The Lena Horne Theatre (previously the Mansfield Theatre and the Brooks Atkinson Theatre) is a Broadway theater at 256 West 47th Street in the Theater District of Midtown Manhattan in New York City. Opened in 1926, it was designed by Herbert J. Krapp in a Spanish Revival style and was constructed for Irwin Chanin. It has 1,069 seats across two levels and is operated by the Nederlander Organization. Both the facade and the auditorium interior are New York City landmarks.

The facade is divided into two sections: the four-story stage house to the west, covered in buff-colored brick, and the three-story auditorium to the east, designed with yellow-beige brick and terracotta. The ground floor, which contains the theater's entrance, is shielded by a marquee. Above is a set of Palladian windows on the second story, as well as rectangular sash windows with lunettes on the third story. The facade is topped by an entablature and a sloping tiled roof. The auditorium contains ornamental plasterwork, a sloped orchestra level, a large balcony, and a coved ceiling. The balcony level contains box seats near the front of the auditorium, above which are murals.

The Mansfield Theatre was developed with the Biltmore (now Samuel J. Friedman) Theatre across the street, opening on February 15, 1926. The Mansfield struggled to attract hits from its opening until 1945 when Michael Myerberg bought it. In 1950, the Mansfield was leased to CBS for television productions under the name Studio 59. When Myerberg returned it to legitimate use in September 1960, he renamed it after the former New York Times theater critic Brooks Atkinson. The Nederlander Organization purchased a partial ownership stake in the Brooks Atkinson Theatre in 1967 and became a full owner in 1974. Following a renovation in 2000, the theater has hosted several shows in the 21st century, such as the musical Waitress. On November 1, 2022, the theater was renamed after Black singer-actress Lena Horne.

Site
The Lena Horne Theatre is at 258 West 47th Street, on the south sidewalk between Eighth Avenue and Broadway, near Times Square in the Theater District of Midtown Manhattan in New York City. The square land lot covers , with a frontage of  on 47th Street and a depth of 100 feet. The Lena Horne shares the block with the Paramount Hotel to the south and the Hotel Edison and Lunt-Fontanne Theatre to the east. Other nearby buildings include the Samuel J. Friedman Theatre to the north; the Ethel Barrymore Theatre and Longacre Theatre to the northeast; the Richard Rodgers Theatre and Imperial Theatre to the south; and the off-Broadway 47th Street Theatre to the west.

Design
The Lena Horne Theatre, originally the Mansfield Theatre, was designed by Herbert J. Krapp in a modern Spanish style and was constructed in 1926 for the Chanin brothers. The theater was originally named for British actor Richard Mansfield (1857–1907). From 1960 to 2022, it was named for Brooks Atkinson (1894–1984), who was the theater critic for The New York Times from 1925 to 1960. Since 2022, the theater has been named for African-American actress and singer Lena Horne (1917–2010). The Lena Horne is operated by the Nederlander Organization.

Facade
The facade consists of two sections. The three-story-tall eastern section is wider and is symmetrical, containing the auditorium entrance. It is made of yellow-beige brick with white terracotta decorations. The western section, which contains the stage house, is four stories high and contains a brick facade. The third story of the auditorium is on an intermediate level between the third and fourth stories of the stage house.

Auditorium section

The first story of the auditorium's facade is symmetrically arranged. There is a water table made of terrazzo, above which are rusticated terracotta blocks made in ashlar. Several openings are placed within the first story. The easternmost opening contains recessed metal doors with sign boards. At the center are five metal double doors connecting with the box office lobby. The westernmost opening consists of a metal stage door. Sign boards are placed on the wall to the left (east) of the center openings, as well as on two of the double doors to the right (west) of center. A marquee hangs over the five center doorways and the immediate adjacent sign boards.

On the upper stories, the auditorium is arranged into three sections from left to right. The auditorium's outermost openings, on the second and third stories, have a single six-over-six sash window on either story. Lunettes with rosettes are placed above each of these windows. These windows are surrounded by a brick band, which is laid in a pattern resembling an arch. At the top of this arch is a molding with corbels, as well as a brick panel with bond work in a basket-weave pattern. Above this are terracotta friezes with fleur-de-lis and rosette patterns, topped by a brick parapet.

The central section contains three Palladian window frames at the second floor, with bracket-shaped keystones above each window. Twisting colonettes divide the openings in each Palladian frame, while the outer sections of the windows are bordered by pilasters with Corinthian-style capitals. The center opening is an open-air loggia, behind which is a fire stair with an iron railing. The other two Palladian openings contain sash windows. At the third story, there are three openings, surrounded by twisting moldings and a terracotta frame. The center opening is a ventilation grate while the other two contain six-over-six sash windows. All three window openings have a lunette with rosette above them. Between the window openings are medallions that depict lyres. A sign with the name "Brooks Atkinson" projects from the western side of the third floor. Brackets run above the third floor, supporting a cornice and a Spanish tile roof.

Stage house section

The Lena Horne Theatre's stage house is much simpler in design, with a terrazzo water table. Unlike in the auditorium section, all four stories are faced in brick. At ground level, there is a doorway and a garage opening, between which are two bricked-up window openings. A string course runs above the ground story. On each of the second through fourth floors, there are three sash windows with two-over-two panes, and a brick lintel is placed above each window. The stage house is topped by a cornice and a parapet.

Auditorium
The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch. The auditorium space is designed with plaster decorations in low relief. According to the Nederlander Organization, the auditorium has 1,069 seats; meanwhile, The Broadway League cites a capacity of 1,094 seats and Playbill cites 1,045 seats. The Lena Horne Theatre is designed in a Spanish style and originally had a seating capacity of 1,125. The interior design scheme was overseen by Roman Meltzer, who was the architect for Russian emperor Nicholas II.

Seating areas
The rear (east) end of the orchestra contains a promenade with paneled walls and a molded cornice. The orchestra is raked, sloping down toward the stage. There are two columns between the orchestra and the promenade, between which is a decorative railing. Two staircases, with decorative metal railings, lead from either end of the promenade to the balcony level. The orchestra's north (right) wall has doors from the lobby, while the south (left) and rear walls contain exit doors. There are foliate swag motifs on either side of the exit signs above the doors.  The orchestra's side walls contain decorative panels. Bronze lighting sconces are placed along the walls of the orchestra and its promenade.

The balcony level is divided into front and rear sections by an aisle halfway across the depth. On either side of the crossover aisle are exit doors, which are placed between pilasters and wall panels on either side. Above the exit doors are arch decorations and a frieze with swags. The rest of the balcony's side walls contain panels, which are divided into upper and lower sections, with foliate decorations in the upper panels and plain decorations in the lower panels. A cornice runs above all of the walls. The front rail of the balcony contains shields and foliate decorations. Light boxes are installed on the front rail. The underside of the balcony has plasterwork panels with crystal light fixtures suspended from medallions. Air-conditioning vents are placed along some of the panels under the balcony.

On either side of the proscenium is a curved wall section with three arches, each of which corresponds to a box at balcony level. The wall section  is flanked by fluted pilasters with Corinthian-style gilded capitals. At orchestra level, the wall sections contain a false rusticated wall with three rectangular openings. The undersides of the boxes contain crystal light fixtures similar to those on the balcony. The fronts of the boxes are curved outward and contain shields and foliate decorations. Twisting colonettes run beside each arch, while egg-and-dart moldings run along the tops of the arches. The arches are separated by fluted pilasters with Corinthian capitals, above which is a molding. At the tops of the boxes are murals that show commedia dell'arte and muses. These murals were painted by A. Battisti and G. Troombul.

