Watts is a neighborhood in southern Los Angeles, California. It is located within the South Los Angeles region, bordering the cities of Lynwood, Huntington Park and South Gate to the east and southeast, respectively, and the unincorporated community of Willowbrook to the south.

Founded in the late nineteenth century as a ranching community, the arrival of the railroads and the construction of Watts Station saw the rapid development of Watts as an independent city, but in 1926 it was consolidated with Los Angeles. By the 1940s, Watts transformed into a primarily working class African-American neighborhood, but from the 1960s developed a reputation as a low-income, high-crime area, following the Watts riots and the increasing influence of street gangs. Watts has become a predominantly Hispanic neighborhood with a significant African American minority, and remains one of the most impoverished neighborhoods in Los Angeles despite falling crime rates since the 1990s. Notable civic activities by residents of Watts include the "Toys for Watts" toy drive, the Watts Christmas parade, and the "Watts Summer Games" athletic tournament, as well as a local theatre and a dance company, in an effort to improve the neighborhood.

Watts is noted internationally for the landmark Watts Towers by Simon Rodia, which are a Los Angeles Historic-Cultural Monument and also listed on the National Register of Historic Places. The neighborhood has also been featured or referenced in numerous forms of media, particularly West Coast hip-hop music, and movies and television shows set in Los Angeles.

History

Founding

The area now known as Watts is situated on the 1843 Rancho La Tajauta Mexican land grant. As on all ranchos, the principal vocation at that time was grazing and beef production.
There were household settlers in the area as early as 1882, and in 1904, the population was counted as 65 people; a year later it was 1,651.  C.V. Bartow of Long Beach was noted as one of the founders of Watts.

Naming

In 1904, it was reported that Watts was named after Pasadena businessman Charles H. Watts, who was found dead by suicide in the St. Elmo Hotel, Los Angeles, on August 23 of that year. The Los Angeles Times said: "Watts at one time conducted a livery stable on North Main Street and another at Pasadena and was a man of considerable means. . . . Watts station on the Salt Lake road is named after the deceased, and is located on property which he once owned." The Los Angeles Evening Express said: "Among other property he owned a ranch south of the city through which the Salt Lake railroad passes, and the station of Watts is named for him."

In 1919, Watts Mayor Z. A. Towne said that the settlement was named after a widow who lived on ten acres which was later occupied by a Pacific Electric power house. She later moved to Arlington, California, Towne said.

In 1912 and 1913, a movement was afoot to change the name of Watts because, as one headline writer put it, the residents were tired of the "quips and jests" at the town's expense. One real-estate agent said that prospective clients backed out of a property inspection tour when they found out their streetcar ride would end up in Watts. The name "South Angeles" was proposed. Another plan for a city name change surfaced in 1919, when the city trustees asked for suggestions. Mayor Towne said: "Watts has got a bad reputation in Southern California, somehow or other . . . a good many of us felt that the liquor element left a black mark upon the community's name. . . . Towns are something like people. They can live up to a good name easier than they can live down a bad name."

Subdivision

A subdivision with the name Watts was platted, possibly by the Golden State Realty Company, between 1903 and 1905, when the settlement had a population of about 150 people. In 1905 lots were being sold by that firm for prices ranging from $100 to $200: The terms were advertised at a dollar as down payment and a dollar a month thereafter, with the company claiming there would be "no interest and no taxes." The Watts Lumber Company had a plan of "easy payments" which "enabled those desiring houses in the little settlement to secure their material and to build and occupy their houses at once."

After 1903, Watts saw the establishment of a newspaper, a general merchandise store, a lumber yard, a grocery store, a millinery, dry goods and confectionery stores, a blacksmithery and bakeries.  The Pacific Coast Laundry Company opened in August 1907, with a payroll promised to be between $750 and $1,000 a month. Laundry deliveries were to be made via the electric railway.

Cityhood

Watts became a city in 1907, after three petitions objecting to the proposed borders were presented to the Los Angeles County Board of Supervisors. Seven ranchers said that they had no intention of subdividing and that all unimproved land should  be omitted from the proposed city. Another petition declared that most of the property owners in Watts did not pay taxes inasmuch as they were buying the 25-foot lots for speculation, that the residents were "migratory" and that most of them were transitory "Mexican railroad laborers." A third petition for exemption was submitted by residents of the Palomar stop, who dressed up their plea with quotations ranging from Greek philosophers to Hamlet. Those petitioners announced that they had recently changed the name of their settlement from "Watts Park" because they did not want any affiliation with Watts.

The City of Watts was approved by voters of the district, and it became a municipality in May 1907, with J. F. Donahue, who was a driver for the Blue Ribbon beer company, as mayor and Frederick J. Rorke as city clerk. There was, however, no money to run the city because it had become incorporated too late to levy and collect any taxes. A proposed business license fee raised so much objection that the Board of Trustees, or the city council, submitted to the people a straw vote (nonbinding) question about allowing liquor to be sold in the city. A majority of the 250 votes did agree that Watts should allow saloons, or bars, and that the municipality should raise money by taxing them. Rorke said:

We have two retail saloons and one wholesale as a result, and an income that more than pays our running expenses. In fact, we have several hundred in the treasury. The voters, who admitted the saloons, looked upon it as a business proposition. While many of them are not really in favor of having them in our midst, the experience was adopted for giving us a working fund. Some of the surplus funds are being used to employ engineers to establish street grades, looking forward to improvements in our thoroughfares in the near future. As an instance of prosperity, there is not a vacant house in Watts, and it is impossible to find one to rent.

Watts was brought to nationwide attention in 1908 with the New York production of a musical comedy called "Lonesome Town," which was set in an imaginary place called Watts, California, in the year 1902. The endeavor, with music by J.A. Rayne and book by Judson D. Brusie, ran for 88 performances at the Circle Theatre, 1825 Broadway, from January 20 through April 24, 1908. It was produced by the vaudeville team of Kolb and Dill — Clarence Kolb and Max Dill.

In response to the raillery occasioned by the play, a "big advertising excursion" took place on Thursday, May 30, 1912, via a special train of three chartered electric railway cars. The route was scheduled over the Balloon Route by way of Los Angeles, Hollywood, the Soldiers' Home, Ocean Park, Venice, Redondo, Gardena and back to Watts. The object of the excursion was to call attention "to the fact that Watts has been 'born again,' and the name 'Lucky Watts' will be used as much as possible, the idea being to get new ideas into people's heads, so they will get away from the notion that there is any joke about what the people here believe is the most promising suburban community in the county." Some 25,000 pieces of advertising material were distributed. The excursion was repeated in 1913.

By 1910, Watts had a population of about 2,500, "well improved streets, a fire department, a weekly newspaper" (the Watts Advertiser), and it was completing a $12,000 city hall. It had "the best of public schools, churches of the leading denominations, the principal fraternal orders, a chamber of commerce and a good government league." That year, business enterprises included the California Gold Recovery Company, which manufactured a machine used in mining districts to capture "flour gold," which is fine gold floating on a liquid surface. In 1925, Watts had a pump-manufacturing plant, a machine shop, two sash-and-door plants, and a pickle works. There was a steel plant, McClintic Marshal Company, which covered fifteen acres and employed 180 men. A new California Thorn Cordage factory was set to hire five hundred men. A new 34-room hotel was going up on West Main Street.

Joining Los Angeles

In a special election on April 2, 1926, Watts residents decided to enter Los Angeles by a vote of 1,338 to 535. It was the heaviest vote ever in Watts, with 1,933 voters at the polls of the 2,513 registered. Thus 23,000 more people were added to Los Angeles when the decision was put into effect on June 1 of that year. Mayor L.A. Edwards of Watts led the fight for consolidation with Los Angeles. Opposed were the Watts Chamber of Commerce, the Farmers and Merchants Bank, the Taxpayers League, the Ku Klux Klan and the Watts Welfare League.  Edwards was re-elected to the outgoing Watts Board of Trustees, the other winners being William Booth, Robert Rhoads and James West.

Watts did not become predominantly black until the 1940s. Before then, there were some African American residents, many of whom were Pullman car porters and cooks. Schoolroom photos from 1909 and 1911 show only two or three black faces among the 30 or so children pictured. By 1914, a black realtor, Charles C. Leake, was doing business in the area. Racially restrictive covenants prevented blacks from living in any other neighborhoods outside of Central Avenue District and Watts.

World War II brought the Second Great Migration, tens of thousands of African American migrants, mostly from Louisiana, Mississippi, Arkansas and Texas, who left segregated Southern states in search of better opportunities in California. During World War II, the city built several large housing projects (including Jordan Downs and Imperial Courts) for the thousands of new workers in war industries. By the early 1960s, these projects had become nearly 100 percent black, as whites moved on to new suburbs outside the central city. As industrial jobs disappeared from the area, the projects housed many more poor families than they had traditionally. Passenger rail service on the Long Beach Line was shut down in 1961, severing the area's primary transportation link to jobs and services in the greater region.

Longstanding resentment by Los Angeles's working class black community over discriminatory treatment by police and inadequate public services (especially schools and hospitals) exploded on August 11, 1965, into what were commonly known as the Watts riots. The event that precipitated the disturbances, the arrest of a black youth by the California Highway Patrol on drunk-driving charges, actually occurred outside Watts.

The damage from the riots was particularly severe along the stretch of 103rd Street between Compton and Wilmington Avenues. 103rd Street was the neighborhood's historic commercial center, consisting of a traditional main street lined with storefronts, easily accessible by foot from Watts Station. After suffering extensive arson in the riots, the ruined, burnt-out area was nicknamed "Charcoal Alley".

An urban renewal plan was drawn up by the redevelopment agency in 1966, with the aim of demolishing all structures between Century Boulevard and 104th Street and redeveloping the area into a modern shopping district. By 1972, the entire area had been acquired and demolished. Century Boulevard, 103rd Street, Compton Avenue, and Wilmington Avenue were all widened into large arterial roads, and the surrounding plots were gradually redeveloped with suburban-style garden apartments and single family subdivisions of much lower density than the previous and surrounding development. The modern shopping center, a main promise of the redevelopment program, was not completed until the early 1980's.

This project dramatically altered the urban fabric of Watts, replacing the densely-populated, walkable main street with large surface parking lots and wide roads carrying hazardous high speed traffic. Community activism in response these problems would eventually lead to a "green streets" project to improve pedestrian safety and environmental quality in the area, beginning in 2016.

Watts suffered further in the 1970s, as gangs gained strength and raised the level of violence in the neighborhood. Between 1989 and 2005, police reported more than 500 homicides in Watts, most of them gang-related and tied to wars over control of the lucrative illicit market created by illegal drugs. Four of Watts's influential gangs— Watts Cirkle City Piru, Grape Street Watts Crips, Bounty Hunter Watts Bloods, and PJ Watts Crips—formed a Peace Treaty agreement, known as the Watts truce on April 26, 1992. Key hallmarks of the pact continue to influence life in Watts to date, with colors and territory having little to do with gang-related crime.

