Redwall is an animated television series produced by the Canadian Nelvana, along with the France-based Alphanim (season 1) and Germany-based TV-Loonland AG (seasons 2–3) that ran from 1999 until 2002. The series is based on the Redwall novels by Brian Jacques. The series spans three seasons, the first based on the first book Redwall, the second on Mattimeo and the third on Martin the Warrior.

The series originally aired on Teletoon (now as Cartoon Network) in Canada, along with being independently distributed in the U.S. by American Public Television through public television stations.

Plot

Redwall
A young mouse named Matthias lives at Redwall Abbey. Reminiscing on his past life, he remembers how his family was very poor. During a particularly harsh winter, an army of Rats, led by Cluny the Scourge, attacked his village. Separated from his family, Matthias saw Cluny just before he was rescued by his sister and, with advice from voles, travelled to Redwall Abbey, with the memory of Cluny still fresh in their minds. After difficult travels, Matthias' sister collapsed, and Matthias followed soon after. When he came to, he found that he had been brought to Redwall Abbey, where the fathers of the abbey later informed him that his sister had died of exhaustion from the journey. Matthias was then raised in the abbey as a novice, yet dreamed of becoming a great warrior like Martin, the warrior-mouse that helped found Redwall. When he joined Constance the Badger in escorting some woodlanders from a feast at the Abbey, he was shocked when he spotted Cluny and his rats marching onto Redwall, taking a nearby church as their main base. Cluny and his captains went to Redwall, claiming to be travelers until they were inside, when Cluny makes his demands clear. In a fit of rage, Matthias attacked them, telling them exactly what he thought of them. Cluny and his captains were forced to leave when Constance threatened to kill them if they did not leave. When he was forced outside, Cluny instructed his only climber, the ninja-esque Shadow, to steal the image of Martin from the tapestry to reduce Redwall's morale. Shadow was successful, but was intercepted by Matthias, and fell to his death from the walls. Cluny then took the image of Martin as his war standard. However, Cluny had nightmares about Martin and Matthias for as long as the tapestry was in his possession. This was soon remedied when Matthias's friends, Jess Squirrel and Basil Stag Hare, stole the tapestry back.

After a number of battles, Matthias was busily looking for Martin's sword, theorizing that they could drive Cluny away if they found it. With old Methuselah the abbey recorder and Cornflower (a young mouse who Matthias was close friends with), they discover that Matthias was to be the next Abbey warrior, like Martin before him. Through a riddle they found under the tapestry, they discovered Martin's tomb underneath a set of stone stairs, and there they found Martin's shield and sword-belt. Next, Matthias found Martin's sheath in the roost of the Sparra, a tribe of savage sparrows living in the roof spaces, ruled by the insane King Bull Sparra. Matthias stole the sheath from the Sparra, killing Bull Sparra in the process, and befriended a young Sparrow named Warbeak. However, he learned that the sword was taken from the Sparra by Asmodeus Poisonteeth, a huge snake. On a journey to find information, Matthias met the Guosim Shrews, a tribe of argumentative shrews who told him to speak to a large snowy owl named Captain Snow for information. Snow told him that Asmodeus lives in a nearby quarry, but mocked Matthias for thinking he could stand a chance against the snake. In fact, he bet Matthias that if he got the sword, he would give up eating mice (and shrews), as well as apologise to Julian Gingivere, a vegetarian cat who used to be friends with Snow, until he banned Snow from his home because of his manners and taste in food. Matthias, after a brief return to the Abbey, set off on an expedition to find the sword, with help from the Guosim. They followed Asmodeus to the large quarry. There, Matthias found the sword, and in a fierce battle with the snake, decapitated him. Meanwhile, Cornflower discovered Martin's old battle-armour in an abbey attic.

Throughout this period, Cluny had been using various tactics to try to take over Redwall, including tunnelling in, using a battering ram, blackmailing a spice-merchant dormouse to kidnap Cornflower as ransom, burning the gates, using a siege tower, and sneaking his soldiers in with a visiting local circus. Every single time the rats failed, and Cluny began to show signs of insanity.

While Matthias was away gathering more troops to fight the rats, Cluny forced a dormouse he had captured to sneak into Redwall and open the gates from the inside. Cluny and his army entered the Abbey at last. However, Matthias came back, dressed in Martin's armour, alongside an army of shrews and sparrows that he had gathered. He found that Cluny had taken over, and was about to execute all the Redwallers (starting with Cornflower). The sight of Matthias dressed as the mouse he had seen in his dreams terrified Cluny, who sent his troops against Matthias and his army. During the ensuing battle between Cluny's army and the mixed defenders of Redwall (The Defenders of Redwall, the Guosim, and the Sparra), Cluny kidnapped Cornflower and hid in the belltower. When Matthias followed them in, Cluny ambushed him, and a duel began, which led them both up to the top of the belltower. Cluny jumped down and caught Cornflower again, threatening to kill her if Mathias did not come down to face him. Mathias swore to, if Cluny released her. Cluny released Cornflower, but Matthias cut the bellropes, causing the Abbey-bell to crash down onto Cluny, killing him instantly.

In the aftermath of the battle, Abbot Mortimer was fatally wounded. Before he died, he declared Matthias to be the Abbey warrior, and that Cornflower would be his wife.

In the epilogue, we see how life in Redwall is back to normal. The Sparra are now ruled by Warbeak who is a good ruler, and the Sparra are now friends with the Redwallers. Some of the Guosim Shrews have chosen to stay at Redwall, and have become beekeepers (even learning to speak to the bees, so they can argue with them). The new abbot is brother Mordalfus, previously known as brother Alf, who used to run the Abbey Pond. Matthias and Cornflower are now happily married and have a son, named Mattimeo (which is somehow short for Matthias Methuselah Mortimer (possibly MATThIas MEthuselah mOrtimer)). The new Abbey Recorder, John Churchmouse, signs off saying that the gates of Redwall are always open to travellers, inviting the viewer to visit if they are ever passing.

Mattimeo
Several seasons after the death of Cluny, Matthias and Cornflower had a son, Mattimeo. But one night, as the Redwallers were celebrating, they were interrupted by the masked fox, Slagar the Cruel, who was previously known as Chickenhound, who entered Redwall with a band of rodents, drugged everyone and kidnapped all of their children. Matthias, Basil Stag Hare and Jess headed out to save them, gaining new and old allies along the way, such as Orlando the Axe, the Guosim shrews, and the "Sparra".

Meanwhile, in their absence, things started to go wrong for Redwall. It came under attack by ravens, led by General Ironbeak. The ravens took all of their food and the dormitories, leaving Cavern Hole as the only free location. However, the Redwallers struck back by using Martin's armor as a ghost to scare the raven. They later saved a mountain bird named Stryk Redkite, who was being harassed and later hurt by the ravens. Eventually, Ironbeak figured out their little trick after seeing Constance the badger going to put away Martin's armour. He locked her in the gatehouse and had his troops take Cavern Hole. Constance was able to break out and save the Redwallers as a newly recovered Stryk killed Ironbeak. The other ravens left Redwall.

Matthias and company were able to follow Slagar's trail to an old buried abbey, Loamhedge, where a cult of rats who worshiped Malkariss, were enslaving others. The fight ended with the slaves stoning Malkariss to death and Matthias setting them free. Eventually, they won with the abbey sinking into the earth. At the surface, Slagar tried to get back at Matthias for the death of his mother but ended up falling into the hole from which he escaped.

Company returned to Redwall with the young ones and slaves. After seven seasons, things were going peacefully at Redwall. The slaves of Malkariss and Matthias' companions settled in Redwall. Matthias, Basil and Orlando began training Redwall's next generation of defenders.

Martin the Warrior
At the same seventh season after Matthias returned, the Redwallers listen to Tim Churchmouse, who tells the tale of how their hero, Martin, became the warrior he is known as today. In the lands of the Marshank coast, the terrible Badrang the Tyrant was increasing his piracy attacks, forcing Luke the Warrior, Martin's father, to go out to sea to combat the sea rats. He left his son his sword and told him to never let another creature take it. Years later, Martin was captured by Badrang and his sword taken. The young mouse served many years in the fortress of Marshank as a slave. When he defended an old squirrel named Barkjon, Badrang had him hung outside in the rain with hungry gulls to peck at him and was later put in the prison pit with Barkjon's son, Felldoh, and a mouse named Brome. Meanwhile, Badrang's old shipmate, Tramun Clogg, arrived to take Marshank. Brome's sister, Laterose, also known as Rose, and her friend, the mole Grumm, also arrived and began digging their way into the prison pit while Clogg began his siege. The five made it to Clogg's boats and managed to commandeer one. However, the boat had a hole, flooding it. A raging storm and a fish separated the group. Martin, Rose and Grumm ended up captured by pygmy shrews and met a hedgehog by the name of Pallum. After saving Queen Amballa's son, Dinjer, they were free to go to Noonvale, Rose's home.

Meanwhile, Brome and Felldoh washed up somewhere else, meeting the Rosehip Players, a traveling circus who agreed to help them free the slaves of Marshank. Managing to win Clogg's amusement, they got inside Marshank and freed most of the slaves. A few days later, Brome disguised himself as one of the rats to get inside, and freed the other slaves through the prison pit's tunnel.

En route to Noonvale, the company made many friends, such as the Warden of Marshwood Hill and Boldred the owl and enemies like the uncivilized cannibalistic lizards and the rogue Gawtrybe. With help from the shrews and otters, they made it to Noonvale but were unable to raise an army to defeat Badrang. However, many were drawn to Martin's cause, including the Gawtrybe as he made his way to Marshank.