Other design features
There is a three-centered proscenium arch next to the boxes. The archway is surrounded by a molded band with anthemia, egg-and-dart, and rope motifs. The spandrels, above the corners of the proscenium arch, contain Adam-style sphinx motifs. There are fluted pilasters with gilded Corinthian capitals along either side of the arch. Above these pilasters is a frieze containing motifs of arches with fans.

A beam separates the ceiling into front and rear sections. The beam is decorated with a frieze containing arch-and-fan motifs (similar to the frieze above the proscenium). The front section is a coved ceiling, surrounded by a frieze with an arch-and-fan motif. Moldings divide the cove into sections, which are decorated with urns and foliate designs. A crystal chandelier hangs from the center of the cove. The rear section contains molded bands with bead motifs, which divide the ceiling into arch- and lozenge-shaped panels. Near the side walls, the moldings contain cartouches with foliate designs, from which are suspended four chandeliers.

History
Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression. During the 1900s and 1910s, many theaters in Midtown Manhattan were developed by the Shubert brothers, one of the major theatrical syndicates of the time. The Chanin brothers developed another grouping of theaters in the mid-1920s. Though the Chanins largely specialized in real estate rather than theaters, Irwin Chanin had become interested in theater when he was an impoverished student at the Cooper Union. He subsequently recalled that he had been "humiliated" by having to use a separate door whenever he bought cheap seats in an upper balcony level.

Initial Broadway run

1920s

Irwin Chanin was a newcomer to the Broadway theater industry when he was developing his first theater, the 46th Street (now Richard Rodgers). Chanin hired Herbert Krapp, an experienced architect who had designed multiple Broadway theaters for the Shubert brothers. The 46th Street Theatre opened in early 1925 as Chanin's first Broadway theater. Chanin retained Krapp to design the Biltmore and Mansfield theaters on 47th Street, which at the time was a largely residential street. Irwin Chanin, who built the theater with his brother Henry, acquired the property title to the two theater sites on 47th Street in March 1925. Though the Biltmore was completed that December, the Mansfield was not finished until early the following year. On February 15, 1926, prior to the theater's opening, a luncheon was hosted in honor of Mansfield's widow Beatrice Cameron. Later that night, the theater opened with the melodrama The Night Duel.

Generally, the Mansfield's early productions were flops. The Night Duel lasted for 17 performances before closing, and three similarly short-lived shows followed. The theater's first moderate success was If I Was Rich with Joe Laurie Jr., which opened in September 1926 and had 92 performances. The Ladder with Antoinette Perry opened at the Mansfield the next month, running for several hundred performances across numerous theaters. This was followed by a revival of Eugene O'Neill's Beyond the Horizon. At the end of the year, the Mansfield staged three Hebrew-language plays performed by the Habima Players of Moscow, including The Dybbuk. A revival of the Henrik Ibsen play Ghosts, with Minnie Maddern Fiske, had 24 performances at the beginning of 1927. The theater hosted short-lived plays for the rest of that year. That April, the Mansfield was sold to Irving Lewine, who leased the theater back to the Chanins for 63 years.

In August 1927, Charles L. Wagner arranged to operate the Mansfield for a year. Just before Wagner was scheduled to assume operation that October, Lew Fields took over the lease and Wagner's shows were relocated to another theater. Fields planned to stage at least four shows and rename the theater for himself. The beginning of 1928 saw short runs of the plays Mongolia and Atlas and Eva. The first Fields production at the Mansfield was the Rodgers and Hart musical Present Arms in April 1928, which ran for 147 performances. The theater's sign was changed to display the name "Lew Fields Theatre", though programs referred to the house as "Lew Fields's Mansfield Theatre". Rodgers and Hart also wrote the music for Chee-Chee, which was much less popular than Present Arms. At the end of the year, Lew Fields starred in Hello, Daddy, which was produced by his children Dorothy and Herbert Fields; it had 198 performances. The theater reverted to its original name in March 1929 with the opening of the flop Indiscretion.

1930s and 1940s

The next success at the Mansfield was Marc Connelly's The Green Pastures, which opened in February 1930. With a cast composed entirely of Black actors, it ultimately ran 640 performances. This was followed by numerous flops, which established the Mansfield Theatre as a "jinx house". The Chanins ultimately lost control of the Mansfield and their other theaters during the Depression. In October 1931, the Chanins relinquished their lease on the Mansfield to Irving Lewine. At the end of the year, the Group Theatre began presenting its productions at the Mansfield, first staging 1931- and then The House of Connelly. The Mansfield did not host any productions from March to December 1932. The Mutual Life Insurance Company subsequently foreclosed on the theater, and it was purchased by Nyamco Associates Inc. in October 1932 for $354,000. In the foreclosure process, all the theater's furnishings were removed. The same month as Nyamco's acquisition, Ray K. Bartlett and Edgar Allen took over the Mansfield for two years and reinstalled the furnishings.

The Mansfield reopened in December 1932 with the Shuffle Along of 1933, which closed after just 17 performances. In June 1933, the theater was leased to the syndicate Players League Inc. for 19 months. The theater did not have any particularly distinguished shows in 1933 or 1934, but George Abbott directed the moderately successful comedy Page Miss Glory in late 1934. The next year, the Mansfield had a transfer of Moon Over Mulberry Street, as well as a run of On Stage with Osgood Perkins. This was followed in 1937 by Antony and Cleopatra featuring Tallulah Bankhead, as well as Behind Red Lights, which ran for 176 performances. In 1938, the Shuberts proposed leasing the Mansfield at $14,000 a year, an extremely favorable rate compared to other theaters; they ultimately took the theater for a year and renovated it. The theater then hosted a transfer of the long-running What a Life in 1939, as well as the Group Theatre's Thunder Rock featuring Lee J. Cobb and Frances Farmer.

In 1940, the Mansfield hosted a revival of Juno and the Paycock, a transfer of the long-running comedy Separate Rooms, and the popular revue Meet the People. The theater staged In Time to Come in 1941, as well as a revival of Shakespeare's As You Like It. The theater mostly hosted short runs during 1942 and 1943, and producer Michael Myerberg signed a three-year lease for the Mansfield in June 1943. The comedy Janie was staged at the Mansfield for a short period during late 1943 and early 1944. Myerberg bought the theater outright in March 1944, and Anna Lucasta, an adaptation of an American Negro Theater production, opened that August, starring Hilda Simms for 957 performances. The New York Herald Tribune said at the time that all-Black casts had performed the only two "outstanding hits" in the Mansfield's two-decade history: Anna Lucasta and The Green Pastures.

The Mansfield's next hit was Ruth Gordon's Years Ago, which opened in 1946 which ran for 206 performances. For the most part, the Mansfield hosted short runs during 1947. A revival of the musical The Cradle Will Rock opened at the end of that year and ran for two weeks. The Dublin Gate Theatre performed three shows at the Mansfield in February and March 1948, followed in April by the Billie Holiday Revue. The Mansfield's final productions of the decade included Red Gloves in 1948 and Lend an Ear in 1949. DuMont Television Network considered leasing the Mansfield during the 1949 season, but the Shuberts operated the theater instead when DuMont decided against using it. The Mansfield hosted All You Need Is One Good Break in February 1950, and the Jean Anouilh play Peacock ran just two performances that April.

