"The Murders in the Rue Morgue" is a short story by Edgar Allan Poe published in Graham's Magazine in 1841. It has been described as the first modern detective story; Poe referred to it as one of his "tales of ratiocination".

C. Auguste Dupin is a man in Paris who solves the mystery of the brutal murder of two women. Numerous witnesses heard a suspect, though no one agrees on what language was spoken. At the murder scene, Dupin finds a hair that does not appear to be human.

As the first fictional detective, Poe's Dupin displays many traits which became literary conventions in subsequent fictional detectives, including Sherlock Holmes and Hercule Poirot. Many later characters, for example, follow Poe's model of the brilliant detective, his personal friend who serves as narrator, and the final revelation being presented before the reasoning that leads up to it. Dupin himself reappears in "The Mystery of Marie Rogêt" and "The Purloined Letter".

Plot summary

The unnamed narrator opens with a lengthy commentary on the nature and practice of analytical reasoning, then describes the circumstances under which he first met Dupin during a visit to Paris. The two share rooms in a dilapidated old mansion and allow no visitors, having cut off all contact with past acquaintances and venturing outside only at night. One evening, Dupin demonstrates his analytical prowess by deducing the narrator's thoughts about a particular stage actor, based on clues gathered from the narrator's previous words and actions.

Dupin and the narrator read the newspaper accounts of a baffling double murder. Madame L'Espanaye and her daughter Camille have been found dead at their home in the Rue Morgue, a fictional street in Paris. The mother was found in a yard behind the house, with multiple broken bones and her throat so deeply cut that her head fell off when the body was moved. Camille was found strangled to death and stuffed upside down into a chimney, wedged so tightly that it took the strength of several men to pull her loose. The murders occurred in a fourth-floor room that was locked from the inside; on the floor were found a bloody straight razor, bloody tufts of gray hair, and two bags of gold coins. Several witnesses reported hearing two voices at the time of the murder, one male and French, but disagreed on the language spoken by the other. The speech was unclear, and all witnesses claimed not to know the language the second voice was speaking.

A bank clerk named Adolphe Le Bon, who had delivered the gold coins to the ladies the day before, is arrested even though there is no other evidence linking him to the crime. Remembering a service that Le Bon once performed for him, Dupin offers his assistance to "G–", the prefect of police.

Because none of the witnesses can agree on the language of the second voice, Dupin concludes they were not hearing a human voice at all. He and the narrator examine the house thoroughly; Dupin dismisses the idea of Le Bon's guilt and a robbery motive, citing the fact that the gold was not taken. He points out that the murderer would have had to have superhuman strength to force Camille's body up the chimney. He formulates a method by which the murderer could have entered the room and killed both women, involving an agile climb up a lightning rod and a leap to a set of open window shutters. Showing an unusual tuft of hair from the scene, Dupin concludes that an "Ourang-Outang" (orangutan) killed the women. He places an advertisement in the newspaper asking if anyone has lost such an animal, and a sailor arrives looking for it.

The sailor offers a reward, but Dupin is interested only in learning the circumstances behind the two murders. The sailor explains that he captured the orangutan while in Borneo and brought it back to Paris, intending to sell it, but had trouble keeping it under control. When he saw the orangutan attempting to shave its face with his straight razor, imitating his morning grooming, it fled into the streets and reached the Rue Morgue, where it climbed up and into the house. The orangutan seized the mother by the hair and was waving the razor, imitating a barber; when she screamed in fear, it flew into a rage, ripped her hair out, slashed her throat, and strangled Camille. The sailor climbed up the lightning rod in an attempt to catch the animal, and the two voices heard by witnesses belonged to it and him. Fearing punishment by its master, the orangutan threw the mother's body out the window and stuffed Camille into the chimney before fleeing.

The sailor sells the orangutan, Le Bon is released from custody, and an embarrassed G– sarcastically remarks that people should mind their own business. Dupin comments to the narrator that G– is "somewhat too cunning to be profound", but admires his ability "de nier ce qui est, et d'expliquer ce qui n'est pas" (a quote from Julie; or, The New Heloise by Jean-Jacques Rousseau: "to deny that which is, and explain that which is not").

Themes and analysis

In a letter to friend Joseph Snodgrass, Poe said of "The Murders in the Rue Morgue", "its theme was the exercise of ingenuity in detecting a murderer." Dupin is not a professional detective; he decides to investigate the murders in the Rue Morgue for his personal amusement. He also has a desire for truth and to prove a falsely accused man innocent. His interests are not financial and he even declines a monetary reward from the owner of the orangutan. The revelation of the actual murderer removes the crime, as neither the orangutan nor its owner can be held responsible. Poe scholar Arthur Hobson Quinn speculates that later detective stories might have set up M. Le Bon, the suspect who is arrested, as appearing guilty as a red herring, though Poe chose not to.

Poe wrote "The Murders in the Rue Morgue" at a time when crime was at the forefront in people's minds due to urban development. London had recently established its first professional police force and American cities were beginning to focus on scientific police work as newspapers reported murders and criminal trials. "The Murders in the Rue Morgue" continues an urban theme that was used several times in Poe's fiction, in particular "The Man of the Crowd", likely inspired by Poe's time living in Philadelphia.

The tale has an underlying metaphor for the battle of brains vs. brawn. Physical strength, depicted as the orangutan as well as its owner, stand for violence: the orangutan is a murderer, while its owner admits he has abused the animal with a whip. The analyst's brainpower overcomes their violence. The story also contains Poe's often-used theme of the death of a beautiful woman, which he called the "most poetical topic in the world".

Dupin's method
Poe defines Dupin's method, ratiocination, using the example of a card player: "the extent of information obtained; lies not so much in the validity of the inference as in the quality of the observation." Poe then provides a narrative example where Dupin explains how he knew the narrator was thinking about the actor Chantilly. Dupin then applies his method to the solving of this crime.

Dupin's method emphasizes the importance of reading and the written word. The newspaper accounts pique his curiosity; he learns about orangutans from a written account by "Cuvier" — likely Georges Cuvier, the French zoologist. This method also engages the reader, who follows along by reading the clues himself. Poe also emphasizes the power of the spoken word. When Dupin asks the sailor for information about the murders, the sailor himself acts out a partial death: "The sailor's face flushed up as if he were struggling with suffocation... the next moment he fell back into his seat, trembling violently, and with the countenance of death itself."

Literary significance and reception

Poe biographer Jeffrey Meyers sums up the significance of "The Murders in the Rue Morgue" by saying it "changed the history of world literature." Often cited as the first detective fiction story, the character of Dupin became the prototype for many future fictional detectives, including Arthur Conan Doyle's Sherlock Holmes and Agatha Christie's Hercule Poirot. The genre is distinctive from a general mystery story in that the focus is on analysis. Poe's role in the creation of the detective story is reflected in the Edgar Awards, given annually by the Mystery Writers of America.

"The Murders in the Rue Morgue" also established many tropes that would become common elements in mystery fiction: the eccentric but brilliant detective, the bumbling constabulary, the first-person narration by a close personal friend. Poe also portrays the police in an unsympathetic manner as a sort of foil to the detective. Poe also initiates the storytelling device where the detective announces his solution and then explains the reasoning leading up to it. It is also the first locked room mystery in detective fiction.

Upon its release, "The Murders in the Rue Morgue" and its author were praised for the creation of a new profound novelty. The Pennsylvania Inquirer printed that "it proves Mr Poe to be a man of genius... with an inventive power and skill, of which we know no parallel." Poe, however, downplayed his achievement in a letter to Philip Pendleton Cooke:
 Modern readers are occasionally displeased by Poe's violation of an implicit narrative convention: readers should be able to guess the solution as they read. The twist ending, however, is a sign of "bad faith" on Poe's part because readers would not reasonably include an orangutan on their list of potential murderers.

Inspiration
The word detective did not exist at the time Poe wrote "The Murders in the Rue Morgue", though there were other stories that featured similar problem-solving characters. Das Fräulein von Scuderi (1819), by E. T. A. Hoffmann, in which Mlle. de Scuderi, a kind of 19th-century Miss Marple, establishes the innocence of the police's favorite suspect in the murder of a jeweler, is sometimes cited as the first detective story. Other forerunners include Voltaire's Zadig (1748), with a main character who performs similar feats of analysis, themselves borrowed from The Three Princes of Serendip, an Italian rendition of Amir Khusro's "Hasht-Bihisht".

Poe may also have been expanding on previous analytical works of his own including the essay on "Maelzel's Chess Player" and the comedic "Three Sundays in a Week". As for the twist in the plot, Poe was likely inspired by the crowd reaction to an orangutan on display at the Masonic Hall in Philadelphia in July 1839. Poe might have picked up some of the relevant biological knowledge from collaborating with Thomas Wyatt, with Poe furthermore linking "his narrative with the subject of evolution, especially the studies done by Cuvier", possibly also influenced by the studies conducted by Lord Monboddo, though it has been argued that Poe's information was "more literary than scientific".

The name of the main character may have been inspired from the "Dupin" character in a series of stories first published in Burton's Gentleman's Magazine in 1828 called "Unpublished passages in the Life of Vidocq, the French Minister of Police". Poe would likely have known the story, which features an analytical man who discovers a murderer, though the two plots share little resemblance. Murder victims in both stories, however, have their neck cut so badly that the head is almost entirely removed from the body. Dupin actually mentions Vidocq by name, dismissing him as "a good guesser".

Publication history

Poe originally titled the story "Murders in the Rue Trianon" but renamed it to better associate with death. "The Murders in the Rue Morgue" first appeared in Graham's Magazine in April 1841 while Poe was working as an editor. He was paid an additional $56 for it — an unusually high figure; he was paid only $9 for "The Raven". In 1843, Poe had the idea to print a series of pamphlets with his stories entitled The Prose Romances of Edgar A. Poe. He printed only one, "The Murders in the Rue Morgue" oddly collected with the satirical "The Man That Was Used Up". It sold for 12 and a half cents. This version included 52 changes from the original text from Graham's, including the new line: "The Prefect is somewhat too cunning to be profound", a change from the original "too cunning to be acute". "The Murders in the Rue Morgue" was also reprinted in Wiley & Putnam's collection of Poe's stories simply called Tales. Poe did not take part in selecting which tales would be collected.

Poe's sequel to "The Murders in the Rue Morgue" was "The Mystery of Marie Rogêt", first serialized in December 1842 and January 1843. Though subtitled "A Sequel to 'The Murders in the Rue Morgue'", "The Mystery of Marie Rogêt" shares very few common elements with "The Murders in the Rue Morgue" beyond the inclusion of C. Auguste Dupin and the Paris setting. Dupin reappeared in "The Purloined Letter", which Poe called "perhaps the best of my tales of ratiocination" in a letter to James Russell Lowell in July 1844.