Beginning in the 1980s, those African Americans who could leave Watts moved to other suburban locations in the Antelope Valley, the Inland Empire, the San Gabriel Valley, Orange County and the San Joaquin Valley. The black population in Watts has been increasingly replaced by other demographic groups, primarily Hispanic immigrants of Mexican and Central American ancestry, as well as by a median proportion of Ethiopian and Indian ancestry. This demographic change accelerated after the 1992 riots.

Neighborhood leaders have begun a strategy to overcome Watts's reputation as a violence-prone and impoverished area. Special promotion has been given to the museums and art galleries in the area surrounding Watts Towers. This sculptural and architectural landmark has attracted many artists and professionals to the area. I Build the Tower, a feature-length documentary film about the Watts Towers and their creator, Simon Rodia, provides a history of Watts from the 1920s to the present and a record of the activities of the Watts Towers Arts Center. Watts is one of several Los Angeles neighborhoods with a high concentration of convicted felons. In 2000, singer and actor Tyrese Gibson chartered a foundation to build a community center in Watts.

In 2019, the Watts Towers were a gathering place along the   funeral procession from the memorial for Nipsey Hussle at the Staples Center that wound through the streets of South L.A. At times, the crowd flooded the street creating gridlock.

Geography

The Mapping L.A. project of the Los Angeles Times states as follows:

The neighborhood's irregular street boundaries follow the Los Angeles city limits on the north and east, except for a small patch of Los Angeles County territory surrounding Ritter Elementary School, between 108th Street and Imperial Highway, which the Times includes in Watts.

The southern boundary runs east–west on Imperial Highway, the eastern line is north–south on Alameda Street and the western line is north–south on Central Avenue to 103rd Street. Ted Watkins Park and other county areas are excluded. Thence the line is Success Avenue between Century Boulevard and 92nd Street.

Watts is flanked on the north by Florence-Firestone, on the east by South Gate, on the southeast by Lynwood, on the south by Willowbrook and on the north and west by Green Meadows.

Climate

Population
A total of 36,815 people lived in Watts's 2.12 square miles, according to the 2000 U.S. census—averaging 17,346 people per square mile, among the highest population densities in Los Angeles. Population was estimated at 41,028 in 2008. The median age was 21, making Watts the Los Angeles neighborhood with the youngest population. The percentages of residents aged birth to 18 were among the county's highest.

Hispanics made up 61.6% of the population, blacks 37.1%, non-Hispanic whites 0.5%, Asian 0.2%, and others 0.5%. Mexico and El Salvador were the most common places of birth for the 34% of the residents who were born abroad, an average percentage of foreign-born when compared with the city or county as a whole.

The $25,161 median household income in 2008 dollars was considered low for the city and county. The percentage of households earning $20,000 or less was high, compared to the county at large. The average household size of 4 people was high for the city. Renters occupied 67% of the housing units, and homeowners occupied the rest.

In 2000, there were 2,816 families headed by single parents, or 38.9%, the highest rate for any neighborhood in the city. The percentages of never-married women (45.3) and never-married men (44.7) were among the county's highest.

In 2000, there were 739 military veterans, or 3.6% of the population, low when compared to the rest of the city.

Local government
Watts Neighborhood Council 10221 Compton Avenue, Suite 106A, LA CA 90002.

Los Angeles Fire Department  Station 65 (Watts) serves the community.

Los Angeles County Fire Department Station 16 (Watts) serves the community.

Los Angeles Police Department operates the nearby Southeast Community Police Station.

County, state and federal representations
The Los Angeles County Department of Health Services operates the South Health Center in Watts.

The California Department of Corrections and Rehabilitation operates the L.A. Watts Juvenile Parole Center.

The United States Postal Service Augustus F. Hawkins Post Office is located at 10301 Compton Avenue. On January 24, 2000, the United States House of Representatives and the United States Senate presented a bill to rename the Watts Finance Office as the Hawkins Post Office.

Education

There was a school in Watts from an early date. In 1905 it was reported that "steps have already been taken to enlarge the present school building", and a new building was erected in 1911 at a cost of $30,000. By 1914, however, that structure had become overcrowded, and additional desks were "installed everywhere, in the library, in the halls and in the auditorium." There were 630 pupils and 18 teachers. While work was under way on a new school, the contractor absconded with some of the money and his bondsman was compelled to finish the job. Older students attended Redondo Union High School. Later, Watts was a part of the Compton School District, but in January 1914, a mass meeting was held in Watts to make plans to secede from Compton and build a new high school in Watts, at a cost of about $100,000. Later the same month, Watts boosters made the same statement at a meeting with Compton backers in that city. By 1925 Watts voters had approved $170,000 in bonds for a new high school, and the town was served by four public grammar schools and one Catholic school. There were seven grade schools.

Just 2.9% of Watts residents aged 25 and older had earned a four-year degree, according to the 2000 census, which is considered a low figure for both the city and the county. The percentage of those residents with less than a high school diploma was high in comparison with the county at large.

Schools

Schools within Watts are as follows:

 David Starr Jordan Senior High School, LAUSD, 2265 East 103rd Street
 Animo College Prep Academy, Green Dot Public Schools, 2265 East 103rd Street
 Thomas Riley High School, LAUSD alternative, 1524 East 103rd Street
 Alliance Cindy & Bill Simon Technology High School, charter school, 10720 South Wilmington Avenue
 Verbum Dei High School, private, 11100 South Central Avenue
 Simon Rodia Continuation School, LAUSD, 2315 East 103rd Street
 Edwin Markham Middle School, LAUSD, 1650 East 104th Street
 Ninety-Sixth Street Elementary School, LAUSD, 1471 East 96th Street
 St. Lawrence of Brindisi Elementary School, 10044 Compton Avenue
 Weigand Avenue Elementary School, LAUSD, 10401 Weigand Avenue
 Dorothy V. Johnson Community Day School, LAUSD, 10601 South Grandee Avenue
 San Miguel Catholic School, private elementary, 2270 East 108th Street
 Lovelia P. Flournoy Elementary School, LAUSD, 1630 East 111th Street
 Grape Street Elementary School, LAUSD, 1940 East 111th Street
 Ritter Elementary School, LAUSD, 11108 Watts Avenue
 Ninety-Second Street Elementary School, LAUSD, 9211 Grape Street
 Alain Leroy Locke College Preparatory Academy, Green Dot Public Schools grades 9–12, 325 East 111th Street
 Compton Avenue Elementary School, 1515 East 104th Street
 Resolute Academy Charter School, E 112th St, Los Angeles, CA 90059

King Drew Magnet High School of Medicine and Science opened in bungalows of Jordan in 1982. In 1999 it moved to a standalone campus in Willowbrook.

In May 2013 Wiegand Avenue Elementary School became the first school in California from which a principal was ordered removed in response to the state's 2010 "trigger law," which compels the dismissal of a school administrator on petition of a majority of parents. As a result of the pending loss of principal Irma Cobian, 21 of 22 teachers asked for transfer to other schools.

Public libraries
A Watts public library was established in 1913, with Maud Walton as the first librarian and Bessie Hunt as the second. In the same year the city received word that its application for construction of a new Carnegie Library had been approved. The cornerstone of the library was laid in January 1914. In 1914 the library moved into a newly built Carnegie library. Los Angeles annexed Watts in 1926, so the library became the Watts Branch of the Los Angeles library system. In 1957 voters approved a library branch bond, and a  Watts Branch opened in 1960. In 1991 the Los Angeles City Council approved a measure, backed by the Friends of the Watts Branch Library, the 15th District Council Office, and the Community Redevelopment Agency (CRA) of the City of Los Angeles, to build a new library as a part of the  Watts Civic Center. $1.3 million from Proposition 1, the branch library facility bond issue of 1989, funded the construction of the new Watts library. On June 25, 1996, the city council voted to name the library after Alma Reaves Woods, a woman in the community who encouraged reading and library usage. James C. Moore, AIA & Associates designed the current Watts Library, which opened on June 29, 1996. Los Angeles Public Library operates the Alma Reaves Woods–Watts Branch.

Community service

CicLAvia Tour
On January 22, 2012, the popular cycling event called CicLAvia took place in south L.A.'s Central-Alameda neighborhood to the Watts Towers. Volunteers were excited to hold an event close to the CicLAvia events in downtown L.A. The event was meant to encourage civic engagement. Throughout the group of volunteers the diversity was large. Cyclists took photos for a "crowd-source" map made up of photos and recordings by the cyclists.

Watts Re-Imagined
Watts Re:Imagined is a local urban planning initiative led by Grant Housing Economic Development Corps (Grant EDC, a non-profit division of the community-based Grant AME church) and the Natural Resources Defense Council (NRDC) Urban Solutions program. Its mission is to help the community of Watts realize their full potential by promoting economic opportunity, social equity, public health, and an improved quality of life, all while working with community leaders to preserve the identity of the area. It is trying to achieve this goal by implementing different existing plans proposed for the area. The Watts Re:Imagined initiative was formed in response to the dissolution of the Community Redevelopment Agency of Los Angeles.

Parks and recreation

The following recreation facilities are within the Watts boundaries:

 Watts Senior Citizen Center, 1657 East Century Boulevard
 109th Street Recreation Center, 1464 East 109th Street. The center, which acts as a Los Angeles Police Department stop-in center, has an auditorium, a lighted baseball diamond, lighted indoor and outdoor basketball courts, a children's play area, a lighted football field, an indoor gymnasium with weights, an outdoor gymnasium without weights, a lighted soccer field, and lighted tennis courts. The 109th Street Pool is a seasonal outdoor unheated pool. In June 2008, a group of young men attacked a manager there, forcing the city to close the pool for a short period of time. When it re-opened, police were stationed there. The pool, located between the Nickerson Gardens and Jordan Downs public housing complexes, also lay between two competing gangs in 2008.
 Unnamed Park, Evers Street

Attractions

Watts Towers

The Watts Towers or Towers of Simon Rodia is a collection of 17 interconnected structures, two of which reach heights of over 99 feet (30 m). The Towers were built by Italian immigrant construction worker Sabato ("Sam" or "Simon") Rodia in his spare time over a period of 33 years, from 1921 to 1954. The work is an example of non-traditional vernacular architecture and American Naïve art.

Watts Station

The Watts station was a train station built in 1904. It is a National Historic Landmark.  It has been known as one of the few structures that were untouched by a huge fire along 103rd Street stores during the 1965 Watts riots. When it was found intact, it was a symbol of hope and faith for the Watts community. Being one of the most original buildings that was first constructed in Watts, it was a popular stop for the Pacific Electric Railway's "Red Car" that ran through Los Angeles, CA, to Long Beach, CA, for 50 years. It was also admitted to the NRHP (National Register of Historic Places) four months after the riots.