Clogg took his opportunity to capture Marshank while Badrang was out. However, Badrang knew of the tunnel in the prison pit. He had Clogg's soldiers swear allegiance to him while Clogg became Marshank's one man slave operation. Felldoh became so obsessed with Marshank's fall that he began solo attacks against it. When he faced Badrang head-to-head, he was beaten to death by his minions. It wasn't until Martin arrived with his army that he forced Badrang into a corner. Martin's army burned down Marshank's gate, and began their attack. In the confusion, Martin retrieved his father's sword and slew Badrang with it. Unfortunately, Badrang had stabbed and killed Rose during the battle. The Fur and Freedom Fighters returned to Noonvale, where it will remain a secret, while Martin continued on his own path.

Episodes

Characters

Voice cast

Redwall
Tyrone Savage as Matthias
Alison Pill as Cornflower
Janet Wright as Constance
Chris Wiggins as Abbott Mortimer
Richard Binsley as Basil Stag Hare
Wayne Robson as Methuselah
Diego Matamoros as Cluny the Scourge
David Hemblen as Asmodeus Poisonteeth
Susan Roman as Jess Squirrel
Graham Haley as Foremole
John Stocker as Brother Alf
Tracey Moore as Warbeak Sparra
Marion Day as Guosim
Bruce Dow as Log-a-Log
Julie Lemieux as Sela Vixen
Jonathan Wilson as Chickenhound
Lawrence Bayne as Fangburn, Kilconey
Keith Knight as Squire Julian Gingivere
Dan Hennessey as Ragear
Alyson Court as Myrtle

Mattimeo
Tim Curry as Slagar the Cruel
Michael Seater as Mattimeo
Tyrone Savage as Matthias
Melissa McIntyre as Cornflower
Janet Wright as Constance
John Stocker as Abbot Mordalfus
Richard Binsley as Basil Stag Hare
Wayne Best as General Ironbeak
Susan Roman as Jess Squirrel
Graham Haley as Foremole
Tracey Moore as Warbeak Sparra
Bruce Dow as Log-a-Log
Catherine Disher as Winifred Otter
Jake Goldsbie as Vitch
Kyle Fairlie as Cheek
Sarah Gadon as Cynthia, Tess
Kristin Fairlie as Auma
Paul Soles as Ambrose Spike
Ali Mukaddam as Jube
Alex House as Sam
Fiona Reid as Sister May
Anthony Bekenn as Orlando the Axe

Martin the Warrior
Amos Crawley as Martin
Lindsey Connell as Rose
Diego Matamoros as Badrang
John Stocker as Tramun Clogg
Graham Haley as Grumm
Ali Mukaddam as Felldoh
Luca Perlman as Brome
Tracey Moore as Queen Amballa
Noah Reid as Keyla
Jonathan Wilson as Skalrag

Telecast and home media
Redwall was originally aired on Teletoon (now as "Cartoon Network") in Canada, along with being independently distributed in the U.S. by American Public Television through public television stations. As of 2023, the show is currently streaming on Tubi.

The series has been released on VHS and DVD in five languages: English, French, German, Russian and Arabic. In the U.S., all three seasons were released on DVD by Funimation, while in Canada distribution was handled by Kaboom Entertainment, and then, Sony Pictures Home Entertainment re-issued Redwall: The Adventures Begin and other series on July 1, 2016. In the United Kingdom, FremantleMedia, Abbey Home Media (through its Tempo Video label) and Just Entertainment Ltd released the series on VHS and DVD. In Australia, MRA Entertainment Group and Eagle Entertainment released several volumes of the series. In Germany, m2 Verlag GmbH - Best Entertainment and Pidax have both released all volumes of the series on DVD. In France, StudioCanal released the first two seasons on DVD.

VHS

DVD

Notes

References

External links

Toonhound

1990s Canadian animated television series
1999 Canadian television series debuts
2000s Canadian animated television series
2002 Canadian television series endings
Animated television series about mice and rats
Canadian children's animated action television series
Canadian children's animated adventure television series
Canadian children's animated fantasy television series
Canadian children's animated supernatural television series
Canadian television shows based on children's books
Channel 5 (British TV channel) original programming
English-language television shows
French children's animated action television series
French children's animated adventure television series
French children's animated fantasy television series
French children's animated supernatural television series
French television shows based on children's books
German children's animated action television series
German children's animated adventure television series
German children's animated fantasy television series
German supernatural television series
PBS Kids shows
PBS original programming
Redwall
Teletoon original programming
Television series by Nelvana
Television series set in the Middle Ages

Redwall (TV series)


In Greek mythology, Eurryroe (Ancient Greek: Εùρυῥῤόης) was the daughter of the Egyptian river-god Nilus, thus she can be considered as a naiad. According to Hippostratus, Eurryroe was said to be the mother alone of the 50 sons of King Aegyptus of Egypt. Her sister Europa, also bore the Libyan king Danaus's 50 daughters. Otherwise, Aegyptus's children were bore to different mothers including Argyphia, Tyria, the naiad Caliadne, Gorgo and Hephaestine.

Notes

References

 Apollodorus, The Library with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes, Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. ISBN 0-674-99135-4. Online version at the Perseus Digital Library. Greek text available from the same website.
 Tzetzes, John, Book of Histories, Book VII-VIII translated by Vasiliki Dogani from the original Greek of T. Kiessling's edition of 1826. Online version at theio.com

Naiads

Eurryroe


The following is a list of video game controllers created for Nintendo consoles.

Color TV Game 15

The Color TV Game 15 system was Nintendo's first system which had controllers. These controllers came in the form of two paddles connected to the console with cables. The controls on these paddles consisted of a simple dial in order to control the on-screen paddles in the system's built in game library.

Nintendo Entertainment System

The Nintendo Entertainment System controller is an oblong brick-like design with a simple four button layout. It consists of two round buttons labeled "A" and "B", a "START" button, and a "SELECT" button. Additionally, the controllers utilized the cross-shaped joypad, designed to replace bulkier joysticks used in earlier gaming consoles' controllers. The NES controller could also be unplugged as the NES featured two custom 7-pin ports on the front of the console.

Super Nintendo Entertainment System

The controller used for the SNES introduces two face buttons X and Y. The four face buttons on the right side are arranged in a diamond shape. Two shoulder buttons are also added and is more ergonomic over the NES controller. The controller was designed by Lance Barr. The Japanese and PAL region versions incorporate the colors of the four action buttons into the system's logo. The North American version's buttons are colored as follows: the X and Y buttons are lavender with concave faces, and the A and B buttons are purple with convex faces. Several later consoles derive elements of their controller design from the SNES, including the PlayStation, Dreamcast, Xbox, and Wii Classic Controller.

Virtual Boy

The controller for the Virtual Boy has 4 surface buttons: select, start, B, and A. The face also includes dual directional-pads meant to be used for controlling games in a 3D space. Finally, two small shoulder buttons are placed on the back of the controller's grips and the system's power button is placed in the center of the controller. The Virtual Boy system is powered by 6 AA-batteries held in the battery pack on the controller or by an AC power adapter which also connects to the back of the controller. Additionally, the power cable used in the power adapter is the same power cable and power supply used for the Super Nintendo Entertainment System. While the Virtual Boy controller differs greatly in design from Nintendo's other controllers, the directional pads closely resemble the directional pad of the Game Boy but larger and with a steeper slope inwards. Since the Virtual Boy was designed for single player use, the system only has a single controller port on the underside of the console. Due to this single port, the Virtual Boy only ever sold with one controller per unit.

Nintendo 64

The Nintendo 64 controller is Nintendo's fifth generation controller and features ten buttons, an analog control stick, and a directional pad. The controller is in the shape of an "M", and was designed to be held in three different positions. First, it can be held by the two outer grips, allowing use of the D-pad, right-hand face buttons and the "L" and "R" shoulder buttons (but not the "Z" trigger or analog stick). It can be also held by the center and right-hand grip, allowing the use of the single control stick, the right-hand buttons, the "R" shoulder button, and the "Z" trigger on the rear (but not the "L" shoulder button or D-pad). Finally, the controller can be held by the center and left-hand grip, allowing for a combination of the D-pad, L-shoulder, analog stick and Z button (but not the "R" shoulder button or right-hand buttons).

The design is versatile, but it is also controversial because a player is unable to access all the buttons with the player's hands in any one position. Accessing all buttons would require the player to switch hand positions. The controller also includes four "C buttons" on the top, which were originally intended to control the camera in the N64's three-dimensional environments. However, since the pad only contains three other face buttons, the C-buttons often became assigned to ulterior functions.

GameCube

The GameCube controller is Nintendo's sixth generation controller, released along with the GameCube in 2001. The standard GameCube controller has a wing grip design and features a total of six digital buttons, two analog sticks, a d-pad and two hybrid analog triggers/digital buttons.

The primary analog stick is on the left, with the D-pad below it. The four main face buttons are to the right of the controller. The face buttons include a large green "A" button in the center, a smaller red "B" button to its bottom left and the kidney-shaped "X" and "Y" buttons to the right and top of the "A" button, respectively. There is also a yellow "C" stick below the main face buttons. A Start/Pause button is located in the middle of the controller. On the shoulders of the controller there are two analog triggers marked "L" and "R," as well as a "Z" button above the "R" trigger.

The standard GameCube controller provides haptic feedback by way of a built-in rumble motor rather than using an external Rumble Pak add-on like the Nintendo 64 controller.

There is also a WaveBird Wireless Controller and a set of DK Bongos.