The original manuscript of "The Murders in the Rue Morgue" which was used for its first printing in Graham's Magazine was discarded in a wastebasket. An apprentice at the office, J. M. Johnston, retrieved it and left it with his father for safekeeping. It was left in a music book, where it survived three house fires before being bought by George William Childs. In 1891, Childs presented the manuscript, re-bound with a letter explaining its history, to Drexel University. Childs had also donated $650 for the completion of Edgar Allan Poe's new grave monument in Baltimore, Maryland in 1875.

"The Murders in the Rue Morgue" was one of the earliest of Poe's works to be translated into French. Between June 11 and June 13, 1846, "" was published in La Quotidienne, a Paris newspaper. Poe's name was not mentioned and many details, including the name of the Rue Morgue and the main characters ("Dupin" became "Bernier"), were changed. On October 12, 1846, another uncredited translation, renamed "Une Sanglante Enigme", was published in Le Commerce. The editor of Le Commerce was accused of plagiarizing the story from La Quotidienne. The accusation went to trial and the public discussion brought Poe's name to the attention of the French public.

Adaptations
"The Murders in the Rue Morgue" has been adapted into several films. At least four films of the early silent era borrowed from "The Murders in the Rue Morgue". One was Sherlock Holmes in the Great Murder Mystery (1908) in which an escaped gorilla attacks and kills a young woman in her home. In 1914 a film promoted as a three-reel "comedy-drama" titled The Phantom Thief involves a monkey stealing a pearl necklace. Other films from the era where an ape-like creature murders or is convicted of murder include Who Killed Olga Carew? (1913) and The Orang-Outang (1915). A film adaptation of the story came out in 1914 starring Paul Clemons. The film was later released as The Mystery of the Rue Morgue.

Director Robert Florey first mentioned the story "Murders in the Rue Morgue" to Universal Studios in March 1930, at which time Dracula was on release and Frankenstein (1931) was in pre-production, so planning an adaptation of Poe's story did not begin until 1931. The film starred Bela Lugosi leading much of Poe's story changed to accommodate for him; Florey said he "had to strengthen and lengthen the Poe short story" and that he "added numerous characters". According to the book Universal Horrors, Murders in the Rue Morgue critical reception on its release was "harsh". Later adaptations of "The Murders in the Rue Morgue" include Phantom of the Rue Morgue (1954), a color 3D film that was produced by Warner Bros. Gordon Hessler directed a 1971 adaptation of Murders in the Rue Morgue, which is closer to being an adaptation of Phantom of the Opera than of Poe's tale. According to Hessler, "the problem with the original story, which is a mystery where the 'monkey' did it, was not the kind of story you could do anymore". A 1986 television adaptation of the story was directed by Jeannot Szwarc and stars George C. Scott as Auguste Dupin.

The story has also been adapted as a video game by Big Fish Games for their "Dark Tales" franchise under the title "Dark Tales: Edgar Allan Poe's Murders in the Rue Morgue".

See also

Rue Morgue (magazine)
Rue Morgue Radio

References

Sources

 The Seven Basic Plots.

 . Harrowitz discusses Dupin's method in the light of Charles Sanders Peirce's logic of making good guesses or abductive reasoning.

External links

 Full text on PoeStories.com with hyperlinked vocabulary words.
 First appearance in Graham's Magazine, April 1841, p. 166.

History of publications at the Edgar Allan Poe Society online

1841 short stories
Short stories by Edgar Allan Poe
Detective fiction short stories
Short stories set in Paris
Locked-room mysteries
Works originally published in Graham's Magazine
Short stories adapted into films
Fictional orangutans

The Murders in the Rue Morgue


Noah Lindsey Beery (August 10, 1913 – November 1, 1994) was an American actor often specializing in warm, friendly character roles similar to many portrayed by his Oscar-winning uncle, Wallace Beery. Unlike his more famous uncle, however, Beery Jr. seldom broke away from playing supporting roles. Active as an actor in films or television for well over half a century, he was best known for playing James Garner's character's father, Joseph "Rocky" Rockford, in the NBC television series The Rockford Files (1974–1980). His father, Noah Nicholas Beery (known professionally as Noah Beery or Noah Beery Sr.) enjoyed a similarly lengthy film career as an extremely prominent supporting actor in major films, although the elder Beery was also frequently a leading man during the silent film era.

Life and career

Beery was born in New York City, New York, where his father was working as a stage actor. He was given his nickname "Pidge" by George M. Cohan's sister Josie.

The family moved to California in 1915 when his father began acting in motion pictures. After attending school in Los Angeles, they moved to a ranch in the San Fernando Valley, a style of living he would maintain for the rest of his life.

At the age of seven, he appeared with his father in The Mark of Zorro and like his father, who immediately began billing himself as "Noah Beery Sr.", he went on to become a respected character actor. His paternal uncle, Oscar-winning actor Wallace Beery, became the world's highest-paid actor by 1932. Although neither Beery Jr. nor his father ever approached that level, both had long and memorable acting careers. The three acting Beerys physically closely resembled each other, but Noah Beery Jr. lacked the powerful voice his father and uncle possessed, which is ironic since both older Beerys made major careers in silent movies.

Beery appeared in dozens of films, including a large early role as John Wayne's action partner in The Trail Beyond (1934; Wayne was 27 years old and Beery was 21), Only Angels Have Wings (1939) with Cary Grant,  20 Mule Team (1940) with his uncle Wallace Beery, and Red River (1948), again with John Wayne as well as Montgomery Clift.

Beery's early television work included a weekly stint as Joey the Clown in Circus Boy with Micky Dolenz in the mid-1950s. In 1960, Beery replaced Burt Reynolds as the co-starring sidekick on Riverboat, an NBC Western series starring Darren McGavin.

He appeared once on the religion anthology series Crossroads and on Walter Brennan's ABC sitcom, The Real McCoys. He guest-starred three times on the long-running NBC Western series The Virginian in the 1960s, and twice during the same era on Wagon Train. In 1965, he made two guest appearances on Perry Mason (murderer Tony Claus in "The Case of the Golden Venom", nine months later he played as defendant Lucas Tolliver in "The Case of the Hasty Honeymooner").

Beery portrayed the buckskin-clad recurring sidekick character "Buffalo Baker" in the 17-episode 1967 television series Hondo starring Ralph Taeger, a role played by Ward Bond in the original 3D John Wayne film. In 1970 Beery appeared as Will Baxter on the TV western The Virginian.  But Beery remains best known for his role as Joseph "Rocky" Rockford, the amiable but occasionally cantankerous father of Jim Rockford, James Garner's character on The Rockford Files (1974–1980).

Personal life
Beery Jr.'s first wife until 1966 was Maxine Jones, the only child of Western star Buck Jones. His second wife from 1968 until his death was Lisa Thorman. He had two daughters, Muffett and Melissa; a son, actor Bucklind Beery; and three step-children, Page and Sean Slatteryand Lerena Barbe.

On February 8, 1960, he received a star located at 7047 Hollywood Blvd. on the Hollywood Walk of Fame for his contributions to the television industry.

Beery died on November 1, 1994, in Tehachapi, California of a cerebral thrombosis, aged 81. He was interred in Forest Lawn Memorial Park.

Filmography

The Mutiny of the Elsinore (1920) as Boy (uncredited)
The Mark of Zorro (1920) (with Douglas Fairbanks Sr. and Noah Beery Sr.) as Boy (uncredited)
Penrod (1922) (uncredited)
Gold Diggers of Broadway (1929) as Stage Boy (uncredited)
Showgirl in Hollywood (1930) as Himself – Cameo Appearance at Premiere (uncredited)
Renegades (1930) as Young Legionnaire (uncredited)
Heroes of the West (1932) as Noah Blaine
Jungle Mystery (1932) as Fred Oakes
Rustlers' Roundup (1933) as Danny Brand
The Three Musketeers (1933, Serial) (with John Wayne) as Stubbs [Chs. 1–2, 10]
Fighting with Kit Carson (1933) (with Noah Beery Sr.) as Nakomas
Viva Villa! (1934) (scenes deleted)
The Trail Beyond  (1934) (with John Wayne and Noah Beery Sr.) as Wabi
Tailspin Tommy (1934, Serial) as Skeeter Milligan
 Five Bad Men (1935) as Gene Taggart
Devil's Canyon (1935)
The Call of the Savage (1935, Serial) as Jan Trevor
Stormy (1935) as Stormy
Tailspin Tommy in the Great Air Mystery (1935, Serial) as Skeeter Milligan
Parole! (1936) as Bobby Freeman
Ace Drummond (1936, Serial) as Jerry
The Mighty Treve (1937) as Bud McClelland
The Road Back (1937) as Wessling
Trouble at Midnight (1937) as Kirk Cameron
Some Blondes Are Dangerous (1937) as Bud Mason
Forbidden Valley (1938) as Ring Hazzard
Girls' School (1938) as George
 The Strange Case of Dr. Meade (1938) as Mart
Only Angels Have Wings (1939) (with Cary Grant and Jean Arthur) as Joe Souther
Bad Lands (1939) as Chick Lyman
Flight at Midnight (1939) as 'Torpy' McDonald
 Parents on Trial (1939) as Jerry Kearns
Of Mice and Men (1939) (with Burgess Meredith and Lon Chaney Jr.) as Whit
The Light of Western Stars (1940) as Poco
20 Mule Team (1940) (with Wallace Beery and Anne Baxter) as Mitch
 Passport to Alcatraz (1940) as Ray Nolan
The Carson City Kid (1940) as Scott 'Arizona' Warren
Riders of Death Valley (1941, Serial) as Smokey
Sergeant York (1941) (with Gary Cooper, Walter Brennan, and Joan Leslie) as Buck Lipscomb
Two in a Taxi (1941) (with Anita Louise) as Sandy Connors
Tanks a Million (1941) as Charlie Cobb
All-American Co-Ed (1941) as Slinky
Hay Foot (1942) as Sgt. Charlie Cobb
Dudes Are Pretty People (1942, Short) as Pidge Crosby
Overland Mail (1942, Serial) (with Lon Chaney Jr. and Noah Beery Sr.) as Sierra Pete
'Neath Brooklyn Bridge (1942) as Butch
Calaboose (1943) (with Mary Brian) as Pidge Crosby
Prairie Chickens (1943) (with Raymond Hatton) as Pidge Crosby
We've Never Been Licked (1943) (with Richard Quine, William Frawley and Robert Mitchum) as Cyanide Jenkins
Frontier Badmen (1943) (with Robert Paige, Anne Gwynne, Diana Barrymore and Lon Chaney Jr.) as Jim Cardwell
Top Man (1943) as Ed Thompson
Corvette K-225 (1943) as Stone
Gung Ho!: The Story of Carlson's Makin Island Raiders (1943) (with Randolph Scott and Robert Mitchum) as Kurt Richter
Week-End Pass (1944) as Johnny Adams
Follow the Boys (1944) (with George Raft, Orson Welles, and Marlene Dietrich) as Himself (uncredited)
Allergic to Love (1944) as Kip Henderson
Hi, Beautiful (1944) as Jeff Peters
Under Western Skies (1945) as Tod Howell
Her Lucky Night (1945) (with The Andrew Sisters) as Larry
See My Lawyer (1945) as Arthur Lane
The Beautiful Cheat (1945) as Prof. Alexander Haven
The Crimson Canary (1945) as Danny Brooks
The Daltons Ride Again (1945) (with Lon Chaney Jr.) as Ben Dalton
The Cat Creeps (1946) as Pidge 'Flash' Laurie
Red River (1948) (with John Wayne and Montgomery Clift) as Buster McGee
Indian Agent (1948) as Chief Red Fox
The Doolins of Oklahoma (1949) as Little Bill
Davy Crockett, Indian Scout (1950) as Tex McGee
The Savage Horde (1950) as Glenn Larrabee
Rocketship X-M (1950) (with Lloyd Bridges) as Maj. William Corrigan
Two Flags West (1950) as Cy Davis
The Last Outpost (1951, aka Cavalry Charge) (with Ronald Reagan) as Sgt. Calhoun
The Texas Rangers (1951) as Buff Smith
The Cimarron Kid (1952) (with Audie Murphy) as Bob Dalton
Wagons West (1952) (with Rod Cameron) as Arch Lawrence
The Story of Will Rogers (1952) (with Will Rogers Jr. and Jane Wyman) as Wiley Post
Tropic Zone (1953) (with Ronald Reagan and Rhonda Fleming) as Tapachula Sam
Wings of the Hawk (1953) as Pascual Orozco
War Arrow (1953) (with Maureen O'Hara and Jeff Chandler) as Sgt. Augustus Wilks
The Yellow Tomahawk (1954) as Tonio Perez
The Black Dakotas (1954) as Gimpy Joe Woods
White Feather (1955) (with Robert Wagner and Jeffrey Hunter) as Lt. Ferguson
Jubal (1956) (with Ernest Borgnine and Glenn Ford) as Sam – Horgan Rider
The Fastest Gun Alive (1956) as Dink Wells, Bank Robber
Decision at Sundown (1957) (with Randolph Scott) as Sam
Escort West (1959) as Lt. Jamison
Guns of the Timberland (1960) as Blackie
Inherit the Wind (1960) (with Spencer Tracy and Fredric March) as John Stebbins
7 Faces of Dr. Lao (1964) as Tim Mitchell
Incident at Phantom Hill (1966) (with Robert Fuller and Dan Duryea) as O'Rourke
Journey to Shiloh (1968) as Sgt. Mercer Barnes
Heaven with a Gun (1969) (with Glenn Ford) as Garvey
The Cockeyed Cowboys of Calico County (1970) as Eddie
Little Fauss and Big Halsy (1970) (with Robert Redford, Michael J. Pollard, and Lauren Hutton) as Seally Fauss
43: The Richard Petty Story (1972) as Julie
Walking Tall (1973) (with Joe Don Baker and Elizabeth Hartman) as Grandpa
The Spikes Gang (1974) (with Lee Marvin and Gary Grimes) as Basset
Walking Tall Part II (1975) as Carl Pusser
The Bastard (1978, TV movie) (with Andrew Stevens and Kim Cattrall) as Dan O'Brien
 The Great American Traffic Jam (1980, TV movie) as Barney
The Big Stuffed Dog (1981, TV movie) as Petey's Grandfather
The Best Little Whorehouse in Texas (1982) (with Burt Reynolds and Dolly Parton) as Edsel
Waltz Across Texas (1982) (with Anne Archer) as Joe Locker