Watts Christmas Parade
The Watts Christmas parade was created in 1964 by Edna Aliewine before the Watts riots. She put together a group of local volunteers to fundraise and create the parade. Ms. Aliewine started a drill team with neighborhood girls which marched in homemade Santa hats. She died at the age of 90 in her home in Watts on July 5, 2011.

Watts Summer Games
The L.A. Watts Summer Games started in 1968 and were held at Locke High School. The games are a three-day athletic tournament that brings together more than 5,000 students from 200 California schools. Almost 200,000 youth have competed in the games over the past 30 years. The Watts Summer Games have a scholarship program for students who are dedicated to the community and have awarded more than $300,000 since their inception in 1992.

Performing arts

Dance
Epifani Dance Company was founded by Lakesha Buchanon in Watts in 2002. They compete in year-round SHARP International competitions, where they have won several first-place trophies.

Theater
Located on 107th Street, the Watts Village Theater Company is a multicultural urban company whose mission is to "inspire its community with an appreciation of all cultures." The company was started in 1996 and has been involved in helping the community with educational workshops ever since. The members strive to make a more understanding Watts whose citizens can harmoniously live together in a diverse community.

Newspapers
LA Youth was founded by Donna Myrow in 1988. The first edition of the publication sold 2,500 copies. Its current circulation is 120,000. LA Youth reaches approximately half a million readers.
L.A. Watts Times Weekender Newspaper is an African American newspaper in both print form and online. It was started in 1965 with the motto: "The Voice of Our Community Speaking for Itself."
In the summer of 2010 the Bakewell family was in negotiation to purchase the LA Watts Times. Danny Bakewell said, "I am proud and honored that Melanie chose me and my family to continue the great legacy of the Watts Times, its founders and her parents,".

In popular culture

Music
Watts, along with several other California areas, is referenced in the hip-hop songs  "California Love" by 2Pac featuring Dr. Dre & Roger Troutman, and "Creep N Crawl" by Eazy E.

For five years, the record label Top Dawg Entertainment has hosted a Christmas benefit concert in the Nickerson Gardens Housing Projects. The free concert draws tens of thousands of attendees and includes performances from TDE artists SZA, Kendrick Lamar, and Jay Rock, who was raised in the Nickerson Gardens Housing Projects.

Television and film
The television series Sanford and Son was set in Watts, and the neighborhood was mentioned prominently by the characters.
 Roy Scheider and Daniel Stern crash a police helicopter into a construction site in Watts in the 1983 movie Blue Thunder.
 The television series Two and a Half Men had an episode called "Weekend in Bangkok with Two Olympic Gymnasts", which makes reference to Watts in a brief scene. The show also features a restaurant called "Clucky's" located in Watts in the same episode.
A plot in the film The Big Lebowski involves the embezzlement of a million dollars from a foundation that ensures a college education for youngsters from Watts, the so-called Little Lebowski Urban Achievers.
 The film Menace II Society was filmed at the Jordan Downs public housing project in Watts.
 Charles Burnett's Killer of Sheep was filmed in and is set in Watts in the early 1970s.
 Wassup Rockers was filmed in Watts, and parts were filmed at Locke High School and Gompers Middle School.
 Portions of the Oscar award-winning movie Training Day were filmed in and around the Imperial Courts public housing project in Watts.
The television series What's Happening!! and its sequel What's Happening Now!! was set in Watts, where the characters lived.
The reality television series Pit Boss filmed a Season 1 episode in which Shorty Rossi returns to his community to do a fundraiser for the kids of the Nickerson Gardens public housing project in Watts.
 The episode of Quantum Leap "Black on White on Fire" was set in Watts during the riots in 1965.
 Watts tower is a notable location in the movie Ricochet (1991) with Denzel Washington and John Lithgow.

Video games
Imperial Courts which is located in Watts, appears in the video game Grand Theft Auto: San Andreas where it is parodied as Ganton Courts.
The neighborhood of Rancho also resembles Watts, as it appears in the video game Grand Theft Auto V.

Notable people

 03 Greedo, rapper
 P. P. Arnold, singer
 Bambu, rapper
 Arna Bontemps, poet and novelist of the Harlem Renaissance
 Don Cherry, jazz musician
Dr. Dre, rapper, record producer, and entrepreneur
 Robert C. Farrell (born 1936), journalist and member of the Los Angeles City Council, 1974–91; Watts newspaper publisher
 Shawn Fonteno (actor)
 Nipsey Hussle, Rapper, activist, and entrepreneur
 Tyrese Gibson, R&B singer and actor
 Florence Griffith-Joyner, Olympic track and field gold medalist; raised in the Jordan Downs projects
 "Sweet Alice" Harris, community organizer; founder and executive director of local youth outreach group Parents of Watts
Etta James, singer
Glasses Malone, rapper; born in Watts
Charles Mingus, jazz musician, composer, bandleader, and civil rights activist; raised largely in the Watts area
Walter Mosley, novelist
 Anthony Ortega jazz saxophonist, Smithsonian Honoree, cousin of Ray Vasquez
Jerron "Blind Boy" Paxton, musician, vocalist and multi-instrumentalist
Jay Rock, rapper
Shorty Rossi, reality television star
 Sylvester, disco singer
 Glenn T. Seaborg, chemist, Nobel Prize winner in chemistry
 Ray Vasquez Singer, Trombonist, Actor, Jordan High School Watts
 Barry White, R&B singer, actor, and voice artist
 The Watts Prophets, hip-hop/jazz and poetry group
 The Sylvers, family R&B/disco/pop group

Transportation
Watts was situated at a point on a rail line that ran south from Los Angeles (eight miles to the north) to Long Beach and, according to real estate advertisements and publicity releases, was about  minutes from the terminal at Sixth and Main Streets. In 1910 it was a transfer point for the Santa Ana, Long Beach and San Pedro lines of the Pacific Electric system.  The Watts Station, which is now a National Historic Landmark, included Wells Fargo Express and Western Union telegraph facilities. Pioneer settler A. E. Ruoff recalled that the electric line was installed about 1902. The point known as Latin Station, just a mile north of Watts station, was called North Watts, and Abila station, 1.5 miles south of Watts, was South Watts (later "Palomar").

Around 1905, a junction was installed for a line that ran to Santa Ana.
In February 1909 the railroad changed its schedule so that Watts travelers would have to take local trains rather than expresses, thereby increasing the length of the ride to Los Angeles from 15 minutes to one hour. In 1912 Watts passengers could get a car into Los Angeles about every three minutes, and those returning from the city "have the choice of riding five different lines of cars, not to mention the Watts locals, namely the Long Beach, Santa Ana, San Pedro, Redondo and Newport lines."

In 1925, there were 800 freight and passenger trains stopping in Watts, and "a great number of wide boulevards" passed through the city.

Public transportation
Watts is currently served by the 103rd Street/Watts Towers station on the LA Metro Rail A Line.

Historically, the neighborhood was served by the Pacific Electric Watts Station and several Pacific Electric lines, including the Watts Line.

See also

Wattstax
1992 Los Angeles riots

References

External links

 Watts crime map and statistics

Former municipalities in California
Neighborhoods in Los Angeles
South Los Angeles
African-American history in Los Angeles
Populated places established in 1907
1926 disestablishments in California
Chicano and Mexican neighborhoods in California

Watts, Los Angeles


Sir Charles Santley (28 February 1834 – 22 September 1922) was an English opera and oratorio singer with a bravura technique who became the most eminent English baritone and male concert singer of the Victorian era. His has been called 'the longest, most distinguished and most versatile vocal career which history records.'

Santley appeared in many major opera and oratorio productions in Great Britain and North America, giving numerous recitals as well. Having made his debut in Italy in 1857 after undertaking vocal studies in that country, he elected to base himself in England for the remainder of his life, apart from occasional trips overseas. One of the highlights of his stage career occurred in 1870 when he led the cast in the first Wagner opera to be performed in London, The Flying Dutchman, at the Theatre Royal, Drury Lane. Santley retired from opera during the 1870s in order to concentrate on the lucrative concert circuit.

Santley also wrote books on vocal technique and two sets of memoirs.

Early training

Santley was the elder son of William Santley, a journeyman bookbinder, organist and music teacher of Liverpool in northern England. He had a brother and two sisters, one of whom named Catherine should not be confused with the actor-manager Kate Santley. He was educated at the Liverpool Institute High School, and as a boy sang alto in the choir of a local Unitarian church. His voice began to break before he was fourteen. Following musical lessons from his father (who insisted upon his singing tenor), he passed the examination for admission to the second tenors of the Liverpool Philharmonic Society on his fifteenth birthday, and in the same year took part in the concerts at the opening of the Philharmonic Hall.

It was not until he reached the age of seventeen to eighteen that he rebelled against his father's decree and dropped into the bass clef, and was pronounced to be a bass. Santley was apprenticed to the provision trade. He enlisted, however, as a violinist in the Festival Choral Society and the Società Armonica, and as a chorus member, with his father and sister, he sang in a performance of Haydn's The Creation at the Collegiate Institution, Liverpool, in which Jenny Lind was a soloist. Soon afterwards he was in a hand-picked choir for Handel's Messiah, where the tenor Sims Reeves headed the soloists, at the Eisteddfod at Rhuddlan Castle, and was in the chorus for Elijah and Rossini's Stabat Mater under Julius Benedict at the Liverpool Festival. He heard Pauline Viardot, Luigi Lablache and Mario there. While acting as accompanist to his sister at St Anne's Catholic Church, Edge Hill, Liverpool, he sang 'Et incarnatus est' from Haydn's Second Mass, reading from the same score as Julius Stockhausen, as a trial, and obtained a place as bass soloist, modelling himself upon the style of the Austrian bass Josef Staudigl (1807–1861), and of the German bass Karl Formes (1815–1889) (whom he heard as Sarastro in London).

In 1855, Santley went to Italy to study as a singer, with advice from Sims Reeves to visit Lamperti in Milan. However he chose to study under Gaetano Nava, who became his lifelong friend.  Nava taught him buffo roles in Rossini's La Cenerentola, L'italiana in Algeri and Il Turco in Italia, and in Mercadante's operas, laying the basis of sound vocal technique as a baritone. He also taught him Italian speech. Santley studied duets from Bellini's Zaira and Rossini's Semiramide and The Siege of Corinth. He was a frequent guest at concerts and conversaziones of the Marani family. At the theatres, he heard Antonio Giuglini, Scheggi, Marini and Enrico Delle Sedie, and saw Ristori in Maria Stuarda, attending La Scala, Milan, and the Carcano Theatre.