CBS studio and renaming
The Columbia Broadcasting System (CBS) leased the Mansfield in August 1950 for five years, paying a very favorable annual rental of between $85,000 and $100,000. Ultimately, CBS used the theater for ten years. Known as CBS Studio 59, the theater was used to broadcast the long-running panel shows What's My Line? and I've Got a Secret. CBS also used the theater for shows such as Showcase, which showed actors in short clips. In 1958, Roger L. Stevens considered leasing the Mansfield Theatre from Myerberg, who still owned it.

Myerberg announced in mid-1960 that the former Mansfield Theatre would be renovated and reopened as a legitimate theater. The Mansfield was renamed after Brooks Atkinson, who had then recently retired as the theatrical critic for The New York Times. The Brooks Atkinson would be the first Broadway theater to be named for a theatre critic, as well as the second named for a newspaper writer, beside the Mark Hellinger Theatre. The theater was renamed at a ceremony on September 7, 1960.

Broadway revival

1960s and 1970s

The first production at the Brooks Atkinson was David Merrick's Vintage 60, which opened on September 12, 1960, and lasted just eight performances. This was followed the same year by Send Me No Flowers, which featured David Wayne and Nancy Olson for 40 performances. The next year, the theater hosted a success with Neil Simon's first play, Come Blow Your Horn, which ran for 677 performances. This was followed in late 1962 by Sidney Kingsley's Night Life and in 1963 by Peter Ustinov's Photo Finish. In early 1964, the Brooks Atkinson staged a five-performance run of Tennessee Williams's The Milk Train Doesn't Stop Here Anymore and solo appearances by Josephine Baker. The theater then hosted the controversial drama The Deputy, which ran for 318 performances for much of the same year. At the end of 1964, Julie Harris starred at the Brooks Atkinson in Ready When You Are, C.B.!; followed in 1965 by a 176-performance revival of The Glass Menagerie.

The Brooks Atkinson largely hosted flops for two years from November 1965 until Ustinov's Halfway Up the Tree opened in 1967. To combat the theater's unprofitability, the Nederlander Organization bought a half-interest in the Brooks Atkinson in May 1967. The next year, the Brooks Atkinson hosted Peter Nichols's A Day in the Death of Joe Egg, followed by Renée Taylor and Joseph Bologna's Lovers and Other Strangers. Subsequently, Dustin Hoffman appeared in Jimmy Shine during late 1968 and early 1969. The Brooks Atkinson did not see another hit until 1971, when Cliff Gorman starred in Lenny, a biography of Lenny Bruce that ran for 453 performances. The Negro Ensemble Company moved their off-Broadway production of The River Niger to the Brooks Atkinson in 1973, where it had 280 performances.

Myerberg died in early 1974 and the Nederlanders bought his half-interest in the Brooks Atkinson's ownership. Three successful productions were featured at the theater the same year: Find Your Way Home with Michael Moriarty and Jane Alexander; My Fat Friend with George Rose and Lynn Redgrave; and Of Mice and Men with James Earl Jones, Kevin Conway, and Pamela Blair. The two-character comedy Same Time, Next Year opened at the Brooks Atkinson in 1975. The theater celebrated its 50th anniversary in December 1976, ten months after the actual anniversary, because no one had noticed the date beforehand. Same Time, Next Year transferred to another theater in May 1978 and ultimately ran for over 1,400 total performances. The Brooks Atkinson then hosted the play Tribute with Jack Lemmon in 1978, as well as the comedy Bedroom Farce and the drama Teibele and Her Demon in 1979.

1980s and 1990s

The off-Broadway play Talley's Folly moved to the Brooks Atkinson in 1980. This was followed by four short runs: Tricks of the Trade and Mixed Couples in 1980, as well as Lolita and Wally's Cafe in 1981. The Dresser opened later in 1981 and ultimately ran 200 performances. This was followed in 1982 by a short run of the off-Broadway show Beyond Therapy, another revival of Ghosts with John Neville and Liv Ullmann, and the comedy Steaming with Judith Ivey. In 1983, the Brooks Atkinson hosted the mountain-climbing drama K2 as well as the solo show Edmund Kean with Ben Kingsley. At the end of 1983, the Brooks Atkinson staged Noises Off, which ran for one and a half years. Subsequently, Aren't We All? and Benefactors both opened at the Brooks Atkinson in 1985. This was followed in December 1986 by comedian Jackie Mason's solo show The World According to Me!. Mason's show ran for two years, with a gap in early 1988 when Mason was shooting the film Caddyshack II.

The New York City Landmarks Preservation Commission (LPC) had started to consider protecting the Brooks Atkinson as a landmark in 1982, with discussions continuing over the next several years. The LPC designated the Brooks Atkinson's facade and interior as landmarks on November 4, 1987. This was part of the commission's wide-ranging effort in 1987 to grant landmark status to Broadway theaters. The New York City Board of Estimate ratified the designations in March 1988. The Nederlanders, the Shuberts, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Brooks Atkinson, on the merit that the designations severely limited the extent to which the theaters could be modified. The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States, but these designations were ultimately upheld in 1992.

The Brooks Atkinson staged Cafe Crown with Anne Jackson and Eli Wallach in 1989. The same year, the theater had limited appearances by musicians Victor Borge, Peter, Paul and Mary, and Stephanie Mills. This was followed in 1990 by a two-month-long run of The Cemetery Club and an adaptation of William Nicholson's Shadowlands with Jane Alexander and Nigel Hawthorne. The Brooks Atkinson hosted Death and the Maiden with Glenn Close, Richard Dreyfuss, and Gene Hackman in 1992, then the Roundabout Theatre Company's version of She Loves Me in 1993. The theater had two flops in the mid-1990s: Donald Margulies's What's Wrong With This Picture?, which ran for 12 performances in 1994, and Budd Schulberg and Stan Silverman's On the Waterfront, which had just eight performances in 1995.

The Steppenwolf Theatre Company's production of Buried Child was produced at the Brooks Atkinson in 1996, as was  the play Taking Sides with Daniel Massey and Ed Harris. The musical Play On! was hosted in 1997, followed the same year by the musical show Street Corner Symphony. The theatrical adaptation of Wait Until Dark, which featured film actress Marisa Tomei in her Broadway debut, ran for 97 performances in 1998. The next year, the theater hosted a transfer of a West End revival of The Iceman Cometh, featuring Kevin Spacey.

2000s to present

In early 2000, the theater hosted the Roundabout Theatre Company's production of Uncle Vanya. From July to September of that year, Sachs Morgan Studio renovated the theater for $2.2 million. The original chandelier was retrieved from storage and reinstalled; the murals, lobbies, and restrooms were refurbished; and the seats, carpets, and drapes were replaced. The Brooks Atkinson reopened in December 2000 with the musical Jane Eyre, which closed after a short run. A late-2001 revival of Noises Off, two decades after the original production, ran for 348 performances. Next to be shown was a limited run of the tragedy Medea in 2002, as well as the revue The Look of Love and Jackie Mason's short-lived Laughing Room Only. The Brooks Atkinson hosted the dramas Jumpers and Democracy in 2004, as well as limited runs of the solo shows Mark Twain Tonight! and The Blonde in the Thunderbird in 2005.