Television

Rin Tin Tin (TV series) - (1954)
Circus Boy (TV series) – series – Joey (1956–1957)
Rawhide – episode: "Incident of the Chubasco" – Arkansas (1959)
The Real McCoys – episode: "The Investors" – Claude McCoy (1961)
Wagon Train – episode: "The Jonas Murdock Story" – Jonas Murdock (1960)
Wagon Train – episode: "Path of the Serpent" – Ruddy Blaine (1961)
Wanted: Dead or Alive – episode: "El Gato" – El Gato  (1961)
Wanted: Dead or Alive – episode: "Barney's Bounty" – Barney Durant (1961)
Route 66 – episode: "1800 Days to Justice" – Emlyn Job (1962)
Gunsmoke – episode: S9E18 "Prairie Wolfer" (1964)
Wagon Train – episode: "The Kate Crawley Story" – Stump Beasley (1964)
Bonanza – episode: "Lotherio Larkin – Lotherio Larkin (1965)
Perry Mason – episode: "The Case of the Hasty Honeymooner" - Lucas Tolliver (1965)
Lassie – episode: "Danger Mountain" (Season 13) - Carl Bryan (1966)
Laredo – episode: "A Taste of Money" – Ezekiel Fry (1966)
Combat! – episode: "A Little Jazz" – Hank (1967)
Hondo – 17 episodes - Buffalo Baker (1967)
Bonanza – episode: "The Crime of Johnny Mule" – Johnny Mule (1968)
Alias Smith and Jones – episode: "Something to Get Hung About" – Sheriff (1971)
Police Story – episode: "The Big Walk" – Hecker (1973)
The Six Million Dollar Man – episode: "Run, Steve, Run" – Tom Molson (1974)
The Waltons – episode: "The Heritage" – Charlie Harmon (1974)
The Rockford Files – 121 episodes – Joseph "Rocky" Rockford (1974–1980)
The Six Million Dollar Man – episode: "The Bionic Badge" – Officer Banner (1976)
Ellery Queen – episode: "The Adventure of the Sinister Scenario" – Lionel Briggs (1976)
Greatest Heroes of the Bible – episode: "The Story of Esther" – Mordechai (1979)
Eight Is Enough – episode: "Marriage and other Flights of Fancy" (1979)
The Love Boat – episodes: "Celebration; Captain Papa"; "Honeymoon Pressure" (1980)
Vega$ – episode: "Sourdough Suite" – Josiah Sparks (1981)
Magnum, P.I. – episode: "All Roads Lead to Floyd" – Floyd Lewellen (1981)
Fantasy Island – episode: "High Off the Hog/Reprisal" – Otis T. Boggs (1981)
Beyond Witch Mountain (with Eddie Albert) – Uncle Ben (1982)
The Yellow Rose – 22 episodes – Luther Dillard (1983–1984)
Cover Up – episode: "Nothing to Lose" – Graham (1984)
Murder, She Wrote – episode: "Funeral at Fifty-Mile" – Doc Wallace (1985)
Trapper John, M.D. – episode: "Buckaroo Bob Rides Again" – Buckaroo Bob Morgan (1985)
The Love Boat – episode: "Hello, Emily/The Tour Guide/The Winning Number" – Daryl Wilcox (1986)

References

External links

1913 births
1994 deaths
American male film actors
American male television actors
Male Western (genre) film actors
Male actors from New York City
Deaths from cerebral thrombosis
20th-century American male actors
Burials at Forest Lawn Memorial Park (Hollywood Hills)
Western (genre) television actors

Noah Beery Jr.


Xenharmonic music is music that uses a tuning system that is unlike the 12-tone equal temperament scale. It was named by Ivor Darreg, from the Greek Xenos (Greek ξένος) meaning both foreign and hospitable. He stated that it was "intended to include just intonation and such temperaments as the 5-, 7-, and 11-tone, along with the higher-numbered really-microtonal systems as far as one wishes to go."

John Chalmers, author of Divisions of the Tetrachord, wrote, "The converse of this definition is that music which can be performed in 12-tone equal temperament without significant loss of its identity is not truly microtonal." Thus xenharmonic music may be distinguished from twelve-tone equal temperament, as well as use of intonation and equal temperaments, by the use of unfamiliar intervals, harmonies, and timbres.

Theorists other than Chalmers consider xenharmonic and non-xenharmonic to be subjective. Edward Foote, in his program notes for 6 degrees of tonality, refers to the differences in his response to the tunings he uses, such as Kirnberger and DeMorgan, from "shocking," to "too subtle to immediately notice," saying that "[t]emperaments are new territory for 20th-century ears. The first-time listener may find it shocking to hear the harmony change 'color' during modulations or too subtle to immediately notice."

Diatonic xenharmonic music

Music also can share much of the familiar territory of twelve-tone music yet also contain xenharmonic features. For example, Easley Blackwood, author of The Structure of Recognizable Diatonic Tunings (1985), wrote many etudes in equal temperament systems ranging from 12 to 24 tones. These etudes bring out connections and resemblances to twelve-tone music as well as various xenharmonic characteristics, reflected in Twelve Microtonal Etudes for Electronic Music Media.

About his 16-tone etude, Blackwood wrote:

Darreg explains: "I devised the term 'xenharmonic' to refer to everything that does not sound like 12-tone equal temperament."

Tunings, instruments, and composers

Music using scales or tuning other than 12-tone equal temperament can be classified as xenharmonic music. This includes other equal divisions of the octave and scales based on extended just intonation.

Tunings derived from the partials or overtones of physical objects with an inharmonic spectrum or overtone series such as rods, prongs, plates, discs, spheroids and rocks occasionally are the basis of xenharmonic exploration. William Colvig, who worked with the composer Lou Harrison created the tubulong, a set of xenharmonic tubes.

Electronic music composed with arbitrarily chosen xenharmonic scales was explored on the album Radionics Radio: An Album of Musical Radionic Thought Frequencies (2016) by British composer Daniel Wilson, who composed with frequency-runs submitted by users of a web application that replicated radionics-based electronic soundmaking equipment used by Oxford's De La Warr Laboratories in the late 1940s. Elaine Walker (composer) is an electronic musician who writes xenharmonic music by building new types of music keyboards.

The Non-Pythagorean scale utilized by Robert Schneider of The Apples in Stereo, based on a sequence of logarithms, may be considered xenharmonic, as well as Annie Gosfield's purposefully "out of tune" sampler-based music using non systematic tunings and the work of other composers including Elodie Lauten, Wendy Carlos, Ivor Darreg, and Paul Erlich.

See also
 Bohlen–Pierce scale
 Regular temperament

References

Further reading
Sethares, William (2004) Tuning, Timbre, Spectrum, Scale. .

External links
Microtonality - Web
Microtonal music on CD
Homepage for William Sethares
The Xenharmonic Wiki, formerly at Wikispaces
Xenharmonic Alliance
 Barbieri, Patrizio. Enharmonic instruments and music, 1470-1900. (2008) Latina, Il Levante Libreria Editrice
 Blackwood Microtonal Compositions Easley Blackwood & Jeffrey Kust, on iTunes Includes Fanfare in 19-EDO. Also includes the 16 notes Andantino as the first of the twelve etudes in that collection.
microtonal piano work of Noah Jordan

Microtonality

Xenharmonic music


Fouts Field was a stadium at the University of North Texas, located in Denton, Texas. Its primary use from its opening in 1952 until 2010 was as the home field for North Texas Mean Green football. Over its 59-year history, Fouts Field was the college home of players such as Joe Greene, Abner Haynes, and Steve Ramsey.