He made his stage debut on 1 January 1857 in Pavia as Dr Grenvill in La traviata (later in the same run singing Germont père), and Don Silva in Ernani.  Other minor engagements followed, After a thin summer, however, Henry Fothergill Chorley visited and urged his return to England.

Oratorio, 1857–1872

In 1857 Santley returned to London, and made his first appearance (16 November) for John Hullah in the role of Adam in Haydn's Creation: it is related that he broke down in the duet Graceful Consort owing to nerves, but the audience burst into applause for him and bade him continue. Manuel García, who heard him, offered training which Santley accepted gratefully. There were a few concerts at the Crystal Palace and elsewhere, under Chorley's guidance, and at a Chorley party he met Gertrude Kemble, who became his wife a year later. Through her he was introduced to the salon of Henry Greville, at whose musical parties he joined company with Mario, Giulia Grisi, Italo Gardoni, Ciro Pinsuti and others.

After an audition with Michael Costa, he sang in Mendelssohn's St. Paul in Manchester under Charles Hallé, and in March 1858 he first sang Mendelssohn's Elijah (at Exeter Hall, Liverpool), of which he became a leading interpreter for over 50 years. From the first, he was given firm encouragement by Sims Reeves and Clara Novello, and by Mario and Grisi, with whom he sang on various occasions. At the inauguration of the original Leeds Festival of autumn 1858 he was the star performer (with Willoughby Weiss) in Rossini's Stabat Mater . In the autumn of 1859 he was singing items from St Paul, Judas Maccabaeus and Messiah at the Bradford Festival, shortly before embarking on his initial operatic season.

In 1861 he sang Elijah in his first appearance at the Birmingham Triennial Music Festival. In July of the following year, at St James's Hall Piccadilly, he appeared in the Philharmonic Society's 50th Jubilee Concert, singing an item from Hummel's Mathilde of Guise, and With Joy the Impatient Husbandman from Haydn's The Seasons. On that occasion he shared a platform (though in separate performance) with Jenny Lind, the pianist Lucy Anderson (her last public appearance), Thérèse Tietjens, and Alfredo Piatti the cellist, under the direction of William Sterndale Bennett. Bennett had just drilled a new orchestra to a level of high efficiency, creating a sensation before a huge audience. In 1862 Santley appeared at the Handel Festival at the Crystal Palace.

The year 1863 saw his first appearance at the Worcester and Norwich festivals: at Worcester he sang in Schachner's new work Israel's return from Babylon, and at Norwich he introduced Julius Benedict's Richard Coeur de Lion, a great success. In April 1864 he sang in Handel's Messiah, and in a miscellaneous concert, at Stratford-upon-Avon for the Shakespeare centenary festival. At the Hereford Festival he sang the second part of The Creation, an English version of Rossini's Stabat Mater and Benedict's Richard. At the Birmingham festival of 1864 was given Michael Costa's new work Naaman, where (as Elisha) he sang opposite Sims Reeves and the young Adelina Patti (then making her first appearance in oratorio). Santley also appeared there in Messiah and Arthur Sullivan's The Masque at Kenilworth.

The autumn of 1865 witnessed his debut appearance at the Gloucester Festival, where he sang Elijah, the first part of St. Paul, part of Messiah, and Mendelssohn's First Walpurgis Night. In 1866 he was at Worcester Festival, and then at Norwich, where Costa's Naaman was given again, in the presence of the Prince and Princess of Wales, and Benedict's new cantata St. Cecilia (libretto by Chorley) was introduced. At Hereford in 1867 the main event for Santley was singing with the famous soprano Jenny Lind for the first time, in the oratorio Ruth by Otto Goldschmidt. There, and at Birmingham festival, Willoughby Weiss took most of the sacred bass or baritone roles. Santley sang bass arias from the Messiah, Gounod's Mass, Benedict's St. Cecilia and J. F. Barnett's The Ancient Mariner.

Returning to the Birmingham Festival in 1867 he was a soloist in the premiere of the Sacred Cantata The Woman of Samaria by William Sterndale Bennett, conducted by the composer.

At the Handel Festival in June 1868 he sang the Messiah solos, and on the selection day, 'O voi dell'Erebo' from La Resurrezione and 'O ruddier than the cherry' from Acis and Galatea. He also sang 'The Lord is a Man of War' with Signor Foli. At Hereford he sang Dr Wesley's anthem The Wilderness, and under Dr Wesley, Elijah, with Louisa Pyne. In 1869 a Rossini festival took place at the Crystal Palace, with a chorus and orchestra of about 3,000, in which he sang in the Stabat Mater, and appeared in the scene of the 'Blessing of the Banners' from The Siege of Corinth. In mid-May he sang in the first performance in England of Rossini's Petite Messe Solennelle, with the dramatic soprano Thérèse Tietjens, Pietro Mongini and the mezzo-soprano Sofia Scalchi. It was also performed that year at the Worcester and Norwich festivals. At Worcester, Reeves, Santley, Trebelli and Tietjens gave the first performance of Sullivan's The Prodigal Son, under the composer's baton.  At Norwich there was also Hugo Pierson's oratorio Hezekiah.

At the close of the 1868–69 season of the Philharmonic Society of London Santley, Tietjens and Nilsson took part in the final supernumerary concert, held at St James's Hall for the first time before the Society moved there permanently in the next season. These three singers were among the original ten recipients to be awarded the Society's gold medal at its first presentation in 1871.

In early 1870, as his departure from the theatre was approaching, Santley sang at concerts in London and at Exeter Hall. Then, under the management of George Wood, he made a six-week concert tour of the provinces. The touring company included Clarice Sinico, the violinist August Wilhelmj and the pianist Arabella Goddard (later joined by Ernst Pauer). Santley's concert singing reached a high point of acclaim during his subsequent United States and Canadian tour of 1871–72. In such songs as "To Anthea", "Simon the Cellarer" and the "Maid of Athens", he was viewed as being unapproachable, and his oratorio singing was praised for perpetuating the finest traditions of the art form. In 1872, he took part in a joint recital with Pauline Rita at St James's Hall, London.

Operatic career 1857–1876

The early years
In the first years after his return to England, Santley used often to sing buffo duets (for example 'Che l'antipatica vostra figura' from Ricci's Chiara di Rosemberg) with Giorgio Ronconi and Giovanni Belletti, at parties held by the influential critic H. F. Chorley.  In 1859 he made his debut at Covent Garden as Hoel in Meyerbeer's opera Dinorah. In the same season he sang in the English Il trovatore (Di Luna), The Rose of Castille, Satanella, La sonnambula, and as Rhineberg in Wallace's Lurline, with William Harrison and Louisa Pyne. Wallace transcribed the latter role (originally for bass) to suit his higher register, and composed the character's part in the final act expressly for him. Dinorah also received a royal command performance before Queen Victoria and Prince Albert. He was also able to fit in performances of Gluck's Iphigénie en Tauride in Manchester, with Sims Reeves and Catherine Hayes, for Charles Hallé. These were twice repeated at the residence of Lord Ward in Park Lane, London.

Santley appeared in English opera for Mapleson at Her Majesty's Theatre in the 1860–61 season. Mapleson mounted a new opera, George Alexander Macfarren's Robin Hood, featuring a cast led by Sims Reeves and stage-debutante Helen Lemmens-Sherrington, under the direction of Charles Hallé. In the same season Santley sang (for Pyne and Harrison) Fra Diavolo, La Reine Topaze, The Bohemian Girl (with Mme Parepa), Il trovatore and Wallace's The Amber Witch, which later transferred to Drury Lane. He was announced to sing in Verdi's Macbeth with Giulia Grisi in 1861, but the promotion collapsed.

For the season of 1861–62, Santley returned to Covent Garden, opening in Howard Glover's Ruy Blas (as Don Sallust, Harrison as Ruy Blas), then in a re-cast version of Robin Hood, and finally in Balfe's The Puritan's Daughter. He also created the role of 'Danny Man' in Julius Benedict's The Lily of Killarney, which was performed nightly for five or six weeks. Worn out by this busy season, Santley decided to turn his attention to Italian opera, and, armed with a letter from Michael Costa, paid a visit to Rossini in Paris. This meeting proved disappointing; but he made an Italian début at Covent Garden in 1862 when he sang the role of di Luna in Il trovatore for three nights at Covent Garden, 'in place of Graziani, to oblige Mr. Gye': that was with the English soprano Fanny Gordosa, Constance Nantier-Didiée, the Italian dramatic tenor Enrico Tamberlik and the Franco-Italian bass-baritone Joseph Tagliafico. Santley's performances were received rapturously by the Covent Garden audience.

Mapleson's Italian Opera

Mapleson won Santley back for his own Italian opera company, and in the 1862–63 season at Majesty's, he performed in Il trovatore (as Di Luna), The Marriage of Figaro (as Almaviva) and Les Huguenots (as de Nevers). He returned to Covent Garden for the English Opera, however, appearing in the Lily of Killarney, Dinorah, and Balfe's The Armourer of Nantes.  In defence of his decision to move to Italian opera, Santley notes that since 1859-60 he had been singing about 110 opera performances per season, in addition to fulfilling concurrent concert engagements.

With Mapleson's Italian Opera he joined some of the 19th century's most celebrated singers, including Thérèse Tietjens, Marietta Alboni, Antonio Giuglini and Zelia Trebelli.  Once the 1862–63 season was over, Santley paid a visit to Paris and saw Mme Carvalho perform in Gounod's Faust, which Mapleson had obtained for the 1863 season in London. In the new season (begun with Il trovatore), Carvalho and Santley appeared together in the premiere of Schira's Niccolo de' Lapi, Santley creating the title-role. He also played the elder Germont in La traviata.

The first performance of Faust in England followed. It was given in a problematic English translation by Henry Fothergill Chorley, which nevertheless remained the standard translation until well into the 20th century. Santley appeared as Valentine. The other cast members were Tietjens (as Marguerite), Trebelli (Siebel), Antonio Giuglini (Faust) and Edouard Gassier (Mephisto). In July 1863 the company performed Weber's Oberon with Reeves, Tietjens, Alboni and Alessandro Bettini. Santley appeared as Scherasmin. In the autumn, after the Worcester and Norwich festivals, Santley joined the Mapleson company's annual tour, beginning in Dublin. Sims Reeves had joined the company to perform the roles of Edgardo, Huon and Faust (with Tietjens and Trebelli as his partners).

After hearing Santley's Valentine, Gounod composed the aria Even bravest heart expressly for him to an original English text by Chorley (now, ironically, better known in French translation as Avant de quitter or in Italian as Dio possente) and this was introduced in London in January 1864 at the opening of the spring session. Also appearing in this production were Reeves, Lemmens-Sherrington and Salvatore Marchesi (the latter as Mephisto). Late in the run, however, Santley took on the role of Mephisto, in an 'abominable red costume'. Faust was later produced with Tietjens, Gardoni, Trebelli, and Signor Junca, with Santley resuming his place. In the same season he appeared in the English premiere of Nicolai's Die Lustigen Weiber von Windsor and in Gounod's Mireille (with Giuglini and Tietjens). He appeared, too, as Plunkett in Martha, as the Duke in Lucrezia Borgia, and as the Minister in Fidelio.