A revival of The Odd Couple opened at the Brooks Atkinson in late 2005, followed by the dance musical [[The Times They Are a-Changin' (musical)|The Times They Are a-Changin''']] in 2006 and a revival of A Moon for the Misbegotten in 2007. The rock-and-roll musical Grease was revived at the theater in August 2007, and the show ultimately ran for 554 performances over the next year and a half. It was immediately followed by a transfer of the off-Broadway rock musical Rock of Ages, which opened in April 2009 and ran for nearly two years before transferring. In the early 2010s, the Brooks Atkinson hosted both plays and musicals. These included Rain: A Tribute to the Beatles and Relatively Speaking in 2011; Peter and the Starcatcher in 2012;  Hands on a Hardbody and After Midnight in 2013; and Love Letters in 2014. As part of a settlement with the United States Department of Justice in 2014, the Nederlanders agreed to improve disabled access at their nine Broadway theaters, including the Brooks Atkinson.

The Brooks Atkinson hosted the comedy It Shoulda Been You in 2015, as well as Deaf West Theatre's production of the musical Spring Awakening the same year. Subsequently, the musical Waitress opened in 2016, with Sara Bareilles and Jason Mraz both performing in the show before it closed in January 5, 2020. Waitress became the Brooks Atkinson's longest-running production in 2019, and it ran through early 2020. The musical Six was in rehearsal and was set to open on March 12, 2020, when the theater was forced to close due to the COVID-19 pandemic. Six premiered when the Brooks Atkinson reopened on September 17, 2021.

During the COVID-19 shutdown, the Shuberts, Nederlanders, and Jujamcyn had pledged to increase racial and cultural diversity in their theaters, including naming at least one theater for a Black theatrical personality. Accordingly, in June 2022, the Nederlanders announced that the Brooks Atkinson would be renamed for singer and actress Lena Horne. Horne's collaborative relationship with the Nederlanders included the Broadway production of Lena Horne: The Lady and Her Music in 1981, for which she won a Tony and two Grammy awards. The venue became the first Broadway theater named for a Black woman, as well as the third Broadway theater named after a Black theatrical personality.  The Lena Horne's new marquee was unveiled on November 1, 2022.

Notable productions
Productions are listed by the year of their first performance. This list only includes Broadway shows; it does not include shows taped at the theater.

 1920s to 1940s

1926: Beyond the Horizon1926: The Dybbuk1927: Ghosts1928: Present Arms1928: Chee-Chee1930: The Green Pastures1931: The House of Connelly1932: Shuffle Along (1933)1934: Page Miss Glory1936: Black Limelight1937: Sea Legs1937: Antony and Cleopatra1939: What a Life1939: Thunder Rock1940: Juno and the Paycock1940: Meet the People1941: As You Like It1944: Anna Lucasta1947: The Cradle Will Rock1948: John Bull's Other Island1948: Red Gloves1949: Lend an Ear 1960s to present

1961: Come Blow Your Horn1963: Phèdre1963: Bérénice1963: Man and Boy1964: The Milk Train Doesn't Stop Here Anymore1964: The Deputy1965: The Glass Menagerie1967: Love in E-Flat1967: A Minor Adjustment1967: Halfway Up the Tree1968: A Day in the Death of Joe Egg1968: Lovers and Other Strangers1969: Indians1970: Paris Is Out!1970: Charley's Aunt1970: Not Now, Darling1971: Lenny1972: Lysistrata1973: The River Niger1974: My Fat Friend1974: Of Mice and Men1975: Same Time, Next Year1978: Tribute1979: Bedroom Farce1980: Talley's Folly1981: Lolita1981: The Dresser1982: Beyond Therapy1982: Ghosts1982: Steaming1983: K21983: Edmund Kean1983: Noises Off1985: Aren't We All?1985: Benefactors1986: Rowan Atkinson at the Atkinson1986: Jackie Mason's The World According to Me!1989: Cafe Crown1989: The Victor Borge Holiday Show on Broadway1989: Peter, Paul & Mary "A Holiday Celebration"1989: Stephanie Mills Comes "Home" to Broadway1990: The Cemetery Club1990: Shadowlands1992: Death and the Maiden1993: Redwood Curtain1993: She Loves Me1996: Buried Child1996: Taking Sides1997: Play On!1998: Wait Until Dark1998: Fool Moon1999: The Iceman Cometh1999: The Rainmaker2000: Uncle Vanya 2000: Jane Eyre 2001: Noises Off 2002: Medea 2003: The Look of Love 2004: Jumpers 2004: Democracy 2005: Mark Twain Tonight! 2005: The Odd Couple 2006: The Times They Are a-Changin' 2007: A Moon for the Misbegotten 2007: Grease 2009: Rock of Ages 2011: Rain: A Tribute to the Beatles 2011: Relatively Speaking 2012: Peter and the Starcatcher 2013: Hands on a Hardbody 2013: After Midnight 2014: Love Letters 2015: It Shoulda Been You 2015: Spring Awakening 2016: Waitress 2021: Six Box office record Waitress set a box office record for the theater in 2018, grossing $1,626,478 over eight performances for the week ending on January 28, 2018. This was surpassed by Six'', which grossed $1,649,206 over eight performances for the week ending January 1, 2023.

See also

List of Broadway theaters
List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets

References

Notes

Citations

Sources

External links

1926 establishments in New York City
Broadway theatres
Nederlander Organization
New York City Designated Landmarks in Manhattan
New York City interior landmarks
Theater District, Manhattan
Theatres completed in 1926

Lena Horne Theatre


Beth Groundwater is an American author who has written two novels in the Claire Hanover gift basket designer mystery series, A Real Basket Case and To Hell in a Handbasket. The first, published in March, 2007, was put up for the Best First Novel Agatha Award in 2007.  The sequel, To Hell in a Handbasket was published in May, 2009.  She writes in the Mystery genre, and has also written several short stories.

Writing career
Groundwater first began writing fiction in the fifth grade, and in high school took an outside study in English.  She went to the College of William and Mary and got a degree in Psychology and Computer Science in 1978.  She worked in another job until 1999, then she chose to become a writer.

After going to a few writers' meetings, she began writing short stories.  Seven were published before she met a literary agent who agreed to publish her first novel, A Real Basket Case.  It was published in 2007, and was put up for the Best First Novel Agatha Award in 2007.  Of her short stories, eight have been published and one was written in Farsi.  Another of Groundwater's short stories has been made into a live play.

Awards
Groundwater's writings have won several awards.  Her first novel was put up for the Best First Novel Agatha Award in 2007.  Groundwater's short stories have won awards also. Her short story "New Zealand" won first place in the 2003 PPW Paul Gillette Memorial Writing Contest, and was the winner of the Rocky Mountain Fiction Writers Short Story Anthology Contest.  "Flamingo Fatality" won the Great Manhattan Mysteries Conclave Short Story Anthology Contest in 2005, and her 2005 short story "Lucky Bear" was first in the Storyteller Magazine Flash Fiction Contest.

Notes

Writers from Virginia
Year of birth missing (living people)
Living people

Beth Groundwater


Akintade Ogidan, aka Tade Ogidan  (born July, 1960), is a Nigerian film and television screenwriter, producer and director.