History

By the 1940s, college football was beginning to firmly leave its mark as a popular sport in the United States. North Texas had spent its first 40 seasons at Eagle Field, which seated just 2,500 spectators on steel bleachers in an open area near the center of campus called Recreation Park, where the school's athletic events were held. As the popularity of football quickly outgrew the limited number of fans Eagle Field could hold, former football coach and Athletic Director Theron J. Fouts began pushing for a new master plan for recreational facilities on campus, including a new 20,000-seat football stadium with a track in the southwest corner of the university's property. The plan was approved, and construction on the new facility began in 1951.

Originally christened Eagle Stadium, the new venue opened on September 27, 1952 with a 55–0 win for North Texas State College over the North Dakota Fighting Sioux. The Eagles went 7-3 that season, including a 4–1 mark at the new stadium, winning the Gulf Coast Conference title.

Tragedy struck the North Texas community on April 27, 1954 as Fouts, who was set to retire that June, suffered a heart attack at his home in Denton. The administration of the university almost immediately announced plans to rename the venue Fouts Field in his honor, which was done prior to their 1954 home opener against Southern Miss on October 2.

Breaking the color barrier, Mean Joe, and the "Mean Green"

Over the next three decades, Fouts Field hosted some of the defining moments in the history of North Texas football. Prior to the 1956 season, Odus Mitchell recruited Abner Haynes and Leon King, both African-Americans, in what was still a largely Jim Crow-era south. After being promoted to the varsity squad in 1957, Haynes and King became the first black players to play major college football in the state of Texas.

In 1967, with the addition of Joe Greene to the defensive line, the Eagles allowed less than two yards per carry on the ground en route to a 7–1–1 record and a Missouri Valley Conference title. The ferocious defense, led by Greene, earned the team the nickname "Mean Green," which soon replaced "Eagles" as the school's official nickname/mascot.

Hayden Fry era

Fouts Field was nearly put out of use in the mid-1970s after the hiring of future Hall of Fame coach Hayden Fry. Fry began a bold plan to get North Texas admittance into the Southwest Conference; part of that plan included moving potential SWC games to nearby Texas Stadium in Irving, TX. In the meantime, Fouts Field was expanded to including new offices, a state-of-the-art weight room, and new locker rooms in separate buildings just to the right of the north grandstand. While Fry's teams at North Texas in the 1970s proved to be some of the best in school history, the plan to move to the SWC ultimately failed, and the mounting debt left over from the bid forced North Texas to drop down to Division I-AA in 1983.

Expansion and final years

After a decade in I-AA, a coordinated effort by North Texas donors to purchase large blocks of seats at Fouts Field raised the attendance level enough for the program to be admitted back to Division I-A. The university also expanded the seating capacity, adding two separate sections of 5,250-seat bleachers in each endzone, which raised the total capacity to 30,500. The expanded Fouts saw a mix of good to meager years, culminating with North Texas clinching four straight Sun Belt Conference titles from 2001 to 2004 under Darrell Dickey before bottoming out with a 6–37 record from 2007 to 2010 under Todd Dodge. Throughout the 21st century though, it became more and more clear Fouts Field was no longer up to basic FBS-level standards: Despite the addition of artificial turf in 2005, the electric wiring throughout the venue was often faulty, mold easily grew in the weight room and press boxes, and old plumbing pipes that ran under the playing field often created a horrible stench on the North Texas sideline during hot August and September games.

In 2009, the university began construction of Apogee Stadium across I-35E from Fouts Field, scheduled to open at the start of the 2011 season. The final game at Fouts was played against Kansas State on November 27, 2010, a 49–41 North Texas loss.

The Mean Green finished their 59-year tenure at the stadium with a home record of 155–100–7.

After football and demolition

Following the departure of the football team, the use of Fouts Field by the university's athletics program was reduced to the school's track and field teams. The stadium was also used as a practice field by the Green Brigade Marching Band, as well as the university's ROTC program.

In 2013, the first phase of demolition began; the north grandstand and bleacher seats in the endzones were removed, leaving just the south grandstand, the playing surface, track, field goal posts, and 1994 scoreboard. The remnants of Fouts Field sat largely empty for the next five years, until demolition began of the remaining components on November 28, 2018, with the last vestiges of the venue cleared out of the lot by December 8.

In popular culture

Many of the football scenes in the 1991 film Necessary Roughness were filmed at Fouts Field. The fictional Texas State Armadillos, the team featured in the movie, wore the same colors (green and white) as UNT's football team.

Attendance history

References

American football venues in the Dallas–Fort Worth metroplex
Athletics (track and field) venues in Texas
Defunct athletics (track and field) venues in the United States
Defunct college football venues
North Texas Mean Green football venues
Sports venues completed in 1952
1952 establishments in Texas

Fouts Field


The Pennsylvania Academy of the Fine Arts (PAFA) is a museum and private art school in Philadelphia, Pennsylvania. It was founded in 1805 and is the first and oldest art museum and art school in the United States.

The academy's museum is internationally known for its collections of 19th- and 20th-century American paintings, sculptures, and works on paper. Its archives house important materials for the study of American art history, museums, and art training.  It offers a Bachelor of Fine Arts, Master of Fine Arts, certificate programs, and continuing education.

History

19th century

The Pennsylvania Academy of the Fine Arts was founded in 1805 by painter and scientist Charles Willson Peale, sculptor William Rush, and other artists and business leaders. It initially held its exhibitions in an 1806 building, which featured pillars of the ionic order on the site of the present-day American Theater on Chestnut and 10th Streets in Center City Philadelphia. The academy opened as a museum in 1807 and held its first exhibition in 1811, where more than 500 paintings and statues were displayed. The first school classes held in the building were with the Society of Artists in 1810.

The academy had to be reconstructed after the fire of 1845. Some twenty-three years later, leaders of the academy raised funds to construct a building more worthy of its treasures. They commissioned the current Furness-Hewitt building, which was constructed from 1871. It opened as part of the 1876 Philadelphia Exposition.

In 1876, former academy student and artist Thomas Eakins returned to teach as a volunteer. Fairman Rogers, chairman of the Committee on Instruction from 1878 to 1883, appointed Eakins a faculty member in 1878, and promoted him to director in 1882. Eakins revamped the certificate curriculum to its current format. Students in the certificate program learned fundamentals of drawing, painting, sculpture, and printmaking, including relief, intaglio, and lithography, for two years. For the following two years, they conducted independent study, guided by critiques from faculty, students, and visiting artists.

The 1844 board of directors' declaration that women artists "would have exclusive use of the statue gallery for professional purposes" and study time in the museum on Monday, Wednesday, and Friday mornings began an incremental step of inclusion of women in the academy. In 1860, female students were allowed to take anatomy and antique courses, drawing from antique casts, and they were afforded access to the academy's library and gallery. Life classes, the study of the nude body, were available to women in the spring of 1868 with female models; male models were added for study six years later. This came after much debate on whether it was appropriate for women to view the nude male form.

In 1878, Catherine Drinker, at the age of 27, became the first woman to teach at the academy. In 1895, one of her pupils, her younger cousin Cecilia Beaux, became the first female faculty member at the academy to instruct painting and drawing.

20th century
From 1890 to 1906, Edward Hornor Coates served as the tenth president of the academy. In 1915, he was awarded the academy's gold medal. In 1921, painter John McLure Hamilton, who began his art education at the academy under Thomas Eakins, described the contributions Coates made during his tenure:

The reign of Mr. Coates at the Academy marked the period of its greatest prosperity. Rich endowments were made to the schools, a gallery of national portraiture was formed, and some of the best examples of Gilbert Stuart's work acquired. The annual exhibitions attained a brilliancy and éclat hitherto unknown ... Mr. Coates wisely established the schools upon a conservative basis, building almost unconsciously the dykes high against the oncoming flow of insane novelties in art patterns ... In this last struggle against modernism the President was ably supported by Eakins, Anschutz, Grafly, [Henry Joseph] Thouron, Vonnoh, and Chase ... His unfailing courtesy, his disinterested thoughtfulness, his tactfulness, and his modesty endeared him to scholars and masters alike. No sacrifice of time or of means was too great, if he thought he could accomplish the end he always had in view—the honour and the glory of the Academy. It was under Mr. Coates' enlightened direction that was fulfilled the expressed wish of Benjamin West, the first honorary Academician, that "Philadelphia may be as much celebrated for her galleries of paintings by the native genius of the country, as she is distinguished by the virtues of her people; and that she may be looked up to as the Athens of the Western World in all that can give polish to the human mind."

Harrison S. Morris, managing director from 1892 to 1905, collected contemporary American art for the institution. Among the many masterpieces acquired during his tenure were works by Cecilia Beaux, William Merritt Chase, Frank Duveneck, Thomas Eakins, Winslow Homer, Childe Hassam, and Edmund Tarbell. Work by The Eight, which included former academy students Robert Henri and John Sloan, is the academy's current collection, providing a transition between 19th- and 20th- century art movements.

21st century
In 2010, the academy acquired the Linda Lee Alter Collection of Art by Women, including nearly 500 works by female artists, from collector Linda Lee Alter. Artists in the collection include Louise Bourgeois, Judy Chicago, Louise Nevelson, Kiki Smith, Kara Walker, and Philadelphia artists Barbara Bullock and Elizabeth Osborne. In 2012, the academy featured the collection in the exhibition The Female Gaze: Women Artists Making Their World.

Operations

Museum
Since its founding, the academy has collected works by leading American artists, as well as works by distinguished alumni and faculty of its school. The academy maintains its collecting tradition with the inclusion of works by modern and contemporary American artists. Acquisitions and exhibition programs are balanced between historical and contemporary art, and the museum continues to show works by contemporary regional artists and features annual displays of work by academy students. The collection is installed in a chronological and thematic format, exploring the history of American art from the 1760s to the present.

School
The academy has a longstanding four-year certificate program. Beginning in 1929, qualified students have been able to apply for and receive a coordinated Bachelor of Fine Arts program from the University of Pennsylvania. The BFA degree program is now offered exclusively in-house, and a Master of Fine Arts program, post-baccalaureate certificate in graduate studies, and other education offerings are now offered.

In 2005, the academy received the National Medal of Arts in recognition of its role as a national leader in fine arts education.

In January 2007, in association with the Philadelphia Museum of Art, the academy purchased Thomas Eakins's work The Gross Clinic from the Jefferson Medical School. This work is displayed at both institutions on a rotating basis.

In January 2009, the academy signed a transfer agreement with Camden County College in New Jersey, known as the Camden Connection, which allows for the transfer of liberal arts and studio classes and partial merit scholarships for qualified Camden County College students. Other transfer agreements are now in place with community college art departments at the Community College of Philadelphia, Montgomery County Community College, Atlantic Cape Community College, and Northampton Community College.