The company in transition

After the festival season, Santley toured in Mapleson's company during the autumn (with Italo Gardoni as lead tenor), appearing in Faust, Oberon and Mireille, In November 1864 he set off for Barcelona, where he was booked for a three-month season at the Liceu. His Di Luna was warmly received, and he followed with his first Rigoletto, and La traviata. He also played Enrico in Lucia, Obertal in Le Prophète, and Renato in Un ballo in maschera.  He arrived back in Britain to join Mapleson's spring tour at Dublin, on the same day stepping in at Tietjens's insistence to save a failing production of Lucrezia Borgia. During this tour he also performed Carlo Quinto in Ernani for the first time and sang at the Theatre Royal at Liverpool, the fulfilment of a childhood ambition.

In the spring of 1865, Giuglini left the company, and the Croatian diva Ilma de Murska joined it, appearing in Lucia di Lammermoor. Santley took on three new roles: Papageno in Mozart's Magic Flute, Creonte in Cherubini's Médée and Pizarro in Beethoven's Fidelio (opposite Tietjens).  In September there was a short touring season, in which he played Don Giovanni (with Mario) for the first time, at Manchester. He also sang Caspar in Der Freischütz in London in October. Santley then went on to appear in a season at La Scala, Milan, where Il trovatore was staged for his debut there as de Luna (he alone of all the cast was not hooted by the audience), as well as Nicolai's Il Templario (in which he sang the role of Brian the Templar). Returning to London in March 1866, Santley appeared in the spring season with Tietjens, Gardoni and Gassier in Iphigénie en Tauride. He also sang in Dinorah (with de Murska and Gardoni) and Ernani (with Tietjens, Tasca and Gassier).  During the autumn, he performed as Leporello in Don Giovanni at Her Majesty's.

The year 1867 brought the engagement of Sweden's Christine Nilsson, and Santley appeared with her in La traviata and I Lombardi. La forza del destino was also given, along with Don Giovanni, Dinorah, Fidelio, Oberon, Medea, Der Freischütz and Les Huguenots. After the autumn tour with Alessandro Bettini in Les Huguenots, the November session opened with Faust, followed by La traviata and Martha, and Linda di Chamounix, in which Santley first sang the part of Antonio. Don Giovanni, with Clara Louise Kellogg as Zerlina and Santley as Leporello, proved to be the final operatic performance of that season: Santley had been due to play Pizarro, when the news came to him, while he was appearing in concert in Brighton, that Her Majesty's Theatre had been burnt to the ground. Santley had sung the last notes ever to be heard in that theatre.

After the fire
The company presented a fresh season, commencing in March 1868 at Drury Lane. In it, Santley sang Fernando in La Gazza Ladra with Kellogg, Trebelli, Bettini and Foli, and the title role in Rigoletto with Kellogg and the prominent tenor Gaetano Fraschini.  Also produced at Drury Lane that season were Les Huguenots, Le nozze di Figaro, La Figlia del Reggimento and Faust (with Nilsson as Marguerite). At Nilsson's benefit concert, Santley played the final scene of I Due Foscari, and his Doge was compared favourably to Ronconi's.

In July Santley appeared in Le Nozze at the Crystal Palace. The London autumn season was held at Covent Garden, with Santley's old hero Karl Formes joining the tour cast. The American soprano Minnie Hauk also appeared (in La Sonnambula). During the ensuing tour, Santley sang Tom Tug in Charles Dibdin's The Waterman for the first time, at Leeds. The next season, he sang it twice more in Leeds, and once each in Sheffield and Bradford. The airs from The Waterman 'The jolly young waterman' and 'Then farewell, my trim-built wherry' were sung by Santley to acclaim.

Her Majesty's remained closed, and in 1869 Mapleson was drawn into a merger with the Royal Italian Opera. With the merged company, Santley performed in Rigoletto with Vanzini, Scalchi, Mongini and Foli, in Norma and Fidelio, in Linda di Chamounix with di Murska and in Il trovatore. La Gazza Ladra was also staged with Santley appearing opposite Trebelli, Bettini and Patti. Santley led the cast, with Nilsson as his Ophelia, in the London premiere of Hamlet by Ambroise Thomas. He enjoyed the role, which was sung in Italian, apart from the 'Brindisi'. He also played Hoel in Dinorah opposite Patti, and although a planned partnership with her in L'Etoile du Nord did not occur, they did perform Rigoletto together for Patti's benefit. Santley's Hamlet was repeated in the autumn, with de Murska replacing Nilsson, and with Karl Formes as the ghost.

Early in 1870 the company made an operatic tour of Scotland, during which Santley sang Don Giovanni. At Drury Lane, in the following Italian season managed by George Wood, Santley sang The Dutchman in The Flying Dutchman (in Italian, as L'Ollandese Dannato), opposite di Murska, and with Signor Foli as Daland. This was the first presentation of a Wagner opera in London. It took place in July 1870. But several other promised productions either did not occur (Macbeth, Cherubini's Les Deux Journees, Rossini's Tancredi) or the baritone role in them was given to another artist. (Lothario in Thomas' Mignon, for example, was assigned not to Santley but to the French baritone Jean-Baptiste Faure).

Attempt to found an English lyric theatre
Rather than accept another season with the joint company, Santley decided to establish a new English Opera enterprise at the Gaiety Theatre, working with the theatre's music director and conductor, Meyer Lutz. In autumn 1870 he launched a successful nine-week run at the Gaiety with Hérold's Zampa. He refused to sing Don Giovanni but he did stage Fra Diavolo (with himself in title role), and, in the lead-up to Christmas, The Waterman. Performances of Fra Diavolo continued through February 1871, while Lortzing's Czar und Zimmerman (as Peter the Shipwright) was staged for Easter. This production proved a success but Santley could not persuade the Gaiety's manager, John Hollingshead, to produce Auber's Le Cheval de bronze as a follow-up. Feeling that his long-cherished project of an English lyric theatre could never be accomplished, he decided to turn his back on the stage altogether. Instead, in 1872–1873, he set out on a concert tour of in the United States and Canada.

With Carl Rosa's company

The concert tour itself was not a financial success. Santley therefore entered into an agreement with Carl Rosa to join his Italian season in New York City in March 1872; but he joined them first for the English season to play Zampa and Fra Diavolo, at Baltimore, Philadelphia, Newark and elsewhere. He played Valentin in Faust at Philadelphia. In the Italian season, from mid-March to the end of April, he was with Mme Parepa-Rosa, Adelaide Phillips and the tenor Theodore Wachtel (1823–1893), and with Karl Formes, who sang Marcel in Les Huguenots with Santley (Saint-Bris), at the Academy of Music in New York under Adolph Neuendorff. Santley was also particularly proud to have sung once in that season with his friend and idol, Giorgio Ronconi, who was Leporello to Santley's Don Giovanni. The company also played Il trovatore, Rigoletto, Lucrezia Borgia, Martha and Guglielmo Tell. The houses and receipts were enormous, and they sailed to England well pleased in early May 1872.

In 1873 Carl Rosa invited Santley to appear as Telramund in a planned English Lohengrin at Drury Lane. Santley accepted, but the project failed with the untimely death of Mme Parepa-Rosa. (Lohengrin was not heard in London until 1875). Santley's wish to play Wolfram in Tannhäuser also remained unrealised.  He disliked the prominence of the Wagnerian orchestra and regretted the innovation which saw orchestral players being relegated to a pit beneath the opera stage.

However, in 1875 Carl Rosa tempted him back to the stage for a season at the Princess's Theatre, London, in which he played in Le nozze di Figaro, Il trovatore, The Siege of Rochelle (as Michel), Cherubini's The Water Carrier (Mikelì) and The Porter of Havre (Martin). In Figaro he was cast as Almaviva, but was transferred to the role of Figaro, singing with Sig. Campobello (Almaviva), Aynsley Cook (Bartolo), Charles Lyall (Basilio), Ostava Torriani (Contessa), Rose Hersee (Susanna), Josephine York (Cherubino) and Mrs Aynsley Cook (Marcellina). This received a special performance for the Prince and Princess of Wales. There was a provincial tour in the autumn.

In autumn 1876 at the Lyceum Theatre, again with Carl Rosa, Santley revived his Flying Dutchman, this time in English, with Ostava Torriani as Senta. Between the London season and the provincial tour which followed they performed it 50 times. Among the cities visited were Edinburgh (four performances) and Glasgow (two performances).
In the same season they undertook a work new to him, Nicolo's Joconde, and he played Zampa and The Porter of Havre again.  The final work was a new opera with a role (Claude Melnotte) written especially for him, the Pauline of F. H. Cowen: the work was not successful.  The tour took them to Dublin, Sheffield, Hanley and Birmingham. That, apart from two appearances as Sir Harry in The School for Scandal at Drury Lane benefits, and his eventual farewell appearance at Covent Garden in 1911, was the end of his stage career.

Later years

Santley gave recitals at the Monday Popular Concerts, and appeared with the Joachim String Quartet and Mme Clara Schumann. He settled down to concert and oratorio work in England. He converted to Roman Catholicism in 1880, and in 1887 Pope Leo XIII created him a Knight Commander of St Gregory the Great. He married twice, first (in 1858) to Gertrude Kemble (granddaughter of Charles Kemble), who before her marriage had a professional career as a soprano singer. Their daughter Edith also became a concert singer.  Gertrude died in 1882. The couple had five children. Santley's second wife was Elizabeth Mary Rose-Innes.

Santley, to whom European travel had been a holiday routine for many years, toured in Australia and New Zealand in 1889–1890, to the United States and Canada in 1891 and South Africa in 1893 and again in 1903. He sang last at the Birmingham festival in 1891 after an unbroken series of thirty years of appearances there. George Bernard Shaw, describing Santley as the hero of the 1894 Handel Festival, remarked especially on his Honour and Arms and Nasce al Bosco. 'Santley's singing of the division of Selection Day was, humanly speaking, perfect. It tested the middle of his voice from C to C exhaustively; and that octave came out of the test hall-marked; there was not a scrape on its fine surface, not a break or a weak link in the chain anywhere; while the vocal touch was impeccably light and steady, and the florid execution accurate as clockwork.' In these two arias his entire compass from low G to top E flat, and in Nasce al Bosco the top E natural and F, were exhibited 'in such a way as made it impossible for him to conceal any blemish, if there had been one.'