Early life
Born in Lagos, Nigeria, to middle class parents Akinola and Rachael Ogidan, he grew up in Surulere, a suburb of Lagos State in Nigeria.

Education
He had his elementary school education in the mid '60s into the '70s at Government Demonstration School and Surulere Baptist School, both in Surulere, Lagos.  Between 1972 and 1974, he attended secondary school at Ekiti Parapo College, Ido-Ekiti, and graduated from Maryland Comprehensive Secondary School, Ikeja, Lagos, in 1978. From 1979, Ogidan attended Eastern New Mexico University in Portales, NM, USA. He completed a short stint at the State University of New York, in Buffalo, NY, USA.

TV
From 1982 to 1983, Tade Ogidan completed the government-mandated National Youth Service Corp program at the Nigerian Television Authority, NTA, in Lagos, after which he became a full-time Producer/Director with NTA Channel 10, and a Continuity Announcer with NTA 2 - Channel 5, both in Lagos, Nigeria. Ogidan spent 8 years with the Nigerian Television Authority, (NTA 10, NTA 2 - Channel 5 and NTA National Network Service and projects).

At NTA, he produced/directed several episodes of the PLAY OF THE WEEK drama series, the TELE THEATRE drama series, LEGAL ANGLE series, THE NEW VILLAGE HEADMASTER drama series, and a handful of DRAMA specials on NTA National Network. He gained renown as the producer/director of hit episodes such as Blinking Hope, The Boys Next Door, and To Save a Falling Angel. One of the drama projects worked on then, THE REIGN OF ABIKU, written by Sola Osofisan, won several awards at the Nigerian Festival of Television Programmes, NIFETEP 1986.

He also worked on the magazine show, SUNNY SIDE OF LIFE, hosted by Patrick Ityohegh, and other projects that Peter Igho uand Chris Ebie were Executive Producers on.

Movies
Tade Ogidan left the NTA for private productions in 1990 and set up OGD PICTURES, LTD. OGD is coined from his last name, OGIDAN. He has since written, produced and directed hit movie projects like Hostages, Owo Blow, Diamond Ring, Out Of Bounds, Raging Storm, 7 – 12, Playing Games, Saving Alero, Dangerous Twins, Madam Dearest, Ayo Mi Da Family On Fire and Gold Statue most of which are multiple award-winners in and outside Nigeria.

Other television projects
Tade Ogidan and the OGD PICTURES team have worked on other projects for broadcast on television, such as BEHIND THE SIEGE seasons 1 & 2 written by Tosin James Atega (I Am James)  (a series done in collaboration with FHI/USAID), CRIME FIGHTERS (with BI COMMUNICATIONS), the TEJU BABYFACE SHOW, THE INTERN (Entrepreneurial Reality TV show, Produced by Ofem Ofem), and The Next Titan (an Entrepreneurial Reality TV show with Mide Akinlaja, FICOMMS LTD.)

Production of TV commercials
Tade Ogidan and his team at OGD PICTURES worked on a number of TVCs for advertising agencies like Prima Garnet, Verdant Zeal, Lintas, etc., packaging TVCs for Crystal Bank, First Bank, FCMB, ABC Wax, Nigeria Export Processing Zone, Nigeria Airways, Royco, Maggi, Ajinomoto Seasoning, Close Up Toothpaste, Arik Air, etc.

Major live events
The Lagos State Governor's Education Awards in 2013 was packaged by the Tade Ogidan-led OGD team. It was a major musical show featuring over 100 Lagos State Public Secondary School pupils performing alongside Nigerian movie stars like Femi Adebayo, Bello, Iya Awero, Yomi Fash Lanso, Sola Sobowale, Ireti Osayemi, Gideon Okeke, and Faithia Balogun.

Tade Ogidan also packaged the 2014 edition of the Lagos State Governor's Education Awards, a live musical drama that featured over 200 Lagos State Public Secondary School pupils performing alongside TV/Movie stars like Bimbo Manuel, Sola Sobowale, Patience Ozokwor, Hafiz Oyetoro (Saka), Yinka Akanbi, Femi Adebayo, Gloria Young, Lepacious Bose, etc.

OGD All Stars Novelty music project
While working on the soundtrack of Madam Dearest (Aya Mi Owon), the hit movie, with several film and TV stars, several musical tracks and videos titled OGD ALL STARS emerged. A first of a kind in Nigeria, It featured stars Richard Mofe-Damijo, Stella Damasus Aboderin, Ramsey Nouah, Segun Arinze, Yinka Akanbi, Akin Lewis, Sola Sobowale, Deji Adenuga, Lanre Balogun, Lizzy Bariya, Dorin Onasanya, Teju Babyface, Saheed Balogun, Kunle Afolayan, Gabriel Afolayan, Funke Akindele, Akin Oyelola, Ab, Sola Onomor, Precious, Florence Wilkie, Bolu, Keppy Ekpenyong, Tina Mba, Kate Henshaw, Bimbo Akintola, 2-Effects, Remi Oshodi, Bukky Ajayi, Basorge Tariah Jr., Bimbo Manuel, Esse Agesse, Yemi Solade, Ope Ayeola, Shaggy, Shedrack, Tunji Olugbodi, Sunday Afolabi, Wande Coal, etc.

Personal life
Tade Ogidan is married with children.

Filmography

Awards and nominations

See also
 List of Nigerian film producers

References

External links
Ogidan's OGD Pictures website

Nigerian film directors
Nigerian film producers
Nigerian screenwriters
Nigerian dramatists and playwrights
Living people
People from Ekiti State
Yoruba filmmakers
1960 births
Filmmakers from Lagos
Eastern New Mexico University alumni

Tade Ogidan


The Umeå Centre for Global Health Research (UCGHR) was a centre of excellence within Umeå University in northern Sweden. The centre operated within the university's Department of Epidemiology and Global Health, and was led by a steering group chaired by a principal investigator.

UCGHR sought to engage with a global agenda on health research and practice, addressing critical issues in global health and facilitating collaboration between and within the North and South. The centre's long-term research programme has been developed against a background of international epidemiological research, as well as public health work within Sweden.

The Centre was responsible for publishing the open-access academic journal Global Health Action.

Research

Research conducted within UCGHR was interdisciplinary in nature, with staff and students working together from backgrounds in demography, public health sciences, epidemiology, medicine, economics, statistics and sociology. Research activities were clustered around five areas of expertise:
 The epidemiological transition - research aims to contribute to theoretical and methodological development of the epidemiological transition theory by contrasting disadvantaged communities in low-income countries to the well-developed setting of northern Sweden.
 A life course perspective on health interventions - research aims to design and evaluate health interventions targeting different stages of the life course, from the unborn child to old age, taking into account social context and gender aspects, and both advantaged and disadvantaged communities.
 Strengthening primary health care: the roles of rights, ethics and economic analyses - research is designed to inform key stakeholders involved in decision-making to strengthen primary health care in low-, middle- and high-income countries, using rights-based approaches integrated with economic analyses.
 Gender, social inequality and health - research is based on the generation of new knowledge on gender and health, with the aim of contributing to social changes within populations and in health systems.
 Climate change and health - research is intended to fill the knowledge gap regarding links between climate change and health, with a focus on non-communicable diseases, ageing populations, health sector responses in low-income countries and issues particular to the Arctic region.