In 2013, the academy received Middle States Commission on Higher Education accreditation.

Buildings

The Furness-Hewitt building
The current museum building began construction in 1871 and opened in 1876 in connection with the Philadelphia Centennial. Designed by the American architects Frank Furness and George Hewitt, it has been called "One of the most magnificent Victorian buildings in the country." The building's façade draws from a number of different historical styles, including Second Empire, Renaissance Revival and Gothic Revival, amalgamated in an "aggressively personal manner". The building's exterior coloration combines "rusticated brownstone, dressed sandstone, polished pink granite, red pressed brick, and purplish terra-cotta." It was the first structure in the U.S. specifically designed for fine arts instruction and exhibition in a consolidated facility.

The inside of the building is equally varied, combining "gilt floral patterns incised on a field of Venetian red; ... [a] cerulean blue ceiling sprinkled with silver stars", and plum, ochre, sand and olive green gallery walls. The building's structure combines brick, stone and iron; because of fire-proofing concerns, some of the iron i-beams were left uncovered.

1876 opening notes
The book A Century After, picturesque glimpses of Philadelphia and Pennsylvania includes the following on the 1876 opening:
The newly Academy of Fine Arts will bear comparison with any institution of its kind in America. It has a front of one hundred feet on Broad Street and a depth of two hundred and fifty-eight feet on Cherry Street. Its situation, with a street on each of its three sides, and an open space along a considerable portion of the fourth, is very advantageous as regards lighting, and freedom from risk by fire.

It is built of brick, the principal entrance, which is two stories high, being augmented with encaustic tiles, terra-cotta statuary, and light stone dressings. The walls are laid in patterns of red and white brick. Over the main entrance on Broad Street there is a large Gothic window with stone tracery. The Cherry Street front is relieved by a colonnade supporting arched windows, back of which is the transept and pointed gable.

Beyond the entrance vestibule is the main staircase, which starts from a wide hall and leads to the galleries on the second floor. Along the Cherry Street side of the Academy are five galleries arranged for casts from the antique; and, further on, are rooms for drapery painting, and the life class. These have a clear north light which can never be obstructed.

On the south side, there is a large lecture room, with retiring rooms, and back of these are the modeling rooms and rooms devoted to the use of students and professors.

On the second floor is the main hall, which extends across the building, and is intended for the exhibition of large works of art. This story is divided into galleries, which are lighted from the top. Through the center runs a hall which is set apart for the exhibition of statuary, busts, small statues, bas-reliefs, etc. On each side of this hall are picture galleries, which are so arranged in size and form as to admit of classification of pictures, and which can be divided into suits where separate exhibitions may be held at the same time.

The art collections of the gallery are considered the most valuable in America. They comprise the masterpieces of Stuart, Sully, Allston, West, and others of our early artists, the Gilpin gallery, fine marbles, and facsimiles of famous statues, as well as a magnificent gallery from the antique.

The building is now considered one of the most notable buildings in Philadelphia and one of Furness' greatest works. In 1971, the building was named to the National Register of Historic Places. Four years later, in 1975, it was designated a National Historic Landmark.

In 1976, the building's exterior and interior was refurbished to coincide with its centennial and with the United States bicentennial. The restoration work was conducted through Day and Zimmerman Associates, and headed by Human Myers.

In 2019, architectural firm DLR Group completed another renovation on both the Furness-Hewitt and Hamilton buildings to accommodate growth within the institution's fixed site while maintaining the buildings' historic details.

Samuel M.V. Hamilton Building
In 2002, Dorrance H. Hamilton made a large donation to the academy for its expansion, and the academy purchased the former automobile factory at 128 N. Broad Street, next to the original building. Designed by Charles Oelschlager, the building was formerly a federal government building. The structure was renamed in memory of her husband, Samuel M.V. Hamilton. The academy completed its move there in September 2006.

The new building includes an exhibition space, the Fisher Brooks Gallery, named after James R. Fisher, an artist who attended the academy in the late 1880s, and Leonie Brooks. They are the grandfather and mother, respectively, of Marguerite Lenfest, a philanthropist and academy board member. The Hamilton building also houses Portfolio, the museum's gift shop.

Awards presented to individuals by the academy
 Widener Gold Medal: The academy established the George D. Widener Gold Medal for sculpture in 1912. Widener was a businessman and director of the academy who died on the RMS Titanic. The award recognizes the "most meritorious work of Sculpture modeled by an American citizen and shown in the Annual Exhibition".

Defunct awards
 Beck Gold Medal: The Carol H. Beck Gold Medal was awarded to the best portrait by an American artist exhibited at PAFA's annual exhibition. It was awarded from 1909 to 1968.
 Mary Smith Prize: The Mary Smith Prize was awarded to "the Painter of the best painting (not excluding portraits) exhibiting at the Academy, painted by a resident woman Artist." It was awarded from 1879 to 1968.
 Temple Gold Medal: The Joseph Temple Fund Gold Medal was awarded to the best oil painting by an American artist exhibited at PAFA's annual exhibition. It was awarded from 1883 to 1968.

Deaccessioning
In 2013, the academy sold East Wind Over Weehawken, a 1934 portrait that is among two Edward Hopper portraits in the academy's collection, to start an endowment fund. About 25 percent of the fund will be used to fill gaps in the collection of historic art, with most of the rest to buy contemporary art of undetermined value with hopes for dramatic increases in the future. The painting was sold at auction for $40,485,000, resulting in a boost to the museum's endowment by approximately $23.5 million, but raised new questions about the museum's mission and whether such deaccessionings are in the public interest.

Notable people

Notable students and faculty of the Pennsylvania Academy of Fine Arts include:

Linda Lee Alter
Charles Andes
Thomas Pollock Anshutz
Thomas N. Armstrong III
Elizabeth Gowdy Baker
Will Barnet
Cornelia Barns
Bo Bartlett
Walter Emerson Baum
Anna Whelan Betts
Ethel Franklin Betts
Cecilia Beaux
Alexander Stirling Calder
Al Capp (attended briefly)
Arthur B. Carles
Mary Cassatt
Jonathan Lyndon Chase
Margaret Covey Chisholm
Edward Hornor Coates
Rachel Constantine
Colin Campbell Cooper
John Rogers Cox
Ralston Crawford
Jack Delano
Vincent Desiderio
Blanche Dillaye
Thomas Eakins
Thomas Harlan Ellett, architect
David Em
Wharton Esherick
Stephen Etnier
Virginia B. Evans
Frances Farrand Dodge
Louise Fishman
A. B. Frost
Frank Furness
Charles Lewis Fussell
Frank Gasparro
Daniel Garber
William Glackens
Charles Grafly
Marie Bruner Haines
William Weeks Hall
Walker Hancock
James Havard
A. G. Heaton
Barkley Hendricks
Robert Henri
Edward Lamson Henry
George Hewitt
Thomas Hovenden
Frances Tipton Hunter
Elsa Jemne
 Maria Louise Kirk
Christine Lafuente
Sara Larkin
Dorothy P. Lathrop
Frank B. A. Linton
Adelia Armstrong Lutz
David Lynch
Paul Manship
John Marin
Don Martin
Donald Martiny
Elise Mercur, architect
James Metcalf
Alme Meyvis
Katherine Milhous
Abram Molarsky
Edward Percy Moran
Alphonse Mucha
Taras Mychalewych
John Neagle
Alice Neel
Brad Neely
Roy Cleveland Nuse
Violet Oakley
Elizabeth Osborne
Francis Petrus Paulus
Maxfield Parrish
Charles Willson Peale
Rembrandt Peale
Clara Elsene Peck
Louise Pershing
Jane Piper
Albin Polasek
Howard Pyle
Jacques Reich
Seymour Remenick
Edgar Preston Richardson
Fairman Rogers
Peter F. Rothermel
William Rush
Lawrence Saint
William Sartain
Mary B. Schuenemann
Leopold Seyffert
Michael H. Shamberg
David Sherman
Everett Shinn
John French Sloan
Owen Staples
LeConte Stewart
Frank Wilbert Stokes
Henry O. Tanner
Ellen Powell Tiberino
William B. T. Trego
Orlando Gray Wales
Philip Fishbourne Wharton
Benjamin West
Anita Willets-Burnham
 Clarence C. Zantzinger

See also

List of National Historic Landmarks in Philadelphia
National Register of Historic Places listings in Center City, Philadelphia

References
Notes

Bibliography
 The Pennsylvania Academy and its women, 1850–1920: May 3 – June 16, 1974 Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania (exhibition catalogue). Philadelphia, PA: Pennsylvania Academy of the Fine Arts, 1974.
 Pennsylvania Academy of Fine Arts. In This Academy: The Pennsylvania Academy of the Fine Arts, 1805–1976. Museum Press, Inc: Washington, D.C., 1976.

External links

 The original Academy of the Fine Arts, 1869 at the Historical Society of Pennsylvania
 HABS Documentation at the Library of Congress
 Philadelphia Architects and Buildings listing of the academy building

1805 establishments in Pennsylvania
Art museums established in 1805
Art museums and galleries in Philadelphia
Art schools in Pennsylvania
Broad Street (Philadelphia)
Center City, Philadelphia
Educational institutions established in 1805
Frank Furness buildings
Museums of American art
National Historic Landmarks in Pennsylvania
National Register of Historic Places in Philadelphia
Private universities and colleges in Pennsylvania
School buildings completed in 1876
Universities and colleges in Philadelphia
University museums in Pennsylvania

Pennsylvania Academy of the Fine Arts


Goldie was a male golden eagle who lived at London Zoo in England during the 1960s. He caused a nationwide sensation when he escaped for 12 days in February 1965.

Goldie flew away from his keepers on 28 February 1965 while his cage was being cleaned. He avoided being recaptured for nearly two weeks, despite a massive effort using equipment borrowed from the Royal Navy and Civil Defence Corps. Goldie spent most of the time in Regent's Park, which surrounds the zoo, but he also made excursions into the nearby neighbourhoods of Camden Town, Tottenham Court Road and Euston.

Goldie's escape enthralled the British public. The zoo received thousands of phone calls and letters, and large crowds gathered in Regent's Park to watch the bird's keepers trying to catch him. There were severe traffic jams in the area as drivers circled the park, watching Goldie in flight.

The saga was closely covered by the media. On a BBC television programme, the reporter John Timpson unsuccessfully tried to lure Goldie by playing an Ethiopian bird pipe. Goldie was also mentioned during a debate in the House of Commons, where Members of Parliament greeted his name with cheers.

While free, the predatory bird killed and ate a duck in the garden of Winfield House, official residence of the United States Ambassador to the United Kingdom, within Regent's Park. Goldie also attacked two terriers in the park, but was driven off by their owner.

Goldie was finally caught on 11 March after the zoo's deputy head keeper tempted him to earth with a dead rabbit.  He was in good health after his experience and was reunited with his mate, Regina. The zoo's attendance nearly doubled in the days after his return.