In January 1894 he was with Clara Butt, Edward Lloyd, Antoinette Sterling and other singers at the first of the Chappell's Ballad Concerts, when they were transferred from St James's Hall to Queen's Hall. From 1894 Santley devoted his time increasingly to teaching: between 1903 and 1907 he trained the Australian baritone Peter Dawson, taking him meticulously through Messiah, The Creation and Elijah. Indeed, in 1904 he brought Dawson in on a tour of the West Country, beginning at Plymouth, led by Emma Albani, with William Green (tenor), Giulia Ravogli, Johannes Wolf, Adela Verne and Theodore Flint.

In January 1907 he sang Elijah at Manchester Town Hall, having sung Messiah and Elijah every year there since 1858. He celebrated the jubilee of his singing career in the company of many of his musician friends at a grand benefit concert held at the Royal Albert Hall on 1 May 1907. He was knighted (the first singer to receive this honour) in December of that year, after singing at Bristol, and sang Elijah at Hanley two days later. Over the next months he gave short recitals at Liverpool and sang Elijah at Edinburgh. He made his Covent Garden farewell in 1911 as Tom Tug in Charles Dibdin's The Waterman. In 1915, at the request of London's Lady Mayoress, he sang at the Mansion House concert for Belgian refugees, when the accurate intonation, fine quality and vigour of his voice were still apparent.

Vocal character
In addition to a 'haunting' beauty of timbre, Santley's technique and musicianship made him a master in the singing of Handel or Mozart, where a fresh and accurate management of rhythm and roulade created an effect of spontaneity, vigour and ideal phrasing. His ensemble singing was also noted, for example, as Figaro and in Fidelio. Henry J. Wood observed that his compass ranged from the bass E-flat to the baritone top G, and was exceptionally even throughout. 'All his low F's told – even to the remotest corners of the largest concert-hall while his top F's were as a silver trumpet.' His clarity and freedom from strain enabled him to continue singing with remarkable freshness throughout a career lasting more than 60 years, perhaps partly because he had not over-taxed his voice by remaining for too long on the operatic stage.

George Bernard Shaw, who first saw him on stage as Di Luna in Il trovatore, considered that Santley's dramatic powers were 'blunt, unpractised, and prone to fall back on a good-humoured nonchalance in his relations with the audience, which was highly popular, but which destroyed all dramatic illusion. He was always Santley, the good fellow with no nonsense about him, and a splendid singer....  The nonchalance was really diffidence....' He played Valentin, in Faust, 'in an unfinished, hail-fellow-well-met way.' Later on, as Vanderdecken, etc., 'his dramatic grip was much surer; and at the present moment [1892], on the verge of his sixtieth year, he is a more thorough artist than ever.'

Recordings
Charles Santley made a few recordings, mostly of ballads. His earlier series was made for the Gramophone Company (His Master's Voice) in 1903. Although the voice lacks much of its former brilliant resonance due to age it remains firm and steady. His most famous record preserves his remarkably vivid and lively rendering of 'Non piu andrai' (Figaro), employing a portamento (notably on the word 'narcisetto', usually broken by modern interpreters) that is fit to satisfy Garcia himself. He did not commit any souvenirs of his Handel performances to disc. His 1903 discs are:
2-2862 Simon the Cellarer (Hatton) (10")
2-2863 The vicar of Bray (10")
052000 Ehi capitano/Non piu andrai (Figaro – Mozart) (12")
2-2864 To Anthea (Hatton) (10")
02015 Thou'rt passing hence, my brother (Sullivan) (12")

Several years later he cut a group of ballad titles for the Columbia label. Hatton's 'To Anthea' and 'Simon the Cellarer' are characteristic of Santley's earlier ballad repertoire, and are repeated in the Columbia series, which also includes Ethelbert Nevin's 'My Rosary', C.V. Stanford's 'Father O'Flynn,' Sullivan's 'Thou'rt passing hence, my brother,' and other titles.

Books
Santley's publications include the following:
Method of Instruction for a Baritone Voice, a translation of "Metodo pratico di vocalizzazione, per le voci de basso e baritono" by G. Nava (London, c 1872)
Student and Singer, Reminiscences of Charles Santley (Macmillan, London 1893)
The Singing Master (1900)
The Art of Singing and Vocal Declamation (1908)
Reminiscences of my Life (Isaac Pitman, London 1909)

Of the volumes of reminiscences, Student and Singer deals with his career up to circa 1870, and Reminiscences of My Life includes material for the later period.

Compositions
Mass in A flat
Ave Maria, Berceuse for Orchestra
Santley also composed a number of songs under the pseudonym of Ralph Betterton.

Notes

References

Bibliography
J.R. Bennett, Voices of the Past – Catalogue of Vocal recordings from the English Catalogues of the Gramophone Company, etc. (c1955).
J.R. Bennett, Voices of the Past –  Vol 2. A Catalogue of Vocal recordings from the Italian Catalogues of The Gramophone Company, etc. (Oakwood Press (1957), 1967).
G. Davidson, Opera Biographies (Werner Laurie, London 1955), 264–267.
J.H. Mapleson, The Mapleson Memoirs (Chicago & New York 1888).
S.Reeves, Sims Reeves, His Life and Recollections Written by Himself (Simpkin Marshall & Co, London 1888).
H. Rosenthal and J. Warrack, Concise Oxford Dictionary of Opera (Corrected Edition, Oxford 1974).
M. Scott, The Record of Singing to 1914 (Duckworth 1977).
G.B. Shaw, 1932, Music in London 1890-94 by Bernard Shaw, 3 Vols (Constable & Co, London)
Herbert Thompson, Herbert.  "Sir Charles Santley 1834-1922", The Musical Times, Vol. 63, No. 957 (1 November 1922), pp. 784–92

External links

1834 births
1922 deaths
Knights Bachelor
Singers awarded knighthoods
Royal Philharmonic Society Gold Medallists
English operatic baritones
People educated at Liverpool Institute High School for Boys
19th-century British male opera singers
Kemble family
Singers from Liverpool

Charles Santley


Sydney Walter Hoar (28 November 1895 – May 1967) was an English footballer.

Hoar was born in Leagrave, Luton, Bedfordshire, and joined local side Luton Town as a fifteen-year-old in 1911. He was a regular in the Hatters youth team up until the outbreak of World War I, when he joined the Army and served in the trenches of Northern France. After being gassed in an attack, he was invalided out of the war, and his football career looked in doubt. However, he managed to recover fully and returned to Luton Town after the end of the war, making himself known as a winger who could play on either flank. Hoar played over 150 league matches for Luton between 1919 and 1924, as they played in the Southern League and later the Third Division South.

In late 1924, Hoar joined Arsenal for £3,000, making his debut against Cardiff City on 29 November 1924, and went on to make nineteen appearances that season; he also had trials with England but never made it into the first team. By now, Hoar played more often on the right than the left, but the arrival of Joe Hulme put in 1926 forced him out of the Arsenal first team and he spent most of 1926-27 on the sidelines. However, Hoar forced himself back in the side towards the end of the season, taking over Sam Haden's spot on the left wing. Despite an injury in Arsenal's last game of that season, against Aston Villa, Hoar regained fitness in time to play in the FA Cup Final against Cardiff City; however he had a poor match and Arsenal lost 1-0 after a freak error by goalkeeper Dan Lewis.

Hoar continued to be a regular on the Arsenal left wing for another season, missing only four games in 1927-28 and scoring nine times. But in the close season, Arsenal signed Welsh international Charlie Jones, and Hoar played only six matches in 1928-29. He left Arsenal in September 1929 for Clapton Orient for a fee of £1,000. In all, he played 117 matches for Arsenal and scored 18 goals. Hoar was at Orient for a single season, before retiring in the summer of 1930. He died in 1967, at the age of 71.

Honours

Player
Arsenal
FA Cup runner-up: 1926–27

References

1895 births
1967 deaths
English men's footballers
Men's association football wingers
Luton Town F.C. players
Arsenal F.C. players
Leyton Orient F.C. players
Footballers from Luton
British Army soldiers
British Army personnel of World War I
Military personnel from Bedfordshire

Syd Hoar


The Emmaus Monastery ( or Emauzský klášter), called Na Slovanech in the Middle Ages, is an abbey established in 1347 in Prague. It was the only Benedictine monastery of the Kingdom of Bohemia and all Slavic Europe.

In the 1360s, the cloisters of the Monastery were decorated with a cycle of 85 Gothic wall paintings with parallels from the Old and New Testaments. The Gothic cloisters also feature original faded frescoes with bits of Pagan symbolism from the 14th century. The monastery was baroquised in the 17th–18th centuries and the two church towers were added.

Charles IV, Holy Roman Emperor gave to the just-founded monastery the manuscript Reims Gospel, it was probably lost from Prague in the time of the Hussite Wars, the manuscript later became part of the Reims Cathedral treasury. The monastery became a center of culture and art, students of Saints Cyril and Methodius studied there in addition to Jan Hus.

During the Second World War the monastery was seized by the Gestapo and the monks were sent to Dachau concentration camp. The monastery building and vaults were destroyed by a U.S. bombing raid on Prague on 14 February 1945. The modern roof with steeples was added in the 1960s. Returned to the Benedictine order in 1990, the monastery is administered by three monks, two of whom live there.

References

Benedictine monasteries in the Czech Republic
Christian monasteries in Prague
Churches in Prague
National Cultural Monuments of the Czech Republic

Emmaus Monastery


Nadiad is a city in the state of Gujarat, India. It is also the administrative center of the Kheda district. The city is managed by the Nadiad municipal corporation. It is known for the santram mandir, the mai mandir, the historic swaminarayana temple built in 1824, and the anand and hari om ashram.

Cities in Gujarat

Nadiad


The Sussex is a British breed of dual-purpose chicken, reared both for its meat and for its eggs. Eight colours are recognised for both standard-sized and bantam fowl. A breed association, the Sussex Breed Club, was organised in 1903.

History

The Sussex originates in the historic county of Sussex, in south-east England. It is among the oldest of British chicken breeds: birds described as "Old Sussex or Kent Fowl" were shown at the first poultry show at London Zoo in 1845. The Sussex was not included in the first poultry standard, the Standard of Excellence in Exhibition Poultry of William Bernhardt Tegetmeier, in 1865. The breed standard for the Sussex was drawn up in 1902, with three colour varieties, the light, the red and the speckled. Of these, the speckled was the oldest. The development of the light variety was probably influenced by Oriental breeds such as the Brahma and Cochin, and also by the silver-grey Dorking. The red was originally black-breasted; it and the brown may have been influenced by Indian Game. The buff variety appeared in the 1920s, and was followed by the white, a sport from the light. The most recent variety is the silver.

In the early part of the twentieth century, until the advent of commercial hybrid strains at about the time of the Second World War, the Sussex and the Rhode Island Red were the two principal meat breeds in the United Kingdom. Utility strains of the Sussex developed, with better productive capabilities but smaller and less well marked than was expected for exhibition purposes.