Wii

Wii Remote

The Wii Remote ditches the traditional gamepad controllers of previous gaming consoles for a one-handed remote control-based design. This was done to make motion sensitivity more intuitive, as a remote design is more optimal for pointing. Another goal with this design was to help the Wii appeal to a broader, non-gamer audience. The body of the Wii Remote measures  long,  wide, and  thick. The controller communicates wirelessly with the console via short-range Bluetooth radio, with which it is possible to operate up to four controllers as far as 10 meters (approx. 30 ft) away from the console. However, to utilize pointer functionality, the Wii Remote must be used within five meters (approx. 16 ft) of the Sensor Bar. The controller's symmetrical design allows it to be used in either hand. The Wii Remote can also be turned horizontally and used like a Famicom/NES controller or steering wheel.

The Wii Remote has a large "A" button in the front, and a curved "B" button in the back resembling a trigger. Under the "A" button is a plus and minus, and at the bottom of the remote is a "1" and "2" buttons. In the middle of the Wii Remote, between the plus and minus button is a small "home" button that resembling a home/house. There are also blue LEDs indicating player number that are labeled using small Braille-like raised dots instead of Arabic numerals, with "1" being "•", "2" being "••", "3" being "•••", and "4" being "••••".

The blue LEDs also show how much battery power remains on the Wii Remote. By pressing any button, besides the power button while the controller is not being used to play games, a certain number of the four blue LEDs will light up, showing the battery life: four of the LEDs flash when it is at, or near, full power. Three lights flash when it is at 75%, two lights when at 50%, and one light flashes when there is 25% or less power remaining.

The Wii Remote also features an expansion port at the bottom which allows various functional attachments to be added. The most popular attachments are the Wii Nunchuk and Classic Controller. The Nunchuk connects to the Wii Remote via a cord that is about  long. It features an analog stick similar to the one found on the GameCube controller and two trigger buttons (oval-shaped "C" and rectangle-shaped "Z") and works in tandem with the main controller in many games (including Mario Kart Wii). The Classic Controller, which plugs into the expansion port, emulates the basic design of the SNES controller. It is designed for use with the Virtual Console, but is also compatible with many standard Wii games.

Classic Controller

Wii U

Gamepad

The Wii U GamePad is the standard controller for Nintendo's eighth generation video game console. It incorporates traits from tablet computers and also has traditional input methods, such as buttons, dual analog sticks, and a D-pad. It also features touchscreen and motion controls. The touchscreen can be used to supplement a game by providing second screen functionality or an asymmetric view of a scenario in a game. The screen can also be used to play a game strictly on the GamePad screen, without the use of a television display. Conversely, non-gaming functions can be assigned to it as well, such as using it as a television remote.

Pro controller

The Wii U Pro Controller is a video game controller produced by Nintendo for the Wii U video game console. It is available in Black and White. It is the successor to the Wii Classic Controller and has the same buttons but with the added features of a power button, and pressable analog sticks. In 2013, a year since the Wii U's release, a hacking website Hackaday found a way to use a Wii U Pro Controller and Wii U GamePad on PC.

Nintendo Switch
Thee main controllers usable on the Nintendo Switch include the Joy-Con and Nintendo Switch Pro Controller. In addition, Nintendo has also released the Poké Ball Plus controller, made for Pokémon: Let's Go and Pokémon Sword and Shield, and a Nintendo Switch GameCube Controller made for Super Smash Bros. Ultimate and Super Mario 3D All-Stars.

Nintendo also released revised variations of some of its previous controllers that are compatible with the Switch hardware, each of which includes wireless functionality, additional buttons for Switch-specific functions and an internal rechargeable battery. Thus far, these include Switch-compatible versions of the NES, Super NES, and Nintendo 64 controllers, released alongside catalogs of legacy titles for each of those systems made available through the Nintendo Switch Online service.

Joy-Con

The Joy-Con are the primary controller(s) of the Nintendo Switch video game console. They consist of two individual units, each containing an analog stick and an array of buttons. They can be used while attached to the main Nintendo Switch console unit, or detached and used wirelessly. When detached, a pair of Joy-Con can be used by a single player, or divided between two as individual controllers. When the Joy-Con are removed from the console, two shoulder buttons, SL and SR, are revealed on the inner side of the railing. Notably, there is some controversy surrounding the quality of the joysticks used on the Joy-Con. Specifically, after extended use the joysticks often cease to sense certain directional inputs or sense directional inputs when none are given. This problem is colloquially known as Joy-Con drift.

Pro controller

Poké Ball Plus

References

Controllers

List of Nintendo controllers


Dennis Gale Duncan (January 24, 1943 – October 29, 2014) was an all-star Canadian Football League running back.

After playing college football at Northwestern State University he joined the Montreal Alouettes in 1968 and rushed for 429 yards in his rookie season. The next season was his best in the CFL, with 1037 yards and an Eastern All-Star selection.

Duncan's final year in Montreal was good, rushing for 823 yards and catching another 399 yards, but 1970 will always be remembered infamously. The third-place Alouettes, coached by Lark great Sam Etcheverry, made Cinderella drive for the Grey Cup. But it was without Duncan and Canadian slotback Bob McCarthy, who made headline news when they were suspended after the regular season for breaking the team drinking prohibition (regarding certain establishments.) The Als won the Grey Cup without Duncan.

Duncan played a final year in the CFL with the Ottawa Rough Riders, where he rushed for 760 yards and was once again an All-Star. In all, he rushed for 3049 yards in his 4-year, 52-game career. He died in 2014 from Parkinson's disease.

References

1943 births
2014 deaths
Montreal Alouettes players
Northwestern State Demons football players
Louisiana Christian Wildcats football players
Ottawa Rough Riders players
People from Grimes County, Texas

Dennis Duncan


Elza da Conceição Soares (née Gomes; 23 June 1930 – 20 January 2022), known professionally as Elza Soares (), was a Brazilian samba singer. In 1999, she was named Singer of the Millennium along with Tina Turner by BBC Radio.

Elza was deemed dangerous by the Military dictatorship in Brazil (1964–1985), and in 1970 her house in the Jardim Botânico neighborhood, in Rio de Janeiro, was machine-gunned by regime agents. Inside were her partner Garrincha and their children. The living room, where the young children were, was destroyed by the blasts. She and Garrincha had to flee to Italy, where they were received by Chico Buarque de Hollanda also in exile.

Biography
Elza Gomes da Conceição was born on 23 June 1930 in Padre Miguel, Rio de Janeiro. Her father Avelino Gomes was a factory worker and guitarist, and her mother Rosária Maria da Conceição was a washerwoman. She was born in the Moça Bonita, a favela in the Padre Miguel neighborhood of Rio de Janeiro. During her childhood, Soares played on the streets, spun wooden tops, flew kites, and fought with boys. Despite poverty and having to carry buckets of water on her head, she had a happy childhood. When she was 12, she was forced by her father to marry Lourdes Antônio Soares, also known as Alaúrdes, and within a year later gave birth to her first child, João Carlos. Soares liked to sing, and when she needed money for medicine for her son, she participated in a vocal contest presented by Ary Barroso at Rádio Tupi. She was given money for participating and was then able to buy the medicine. When she was fifteen, she gave birth to her second child, who died. After her husband became ill with tuberculosis, she began working at the Veritas soap factory in the Engenho de Dentro neighborhood of Rio de Janeiro. At twenty-one she was a widow, left alone to raise her children: four boys and one girl. She dreamed of becoming a singer.

When she was thirty-two she had a relationship with football player Garrincha. She was vilified by Brazilian society, with many accusing her of breaking up his marriage. She was shouted at in the street, received death threats, and her house was pelted with eggs and tomatoes. On 13 April 1969 her mother died in a car accident. Garrincha, Soares, and her daughter Sara were also injured in this accident. Garrincha was driving drunk on Presidente Dutra highway when a truck merged into the lane. Everyone in the car was hurt, and Dona Rosário was thrown from the vehicle and killed. Soares and Garrincha remained married for sixteen years (1968–1982). Garrincha's friends did not accept Soares as his wife, instead calling her a "witch." Soares tried to curb her husband's dependence on alcohol by visiting bars and pleading with them not to serve her husband. The couple had one child, a boy, born in 1976. He was named after his father, Manuel Francisco dos Santos, and received the nickname Garrincha Jr. In 1983 Garrincha died of cirrhosis, which devastated Soares, though they were already separated.

On 11 January 1986, her son died when he was 9 years old in a car accident as he was coming back from visiting his father's hometown, Magé. It had been raining and the driver lost control of the vehicle. The door opened and the boy was thrown into the Imbariê River. Soares was disconsolate and considered ending her own life. She left Brazil and toured Europe and the United States.

After many years of searching for her long lost daughter, they were reunited after Soares returned to Brazil. On 26 July 2015 Soares lost her fifth son, Gerson, when he was 59 years old. He died of complications of a urinary tract infection. Soares had six children: João Carlos, Gerson, Gilson, Dilma, Sara, and Garrincha. She died at her residence in Rio de Janeiro, on 20 January 2022, at the age of 91.

Career
In 1958, Soares spent eight months touring Argentina with Mercedes Batista. She became popular with her first single "Se Acaso Você Chegasse", on which she introduced scat singing à la Louis Armstrong, adding a bit of jazz to samba, however, Elza said that she did not know American music at the time. She moved to São Paulo, where she performed at theaters and night clubs. Her husky voice became her trademark. After finishing her second album, A Bossa Negra, she went to Chile to represent Brazil in the 1962 FIFA World Cup and met Louis Armstrong.

From 1967 to 1969, Soares recorded three albums with the record label Odeon, partnering with singer Miltinho. The albums were titled Elza, Miltinho e Samba (Volumes 1–3). The songs in these albums were mostly in the potpourri style with duets. The albums were produced by Milton Miranda and Hermínio Bello de Carvalho and re-released on CD in 2003 by EMI-Odeon.