Goldie escaped once again on 15 December 1965, and was recaptured on 20 December 1965 at 4:20 am.

On 8 March 1985, Goldie was sent to the Falconry Centre in Newent, and died there on or about 23 March 1986.

See also
 List of individual birds

External links
BBC News: On this day -- 7 March 1965: Goldie the eagle evades capture again Includes photo of John Timpson playing bird pipe.
London Zoo: Famous animals

1965 in England
1986 animal deaths
Individual eagles
Missing or escaped animals
Individual animals in England
London Zoo
1960s in London

Goldie (eagle)


Hadacol was a patent medicine marketed as a vitamin supplement. Its principal attraction, however, was that it contained 12 percent alcohol (listed on the tonic bottle's label as a "preservative"), which made it quite popular in the dry counties of the southern United States. It was the product of four-term Louisiana State Senator Dudley J. LeBlanc, a Democrat from Erath in Vermilion Parish in southwestern Louisiana. He was not a medical doctor, nor a registered pharmacist, but had a strong talent for self-promotion. Time magazine once described him as "a stem-winding salesman who knows every razzle-dazzle switch in the pitchman's trade".

Dosage
The label on the tonic's bottle clearly stated that the recommended dosage (1 tablespoonful taken 4 times a day) was to be taken "...in a 1/2 glass of water after meals and before retiring". However, some pharmacies in dry counties were known to sell it by the shot-glass and at least one bar in New Orleans' French Quarter was known to sell a "Tassel Cocktail" with Hadacol as an ingredient. In Northbrook, Illinois, a suburb of Chicago, sales of Hadacol were limited to liquor stores.

Promotion

LeBlanc, a consummate salesman, created the name from his business, the Happy Day Company, formerly the maker of Happy Day Headache Powders (which the Food and Drug Administration had seized in 1942, as dangerous to health, and falsely labeled) and Dixie Dew Cough Syrup. His own last name provided the "L" (however the resultant -ol at the end of the name also was helpfully indicative of the nostrum's alcohol content). When LeBlanc was asked about the name, he would often joke "Well, I hadda' call it something!"

A two-page advertisement for Hadacol appeared in the centerfold of the 1951 edition of Grier's Almanac, an annual publication marketed to farmers in the Southern USA. The ad's headline read (in very large type):
Don't Be Satisfied With Symptomatic Relief! It's Possible to RELIEVE THE CAUSE OF YOUR AILMENTS When Lack Of Vitamins B1, B2, Iron and Niacin Cause Stomach Disturbances, Gas, Heartburn, Indigestion, Nagging Aches and Pains, and Certain Nervous Disorders.

The ad continued with testimonials and a glowing plug for Senator LeBlanc, stressing the curative powers of Hadacol for a number of ailments "...due to lack of Vitamins B1, B2, Iron and Niacin". A capsule version of Hadacol was briefly produced, consisting solely of a B-Vitamin and mineral mixture.

LeBlanc promoted the tonic as a "Dietary Supplement" instead of a medicine, stating that it was "...formulated as an Aid to Nature in rebuilding the Pep, Strength and Energy of Buoyant Health when the System is deficient in the Vitamins and Minerals found in this Tonic..." But Time Magazine described it as "a murky brown liquid that tastes something like bilge water, and smells worse."

The American Medical Association was likewise not as appreciative. In an official press release in 1951, the AMA stated "It is hoped that no doctor will be uncritical enough to join in the promotion of Hadacol. It is difficult to imagine how one could do himself or his profession greater harm from the standpoint of the abuse of the trust of a patient suffering from any condition. Hadacol is not a specific medication. It is not even a specific preventive measure."

LeBlanc flooded the airwaves with testimonials to the powers of the seemingly miraculous (yet foul tasting) brown liquid and turned the jingle called "Hadacol Boogie" into a popular recording. Promotional items included various fliers, signs and clocks, a "Captain Hadacol" comic book, T-shirts, lipstick, an almanac, plastic thimbles printed with the Hadacol logo, water pistols and cowboy-style holsters, glasses used for taking the diluted mixture, and a stamped metal token redeemable for 25¢ towards the purchase of any bottle of Hadacol (LeBlanc brazenly placed his own portrait on the front of the token, and the trademarked logo on the back).  These items, along with the Hadacol bottles and the boxes they were packaged in, are now much sought-after items and fetch high prices among collectors of Southern memorabilia and medical quackery.

In 1950, LeBlanc offered a handsome financial incentive to anyone who could provide him with a parrot that was trained to say "Polly wants Hadacol!" The parrot was to be exhibited at promotions. The offer included the following:
The owner of such a bird, if selected, will be given a reasonable compensation on a contract basis. The owner and the parrot will travel in a limousine with the parrot's name engraved in gold on the door and will stay only at the best hotels. The parrot will be furnished a gold cage and its life insured. The parrot will visit large drugstores, perform at conventions, etc., and may be presented on radio and television. The Le Blanc Corporation has a triple A high credit rating.

The Hadacol Caravan
According to musician Weldon "Big Bill" Lister, who performed in the Hadacol Caravan, "The only way you could get into that show was with a Hadacol boxtop, And believe me, we played to crowds of ten, twelve thousand people a night. Back in those days there wasn't many auditoriums that would hold that many people. We played ball parks, race tracks - you know anywhere where they had enough big bleachers to handle those kind of crowds." The final show was on 17 September 1951. Paul Schrader wrote a script entitled Eight Scenes from the Life of Hank Williams, which has not yet been produced. It includes a sequence on his performances with the Hadacol Caravan.

Downfall
In a 15-month period ending in March 1951, LeBlanc sold more than $3,600,000 worth of the tonic. In another six months, after LeBlanc sold his interest in the LeBlanc Corporation (Hadacol's parent company) to investors for $8,200,000, the enterprise collapsed under the weight of debtors. It was discovered all too late that LeBlanc was spending more for advertising by that point than he was taking in as receipts (turning its $3,600,000 profit into a $1,800,000 second-quarter loss), had concealed both $2,000,000 in unpaid bills and a $656,151 tax debt, and another $2,000,000, listed in the ledgers as "Accounts Receivable", were cases of the tonic out on consignment, much of which was being shipped back. In an official court statement, the Federal Trade Commission stated that the publicity behind the tonic was "false, misleading and deceptive" in representing the nostrum as "an effective treatment and cure for scores of ailments and diseases." The ensuing bad publicity played a contributing factor to LeBlanc losing a gubernatorial election in 1952 and effectively halting his future statewide electoral chances.

Martin Gardner's In the Name of Science (1952) mentions an interview that LeBlanc gave on Groucho Marx's radio program: When Marx asked LeBlanc  what Hadacol was good for, LeBlanc gave an answer of startling honesty. "It was good," the senator said, "for five million dollars for me last year." In 1954, after the Hadacol fiasco, LeBlanc tried to re-enter the patent medicine market with a lemon-flavored non-alcoholic vitamin tonic named "Kary-On". Unlike Hadacol, it quickly vanished from production.

According to the United States Patent and Trademark Office, there were two attempts to revive Hadacol. The first was in 1987 by Edmondson Enterprises of Shreveport, Louisiana. The second attempt was in 1997 by Au Pharmaceuticals of Tyler, Texas.  Both attempts to revive the brand were unsuccessful. In 1976, "Hadacol" Multi-vitamins were distributed by the Atlanta, Georgia-based "Hadacol Corporation" in an unsuccessful attempt to revive the brand name.

In popular culture
 Hadacol was the subject of several country, R&B, and cajun tunes of its time:
 "Drinkin' Hadacol" by "Little Willie" Littlefield
 "Everybody Loves That Hadacol" by Tiny Hill and His Orchestra
 "H-A-D-A-C-O-L" by Al Terry (Allison Theriot)
 "Hadacol (That's All)" by the Treniers
 "What Put the Pep in Grandma" by Kenneth C. "Jethro" Burns and Mel Foree, performed by Audrey Williams with the Drifting Cowboys
 "Hadacol Boogie," recorded by Bill Nettles and His Dixie Blue Boys and covered by many artists including a 2006 collaboration of Jerry Lee Lewis and Buddy Guy (whose version on Lewis's Last Man Standing album ends with an outro alluding to LeBlanc's "Hadda call it somethin'" joke)
 "Hadacol Bounce", written and recorded by Bill Nettles and performed also by Professor Longhair
 "Hadacol Corners" by Slim Willet (backed with the soon-to-be classic "Don't Let the Stars Get In Your Eyes")
 "Valse de Hadacol" (Hadacol Waltz) by Cajun musician/composer Harry Choates
 Jimmy Durante sang about it ("I even mix it with my Hadacol") in the 1951 novelty song "Black Strap Molasses"
 It's referenced in the jazz song "Here's a Little Girl from Jacksonville" as recorded by Blue Lu Barker and Maria Muldaur
 It's referenced in the 1952 song "Lovin' Machine" by Wynonie Harris
 In the late 1990s, the American roots-rock band Big Iron, to avoid confusion with another band with the same name, changed the band's name to Hadacol. The cover of their 1999 debut CD, Better Than This, is based on the label used on the tonic bottles.
 In 1949, Blues pianist Elmore "Elmo" Nixon made his debut as a "front man" when he recorded two songs under the name "Elmore Nix and the Hadacol Boys".
 Walter Lantz's 1952 cartoon The Great Who-Dood-It features a confrontation between Woody Woodpecker and Buzz Buzzard as a carnival barker selling a quack patent medicine called "Doc Buzzard's Had-A-Cough."
 In the 1953 Warner Bros. cartoon Muscle Tussle, Daffy Duck buys a bogus muscle-building tonic called "Atomcol" from a traveling salesman.
 In 2005, Brent Green created an animated short entitled Hadacol Christmas. The animator describes the threadbare 12 minute film this way: "Santa Claus invents Christmas with a belly full of cough syrup and a head full of dying crows."
 "Hadacol Corner" was the originally proposed name for the town of Midkiff in Upton County, Texas, but the U.S. Postal Service objected (presumably because it disapproved of a registered brand name being used as the name of a town).
 It is referenced in the short story "Special Delivery" by Damon Knight, published in Galaxy Science Fiction, April 1954.

See also
 Geritol

References

External links

 Bad Science: "The Hadacol Boogie"

 Biography of Big Bill Lister - Musician who played in the Hadacol Caravan (Internet Archive)
 (Internet Archive)

Dietary supplements
Patent medicines

Hadacol


Harry Potter and the Chamber of Secrets is a 2002 fantasy movie directed by Chris Columbus. It is based on J. K. Rowling's 1998 novel of the same name. The movie stars Daniel Radcliffe as Harry Potter, with Rupert Grint as Ron Weasley, and Emma Watson as Hermione Granger.

It was the last movie to have Richard Harris as Professor Albus Dumbledore, because of his death that same year.