Characteristics

The Sussex chicken is graceful with a long, broad, flat back; a long and straight breastbone; wide shoulders; and a rectangular build. The tail is held at a 45 degree angle from the body. The eyes are red in the darker varieties but orange in the lighter ones. The comb is single. The earlobes are red and the legs and skin white in every variety. Cocks weigh approximately  and hens about

Eight colour varieties are recognised by the Poultry Club of Great Britain: brown, buff, coronation, light, red, silver, speckled and white. The light Sussex has a white body with a black tail and black in the flight feathers and wing coverts; the neck hackles are white with black striping. The buff has the same markings, but with greenish-black on a golden-buff ground. The silver is similar to the light, but has grey thighs and a dark breast with silver lacing. The red has the same markings as the light, but the base colour is a rich dark red throughout. The speckled is a rich dark mahogany colour, each feather with a black dot and white tip. The white is pure white throughout.

The coronation Sussex has the same markings as the light, but with lavender instead of the black. It was created for the coronation of Edward VIII – an event which never took place – and had disappeared by about the time of the Second World War. It was thought to have the same red, white and blue colours as the Union Flag. A coronation bantam was re-created in the 1980s.

The American Poultry Association recognises three colours: light, red and speckled. The red and speckled were added to the Standard of Perfection in 1914, and the light in 1929.

Use

The Sussex was traditionally reared as a table bird, for meat production. In the early part of the twentieth century it was one of the principal breeds kept for this purpose, until it was displaced by modern industrial hybrid lines. It may be kept as a dual-purpose bird. Hens lay some 180–200 tinted eggs per year; some layer strains may give up to 250. The eggs weigh about . The Sussex is also reared for showing.

References

Conservation Priority Breeds of the Livestock Conservancy
Chicken breeds originating in the United Kingdom
Chicken breeds
Animal breeds on the RBST Watchlist

Sussex chicken


Wexford is a neighbourhood in Toronto, Ontario, Canada.  It is located in the eastern part of the city, on the western end of the district of Scarborough, spanning Lawrence Avenue East between Victoria Park Avenue and Birchmount Road. There are many persons of Greek heritage in this neighbourhood.  The Wexford Heights Business Improvement Area boasts 245 members and hosts an annual street festival on Lawrence.

History

The Church of St. Jude was erected in Wexford in 1848. It was once the Anglican church to the small village of Wexford, and survives today as a landmark in the modern urban area.

In 1953, Wexford, along with the rest of Scarborough, was severed from York County, forming the regional government of Metropolitan Toronto. The area consists of mostly post-World War II type bungalow housing, apartments, retail and commercial space. The city was merged with the rest of Scarborough and the five other municipalities of Metropolitan Toronto, forming the new "City of Toronto" in 1998.

According to the 2006 Census Visible Minorities comprised 45.4% of the total population, the largest minority group being South Asian at 12.0%.

A 2013 article in the Toronto LIFE magazine ranks Wexford-Maryvale 6th out of Toronto's 140 neighbourhoods.

Education

Two public school boards operate schools in Wexford, the separate Toronto Catholic District School Board (TCDSB), and the secular Toronto District School Board (TDSB).

Both TCDSB and TDSB operate public schools in the neighbourhood:

Buchanan Public School
George Peck Public School
Manhattan Park Junior Public School
Precious Blood Catholic School is a school located on 1035 Pharmacy Avenue serving Kindergarten to Grade 8. It opened in 1950 as St. Teresa School by the Congregation of Notre Dame in the village of Wexford. The modern school was built on the land owned by James and Jesse Grant erected in 1953 and opened in September 1954 with Sister St. Agnes of the Daughters of Wisdom as principal with 444 pupils and 15 staff members. The Congregation of Notre Dame withdrew its teaching duties in 1956. In 1963, the school had a population of 920 students.
Senator O'Connor College School, in North York
St. Kevin Catholic School
Wexford Public School
Wexford Collegiate School for the Arts

The French-first language public secular school board, Conseil scolaire Viamonde, and it separate counterpart, Conseil scolaire catholique MonAvenir also offer schooling to applicable residents of Wexford, although they do not operate a school in the neighbourhood, with CSCM/CSV students attending schools situated in other neighbourhoods in Toronto.

Recreation
Wexford is home to several municipal parks, including Wexford Park, located in the southwest of the neighbourhood. Municipal parks in Wexford are managed by the Toronto Parks, Forestry and Recreation Division. The neighbourhood is also home to several recreational sports associations, including the Scarborough Minor Hockey Association, and the Wexford Soccer Club.

Landmarks

Two shopping centres are located in Wexford, Wexford Heights Plaza, and Westford Shopping Centre.

The neighbourhood is home to a number of churches. They include:

 Church of St. Jude
 Precious Blood Roman Catholic Church
 Scarborough Citadel of the Salvation Army
 St. John's Greek Orthodox Church
 Wexford Heights United Church (2002 Merger of the historic Zion-Wexford and Wilmar Heights congregations)
 Wexford Presbyterian Church

References

External links

Neighbourhoods in Toronto
Scarborough, Toronto

Wexford, Toronto


In cryptography, Twofish is a symmetric key block cipher with a block size of 128 bits and key lengths up to 256 bits.

In 1997, the NIST announced for competition to choose a successor to DES to be known as AES, Twofish was one of the five finalists of the Advanced Encryption Standard competition, but was not selected as a standard.

Twofish is related to the earlier block cipher Blowfish. Twofish's main features are the use of pre-computed key-dependent S-boxes, and a relatively complex key schedule. One half of an n-bit key is used as the actual encryption key and the other half of the n-bit key is used to modify the encryption algorithm (key-dependent S-boxes). Twofish uses some elements from other designs; for example, the pseudo-Hadamard transform (PHT) from the SAFER family of ciphers. Twofish uses the same Feistel structure as the DES.

On most software platforms Twofish is slightly slower than Rijndael (the chosen algorithm for Advanced Encryption Standard) for 128-bit keys, but somewhat faster for 256-bit keys.

Creators
Twofish was designed by Bruce Schneier, John Kelsey, Doug Whiting, David Wagner, Chris Hall, and  Niels Ferguson; the "extended Twofish team" who met to made further cryptanalysis of Twofish and other AES competitors included Stefan Lucks, Tadayoshi Kohno, and Mike Stay.

Twofish algorithm is free for anyone to use without any restrictions whatsoever. The Twofish cipher has not been patented and the software example of its specification has been placed in the public domain. However, Twofish is not widely used like the Blowfish, which has been available for a longer period of time.

Cryptanalysis
As of 2008, the best published cryptanalysis on the Twofish block cipher is a truncated differential cryptanalysis of the full 16-round version. The paper claims that the probability of truncated differentials attacks is 2-57.3 per block and that it will take about 251 chosen plaintexts (32 PiB worth of data) to find a good pair of truncated differentials.

Bruce Schneier responds in a 2005 blog entry that this paper does not present a full cryptanalytic attack, but only some hypothesized differential characteristics: "But even from a theoretical perspective, Twofish is not even remotely broken. There have been no extensions to these results since they were published" in 2000.

Related pages
 Blowfish (cipher)
 Advanced Encryption Standard
 Data Encryption Standard

References

Additional reading

Other websites
 Twofish web page with full specifications, free source code, and other Twofish resources.
 David Wagner's sci.crypt post recommending AES over Twofish  — Wagner was one of the designers of Twofish.
 SCAN's entry for Twofish
  List of products using TwoFish

Cryptography

Twofish


Sophie Charlotte Ackermann (née Bierreichel) (10 May 1714 – 14 October 1792) was a German actress from Berlin.

Biography
She first married an organist named Schröder, who was unable to support his family. She entered the stage in 1740 in Lüneburg and established her own troupe in 1741 who failed in 1744. She left the stage for three years. In 1749, she married Konrad Ackermann in Moscow. They left Russia in 1751 and founded the famous Ackermann troupe (Ackermann'sche Gesellschaft).

The troupe visited Danzig, Königsberg, Breslau, Warsaw, Leipzig, Halle, then Frankfurt am Main and with the beginning of the Seven Years' War via Strasbourg to Switzerland. After the peace treaty, they returned via Strasbourg, Frankfurt, Mainz, Braunschweig, Hanover to Hamburg which became the domicile of the troupe. In 1767 the troupe was sold to a consortium of private owners, called the Hamburgische Entreprise, whose main backer was Abel Seyler, who employed Gotthold Ephraim Lessing as its dramaturge. The Entreprise was home to famous founders of German histrionics such as Friedrich Ludwig Schröder and Konrad Ekhof.

Her children were Dorothea Ackermann, Sophie Charlotte Ackermann and Marie Magdalene Charlotte Ackermann. She died in Hamburg.

Sources
 Allgemeine Deutsche Biographie - online version at Wikisource
 Born-on-this-Day.com

1714 births
1792 deaths
18th-century German actresses
Actresses from Berlin
People from the Margraviate of Brandenburg
18th-century theatre managers
Women theatre managers and producers
18th-century German businesswomen
18th-century German businesspeople

Sophie Charlotte Ackermann


Shaun Edward Marsh (born 9 July 1983) is a former Australian cricketer who played for the Western Australia cricket team in Australian domestic cricket and has represented Australia in all three formats. Nicknamed SOS ("Son of Swampy"), he is a left-handed top-order batsman.

On 10 March 2023, Marsh announced his retirement from first-class cricket. He is set to continue in the BBL with Melbourne Renegades.

Personal life
Marsh is the first son of Geoff Marsh and elder brother of Mitchell Marsh, both of whom have played for the Australian national side.

Marsh is married to Channel 7 journalist Rebecca O'Donovan, now Rebecca Marsh. They have three children. His brother-in-law is animator and internet personality Ross O'Donovan. He attended Wesley College in South Perth.

Off the field, Marsh has suffered from occasional lapses of discipline. In November 2007, he was suspended for two matches by the WACA for drinking alcohol to excess with teammate Luke Pomersbach.

In October 2012, during the Champions League Twenty20 tournament in South Africa, Marsh was dropped from the Scorchers last game, along with brother Mitchell, after a night of partying to celebrate Mitchell's 21st birthday.

In 2017, Marsh had an eye test, which showed he was short-sighted, a condition with which he had been batting and fielding for a considerable time.  He started wearing contact lenses.  This caused surprise in the cricket community, for whom Test match contracts normally include sight tests as a routine requirement.

Early life
Marsh and his younger brother Mitchell attended Wesley College in Perth where they excelled in cricket. In 1998, Shaun set the record, which was broken ten years later, for the highest average (210) in the Public Schools Association's Darlot Cup cricket competition.