In the 1970s, she toured the U.S. and Europe. In 2000, she was named Best Singer of the Millennium by the BBC in London, where she performed a concert with Gal Costa, Chico Buarque, Gilberto Gil, Caetano Veloso, and Virgínia Rodrigues. During the same year, she played a series of avant-garde concerts directed by José Miguel Wisnik in Rio de Janeiro.

Soares scored a number of hits in Brazil throughout her career, including "Se Acaso Você Chegasse" (1960), "Boato" (1961), "Cadeira Vazia" (1961), "Só Danço Samba" (1963), "Mulata Assanhada" (1965), and "Aquarela Brasileira" (1974). Elza Pede Passagem produced no major hit singles but it was considered representative of the samba-soul of the early 1970s.

In 2002, her album Do Cóccix Até O Pescoço album earned a Grammy nomination. The album was recorded with Caetano Veloso, Chico Buarque, Carlinhos Brown, and Jorge Ben Jor. In 2004, Soares released Vivo Feliz with the single, "Rio de Janeiro", a homage to her city of birth. While not as successful in sales as her previous release, the album carried on the theme of mixing samba and bossa nova with modern electronic music and effects. The album included collaborations with Nando Reis, Fred 04 (former leader of mangue beat band Mundo Livre S/A), and Zé Keti.

In 2007, she was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Pan American Games.

Soares joined Jair Rodrigues and Seu Jorge for Sambistas (2009). In 2016, A Mulher do Fim do Mundo was released internationally with the translated title Woman at the End of the World. She also performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang "O Canto de Ossanha" by Baden Powell and Vinicius de Moraes.

Her album A Mulher do Fim do Mundo was released in 2015. It was praised by critics as one of the best MPB albums of the past years. She won the award for Best Album in pop/rock/reggae/hip-hop/funk. This album was also nominated for Best Album of Brazilian Popular Music and Best Song in Portuguese at the 17th edition of the Latin Grammy Awards.

Her album Deus É Mulher was ranked as the 2nd best Brazilian album of 2018 by the Brazilian edition of Rolling Stone magazine and among the 25 best Brazilian albums of the first half of 2018 by the São Paulo Association of Art Critics.

The follow-up Planet Fome was considered one of the 25 best Brazilian albums of the second half of 2019 by the São Paulo Association of Art Critics. For this album, she planned a cover of "Comida", by Titãs featuring the then current members of the band (Branco Mello, Sérgio Britto and Tony Bellotto), but she ended up choosing to save the song for later and it was released in October 2020 to mark the album's first anniversary and to celebrate its nomination for the Latin Grammy Award.

Discography

 Se Acaso Você Chegasse (Odeon, 1960)
 A Bossa Negra (Odeon, 1961/Universal 2003)
 O Samba é Elza Soares (Odeon, 1961)
 Sambossa (Odeon, 1963)
 Na Roda do Samba (Odeon, 1964)
 Um Show de Elza (Odeon, 1965)
 Com A Bola Branca (Odeon, 1966)
 O Máximo em Samba (Odeon, 1967)
 Elza, Miltinho e Samba (Odeon, 1967)
 Elza, Miltinho e Samba Vol.2 (Odeon, 1968)
 Elza Soares e Wilson das Neves (Odeon, 1968)
 Elza, Carnaval & Samba (Odeon, 1969)
 Elza, Miltinho e Samba Vol.3 (Odeon, 1969)
 Samba & Mais Sambas (Odeon, 1969)
 Elza Pede Passagem (Odeon, 1972/EMI, 2004)
 Sangue, Suor e Raça (Odeon, 1972)
 Aquarela Brasileira (Odeon, 1973)
 Elza Soares (Tapecar, 1974)
 Nos Braços do Samba (Tapecar, 1974)
 Lição De Vida (Tapecar, 1976)
 Pilão + Raça = Elza (Tapecar, 1977)
 Senhora da Terra (CBS, 1979)
 Elza Negra, Negra Elza (CBS, 1980)
 Somos Todos Iguais (Som Livre, 1985)
 Voltei (RGE, 1988)
 Trajetória (Universal Music, 1997)
 Carioca da Gema (1999)
 Do Cóccix Até O Pescoço (Maianga/Tratore, 2002)
 Vivo Feliz (Tratore, 2004)
 Beba-Me (Biscoito Fino, 2007)
 A Mulher do Fim do Mundo (Circus, 2015)
 Elza Canta e Chora Lupi (2016)
 Deus é Mulher (Deckdisc, 2018)
 Planeta Fome (Deckdisc, 2019)
 Elza Soares & João de Aquino (Deckdisc, 2021)

See also
Garrincha
Afro-Brazilians

References
Discography

External links

1930 births
2022 deaths
20th-century Brazilian women singers
20th-century Brazilian singers
21st-century Brazilian women singers
21st-century Brazilian singers
Afro-Brazilian women singers
Wives and girlfriends of association football players
Bossa nova singers
Música Popular Brasileira singers
Singers from Rio de Janeiro (city)
Samba musicians
Latin Grammy Award winners
Women in Latin music

Elza Soares


James P. Mills (1909–1987) was an American investment banker, throughbred owner, polo player and philanthropist.

Biography

Early life
James P. Mills was born in 1909 the son of Paul Denckla Mills (son of the late General Samuel Miles Mills, Commandant of the U. S. Military Academy at West Point) and Ellen Drexel Paul the granddaughter of Anthony J. Drexel. He graduated from Yale University, where he was the captain of the polo team in 1931 and 1932.

Banking career
He worked as an investment banker.

Equestrian interests
He owned Devil's Bag (1981–2005), Gone West (1984-2009), Believe It, Chumming and Akureyri. Additionally, he was a member of The Jockey Club, the National Steeplechase Association and the Virginia Equine Hall of Fame.

He was also an eight-goal polo player from the age of twenty-five. He played at the Meadowbrook Polo Club in Nassau County, New York and at the Aiken Polo Club in Aiken, South Carolina.

He won many championships. Both in 1929 and in 1933, he won the Silver Cup, also known as the Junior Championship Cup. In 1932, together with Elmer Boeseke (1895-1963), Winston Frederick Churchill Guest (1906-1982), Stewart Iglehart (1910-1993), Michael Grace Phipps (1910-1973), Joseph Cornelius Rathborne and William Post II, he competed in the Cup of the Americas in Palermo, Buenos Aires. The following year, in 1933, he won the U.S. Open Polo Championship in Seymour H. Knox II (1898-1990), Elbridge T. Gerry, Sr. (1909-1999), and Elmer Boeseke.

He also won the Monty Waterbury Cup twice: in 1933 and, three years later, in 1936. That year, in 1936, he was also a reserve for the International Polo Cup. The same year, together with Michael Phipps, Winston Guest and Robert E. Strawbridge, Jr. (1896-1986), he won the Hurlingham Champion Cup, the Roehampton Open Challenge Cup and the Coronation Cup.

Additionally, he wrote about polo for The Sportsman.

On February 17, 2012, he was inducted in the Museum of Polo and Hall of Fame in Lake Worth, Florida.

Philanthropy
He founded the Arthritis Foundation.

Personal life
In 1935, he married Alice du Pont Mills (1912-2012). They had two daughters and a son:
Mimi Mills. She was married to William Abel-Smith.
Phyllis Mills. She is married to painter Jamie Wyeth.
James P. Mills Jr. He is married to Debbie Manoog Mills.

They lived on Hickory Tree Farm, which includes the Confederate Hall and is listed on the Virginia Landmarks Register, located in Middleburg, Virginia. He developed spinal arthritis in 1945, at the age of 37.

He died in 1987 in Winchester Hospital in Winchester, Massachusetts. His funeral ceremony took place at the Emanuel Church in Middleburg, Virginia.

References

1909 births
1987 deaths
People from Middleburg, Virginia
Yale University alumni
American investment bankers
American racehorse owners and breeders
American polo players
20th-century American businesspeople
20th-century American philanthropists

James P. Mills


An aggregate is a type of summary used in dimensional models of data warehouses to shorten the time it takes to provide answers to typical queries on large sets of data. The reason why aggregates can make such a dramatic increase in the performance of a data warehouse is the reduction of the number of rows to be accessed when responding to a query.

Use
In its simplest form, an aggregate is a simple summary table that can be derived by performing a Group by SQL query. A more common use of aggregates is to take a dimension and change its granularity. When changing the granularity of the dimension the fact table has to be partially summarized to fit the new grain of the new dimension, thus creating new dimensional and fact tables, to fit this new level of grain.

Design
Aggregates are sometimes referred to as pre-calculated summary data, since aggregations are usually precomputed, partially summarized data, that are stored in new aggregated tables. When facts are aggregated, it is either done by eliminating dimensionality or by associating the facts with a rolled up dimension. Rolled up dimensions should be shrunken versions of the dimensions associated with the granular base facts. This way, the aggregated dimension tables should conform to the base dimension tables.

Performance
In 1996, Ralph Kimball, who is widely regarded as one of the original architects of data warehousing, stated:
The single most dramatic way to affect performance in a large data warehouse is to provide a proper set of aggregate (summary) records that coexist with the primary base records. Aggregates can have a very significant effect on performance, in some cases speeding queries by a factor of one hundred or even one thousand. No other means exist to harvest such spectacular gains.

Complexity
Having aggregates and atomic data increases the complexity of the dimensional model. This complexity should be transparent to the users of the data warehouse, thus when a request is made, the data warehouse should return data from the table with the correct grain. So when requests to the data warehouse are made, aggregate navigator functionality should be implemented, to help determine the correct table with the correct grain.
The number of possible aggregations is determined by every possible combination of dimension granularities. Since it would produce a lot of overhead to build all possible aggregations, it is a good idea to choose a subset of tables on which to make aggregations. The best way to choose this subset and decide which aggregations to build is to monitor queries and design aggregations to match query patterns.