Many of UCGHR's research projects were linked to INDEPTH (the International Network for the Demographic Evaluation of Populations and Their Health), a network of field sites in countries across Africa, Asia and South America. This network provides a platform to share and exchange vital health data between some of the world's poorest countries and enables comparative studies of global research questions related to disease development, urbanisation and migration as well as opportunities to develop methods and evaluate interventions.

Education

Research training was essential to UCGHR. The Swedish Research School for Global Health was the result of a partnership between the centre and the Karolinska Institute, Stockholm. The school seeks to achieve multidisciplinary collaboration in education, research and training by coordinating courses and seminars in global health, and improving the quality of research training.

Notes

External links
 Global Health Action open access journal
 Umeå University
 Department of Epidemiology and Global Health, Umeå University
 Association of Schools of Public Health in the European Region
 INDEPTH Network

International medical and health organizations
Schools of public health
Research institutes in Sweden
Umeå University

Umeå Centre for Global Health Research


Avrainvillea is a genus of green algae in the family Dichotomosiphonaceae.

As sources of  bioactive natural products
The organic extract of Avrainvillea longicaulis had antioxidant activity surpassing or equivalent to that of commercially available antioxidants (butylated hydroxytoluene, butylated hydroxyanisole and alpha-tocopherol).

Avrainvillea erecta was reported to have strong hemagglutination activity. In addition, the chloroform fraction of a methanol extract of Avrainvillea erecta exhibited hydrogen peroxide scavenging activity as strong as that shown by gallic acid.

References

Bryopsidales
Ulvophyceae genera

Avrainvillea


Farangis () or Frigis () is a female character in the Persian epic Shahnameh. She is the eldest daughter of Afrasiab, king of Turan. She is also the second and favourite wife of Siyâvash, the saintlike prince of Iran (Siyâvash's first wife was Juraira daughter of Piran Viseh) and mother of a legendary hero and later Shah of Iran, Kai Khosrow. Although a Turanian by birth, Farangis shows loyalty to her husband's kingdom and dynasty. She accompanies her son when he leaves Turan in the hopes of gathering an Iranian army to avenge Siyâvash.

After the murder of her husband Siyâvash and being left with her son Kai Khosrow, Farangis mourns him for a year. The dignitaries at the court of King Kavus try to console her. They promise that her brother-in-law Fariborz will avenge the murder of his brother. Further, they present Fariborz as a suitable husband for her. Aided by Rostam, Fariborz takes Farangis to his seraglio.

References

 Abolqasem Ferdowsi, Dick Davis trans. (2006), Shahnameh: The Persian Book of Kings , modern English translation (abridged), current standard. See also
 Davis, Dick, (translator), The Legend of Seyavash, (Penguin, 2001, Mage Publishers 2004) (abridged)
 Levy, Reuben (translator), The Epic of the Kings: Shah-Nama, the National Epic of Persia, (Mazda Publications, 1996) (abridged prose version)
 Warner, Arthur and Edmond Warner, (translators) The Shahnama of Firdausi, 9 vols. (London: Keegan Paul, 1905-1925) (complete English verse translation)
 Shirzad Aghaee, Nam-e kasan va ja'i-ha dar Shahnama-ye Ferdousi(Personalities and Places in the Shahnama of Ferdousi, Nyköping, Sweden, 1993. ()

Shahnameh characters

Farangis


Henry Cotterill  (1812 – 16 April 1886) was an Anglican bishop serving in South Africa in the second half of the 19th century. From 1872 until death he was a bishop of the Scottish Episcopal Church in Edinburgh.

Early life

Cotterill was born in Ampton in 1812 into an ecclesiastical family of committed Church Evangelicals.  His father, Joseph Cotterill (1780 – 1858), was Rector of Blakeney, Norfolk, and a prebendary of Norwich Cathedral. His mother, Anne Boak, was a close friend of Hannah More. Educated at his father's old college, St John's College, Cambridge, he was both Senior Wrangler and headed the list of Classicists in 1835, on the strength of which he was elected as a Fellow of his college. Influenced by Charles Simeon, he was ordained in 1836 and went to India as Chaplain to the Madras Presidency the following year. Forced by malaria to return to England in 1846, he became inaugural Vice Principal and then the second Principal of Brighton College. In post less than six years, he reinvigorated the languishing infant school. In a whirlwind of energetic reform, he overhauled the curriculum by introducing the teaching of the sciences and oriental languages, restored discipline, launched a fund to build a chapel, built the first on-site boarding house and connected the school to the town's gas supply.

Bishop of Grahamstown

At the suggestion of Anthony Ashley-Cooper, 7th Earl of Shaftesbury and John Sumner, Archbishop of Canterbury, he was nominated and consecrated in 1856 as the second colonial Bishop of Grahamstown in South Africa. As was then customary, he was simultaneously created a Doctor of Divinity (DD).

Cotterill was consecrated on 23 November 1856, and arrived in Grahamstown in May 1857. Bishop Cotterill's episcopate was occupied with the
development and consolidation of his diocese, and with the institution of diocesan and provincial synods. The opening service of the first synod of the diocese was held in the Grahamstown Cathedral on 20 June 1860. It may be of interest to record
that H. Blaine and F. Carlisle were the representatives of the Cathedral congregation at the synod.

As one of the bishops of South Africa, he sat in judgement in December 1863 on John Colenso, Bishop of Natal, his college friend from Cambridge days.

Translation to Edinburgh

He was translated to Edinburgh in 1871 as coadjutor bishop of the Scottish Episcopal Church, and was created a full diocesan bishop in 1872.

During his time in Edinburgh he resided at 10 North Manor Place (later renumbered as 56 Manor Place), just north of his place of worship St Mary's Cathedral.

From 1875 to 1881, he served as one of the founding Council members of the Cockburn Association, a campaigning conservation group established in 1875 to protect and preserve Edinburgh's built and natural heritage.

He died in post in Edinburgh in 1886 and was buried between the choir stalls in the cathedral. His grave is covered by a large memorial brass made by Francis Skidmore of Coventry.

Family life

In 1836 he married Anna Isabella Parnther (1812-1899)       who had been born in Jamaica.

They had at least two daughters and four sons. The four boys all attended Brighton College. George Edward (1839 – 1913), a Cambridge cricket blue and Sussex cricketer, was briefly Headmaster of St. Andrew's College, Grahamstown (1863 – 65) before returning to teach at Brighton College (1865 – 81). Henry Bernard (1846 – 1924) was an African missionary explorer and writer. Joseph Montagu Cotterill (1851 – 1933) played cricket for Sussex and became President of the Royal College of Surgeons of Edinburgh and was knighted. Arthur John (1849 – 1915) was Engineer-in-Chief, Egyptian Railways.

His brother George was on the teaching staff of Brighton College 1849 – 51 before emigrating to New Zealand while, intriguingly, his youngest brother, James Henry, was a pupil at the school while he was the Principal. James Henry became Professor of Applied Mathematics at the Royal Naval College, Greenwich (1873 – 97) and was elected a Fellow of the Royal Society in 1878.

