

The core of the collection is its Futurist works, but it also includes figurative art and sculpture dating from 1890 to the 1950s. It features paintings by Futurism's main protagonists: Giacomo Balla, Umberto Boccioni, Carlo Carrà, Gino Severini, Luigi Russolo and Ardengo Soffici, and works by Giorgio de Chirico, Amedeo Modigliani, Giorgio Morandi, Mario Sironi and Marino Marini. In addition to the main displays from the permanent collection, the Estorick Collection organises temporary exhibitions.

References

External links

Art museums established in 1998
Art museums and galleries in London
Modern art museums
Museums in the London Borough of Islington
1998 establishments in England
Charities based in England
Grade II listed buildings in the London Borough of Islington


, born  Wú Bǎifú (吳百福) in Taiwanese (March 5, 1910 - January 5, 2007) was the founder and chairman of Nissin Food Products Co., Ltd., and the inventor of the modern instant noodle, ramen.

Ando was born to Taiwanese parents in Kagi (currently Chiayi), Taiwan and grew up an orphan in Tainan City. In 1948, Momofuku Ando founded what was to become Nissin in Ikeda, Osaka, Japan.  It was a small family-run company at first.

On August 25, 1958, at the age of 48, and after months of trial and error experimentation, Ando announced that he had finally perfected his flash-frying method and therefore invented the instant noodle.  Called Chikin Ramen, after the original flavour, it was originally considered a luxury food item as it cost around six times that of traditional non-instant udon and soba noodles. Ando began sales of the Cup noodles on September 18, 1971. As prices dropped, ramen soon became a booming business.  An estimated 70 billion servings were sold in 2004.

In 1964, looking for a way to promote the instant noodle industry, Ando founded the Instant Food Industry Association which set guidelines for fair competition and product quality, introducing several industry standards such as the inclusion of production dates on packaging and the "fill to" line.  The Momofuku Ando Instant Ramen Museum is named after Ando.

Ando was also the chairman of the International Ramen Manufacturers' Association. He died on January 5, 2007 of heart failure in Osaka Prefecture at the age of 96.

1910 births
2007 deaths
Japanese inventors
Taiwanese businesspeople
Deaths from heart failure
Recipients of the Order of the Rising Sun

Momofuku Ando


Carl Reiner (20 Mairch 1922 – 29 Juin 2020) wis an American actor, comedian, director an screenwriter. He wis kent for creatin the The Dick Van Dyke Show an for vycing Shep in Good Boy! an Sarmoti in Father of the Pride. He an Mel Brooks creatit the 2000 Year Old Man, featurin a 2000 year auld man wha wis played bi Brooks an interviewed bi Reiner.

1922 births
20t-century American comedians
21st-century American comedians
2020 daiths
Male actors frae New York Ceety
Fowk frae New Rochelle, New York
Fowk frae Beverly Hills, Californie
American atheists
American male film actors
American film directors
American film producers
American militar personnel o Warld War II
American fowk o Austrick-Jewish strynd
American fowk o Romanie-Jewish strynd
American male televeesion actors
American televeesion directors
American televeesion producers
American televeesion writers
American male vyce actors
Jewish American male actors
Jewish atheists
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Mark Twain Prize recipients
Fowk frae the Bronx
Unitit States Airmy sodgers
Georgetown Varsity alumni
Jewish American comedians
Screenwriters frae New York (state)
Edmund A. Walsh School of Foreign Service alumni
Ootstaundin Performance bi  a Supportin Actor in a Comedy Series Primetime Emmy Awaird winners
Grammy Awaird winners

Carl Reiner


David Michael Farrell (born February 8, 1977), also known as Phoenix because he is believed to have a tattoo of a phoenix on his back, is Linkin Park's bassist.

Biography
Farrell was born in Plymouth, Massachusetts, but when he was five he moved to Mission Viejo, California where he attended Mission Viejo High School. He graduated in 1999 at the University of California, Los Angeles. He can play bass guitar, electric guitar, cello and violin.

Farrell was a member of a Christian punk/ska band called Tasty Snax. While he was at the college, he shared the room with his friend Brad Delson, and they practiced together.

He had to go on tour with the Tasty Snax so he could not play with Delson and his band. Then, Farrell left his band to play bass with Brad Delson in the band Xero in 1996 but then left in 1998. He then rejoined Xero now called Linkin Park in November 2000 and has been playing with them ever since.

Other websites
 Linkin park official website

1977 births
Living people
Linkin Park members
Bassists
Musicians from California

Dave Farrell