Aggregate navigaton
Having aggregate data in the dimensional model makes the environment more complex. To make this extra complexity transparent to the user, functionality known as aggregate navigation is used to query the dimensional and fact tables with the correct grain level. The aggregate navigation essentially examines the query to see if it can be answered using a smaller, aggregate table.

Implementations of aggregate navigators can be found in a range of technologies:
OLAP engines
Materialized views
Relational OLAP (ROLAP) services
BI application servers or query tools
It is generally recommended to use either of the first three technologies, since the benefits in the latter case is restricted to a single front end BI tool

Challenges
Since dimensional models only gain from aggregates on large data sets, it should be considered at what size of the data sets one should start using aggregates
One can also ask oneself if a data warehouse always handles data sets that are too large for direct queries, or if it sometimes is a good idea to omit the aggregate tables when starting a new data warehouse project
 An open question is whether omitting aggregates in the first iteration of building a new data warehouse will make the structure of the dimensional model simpler

References

Data warehousing

Aggregate (data warehouse)


The scarlet dragonfly (Crocothemis erythraea) is a species of dragonfly in the family Libellulidae. Its common names include broad scarlet, common scarlet-darter, and scarlet darter.

Status and distribution
The scarlet dragonfly is a common species in southern Europe and throughout Africa. It also occurs across western Asia as far as southern China. It is a very rare vagrant in Britain. Its first record in the country was at Hayle Kimbro Pool, The Lizard, Cornwall, on 7 August 1995. Since then there have been a few further records at scattered locations throughout Britain.

Habitat
A wide range of both running and standing waters, except those that are shaded. Adults may be found some distance from water in habitats ranging from desert to open woodland; absent from dense forest.

Description
Crocothemis erythraea can reach a length of . These dragonflies haves a flattened and rather broad abdomen. The adult male scarlet dragonfly has a bright scarlet red, widened abdomen, with small amber patches at the bases of the hindwings. Also the veins on the leading edges of the wings are red. Females and immatures are yellow-brown and have a conspicuous pale stripe along the top of the thorax.

References

External links

Libellulidae
Odonata of Africa
Odonata of Asia
Dragonflies of Europe
Insects described in 1832
Articles containing video clips
Taxa named by Gaspard Auguste Brullé

Scarlet dragonfly


EE Times (Electronic Engineering Times) is an electronics industry magazine published in the United States since 1972.  EE Times is currently owned by AspenCore, a division of  Arrow Electronics since August 2016.

Since its acquisition by AspenCore, EE Times has seen major editorial and publishing technology investment and a renewed emphasis on investigative coverage. New features include The Dispatch, which profiles frontline engineers and unpacks real-life design problems and their solutions in technical yet conversational reporting.

Ownership and status
EE Times was launched in 1972 by Gerard G. Leeds of CMP Publications Inc.  In 1999, the Leeds family sold CMP to United Business Media for $900 million.  After 2000, EE Times moved more into web publishing. The shift in advertising from print to online began to accelerate in 2007, and the periodical shed staff to adjust to the downturn in revenue.

In July 2013, the digital edition migrated to UBM TechWeb's DeusM community platform.

On June 3, 2016, UBM announced that EE Times, along with the rest of its electronics media portfolio (EDN, Embedded.com, TechOnline, and Datasheets.com), was being sold to AspenCore Media, a company owned by Arrow Electronics, for $23.5 million. The acquisition was completed on August 1, 2016.

Availability
EE Times is free for qualified design engineers, managers, and business and corporate management in the electronics industry. It is also available online; the EE Times website offers news, columns, and features articles for semiconductor manufacturing, communications, electronic design automation, electronic engineering, technology, and products. In November 2012, UBM Electronics announced that the December 2012 issue of EE Times would be the last in print. In 2013, EE Times will be an online product only.

In 2018, EE Times rolled out a  refreshed website, resurrected its print edition in Europe, and launched a new radio show, EE Times On Air, available an hour after the live broadcast as a podcast.

References

External links
 EE Times
 EE Times Europe
 EE Times Asia
 EE Times China
 EE Times Japan
 EE Times India

Online magazines published in the United States
Electrical and electronic engineering magazines
Magazines established in 1972
Magazines established in 2012
Magazines published in San Francisco
Online magazines with defunct print editions
Engineering magazines
Defunct magazines published in the United States

EE Times


Snap Lake Mine was a remote fly-in/fly-out operation located about  northeast of Yellowknife, Northwest Territories, and, according to De Beers, was the first De Beers mine outside of Africa. It was also Canada's first completely underground diamond mine.

Construction began with the opening of an access winter road in 2005. By the end of 2013, De Beers had spent US$1.8 billion on construction and mine operation. Of that total, De Beers spent US$1.3 billion with Northwest Territories-based contractors and suppliers, including US$723 million with Aboriginal businesses or joint ventures.

The mine began commercial production on January 16, 2008 and was officially opened on July 25, 2008. In 2013, Snap Lake Mine provided 776 person years of employment, including 274 person years of employment to Northwest Territories residents, close to the 300 NWT resident employees predicted during the mine's environmental assessment. Approximately 400 people are working at the mine on any given day. Lifetime of the mine was estimated to be about 15 years. Resource estimates suggest 16.1 million carats over life of mine.

The Snap Lake mine was featured in Ice Road Truckers, a television series on The History Channel. The Snap Lake mine was also featured on the Canadian Discovery channel show Daily Planet as part of the special feature 'Daily Planet Goes North – More Ice for the Arctic'.

The mine was served by the Snap Lake Airport, a private airport that was strictly for cargo and passengers entering and leaving the remote site.

Closure
On December 4, 2015, De Beers announced that due to a drop in the market price of diamonds and a necessary costly license exemption they would stop production of diamonds at the Snap Lake Mine, putting it into "care and maintenance" state so that it could be re-opened at a later date if so desired. Approximately 70 employees would remain on the site as a result, but 434 were laid off.

See also

Ekati Diamond Mine
Diavik Diamond Mine
Volcanism of Northern Canada

References

External links
 "Digging for Diamonds 24/7 Under Frozen Snap Lake", Wired, November 24, 2008
Photo gallery at De Beers Canada
Snap Lake project, gallery at Flickr

Diamond mines in Canada
Mines in the Northwest Territories
Underground mines in Canada
De Beers
2008 establishments in the Northwest Territories

Snap Lake Diamond Mine


Baaj Adebule (born 25 October 1988) is a Nigerian actor, model, and filmmaker from Ogun State in Southwestern Nigeria.

He has appeared in Nollywood films since 2012. He began his career on M-Net's soap opera Tinsel and appeared in movies and TV series such as Hush, The Men's Club, Payday, Zena, Uncloaked, The Governor, The Missing, A Soldier's Story 1 & 2, Omo Wa, Beast Within, and The Moles.

Early life
Adebule was born in Jalupon Hospital in Surulere, Lagos. He spent most of his childhood in Maryland Lagos, where he attended Seat of Wisdom primary school and Caleb secondary school. He moved to Surulere following his parents' divorce in 2005. Adebule is of Yoruba descent and is a native of the Ijebu Ode local government area of Ogun State. He was brought up in a Christian home. His father is a mechanical engineer and his mother is an accountant and entrepreneur. He is the youngest of nine children from several marriages.

His school years were focused on academics, as his parents emphasized the importance of a formal education. At a young age, he focused on sports and arts, playing football, basketball, badminton, table tennis, and track.

In his biography, Adebule stated he was a member of the local church choir from a young age as well as a member of his school's art club. Adebule was especially known for his love of movies, which he focused on following his parents' divorce.

In 2005, Adebule began attending Covenant University in Ogun State to study economics. He graduated with a second-class upper in 2009. After graduating, he was engaged in arts and sports. He worked in Multi Choice for almost two years before eventually quitting to focus on entertainment.

Career
Adebule started his acting and modeling career in 2010 while working a nine-to-five job. He would go for auditions and photoshoots in his free time. He eventually got a small stint on the telenovela Tinsel.

With the support of his friends and family, he was a contestant in the 2011 Mr. Nigeria pageant, where he came 4th. In 2012, he began acting and modelling full-time.

Adebule got cast in multiple TV series, including Secrets and Scandals, Happy Family, Shola Shobowale, Victor Olaotan, and others.

By 2014, Adebule was starring in films and TV series such as Four Crooks and Rookie, Deadline, Studio, and Lekki Wives.

He made his first big-screen debut in 2015 in action movie A Soldier's Story, as well as the critically acclaimed Road to Yesterday.  Also in that year, he launched his production company House of Baaj Pictures. His first production was Seeing Betrayal, which he wrote and directed went on to win the best short film in Africa 2015 at the Zafaa Global Awards.

Adebule starred in Hush, portraying Adze. He starred in productions like 5ive, The Governor, Uncloaked, The Missing, Payday, and Battleground Showdown.

Filmography

Unreleased

Awards and nominations

References

External links

Living people
Male actors from Ogun State
Nigerian film directors
Covenant University alumni
1988 births
21st-century Nigerian male actors
Nigerian male television actors
Yoruba male actors

Baaj Adebule


Gaelic Symphony or Symphony in E minor, Op. 32 was written by Amy Marcy Cheney Beach in 1894; it was the first symphony composed and published by a female American composer.  The piece debuted in Boston on Friday, October 30, 1896 to "public and journalistic acclaim." Beach drew inspiration for the large orchestral work from simple old English, Irish, and Scottish melodies; thus, she subtitled the work 'Gaelic.'