Published works

His published works include

Notes and references

Sources

External links

1812 births
Alumni of St John's College, Cambridge
Headmasters of Brighton College
People from the Borough of St Edmundsbury
Senior Wranglers
Fellows of St John's College, Cambridge
19th-century English Anglican priests
Anglican bishops of Grahamstown
Bishops of Edinburgh
19th-century Anglican Church of Southern Africa bishops
1886 deaths

Henry Cotterill


The Ictaluridae, sometimes  called ictalurids, are a family of catfish native to North America, where they are an important food source and sometimes fished for sport. The family includes about 51 species, some commonly known as bullheads, madtoms, channel catfish, and blue catfish.

Taxonomy
The family Ictaluridae is strongly supported as a monophyletic group. It is closely related to the Asian family Cranoglanididae. These two families are sister taxa in the superfamily Ictaluroidea.

Though the family includes three genera of blind, subterranean, and troglobitic catfishes, Trogloglanis, Satan, and Prietella, none of these three genera is closely related. Instead, Satan is closely related to Pylodictis, Prietella to Noturus, and Trogloglanis possibly to Ictalurus, although it may not be closely related to any of the other ictalurids. Ameiurus is sister to a clade formed by Satan, Pylodictis, Noturus, and Prietella.

The oldest fossil member of the family is Astephus from the Eocene Green River Formation of Utah and Wyoming.

Distribution and habitat
Ictalurids originate from North America from southern Canada to Guatemala. Both bullheads and madtoms tend to be found in small streams and ponds, but are also known in larger bodies of water. Channel catfish, bullheads, and madtoms are "bottom feeders" with widely varied diets that include scavenging.

Notable species
Blue catfish Ictalurus furcatus
Tadpole madtom
Brown bullhead
Yellow bullhead
Black bullhead
Channel catfish
Widemouth blindcat

Description
Ictalurid species have four pairs of barbels (commonly referred to as "whiskers" as applied to catfish). Their skin does not have any scales. The dorsal and pectoral fins usually possess a spine. The dorsal fin usually has six soft rays. The palate is toothless except in the fossil genus Astephus. The genera Trogoglanis, Satan, and Prietella include four species of blind catfishes. They have the ability to inflict painful stings with venomous spines embedded in their fins.

One of the largest species is the blue catfish, Ictalurus furcatus, specimens of which have been found to weigh over . The maximum length is  in the blue catfish and the flathead catfish. The bullheads, though, are small catfish which at maturity often weigh less than 0.5 kg (1 lb), while the madtoms (genus Noturus) are in general much smaller.

Relationship to humans
The North American catfish has acquired an association with American Southern folklore which exceeds its place as a mere food fish. The image of cane-pole fishing for catfish at a proverbial lazy stream has become a stand-by of southern Americana.

In some areas, the bullhead is seen as a desirable quarry, for its fighting qualities exceed its size. In other areas, it is seen as a nuisance fish due to its efficient bait-stealing qualities.

References

External links

Freshwater fish of North America
Catfish families
Taxa named by Theodore Gill

Ictaluridae


LEX is a stream cipher based on the round transformation of AES.  LEX provides the same key agility and short message block performance as AES while handling longer messages faster than AES.  In addition, it has the same hardware and software flexibility as AES, and hardware implementations of LEX can share resources with AES implementations.

Designed by Alex Biryukov, LEX is a Phase 2 Focus candidate for the eSTREAM project. It is not patented.

A new revision of LEX protects against a slide attack found in an earlier version.

External links
 eSTREAM page on LEX

Stream ciphers

LEX (cipher)


Louis "Red" Edmund Stephens (May 10, 1930 – April 6, 2003) was an American football offensive lineman in the National Football League for the Washington Redskins.  He was a member of the famous 1951 San Francisco Dons who went undefeated (9-0) but were denied an invitation to the Orange Bowl because they refused to not include their two African-American star players: Ollie Matson and Burl Toler. The squad had ten future NFL players, five future NFL Pro-Bowlers, and three future NFL Hall of Famers – a record for a single college team.

Drafted in the 23rd round (267th pick) by the Chicago Cardinals in 1952, he started for the Washington Redskins from 1955 through 1960.  He was given the game ball against the Green Bay Packers, Oct. 19th, 1958.  Other honors included,  1955 – Associated Press: 2nd Team All-NFL at Right Guard, and 1956 – Sporting News: 1st Team All-NFL at Left Guard. In 1970, he was inducted into the University of San Francisco's Hall of Fame for football.

After professional football he was an assistant coach for the University of Notre Dame from 1960 to 1963. He was then a scout for the Philadelphia Eagles 1963–1966.

References

1930 births
2003 deaths
American football offensive guards
San Francisco Dons football players
Washington Redskins players
Players of American football from Denver

Red Stephens


William "Will" Watt  is a former English journalist working as Head of Football Operations at  Fleetwood Town Football Club.

Watt gained a master's degree at the University of Central Lancashire in Journalism before taking up the role of Digital Sports Reporter at the Lancashire Evening Post, a role he held for two years. He moved to the Blackpool Gazette in 2009, where he took the role of Digital Editor. As part of his role, he was also number two Blackpool F.C. football writer, behind Steve Canavan.

In 2010 he was awarded "Digital Journalist of the Year" in the North West at the O2 Media Awards.

In June 2012 he was named head Blackpool F.C. writer at the Blackpool Gazette after Steve Canavan made a lateral move. He also became part of BBC Radio Lancashire's match day coverage team, working as a summariser during live commentary of Blackpool's games.

In October 2013 he was shortlisted for the O2 Media Awards' "Sports Reporter of the Year" award.

Will's reporting on the decline of Blackpool FC gained national recognition and praise in 2015, with nominations for two awards in September of that month, whilst also gaining recognition on Twitter  for his coverage of Blackpool FC.

He was shortlisted for Sports Journalist of the Year at the O2 Media Awards and Football Journalist of the Year at the NW Football Awards.

In the summer of 2016 he was approached by Fleetwood Town FC to take the role of Head of Communications at the club, six months later he was promoted to be the club's Head of First Team Operations and Communications. In 2017, under Uwe Rosler's management.
In February 2020, Will became the club's Head of Football Operations.

References

British sports journalists
Living people
Alumni of the University of Central Lancashire
1983 births

William Watt (journalist)


Jackie Lee Cochran (February 5, 1934, Dalton, Georgia – March 15, 1998, Burbank, California) was an American rockabilly musician, known as Jack the Cat.

Biography
Cochran had a twin brother who died at the age of two. He began playing guitar at age six. His father was sentenced to 30 years in prison for murder, and as a result Cochran spent much of his youth living with relatives in Louisiana, Meridian, Mississippi, and with his grandmother in Gadsden, Alabama.

Cochran first began performing on the local music scene in Gadsden, which displeased his grandmother, who wanted him to join the military. She convinced him to enlist in the Air Force, where he was stationed in San Antonio. He traveled each weekend to Abilene to play on Slim Willet's radio show. This brought him to the attention of the managers of the Big D Jamboree, who had him perform on this program as well. He was then transferred to Selma, Alabama, where he founded the country group The Flying C Ranch Boys. This group performed in local bars and restaurants, as well as on radio station WBAM. He was dismissed from the Air Force in 1955, and following this he became a member of Jimmy Swan's band in Hattiesburg. In the mid-1950s he appeared on Cliffie Stone's Hometown Jamboree in Los Angeles. He began playing rockabilly shortly after hearing Elvis Presley.