Junior career
After representing Western Australia at Under 17 and Under 19 level, Marsh represented Australia at both the 1999–2000 and 2001–02 ICC Under-19 World Cups.  In the 1999–2000 tournament, held in Sri Lanka, he was the second highest run scorer for Australia behind Shane Watson, and other notable teammates included played alongside Michael Clarke, Nathan Hauritz and Mitchell Johnson. At the 2001–02 tournament in New Zealand, which Australia won, he scored the fourth most runs for the tournament, with the captain of the Australian side, Cameron White being the leading run scorer.

During this time, Marsh made his first-class cricket debut in 2000–01, against South Australia at the WACA Ground in March 2001.  He played as a middle order batsman, and played the final three games of the season, before continuing to represent both the Australian Under 19 side and the Australian Cricket Academy throughout 2001 in the lead-up to the World Cup in New Zealand in January to February 2002.

Domestic career

In October 2002, Marsh was named to play for Western Australia against the touring English XI in a two-day practice match (not classified as first-class) prior to the 2002–03 Ashes.  Marsh top scored in the match as he made 92 runs against an English bowling attack consisting of Matthew Hoggard, Stephen Harmison, Andy Caddick and Ashley Giles. He was not selected for the three-day match held soon after, but was selected to make his List A debut for the Warriors in an ING Cup match against South Australian Redbacks in November 2002. He went on to play nine ING Cup games and three Pura Cup during the 2002–03 season and he made his maiden first-class hundred against a NSW side featuring Steve and Mark Waugh in 2003.

Over the next few years, he cemented his position in the Warriors middle order, averaging over 35 in first class cricket in 2004–05 and 2005–06. He was named in the Australia-A side for a mid-year tournament in Cairns in July 2006.  After a relatively poor 2006–07 season, he returned to top form in 2007–08 in all forms of the game.  In first-class cricket, he made his highest career score of 166 not out (as part of a 268 run 4th-wicket partnership with Luke Pomersbach and averaged over 60 runs per completed innings. In the 2007–08 Ford Ranger Cup 50-over competition, Marsh made his debut century and was the Warriors' top run scorer. In Twenty20 cricket, he was the competition's leading run scorer with the highest average and the highest individual score.

Partway through the 2007–08 season, with the retirement of Justin Langer and the move of Chris Rogers to the Victorian Bushrangers, Marsh switched batting positions to become an opening batsman like his father Geoff. At the end of the season, he was named the Lawrie Sawle Medallist for being the best player in the Western Australian state cricket team for the 2007–08 season. He was highly sought after for the Big Bash League due to being regarded as one of the top domestic Twenty20 players in the world. He ultimately chose to stay in WA and play for the Perth Scorchers. After missing the first game due to a troublesome back, which played up in the recent Australian tour of South Africa, he played in the second match against the Melbourne Renegades and made 99* stating his case to join the Test team for the Boxing Day Test against India and missed the next few games.

In October 2012, compounding a lean run of form, Marsh was dropped from the Perth Scorchers, and subsequently the Western Australian team, following an off-field indiscretion during the Champions League Twenty20 tournament in South Africa.

A frank discussion with former teammate and new Western Australian coach Justin Langer helped Marsh regain his confidence and eventually his place in the state team:

He laid down the laws for me. It was a good chat. I knew exactly where I stood with him, and I went away with a new belief, in terms of where I wanted to head. It gave me a lot of confidence to know that if I went back and scored runs in grade cricket and 2nd XI, I could get back into the team straight away.

Marsh has excelled in the Twenty20 format of cricket, and during the 2012–13 Big Bash League, he scored five half-centuries in nine innings, ending the tournament as the leading run scorer, and helping the Scorchers reach the final.
He carried this form upon his return to the Western Australian state team. Against Queensland, he scored 155 not out in the one-day game, and backed it up with 84 in the second innings of a come-from-behind victory at the Gabba.

In 2019, he signed with Glamorgan ahead of the 2019 County Championship in England. In October 2020, in the third round of matches in the 2020–21 Sheffield Shield season, Marsh scored his 30th century in first-class cricket.

Indian Premier League career
Good form with the Western Warriors was rewarded with a contract in the 2008 Indian Premier League, where he opened the batting for the Kings XI Punjab. Despite missing the opening four games of the tournament, Marsh scored the most runs in the league stage of tournament, including a century in the final league stage match against the Rajasthan Royals. He received the orange cap for scoring most runs in the 2008 IPL tournament. Shaun Marsh was chosen in the inaugural IPL dream team chosen by the cricketing website Cricinfo along with cricket superstars Sanath Jayasuriya, Kumar Sangakkara, Glenn McGrath and Shane Warne as well as other young talents like Rohit Sharma, Gautam Gambhir and Yusuf Pathan. Marsh played for Kings XI Punjab since the start of the Indian Premier League and became one of the most vital players for the team.

For his performances in 2011, he was named in the Cricinfo IPL XI.

International career

His excellent form during the 2007–08 season led to Marsh being given a Cricket Australia Contract and being called up to the Australian Cricket tour of the West Indies.

He made his debut for Australia in June 2008 in a Twenty20 game against the West Indies alongside fellow West Australian debutant, Luke Ronchi.  Opening the batting with Ronchi, they compiled an opening partnership of 57 runs from the first 6 overs, with Marsh being dismissed soon after for 29 runs from 22 balls, including two sixes and a four. He made a memorable One Day International debut a few days later, top scoring for the match with 81 runs from 97 balls and winning the Man of the Match award. With the recent retirements of two of Australia's longest-serving ODI opening batsmen in Adam Gilchrist and Matthew Hayden, Marsh was able to claim one of the opening batsmen positions for the 2008–09 season. In the South African tour of Australia, Marsh performed well in the opening two ODI matches, top-scoring in both matches and winning the Man of the Match award in the second game. He has scored more than 50 in five of his 10 matches, and scored his first century in the 5th ODI against India at Hyderabad on 5 November 2009.

Marsh was included in the Test cricket squad for Australia's tour of India in 2008, but was not selected for a match.

On 21 January 2011, in an ODI match against England at Hobart, Marsh scored his second ODI century (110) in a record ninth-wicket partnership with Doug Bollinger. Australia went on to win the match by 46 runs, and Marsh was named Player of the Match.

In July 2011, Marsh was selected for the Australian Test Squad for the tour to Sri Lanka and was presented with the baggy green by his father. Marsh made his maiden Test century on debut against Sri Lanka on 8 September 2011, and became the 19th Australian to score a century on Test debut. He scored 141 and shared a 258-run 4th wicket partnership with Michael Hussey, who scored 142. He played one Test in Australia's following tour of South Africa, before missing three Tests with a back injury. He played all four Tests in Australia's 2011–12 home series against India, but performed poorly, scoring only 17 runs at an average of 2.67, including three ducks. After continuing to show poor form at domestic level afterwards, he was dropped from the Test team.

Marsh did not return to the Test team until 2014, and from 2014 until 2016 was a fringe player who has filled in for an injured top-order batsman on several occasions. His first recall was in February 2014 as a replacement for Shane Watson in the first Test of Australia's 2013–14 tour of South Africa; he scored 148 runs in his first innings, but was dropped after getting a pair in the second Test. He was recalled to the line-up in December 2014 for the home series against India after captain Michael Clarke tore his hamstring, and scored 254 runs at 42.33 in three Tests. He played both Tests in the 2015 tour of the West Indies after Chris Rogers withdrew with concussion, scoring 112 runs at 37.33. He toured with the Australian team throughout the subsequent 2015 Ashes series, playing well in tour matches but failing (with scores of 0 and 2) in the sole Test for which he was selected. He played two home Tests in 2015–16, one against New Zealand and one against the West Indies after Usman Khawaja suffered a hamstring injury, and in the match against the West Indies scored 182, the highest score of his career to date.

After three years on the fringe, Marsh was recalled as a first choice opening batsman in the final Test of Australia's tour of Sri Lanka. Australia's batsmen had struggled in the Sri Lankan conditions throughout the three-Test series, which Australia lost 3–0, but Marsh showed an aptitude and scored a century (130) in his return innings. He held his place for the first home Test of the 2016–17 Australian summer against South Africa, before being sidelined for the rest of the series with a broken finger.

In April 2018, he was awarded a national contract by Cricket Australia for the 2018–19 season.

In April 2019, he was named in Australia's squad for the 2019 Cricket World Cup. However, ahead of Australia's final group-stage match, Marsh was ruled out of the rest of the tournament with a fractured forearm. Peter Handscomb was named as his replacement.

References

External links

1983 births
Australia One Day International cricketers
Australia Test cricketers
Australia Twenty20 International cricketers
Australian cricketers
Australian expatriate sportspeople in England
Australian expatriate sportspeople in India
Cricketers from Western Australia
Cricketers who made a century on Test debut
Cricketers at the 2019 Cricket World Cup
Glamorgan cricketers
Punjab Kings cricketers
Living people
People educated at Wesley College, Perth
People from Narrogin, Western Australia
Perth Scorchers cricketers
Western Australia cricketers
Melbourne Renegades cricketers
S

Shaun Marsh


Honoré Jean Aristide Husson (born in Paris on 1 July 1803, died in Meudon on 30 July 1864) was a French academic sculptor of the 19th century.

Biography
He was the pupil of David d'Angers. In 1827, he won the 2nd Prix de Rome in 1827 and in 1830 the first Prix de Rome. He lived in the Villa Medici from 1831 to 1836. Back in Paris, he participated in exhibitions from 1837 and won a 2nd class medal in 1837 and a first class medal in 1848. On 9 May 1853, he married Sophie Desiree Marie Tremblay in Paris.

Main works

Husson received many State orders, including :
 L'Ange gardien offrant à Dieu un pécheur repentant
 A bust of Louis Philippe for the Académie de l'Été et l'Automne
 Figures from one of the fountains of the Place de la Concorde, Rome, 1839
 Two busts of Boissy d'Anglas and Chancellor Dambray
 Marguerite de Provence, 1847, and Eustache Lesueur, 1853, Jardin du Luxembourg
 Summer and Autumn, figures of one of the fountains of the Place de la Concorde, 1839
 Statues of Voltaire and Bailly at Old City Hall
 Saint Bernard at the Madeleine
 Gouvion St Cyr at the Senate of France
 Anges en adoration, St. Vincent de Paul
 Statue of Clovis, Church of St. Clotilde
 Eustache Lesueur, Jacques Sarrazin and General Desaix the new Louvre
 Statue of Coulomb, Conservatoire des Arts et Métiers
 Dagobert, Tower of Saint Germain l'Auxerrois
 St. Mathias, St. Simon and St. Jude, Church of Saint Eustache

References

External links
 Works by Husson, on A&A, Art and Architecture

1803 births
1864 deaths
Sculptors from Paris
Prix de Rome for sculpture
19th-century French sculptors
French male sculptors
19th-century French male artists

Honoré-Jean-Aristide Husson