History

Beach began composing her symphony in November 1894.  Although Beach would later become more accepting of music from North American traditions—such as Native American themes—Beach chose to incorporate songs of the European influence into her early works.  One such (Celtic) tune was her song entitled, "Dark Is the Night!" which she set to the words of the English poet William Ernest Henley. She borrowed this song for her symphony.

Beach was heavily influenced by her contemporary Antonín Dvořák; naturally, she looked to Dvořák's compositions and publicized philosophies on American music while composing her symphony.   Though Dvořák's nationality was Czech, he was in the United States for much of 1892–1895 as head of the National Conservatory in New York. He represented American art music in the late nineteenth century—specifically through his New World Symphony and American String Quartet. Dvořák wove pentatonic scales from Native-American and African-American music and rhythms of slavic dances along with his European romantic style to create works unique to America—the melting pot.  The "native" elements were not as readily embraced by Beach.  Upon hearing of the derivations of Dvořák's New World Symphony, Beach heartily responded, "[w]e of the North should be far more likely to be influenced by old English, Scotch or Irish songs, inherited with our literature from our ancestors."  When her symphony premiered, Beach was barely 30 years old and in the throes of forming her own compositional style; in contrast, her later years brought maturity and an openness to infuse Native-American, specifically Inuit, and African-American songs into her music.

The work was published by Schmidt in 1897, and was dedicated to "herrn Capellmeister Emil Paur".

Structure

In keeping with tradition passing through Haydn, Mozart, Beethoven, Mendelssohn, Schumann, and Brahms, a symphony is divided into four contrasting movements.  The Gaelic Symphony is typically performed in thirty-five to forty minutes.  With a full romantic harmonic structure and a glimpse of the horizons of modern music, Beach's Gaelic Symphony set her apart as a prominent female composer at the turn of the twentieth century.

The four movements of the symphony are as follows:

I. Allegro con fuoco
The symphony begins with a low chromatic rumble in the strings which provides the basis on which the romantic melody is built.  Rich orchestration establishes the romantic style of the symphony. Its unusual key choices mirror those in the first movement of Dvořák's New World Symphony.

II. Alla siciliana – allegro vivace
The Gaelic themes are introduced in variation.

III. Lento con molto espressione
The third movement is melodic and slow in nature.

IV. Allegro di molto
The last movement of the symphony is brisk and thematic.

Reception and performances
The Gaelic Symphony was well received.  Critic Philip Hale  "was generally enthusiastic about the work" although he "felt that Beach's orchestration was at times excessively heavy."  Composer George Whitefield Chadwick' wrote a letter to Beach: saying that he and Horatio Parker, a fellow member of the unofficial Second New England School of leading composers, had heard and liked the Gaelic Symphony,  and: "...I always feel a thrill of pride myself whenever I hear a fine work by any of us, and as such you will have to be counted in, whether you will or not—one of the boys."  Not long afterward Beach herself became recognized as one of the School, thereupon called the Boston Six.

The Symphony was "forgotten during the 1920s" but "made a comeback in the 1930s and 1940s," being performed by multiple orchestras, some multiple times each, although not by "major" orchestras such as the New York Philharmonic or Boston Symphony.

The symphony has received continued praise from modern critics as well, such as Andrew Achenbach of Gramophone, who in 2003 lauded the work for its "big heart, irresistible charm and confident progress."

References

Sources
 Block, Adrienne Fried (1998). Amy Beach, Passionate Victorian: The Life and Work of an American Composer, Oxford University Press, New York
 Gates, Eugene, 2010, "Mrs. H.H.A. Beach, American Symphonist," The Kapralova Society Journal Vol. 8 No. 2, pp. 1–10

External links

Compositions by Amy Beach
1894 compositions
American compositions and recordings
Romantic symphonies

Gaelic Symphony


Dessaline Harris (1 October 1895 - 29 March 1966) was a Liberian jurist and a member of the Supreme Court of Liberia.

Born at Buchanan in Grand Bassa County, he studied at Cuttington College and began his public career as a Justice of the Peace in 1916. From 1940 to 1947, he was the Grand Bassa County attorney; he left this position to become the judge of the county's circuit court, which office he held until 6 January 1954. On the latter date, he was appointed to the Supreme Court by President William V.S. Tubman, and he remained on the court until his retirement in late March 1966.

In private life, Harris was married three times and fathered twelve children (four sons and eight daughters); he was a member of multiple fraternal organizations and of the Episcopal Church.  After his death, he was honored with funeral services at the Capitol Building and the Temple of Justice before his burial in his native Buchanan.

References

1895 births
1966 deaths
Cuttington University alumni
Justices of the peace
Liberian Episcopalians
People from Buchanan, Liberia
Supreme Court of Liberia justices
Place of death missing
20th-century Liberian judges

Dessaline Harris


The Chicago, Milwaukee & St. Paul Narrow Gauge Depot-LaMotte is a historic building formerly located in La Motte, Iowa, United States. The Chicago, Bellevue, Cascade & Western Railroad was incorporated in August 1877, to build a narrow-gauge railway from Bellevue to Cascade. Narrow-gauge was chosen because it was cheaper to build, and it could negotiate the tight turns on the rugged terrain better. Construction began the following year, but lack of money doomed the project. The Chicago, Clinton, Dubuque and Minnesota Railroad took over the project, and it was completed on December 30, 1879. The first train reached Cascade on January 1, 1880. Ten months later they sold all their holdings to the Chicago, Milwaukee & St. Paul Railroad, and this line became a branch line of the Milwaukee Road.  That same year a frame depot was built in La Motte. It served as a combination freight and passenger station until it was destroyed by fire in 1910. This depot replaced it the following year. The 1½-story frame combination station represents the corporate style and standardized practices of the Milwaukee Road. However, it reflects the depots they built in the late 19th century, so it was somewhat outdated when it was built.

The depot served its purpose until the Milwaukee Road abandoned the line in 1936. There were 12 to 15 narrow gauge railroads built in Iowa, and this one survived longer than any of the others. The depot mostly sat empty until its exterior was refurbished by a group of volunteers for La Motte's Centennial in 1979. Rick Clasen, a local restaurant owner, bought the property in 1994 and continued to refurbish it. It was listed on the National Register of Historic Places (NRHP) the following year. When Clasen sold the property he donated the building to the Jackson County Historical Society, who moved it to the Clinton Engines Site in Maquoketa, Iowa. It was removed from the NRHP in 2022.

References

Railway stations in the United States opened in 1911
Railway stations closed in 1936
Railway stations on the National Register of Historic Places in Iowa
National Register of Historic Places in Jackson County, Iowa
Transportation buildings and structures in Jackson County, Iowa
La Motte
Former National Register of Historic Places in Iowa
Railway stations in the United States closed in the 1930s


Lemma may refer to:
 Lemma (mathematics), a proven statement that is used to prove another statement
 Lemma (linguistics), the canonical form of a word. They are the head words in a dictionary.
 Lemma (logic), which is simultaneously a premise for a contention above it and a contention for premises below it
 Lemma (botany), one of the specialised bracts enclosing a floret in a grass inflorescence
 "Shadowing lemma", a fictional animal in Terry Pratchett's Discworld series, which exists in only 2 dimensions and eats mathematicians

Lemma


Evolutionary economics is a school of economic thought that is inspired by evolutionary biology. Although not defined by a strict set of principles and uniting various approaches, it treats economic development as a process rather than an equilibrium and emphasizes change (qualitative, organisational, and structural), innovation, complex interdependencies, self-evolving systems, and limited rationality as the drivers of economic evolution. The support for the evolutionary approach to economics in recent decades seems to have initially emerged as a criticism of the mainstream neoclassical economics, but by the beginning of the 21st century it had become part of the economic mainstream itself.

Evolutionary economics does not take the characteristics of either the objects of choice or of the decision-maker as fixed. Rather, it focuses on the non-equilibrium processes that transform the economy from within and their implications, considering interdependencies and feedback. The processes in turn emerge from the actions of diverse agents with bounded rationality who may learn from experience and interactions and whose differences contribute to the change.

Roots of evolutionary economics

Early ideas

The idea of human society and the world in general as subject to evolution has been following the mankind throughout its existence. Hesiod, an ancient Greek poet thought to be the first Western written poet regarding himself as an individual, described five Ages of Man – the Golden Age, the Silver Age, the Bronze Age, the Heroic Age, and the Iron Age – following from divine existence to toil and misery. Modern scholars consider his works as one of the sources for early economic thought. The concept is also present in the Metamorphoses by an ancient Roman poet Ovid. His Four Ages include technological progress: in the Golden Age, men did not know arts and craft, whereas by the Iron Age people had learnt and discovered agriculture, architecture, mining, navigation, and national boundaries, but had also become violent and greedy. This concept was not exclusive to the Greek and Roman civilizations (see, for instance, Yuga Cycles in Hinduism, the Three Ages of Buddhism, Aztecs' Five Suns), but a common feature is the path towards misery and destruction, with technological advancements accompanied by moral degradation.

Medieval and early modern times

Medieval views on society, economics and politics (at least in Europe and Pax Islamica) were influenced by religious norms and traditions. Catholic and Islamic scholars debated on the moral appropriateness of certain economic practices, such as interest. The subject of changes was thought of in existential terms. For instance, Augustine of Hippo regarded time as a phenomenon of the universe created by God and a measure of change, whereas God exists outside of time.

A major contribution to the views on the evolution of society was Leviathan by Thomas Hobbes. A human, according to Hobbes, is a matter in motion with one's own appetites and desires. Due to these numerous desires and the scarcity of resources, the natural state of a human is a war of all against all:

"In such condition there is no place for industry, because the fruit thereof is uncertain, and consequently no culture of the earth, no navigation nor the use of commodities that may be imported by sea, no commodious building, no instruments of moving and removing such things as require much force, no knowledge of the face of the earth, no account of time, no arts, no letters, no society, and which is worst of all, continual fear and danger of violent death, and the life of man, solitary, poor, nasty, brutish, and short."