Cochran hired manager Pat O'Donnell, who came up with Cochran's "Jack the Cat" name and image. Through O'Donnell, Cochran was offered a recording contract with Sims Records. His first singles for the label appeared in 1956. After further appearances on the Big D Jamboree he was asked to play on the Spade Cooley show in California. Despite O'Donnell's disapproval, Cochran moved to the West Coast and performed on the show. He then signed with Decca Records, and his single "Ruby Pearl" sold well and nearly hit the Billboard charts, but his manager let the Decca contract lapse, and the single fizzled before charting.

After a short time with Viv Records, Cochran took up work at the Douglas Aircraft Company and quit music for a time. He restarted his career during the rockabilly revival in Europe, releasing three albums on Rollin' Rock Records in 1973 and touring Norway in 1981. He took up the nickname "Waukeen" in the 1970s as well, a name given to him by his native American grandmother. In 1985, the German record label Hydra released a successful compilation of his early recordings (later on CD) "Jack The Cat - The Jackie Lee Cochran Story". To promote the album the label boss Klaus Kettner put together a European tour for Jackie Lee Cochran which was so successful, that they teamed up for all the following tours until his death. He recorded new material for Hydra Records and Ace Records. He died in 1998 in his apartment in California at age 64.

During the 70's, Waukeen mostly played at the Burning Tree Lounge on Santa Monica Blvd with Jim King on Hammond organ and key bass and Robert Huber on drums and backup vocals. They also played at the nearby Haystack Saloon and the Gaslight.

Discography

Singles

Albums
 1973: Swamp Fox
 1980: Rockabilly Legend
 1981: The Lonesome Drifter (UK)
 1985: Jack The Cat (GER)
 1985: Fiddle Fit Man (UK)
 1987: Rockabilly Legend (GER)
 1993: Jack The Cat (GER)
 1997: Rockabilly Music
 2005: The 1985 Session (UK)

References
[ Jackie Lee Cochran] at Allmusic

1934 births
1998 deaths
American rockabilly musicians
American country singer-songwriters
20th-century American singer-songwriters
Country musicians from Georgia (U.S. state)
Singer-songwriters from Georgia (U.S. state)

Jackie Lee Cochran


Simon Heartfield (born 1962 in Nantwich, Cheshire) is a DJ, musician and record producer.

Heartfield is widely regarded as a leading exponent of electronic music both in his hometown (Portsmouth, UK) and beyond. His tracks, live performances and DJ sets incorporate elements of house, breakbeat, electro and techno amongst many other sounds.

The founding member of Portsmouth band Twelve 88 Cartel, Heartfield has gone on to release much other material including the internationally distributed Permanent Way which is also available in ringtone form.

Twelve 88 Cartel produced a number of releases between 1986 and 1991 on the Bite Back! label, home to the producer of their first EP Jim Shaw of Cranes. In 1994, Heartfield joined John Peel Session favourites the Psylons as bass player and released one album on Thunderbird Records.

From 1996 to date, Heartfield has concentrated on DJ work and solo composition, as well as on material with fellow Psylons members Keith Wyatt and Jack Packer in live electronic act Seatman Separator.  DJ sets have been in established techno clubs such as The Asylum (Soho), Technosis (at Mass, Brixton), Geushky, Phase 2, Vurt and Club 414 (Brixton, London) alongside artists such as Luke Slater, Aubrey, Umek, Alex Paterson, Billy Nasty, Dirty Bass, Justin Swales and Jason Swales.

Collaborations with fellow Techno producers Dave Saunders and Barney Pratt under the name Surefoot have found favour with Carl Cox amongst others. In 2005, Heartfield co-produced a remix of Bonemachine's single Another Day Over with Sigue Sigue Sputnik.

As well as his commercially released material on Hackpen Records, Heartfield distributes many of his own EPs and has contributed extensively to the netlabel Under Your Nose Recordings.

In the last year Heartfield has worked with London's Mixtape Records and In Deep Recordings with whom he has produced commercially distributed digital and vinyl releases.

2009 has seen the completion of a 20-minute audio-visual piece, "Permanent Way Redux" which was performed as part of the 1000 Plateaus new digital media project
and a rework of the cover version of The Kinks"See My Friends" by Brian Poole of Renaldo and the Loaf

The last live performance was a 30-minute audio visual piece "In The Lodge" which featured animation from award-winning US artist Justin Curfman.

2010 saw the release of the 14-track album Venom and Eternity.

Discography

Solo
Lux 2.1 track contributed to Under Your Nose Vol.1 Compilation 2003
Particle track contributed to Under Your Nose Vol.2 Compilation 2004
Permanent Way album (Hackpen) 2005
Cubular Theme track contributed to Under Your Nose Vol.3 Compilation 2006
Someday All This Is Gonna End mixed album for Under Your Nose Recordings 2006
Sublimate EP digital release for Electramento 2006
Fear Of Logic mixed album for Under Your Nose Recordings 2007
Reconsequences album (In Deep Recordings) 2007
Broken Router remix of track by Bujuben
Trundlewheel EP (Mixtape Germany) 2008
Venom and Eternity album (Dust Up Records) 2010

Releases with Twelve 88 Cartel
Sweating Furore EP – (Bite Back!)  1987
Maxim mini album – (Bite Back!) 1988
Evidence mini album – (Bite Back!) 1990
Tension Crush EP - (Bite Back!) 1991

With the Psylons
Gimp album – (Thunderbird) 1996

With Seatman Separator
Claw album (SBH) 2001
The Music of… album (SBH) 2002
Basic Electronic Principles album (SBH) 2003
Auto Suggestion album (SBH) 2004
Navigation album (SBH) 2005
Ten Minutes After The End of Gravity (SBH) 2006
Sampler EP (In Deep Recordings) 2008
Mercury Trax Volume 3 (SBH) 2009

External links
Simon Heartfield

British techno musicians
1962 births
Living people
People from Nantwich

Simon Heartfield


Ingegerd (Old Norse Ingigerðr,  Ingigærðr) is a Scandinavian feminine  given name, from the theonym Ing combined with the element garðr  "enclosure, protection". The name Inger is a short form. In Finnish the equivalence of Ingegerd is Inkeri.

Ingegerd (less commonly in the variant Ingegärd) was most popularly given in modern Sweden during the 1920s to 1930s, but the name remains in wide use today. The name is also found in Denmark and in Norway (also in the variant Ingegjerd and Ingjerd) but much more rarely than in Sweden. According to the respective statistic offices, as of 2012 there were 7792 people called Ingegerd in Sweden, compared to 127 in Norway and 76 in Denmark. In Finland, which has an ethnic Swedish population of about 0.34 million, there were 2594 people called Ingegerd as of May 2013, as in Sweden peaking among the generation of women born between 1920 and 1940, with the name given six times to girls born in three-year period 2010–2012).

People called Ingegerd
Ingegerd Olofsdotter of Sweden (1001–1050)
Ingegerd Knudsdatter (fl. 1100)
Ingegerd Birgersdotter of Bjelbo (fl. 1200)
Ingegerd Knutsdotter (1356–1412)

See also
Ingrid (given name)

References

Eva Brylla, Förnamn i Sverige (2004)
Roland Otterbjörk, Svenska förnamn (1979)
Eva Villarsen Meldgaard, Den store navnebog (2004)

External links
Nordic Names

Scandinavian feminine given names
Feminine given names

Ingegerd