Chamber of Secrets was released in theatres in the United Kingdom and the United States on 15 November 2002. It was nominated for many awards, including the BAFTA Award for Best Production Design, Best Sound, and Best Special Visual Effects.

Plot
Spending the summer with his abusive aunt, uncle and cousin, Harry meets an elf named Dobby. Elves are slaves of magical families. Dobby tells Harry not to return to Hogwarts school. The Dursleys lock Harry in his room so that he cannot escape. Harry is rescued by his friend Ron Weasley and his olde twin brothers, Fred and George.

While buying school supplies in a street named Diagon Alley, Harry sees the school bully, Draco Malfoy. Draco's father, Lucius, gives Ron's sister, Ginny, a black book. Dobby prevents Harry and Ron from getting to the Hogwarts train so they use a flying car to get to the school.

At school, Harry begins to hear voices in the walls. Mysterious writing appears on the walls saying "the Chamber of Secrets has been opened". The Chamber of Secrets is a mysterious part of the school built by Salazar Slytherin, one of the four founders of Hogwarts. The school staff learn that Ron's younger sister, Ginny, has been taken into the Chamber. Harry finds a magic black diary written by a former student named Tom Riddle.

Harry goes into the Chamber of Secrets and finds Ginny, who has been captured by the ghost of Tom Riddle, who is the younger version of Lord Voldemort. It turns out that the book Draco's father gave to Ginny was the diary of Tom Riddle and she was the one who accidentally opened the Chamber. Tom Riddle tries to kill Harry with a gigantic snake called the Basilisk. Harry kills the snake with a sword and destroys the diary, which causes the ghost of Tom Riddle to disappear.

Harry gives the book back to Lucius Malfoy and finds out that Dobby is the Malfoy family's slave. Harry tricks Lucius into freeing Dobby from his service.

Other websites

2002 fantasy movies
Harry Potter 2
Movies based on books
Movies about snakes
Harry Potter 2
Movies composed by John Williams

Harry Potter and the Chamber of Secrets (movie)


Marek Maciej Siwiec (born 13 March 1955 in Piekary Slaskie) is a Polish politician and journalist.

Biography
Marek Maciej Siwiec studied physics at the AGH University of Science and Technology (1980) and completed Post-Diploma Study of Journalism in 1989at the Academy of Social Sciences – Centre for Education of the Foreign Service.

He is married to Ewa, with whom he has two children.

Journalism career
Between 1985 and 1987 he was Editor-in-chief of the bi-weekly 'Student', then weekly magazine 'ITD' (1987–1990) and the daily newspaper 'Trybuna'.

Political career
From 1991 until 1997 he was a member of Parliament of the Polish Republic (Sejm) for the Kalisz Constituency. In years 1993-1995 he was also Member of National Broadcasting Council.

In 1996 he was appointed as a secretary of state in a Chancellery of the President of the Republic of Poland, Aleksander Kwaśniewski.

One year later (1997) he took over as a Chief of the National Security Bureau (Poland). He held that position until 2004, when he was elected Member of the European Parliament from Greater Poland Voivodship.

From January 2007 to June 2009 he served as Vice-President of the European Parliament. He also chaired the Delegation to the EU-Ukraine Parliamentary Cooperation Committee. He was an observer of several elections in Ukraine between 2004 and 2014.

In December 2011-April 2012 he was vice-chairman of Democratic Left Alliance, polish social-democratic political party.

During his tenure in European Parliament he also served as a coordinator of the Group of the Progressive Alliance of Socialists and Democrats for the Euronest Parliamentary Assembly. He was member of the Board of Yalta European Strategy foundation, President of European Friends of Israel, and member of Global Leadership Council of Colorado State University.

In 2016 he was appointed as a Chief Executive Officer of Babi Yar Holocaust Memorial Center, a non-governmental organization with its mission to respectfully commemorate the victims of the Babi Yar and to promote the humanization of mankind through the memory preservation and study of the history of the Holocaust. Since 2019, he has served as a Senior Public Affairs Advisor for the European Union.

Career timeline
 1981–1982: Assistant at the Electronics Institute of AGH (1980–1982), traineeship with the Gas and Fuel Corporation of Victoria, Australia
 1985–1991: Editor-in-chief of the bi-monthly 'Student' (1985–1987), weekly 'ITD' (1987–1990) and the daily 'Trybuna'
 1991–1997: Member of Parliament of the Polish Republic (Sejm)
 1993: Spokesman for the Democratic Left Alliance (SLD) Parliamentary Party
 1993–1996: Member of the National National Broadcasting Council
 1993–1996: Member of the Parliamentary Assembly of the Council of Europe
 1996–2004: Secretary of State at the Chancellery of the President of the Republic of Poland
 1997–2004: Chief of the National Security Bureau (Poland)
 1997–2004: Vice-Chairman of the Consultative Committee of the presidents of Poland and Ukraine
 Secretary of the National Security Council (2000–2004) head of the Polish Association of Friends of the Peres Center for Peace
 Chairman of the Supervisory Board of the Foundation to Counter Terrorism and Biological Threats
 Member of the National Administration of the SLD
 Head of the national delegation to the Party of European Socialists in the EP

Awards and recognition
 Order of Gedymin (1997, LT), Cavaliere di Gran Croce (1997, I), Ordem do Merito (1997, P), Ordre de Leopold (1999, B)
 National Order of Merit (2000, F)
 Ubique Patriae Memor (2002, BR)
 Grand Cross of the Order of Merit (2003, LT)
 Virtutea Militară (2003, RO)
 Royal Victorian Order (2004, GB)
 Order of Prince Yaroslav the Wise, 4th and 3rd Class (1997, 2004, UA)

Controversy
During presidency campaign in 2000 a film was published revealing Marek Siwiec, then the chief of National Security Bureau, allegedly parodying a gesture of then pope John Paul II (making a cross sign in the air on arrival). In November 2007 Institute of National Remembrance (Commission for the Prosecution of Crimes against the Polish Nation), revealed that in 1986 he was registered as a Secret Collaborator until January 1990. Marek Siwiec denied those claims. On 26 March 2009 Institute of National Remembrance, after its own investigation, decided about discontinuance of the proceedings due to lack of evidence about collaboration.

See also
 2004 European Parliament election in Poland
 2009 European Parliament election in Poland

References

External links

People from Piekary Śląskie
1955 births
Living people
Members of the Polish Sejm 1991–1993
Members of the Polish Sejm 1993–1997
Democratic Left Alliance MEPs
MEPs for Poland 2004–2009
MEPs for Poland 2009–2014
Recipients of the Order of the Cross of Terra Mariana, 2nd Class
Your Movement politicians

Marek Siwiec


The Yugoslav Republican Alliance (Jugoslovanski Republicansko Zdruzenje) was a political party founded in 1917 founded in exile in Chicago, United States, by the fusion of the Slovene Republican Alliance with Croats and other South Slav people. It declared support for a "Federal Republic of Yugoslavia" and declared that it opposed the Serbian monarchy taking the position of head of state of Yugoslavia, and refused to have the ethnicities of Yugoslavia be forced to be assimilated into being exclusively a singular Yugoslav identity.

References

Croatian-American culture in Illinois
Political parties established in 1917
Political parties in Yugoslavia
Slovene-American culture in Illinois
Yugoslav American

Yugoslav Republican Alliance


A lapel ( ) is a folded flap of cloth on the front of a jacket or coat below the collar. It is most commonly found on formal clothing and suit jackets. Usually it is formed by folding over the front edge of the jacket or coat and sewing it to the collar, an extra piece of fabric around the back of the neck.

There are three basic forms of lapel: notched, peaked, and shawl. The notched lapel, the most common, is usually seen on business suits, and on more casual jackets like blazers and sport coats. The peaked lapel is more formal, and nearly always used on double-breasted jackets, but also frequently appears on single breasted ones. The shawl lapel is usually carried by tuxedos and mess jackets.

Types

Notched

The notched lapel (American English), step lapel or step collar (British English) is sewn to the collar at an angle, creating a step effect.  This is the standard on single-breasted suits, and is used on nearly all suit jackets, blazers, and sports jackets. The notched lapel double-breasted jacket is a rare setting. The size of the notch can vary, and a small notch is sometimes called fishmouth. This was the first type of lapel to appear and is the most common one.

Peaked

The peaked lapel (American English), peak lapel, or pointed lapel (British English), is the most formal, featuring on double-breasted jackets, all formal coats such as a tailcoat or morning coat, and also commonly with a tuxedo (both single and double breasted). In the late 1920s and 1930s, the single breasted peaked lapel jacket was considered a very stylish design. The feature was carried into day clothing by the increasing popularity of the peaked dinner jacket. The ability to cut peak lapels properly on a single-breasted suit is one of the most challenging tailoring tasks, even for very experienced tailors.

Shawl

The shawl lapel, shawl collar, or roll collar is a continuous curve. Originally seen on the Victorian smoking jacket, it is now most common on the dinner jacket or tuxedo. This similarly began as informal eveningwear, and was then made in both more and less formal versions, depending on the situation in which it was to be used. It is also commonly used on mess jackets. A Teba jacket sports a form of notch-less lapel that features an angular turn.

Width
The width of the lapel is a widely varying aspect of suits, and has changed widely over the years. Some designers maintain however that most stylish lapel width does not change, and that the lapel "should extend to just a fraction less than the halfway mark between the collar and shoulder line".

Fabric
The lapel on business and sports wear is typically made of the same fabric as the rest of the jacket. On more formal wear it may be made of a contrasting fabric, with satin a popular  historic choice.

Buttonhole

On single-breasted jackets the left lapel typically carries a buttonhole for holding a boutonnière, a decorative flower. A loop is often fixed to the back of the lapel to hold the flower properly. For symmetry, double breasted suits often have a buttonhole on each lapel. A lapel pin is also sometimes worn.

Origin

The most common style of lapel, the notched lapel, originated in older types of jackets that buttoned to the neck, by unbuttoning and turning back the upper part of the closure at an angle indoors or in hot weather, and then removing the upper buttons. The upper points are derived from the end corners of the collar. This can be duplicated by similarly turning back the closure in a modern button-to-the-neck garment such as an outdoor coat or a boilersuit. Sometimes when caught outside in bad weather in a lapelled jacket and nothing over it, its wearer may unfold the lapels and hold them that way to temporarily reproduce the ancestral to-the-neck closure.

As tailcoats evolved rapidly among the wealthy during the Regency period, various styles of closure saw popularity, from fastenings at the top, the middle, or even hanging open. The turn-down collar popular on earlier garments like the frock was succeeded by long lapels folded down to below the waist (fashionably tightly nipped in). Invariably, there were long rows of buttons down the front, most of which did not fasten; in fact even into the late Victorian era, all frock coats had a long row of button holes on the lapel, long since obsolete. As buttoning styles changed, the loosely folded front of the coat correspondingly shifted shape, and the V then formed by the meeting of the fold and the collar continues now in the traditional shape of notched and peaked lapels, both of which originate from that period.