In order to overcome this natural anarchy, Hobbs saw it necessary to impose an ultimate restraint in the form of a sovereign.

Economic development and socialism

Further theoretical developments relate to the names of prominent socialists of the 19th century, who viewed economic and political systems as products of social evolution (in contrast to the notions of natural rights and morality). In his book What is Property?, Pierre-Joseph Proudhon noted:

"Thus, in a given society, the authority of man over man is inversely proportional to the stage of intellectual development which that society has reached."
The approach was also employed by Karl Marx. In his view, over the course of history superior economic systems would replace inferior ones. Inferior systems were beset by internal contradictions and inefficiencies that made them impossible to survive in the long term. In Marx's scheme, feudalism was replaced by capitalism, which would eventually be superseded by socialism.

Emergence and development

The term "evolutionary economics" might have been first coined by Thorstein Veblen. Veblen saw the need for taking into account cultural variation in his economic approach; no universal "human nature" could possibly be invoked to explain the variety of norms and behaviours that the new science of anthropology showed to be the rule rather than an exception. He also argued that social institutions are subject to selection process and that economic science should embrace the Darwinian theory.

Veblen's followers quickly abandoned his evolutionary legacy. When they finally returned to the use of the term "evolutionary", they referred to development and change in general, without its Darwinian meaning. Further researchers, such as Joseph Schumpeter, studied entrepreneurship and innovation using this term, but not in the Darwinian sense. Another prominent economist, Friedrich von Hayek, also employed the elements of the evolutionary approach, especially criticizing "the fatal conceit" of socialists who believed they could and should design a new society while disregarding human nature. However, Hayek seemed to see the Darwin theory not as a revolution itself, but rather as an intermediary step in the line of evolutionary thinking. There were other notable contributors to the evolutionary approach in economics, such as Armen Alchian, who argued that, faced with uncertainty and incomplete information, firms adapt to the environment instead of pursuing profit maximization.

An Evolutionary Theory of Economic Change and beyond

The publication of An Evolutionary Theory of Economic Change by Richard R. Nelson and Sidney G. Winter in 1982 marked a turning point in the field of evolutionary economics. Inspired by Alchian's work about the decision-making process of firms under uncertainty and the behavioural theory of the firm by Richard Cyert and James March, Nelson and Winter constructed a comprehensive evolutionary theory of business behavior using the concept of natural selection. In this framework, firms operate on the basis of organizational routines, which they evaluate and may change while functioning in a certain selection environment. Since then, evolutionary economics, as noted by Nicolai Foss, has been concerned with "the transformation of already existing structures and the emergence and possible spread of novelties." Economies have been viewed as a complex system, a result of causal interactions (non-linear and chaotic) between different agents and entities with varied characteristics. Instead of perfect information and rationality, Herbert Simon's concept of bounded rationality has become prevailing.

By the 1990s, as put by Geoffrey Hodgson,

"it was possible to write of an international network or 'invisible college' of 'evolutionary economists' who, despite their analytical differences, were focusing on the problem of analyzing structural, technological, cultural and institutional change in economic systems… They were also united by their common dislike of the static and equilibrium approaches that dominated mainstream economics."

Evolutionary economics and the Unified Growth Theory

The role of evolutionary forces in the process of economic development over the course of human history has been further explored during the past few decades, primarily by Oded Galor and his colleagues. A pioneer of the Unified Growth Theory, Galor depicts economic growth and development throughout human history as a continuous process driven by technological progress and the accumulation of human capital as well as by the accumulation of those biological, social and cultural features that favour further development.  In Unified Growth Theory (2011), Galor presents a dynamic system capable of describing economic development in this way.

According to Galor's model, technological advancements in the early eras of the mankind (during the Malthusian epoch, with limited resources and near-subsistence levels of income) would lead to increases in the size of population, which in turn would further accelerate technological progress due to the production of new ideas and the increase in demand for them. At some point technological advancements would require higher levels of education and generate the demand for educated labour force. After that, an economy would move into a new phase characterised by demographic transition (given that investment into less children, although more costly, would yield higher returns) and sustained economic growth. The process is accompanied by improvements in living standards, the position of the working class as necessary in order to complement technological progress (contrary to Marx and his followers, who predicted its further impoverishment), and the position of women, paving the way for further social and gender equality improvements. Interdependent, these elements facilitate each other, creating a unified process of growth and development, although the pace may be different for different societies.

Galor's theory also refers to other fields of science, including evolutionary biology. He invokes, among other things, the sophisticated human brain and the anatomy of the human hand as key advantages that bolstered the development of humans (both as a species and as a society). In The Journey of Humanity: The Origins of Wealth and Inequality (2022) Galor provides some statements that exemplify his evolutionary approach:

"Consider… two large clans: the Quanty and the Qualy…
Suppose that Quanty households bear on average four children each, of whom only two reach adulthood and find a reproductive partner. Meanwhile, Qualy households bear on average only two children each, because their budget does not allow them to invest in the education and health of additional offspring [sic!], and yet, thanks to the investment that they do make, both children not only reach adulthood and find a reproductive partner but they also find jobs in commercial and skill-intensive occupations… Now suppose the society in which they live is one where technological development boosts the demand for the services of blacksmiths, carpenters and other trades who can manufacture tools and more efficient machines. This increase in earning capacity would place the Qualy clan at a distinct evolutionary advantage. Within a generation or two, its families are likely to enjoy higher incomes and amass greater resources."

Galor, his colleagues and contemporaries have also used the evolutionary approach in order to explain the origins of more particular elements of economic and social behavior. Using the genealogical record of half a million people in Quebec during the period 1608-1800, it was suggested that moderate fertility, and hence the tendency towards investment in child quality, was beneficial for the long-run reproductive success, reflecting the quality-quantity tradeoff observed and discussed in earlier works. A natural experiment regarding the expansion of the New World crops into the Old World and vice versa during the Columbian exchange led to the conclusion that beneficial pre-industrial agro-climatic characteristics may have positively affected the formation of a future-oriented mindset in corresponding contemporary societies. Key concepts related to behavioural economics, such as risk aversion and loss aversion, were also studied through evolutionary lenses. For instance, Galor and Savitsky (2018) provided empirical evidence that the intensity of loss aversion may be correlated with historical exposure to climatic shocks and their effects on reproductive success, with greater climatic volatility in some regions leading to more loss-neutrality among contemporary individuals and ethnic groups originating from there. As for risk aversion, Galor and Michalopoulos (2012) suggested there was a reversal in the course of human history, with risk-tolerance presenting an evolutionary advantage during early stages of development by promoting technological advancements, and with risk-aversion being an advantage during later stages, when risk-tolerant individuals channel less resources towards children and natural selection favours risk-averse individuals.

Adaptive market hypothesis

Andrew Lo proposed the adaptive market hypothesis, a view that financial systems may follow principles of the efficient market hypothesis as well as evolutionary principles such as adaption and natural selection.

Criticism

The emergence of modern evolutionary economics was welcomed by the critics of the neoclassical mainstream. However, the field, especially the approach by Nelson and Winter, has also drawn critical attitude from other heterodox economists. A year after An Evolutionary Theory of Economic Change was published, Philip Mirowski expressed his doubts that this framework represented genuine evolutionary economics research (i.e., in the vein of Veblen) and not just a variant of neoclassical methodology, especially since the authors admitted their framework could include neoclassical orthodoxy. Some Veblenian institutionalists claim this framework is only a "protective modification of the neoclassical economics and is antithetical to Veblen's evolutionary economics." Another possible shortcoming recognized by the proponents of modern evolutionary economics is that the field is heterogenous, with no convergence on an integrated approach.

Related fields

Evolutionary psychology

Evolutionary psychology is a theoretical approach in psychology that examines cognition and behaviour from a modern evolutionary perspective. It seeks to identify human psychological adaptations with regards to the ancestral problems they evolved to solve. In this framework, psychological traits and mechanisms are either functional products of natural and sexual selection or non-adaptive by-products of other adaptive traits. Economic concepts can also be viewed through these lenses. For instance, apparent anomalies in decision-making, such as violations of the maximization principle, may be a result of the human brain evolution. Another concept suitable for evolutionary analysis is the utility function, which may essentially be represented as the fitness evolutionary function.

Evolutionary game theory

Evolutionary game theory is the application of game theory to evolving populations in biology. It defines a framework of contests, strategies, and analytics into which Darwinian competition can be modelled. It originated in 1973 with John Maynard Smith and George R. Price's formalisation of contests, analysed as strategies, and the mathematical criteria that can be used to predict the results of competing strategies.

Evolutionary game theory differs from classical game theory in focusing more on the dynamics of strategy change. This is influenced by the frequency of the competing strategies in the population.

Evolutionary game theory has helped to explain the basis of altruistic behaviours in Darwinian evolution. It has in turn become of interest to sociologists, anthropologists, philosophers, and economists.