Once double breasted frock coats were established, lapels were sharply creased and their form was more static, varying only in details such as height, since they were buttoned nearly to the neck by the Edwardians, then lengthened to the classic three-button shape, the two-button jacket being a further American innovation. The other significant change over that period was the use of the revers in the construction of the lapel, as the Victorians used elaborate three-part patterns to cut a fold of cloth from the lining into the front of the lapel, a universal consideration of frock coats and dress coats of the period, but abandoned in favor of the current single-piece lapels at the same time as the switch to morning coats and lounge suits. Modern lapels are largely identical in form to their 1930s counterparts.

Some historians of dress such as Bernard Rudofsky have ridiculed the evolution of jacket lapels into "vastly unnecessary flaps" and "decorative rudiments", while others have celebrated the transformation of lapels into "fetishes" as part and parcel of fashion as expression.

Lapelless jackets
Though less common among men's suits in the west, other jacket styles feature no lapels. Jackets with mandarin collars, also called stand collars, band collars, or choker collars, include Nehru jackets and various military dress uniforms, such as the British Army and US Marine Corps. Turndown collars, also called Prussian collars and ghillie collars, were once common on military uniforms and on the Mao suit.

Notes

Bibliography

Whife, A.A (ed): The Modern Tailor Outfitter and Clothier. The Caxton Publishing Company Ltd, London, 1951

Jackets
Suits (clothing)
Parts of clothing

Lapel


Alex  Djornobuah Tetteh is a Ghanaian politician. He is a deputy minister for Western North and member of the Seventh Parliament of the Fourth Republic of Ghana representing the Sefwi-Akontombra Constituency in the Western North Region on the ticket of the New Patriotic Party.

He lobbied for the construction of the Wiawso-Akontombra road which the previous government abandoned.

Politics
Hon. Alex Tetteh Djornobuah is a member of New Patriotic Party and represent Sefwi-Akontombra constituency in the Seventh and Eighth Parliament of the Fourth Republic of Ghana.

2016 election
Tetteh contested the Sefwi- Akontombra constituency parliamentary seat on the ticket of New Patriotic Party during the 2016 Ghanian general election and won with 11, 922 votes representing 42.98% of the total votes. He was elected over Kenneth Yeboah of National Democratic Congress who polled 11, 626 votes which is equivalent to 41.92%, parliamentary candidate for IND Herod Cobbina had 4, 108 votes representing 14.81% and the parliamentary candidate for Convention People's Party Awini Salifu had 81 votes representing 0.29% of the total votes.

2020 election
Hon. Tetteh was re- elected as a member of parliament for Sefwi- Akontombra(Ghana parliament constituency) on the ticket of New Patriotic Party during the 2020 Ghanian general election with 17, 976 votes representing 54.88% of the total votes over Issah Mumuni of National Democratic Congress who polled 14, 553 votes which is equivalent to 44.43% and the parliamentary candidate for GUM Bright Ofori had 224 votes representing 0.68% of the total votes.

References

Ghanaian MPs 2017–2021
1972 births
Living people
New Patriotic Party politicians
Ghanaian MPs 2021–2025

Alex Tetteh Djornobuah


Humphrey Hurd, Mayor of Galway 1655-56.

A Lieutenant-Colonel in the Cromwellian army of occupation in Ireland, Hurd was the first of the Protestant Mayors elected following the removal of the old tribal corporation. He was said to have originally been a carpenter by trade, and is listed as owning property seized from the tribal families in the town in a survey of 1657.

References
"History of Galway", James Hardiman, 1820
"Old Galway", Maureen Donovan O'Sullivan, 1942
The Tribes of Galway", Adrian J. Martyn, 2001
 Henry, William (2002). Role of Honour: The Mayors of Galway City 1485-2001. Galway: Galway City Council.

Politicians from County Galway
Mayors of Galway
17th-century Irish businesspeople

Humphrey Hurd


General Sir Charles William Dunbar Staveley  (18 December 1817 – 23 November 1896) was a British Army officer.

Early life
He was born at Boulogne-sur-Mer, France, the son of Lt-General William Staveley and Sarah Mather, and educated at the Scottish military and naval academy, Edinburgh.

Career
He was commissioned as second lieutenant in the 87th (Royal Irish Fusiliers) on 6 March 1835.  He became a lieutenant on 4 October 1839, and captain on 6 September 1844.  From July 1840 to June 1843 he was aide-de-camp to the Governor of Mauritius, where his regiment was stationed, and where his father was acting Governor during part of that time.  On his return home, he was quartered at Glasgow, and saved a boy from drowning in the Clyde at imminent risk of his own life, as he was not yet fully recovered from a severe attack of measles.

He exchanged to the 18th Foot on 31 January 1845, and to the 44th on 9 May. From 15 June to 11 May 1847 he was aide-de-camp to the Governor General of British North America.  An admirable draughtsman, his sketches proved very useful during the settlement of the Oregon boundary question in 1846.  He was assistant military secretary at Hong Kong, where his father was in command, from 20 March 1848 to 27 February 1851.

Crimean War
He had become a major in the 44th Regiment of Foot on 7 December 1850, and went with them to Turkey in 1854.  When the regiment embarked for the Crimea he was to have been left behind on account of illness, but he hid himself on board until the vessel sailed.

He was present at Alma and at Balaclava, where he acted as aide-de-camp to the Duke of Cambridge.  On 12 December 1854 he became a lieutenant-colonel in his regiment.  The 44th belonged to Sir William Eyre's brigade of the third division, and took part in the attempt on the dockyard creek on 18 June 1855, and in the capture of the cemetery – the sole success achieved.  Staveley was mentioned in dispatches (London Gazette, 4 July) and was made CB.  He also received the Crimean Medal with three clasps, the Sardinian and Turkish medals, and the Medjidia (fifth class).

China
He commanded the regiment from 30 June 1855.  It returned to England in July 1856, embarked for Madras in August 1857, and went on to China in March 1860.  He had become colonel of the 44th on 9 March 1858, and on 28 April 1860 he was made brigadier-general, and was given command of the 1st Brigade of Michel's 1st Division during the Anglo-French expedition to Peking.  He was present at the capture of the Taku forts, was mentioned in dispatches (ib. 4 Nov. 1860), and received the medal with clasp.  On 18 January 1861, he was given one of the rewards for distinguished service.

He was left as Commander of British Troops in China and Hong Kong in 1862. The Taiping Rebellion was then in full career. The rebels had broken their promise not to come within thirty miles of Shanghai and were threatening that city itself. In April Staveley marched against them with a force of about two thousand men, of which about one-third consisted of French and English seamen and marines. He shelled them out of the entrenched camp at Wongkadze and stormed Tsipu, Kahding, Tsinpu, Nanjao and Cholin in the course of April and May. But the Chinese imperial troops were unable to hold all the towns recovered, and he had to withdraw the British garrison from Kahding (ib. 18 July and 5 Aug. 1862). In the autumn Kahding and Tsinpu were again taken, and the thirty-mile radius cleared of the rebels.

In December he was asked by Li Hung Chang to name a British officer to replace the American Burgevine as commander of the disciplined Chinese force which had been formed by Frederick Townsend Ward.  Staveley named Charles George Gordon, who had been chief engineer under him in the recent operations, and had surveyed all the country around Shanghai.  They had served together before Sebastopol, and Staveley's sister was the wife of Gordon's brother.  The appointment had to be approved from England, and was not taken up until the end of March 1863.  At that time ill-health obliged Staveley to resign his command and go home.

Abyssinia

In March 1865 he was made KCB and was appointed to the command of the first division of the Bombay Army.  On 25 September 1867, he was promoted major-general, and in November, by Sir Robert Napier's desire, he was given command of the first division of the force sent to Abyssinia.  He showed his energy to good purpose in the organisation of the base at Annesley Bay, and he conducted the fight on the Arogye plain, which immediately preceded the capture of Magdala.  Napier said in his dispatch that Staveley had afforded him most valuable support and assistance throughout the campaign.  He received the thanks of Parliament and the medal.

Later life
Staveley commanded the troops in the Western District for five years from 1 January 1869, and in the autumn manoeuvres of 1871 round Aldershot, one of the three divisions was under him.  He was Commander-in-Chief of the Bombay Army from 7 October 1874 to 7 October 1878, with the local rank of lieutenant-general, which became his substantive rank on 29 April 1875.  On 1 October 1877 he became general.  He was given the colonelcy of the 36th foot on 2 February 1876, and transferred to his old regiment, the 44th (which had become the first battalion of the Essex Regiment), on 25 July 1883.  He received the GCB on 24 May 1884.  He had been placed on the retired list on 8 October in the previous year.

He died at Aban Court, Cheltenham, on 23 November 1896, and was buried at Brompton Cemetery, London on 27 November.

Family
In 1864, Charles married Susan Millicent, daughter of Charles William Minet of Baldwyns, Kent.  They had five sons: William, Charles, Henry, Arthur and Cecil, who later became a vice admiral. Cecil's son Sir William Staveley became an Admiral of the Fleet. They also had three daughters: Rose, Leila and Susan.

References

Bibliography in Worcestershire Regiment
DNB entry

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1817 births
1896 deaths
British Army generals
Royal Irish Fusiliers officers
Royal Irish Regiment (1684–1922) officers
British Army personnel of the Crimean War
British military personnel of the Abyssinian War
British Army personnel of the Second Opium War
British military personnel of the Taiping Rebellion
Commanders of Hong Kong
Knights Grand Cross of the Order of the Bath
Burials at Brompton Cemetery
44th Regiment of Foot officers

Charles Staveley


"Susan's House" is a song by American rock band Eels. It was released as the third single from their 1996 debut album, Beautiful Freak.

Content
In his autobiography, Mark Oliver Everett states that Susan "wasn't a crazy girl, a rare exception at the time". Her house was in Pasadena, not a walkable distance from where Everett lived at the time. The song focuses on the problems in the area he walks through as he goes over to visit her. By the time of recording the song, he and Susan had already been apart a few years. Susan is also the subject of the song "Beautiful Freak" from the same album.

The song samples the piano introduction from the 1974 Gladys Knight & the Pips track "Love Finds Its Own Way", written by Jim Weatherly, who, along with Jim Jacobsen, is credited as co-writing Susan's House on both the original single and the album.

Release

"Susan's House" reached number 9 in the UK Singles Chart, the group's highest-charting single in the country to date.

Track listing

Charts

References

Eels (band) songs
1997 singles
Song recordings produced by Mark Oliver Everett
Songs written by Mark Oliver Everett
Songs written by Jim Weatherly

Susan's House


Brvace () is a small settlement just northwest of Grosuplje in central Slovenia. The area is part of the historical region of Lower Carniola. The municipality is now included in the Central Slovenia Statistical Region.

A small roadside chapel-shrine in the northern part of the settlement dates to the 19th century.

References

External links

Brvace on Geopedia

Populated places in the Municipality of Grosuplje

Brvace