See also

 Adaptive market hypothesis
Behavioural economics
 Complexity economics
 Cultural economics
 Heterodox economics
 Institutional economics
 Mainstream economics
 Neoclassical economics
 Non-equilibrium economics
 Ecological model of competition
 Population dynamics
 Creative destruction
 Innovation system
 Evolutionary psychology
 Evolutionary socialism
 Universal Darwinism
 Association for Evolutionary Economics
 European Association for Evolutionary Political Economy
 Geoffrey Hodgson
 Oded Galor
 Richard R. Nelson
 Sidney G. Winter
 Thorstein Veblen

References

Further reading
 Veblen, T. B. (1898). Why Is Economics Not an Evolutionary Science? The Quarterly Journal of Economics, 12(3), pp. 373-97.
 Veblen, T. B. (1899). The Theory of the Leisure Class: An Economic Study in the Evolution of Institutions. New York: Huebsch. Archived from  on November 22, 2021.
 Nelson, R. R., Winter, S. G. (1982). An Evolutionary Theory of Economic Change. Cambridge, MA: Harvard University Press. Archived from  on March 23, 2023.
 Hodgson, G. M. (2004) The Evolution of Institutional Economics: Agency, Structure and Darwinism in American Institutionalism. London and New York: Routledge.
 Hodgson, G. M. (2012). Evolutionary Economics, in Fundamental Economics, edited by Mukul Majumdar, Ian Wills, Pasquale Michael Sgro, John M. Gowdy, in Encyclopedia of Life Support Systems (EOLSS), Developed under the Auspices of the UNESCO, EOLSS Publishers, Paris, France, . Archived from  on April 24, 2023.
 Oded Galor (2022). The Journey of Humanity: The Origins of Wealth and Inequality. Penguin Random House, 2022.

Journals
 Journal of Economic Issues, sponsored by the Association for Evolutionary Economics.
 Journal of Evolutionary Economics, sponsored by the International Josef Schumpeter Society.
 Journal of Institutional Economics, sponsored by the European Association for Evolutionary Political Economy.

Criticisms of economics
Innovation economics
Schools of economic thought
Thorstein Veblen

Evolutionary economics


Hybochelus cancellatus is a species of sea snail, a marine gastropod mollusk in the family Chilodontidae.

Description
The size of the shell varies between 10 mm and 20 mm. The depressed, umbilicate shell is helicoid or almost stomatia-shaped. The body whorl and aperture are very large. Its color is reddish-brown, marked with white on the spiral ribs. The small spire is very short. The four whorls are convex, the inner 1½ are smooth, the rest have strong, separated spiral lirae, the interstices wider than the lirae, rendered pitted by raised, regular rib-striae each interliral interval with a central spiral thread. There are 3 principal lirae on the penultimate whorl. The outer lip is inserted on the fourth. On the base of the shell there are 8 concentric lirae, alternately larger and smaller, the inner one bounding the umbilicus and spirally entering it. The large aperture is oblique, finely sulcate, pearly and iridescent inside. The outer lip is thin. The columella is arcuate, not toothed, a trifle reflexed above, connected with the upper lip by a short, shining, white callus. The narrow umbilicus is funnel-shaped.

Distribution
This marine species occurs off the Philippines and Australia. It was previously erroneously described from the Cape of Good Hope, South Africa.

References

 Herbert D.G. (1996) A critical review of the trochoidean types in the Muséum d'Histoire naturelle, Bordeaux (Mollusca, Gastropoda). Bulletin du Muséum national d'Histoire naturelle, Paris, ser. 4, 18 (A, 3-4): 409-445

External links
 To Encyclopedia of Life
 To USNM Invertebrate Zoology Mollusca Collection
 To World Register of Marine Species

cancellatus
Gastropods described in 1848

Hybochelus cancellatus


Sir William Beechey  (12 December 175328 January 1839) was a British portraitist during the golden age of British painting.

Early life

Beechey was born at Burford, Oxfordshire, on 12 December 1753, the son of William Beechey, a solicitor, and his wife Hannah Read.  Both parents died when he was still quite young in the early 1760s, and he and his siblings were brought up by his uncle Samuel, a solicitor who lived in nearby Chipping Norton.

The uncle was determined that the young Beechey should likewise follow a career in the law, and at an appropriate age he was entered as a clerk with a conveyancer near Stow-on-the-Wold. But as The Monthly Mirror later recorded in July 1798, he was: "Early foredoomed his [uncle's] soul to cross/ And paint a picture where he should engross."

Career

Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). Beechey's career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds.

Beechey's style perfectly suited the conventional taste of the royal family, and in 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. That same year, he was elected as an associate member of the Royal Academy.

Following his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year's academy's exhibition. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. The king was reported to be delighted with the painting and rewarded Beechey with a knighthood.

Joseph Farington's Diaries give many accounts of Beechey's relations with the royal family during this period, including his temporary fall from favour in 1804, which Farington attributes to the vagaries of George III's mental condition.

Beechey's portraits of the turn of the century are considered to be his most colourful and lively. They are closer to the flamboyant and free techniques employed by his younger rivals, John Hoppner and Sir Thomas Lawrence.

Royal patronage resumed in around 1813, when Beechey was appointed portrait painter to Prince William Frederick, Duke of Gloucester, and culminated with his appointment in 1830 as principal portrait painter to King William IV. In 1836, Beechey retired to Hampstead and on 9–11 June that year, the contents of his studio along with his collection were sold at Christie's.

Although capable of impetuousness and irascibility, Beechey was known for his generosity to students. In particular, he took a close interest in the career of the young John Constable.

Subjects

During a prolific career spanning half a century, Beechey painted many of the leading figures of his day. His sitters included:

In his 1978 novel Desolation Island, Patrick O'Brian wrote that Capt. Jack Aubrey had been painted by Beechey.  The portrait, which showed Aubrey in Royal Navy uniform wearing the insignia of the Order of the Bath, hung in his home, Ashgrove Cottage.

Family
William Beechey's first marriage was to Mary Ann Jones (c. 1760–1793) in 1772 (other sources say 1778). Their children included British painter and Egyptologist Henry William Beechey (1788–1862).

Following his first wife's death, Beechey married the successful miniature painter Anne Phyllis Jessop (1764–1833) in 1793. They had many children together, including: Royal Navy captain, geographer, and politician Frederick William Beechey (1796–1856); painter George Duncan Beechey (1798–1852); clergyman St. Vincent Beechey (1806–1899); and painter and admiral in the British navy Richard Brydges Beechey (1808–1895).

Prices at auction
Beechey's Portrait of James Watt sold for £153,440 at Sotheby's on 20 March 2003. His Portrait of Mirza Abu'l Hassan Khan, Envoy Extraordinary and Minister Plenipotentiary to the Court of King George III sold for £181,600 at Christie's on 8 June 2006. His Portrait of George Douglas, 16th Earl of Morton in the dress of the Royal Company of Archers sold for £481,250 at Christie's on 5 July 2011. His portrait of The Dashwood Children sold at auction for $821,000 including premium at Christie's on 29 January 2014.

Gallery
Beechey's works are represented in many of the world's leading collections, including the Louvre, the Smithsonian Institution, the Royal Collection, the Royal Academy of Arts, the National Portrait Gallery, London, the Tate and the Metropolitan Museum of Art.

Coat of arms
Beechey was granted arms on 16 February 1829.

References

Sources

External links

1753 births
1839 deaths
18th-century English painters
English male painters
19th-century English painters
People from Burford
English portrait painters
Royal Academicians
English knights
18th-century English male artists

William Beechey


The Tick is an American sitcom based on the character Tick from the comic book of the same title and starring Patrick Warburton as the title character. It aired on Fox in late 2001 and was produced by Columbia TriStar Television. With a pilot airing on November 8, the series ran nine episodes on broadcast television. It was released to DVD in 2003.

History
The 2001 sitcom was the first attempt at a live action incarnation of The Tick, a comic book created by Ben Edlund, which had previously been adapted for television as a successful animated series, The Tick, which ran 3 seasons from 1994 to 1996. The pilot for the live-action series, completed in May 2000, was written by the four main animated-series writers, Edlund, Randolph Heard, Richard Liebmann-Smith and Chris McCulloch, and directed by Barry Sonnenfeld with production design by Bo Welch.

Executive producer Larry Charles sought to create a character camaraderie similar to that of Seinfeld. He discussed this approach at a July 2000 press conference:

If the show is perceived as merely a superhero show or merely a superhero parody show, I don't think it's going to work on a weekly basis. What's great about the comic book and what was great about the cartoon also has to be great about the live-action show, which is the characters and the interaction of the characters and creating a world that you believe is real. It's a world in which the characters being superheroes is almost a secondary consideration, so that the characters are more important than their costumes.

While working on the pilot episode, Ben Edlund described the series as "closer in tone to the comic book, favoring character over action, painting a superheroic portrait of genuine human lameness." It features a parody style similar to the animated series and the bulky Patrick Warburton in the title role. Guest stars include Ron Perlman, Christopher Lloyd, Kurt Fuller, Armin Shimerman, and Dave Foley. The series also featured appearances by then unknowns T.J. Thyne and Missi Pyle.

The Walt Disney Company inherited Fox's previous children's programming lineup and therefore owned the rights to many of the show's names and trademarks. For this reason, American Maid and Die Fledermaus, two major characters in the animated series, were unable to be written into the new show; they were replaced by Captain Liberty and Batmanuel. Disregarding the back stories given in both the comic books and animated series, the sitcom has The Tick being tricked into moving to (and protecting) The City after irritating employees of a remote bus station he had sworn to protect. It is also more adult oriented, including more sexual innuendo and adult situations. As such, the series virtually eliminated action scenes and significantly reduced emphasis on extravagant supervillains, both of which were often featured in the animated series. Regarding the mature tone, Edlund expressed his desire for less vulgarity, particularly in a moment of the pilot where The Tick said "Java Devil, you are now my bitch." However, Edlund lacked the authority to remove such phrasing.

The Tick's costume, designed by Colleen Atwood, bore a notable difference from previous incarnations in that the Tick's face would be entirely exposed. This eliminated the large pupil-less eyes seen in previous incarnations and allowed Warburton to utilize his expressive face; according to Edlund, "There was no way to cover his eyes and get the same range, intensity, and specificity of emotion. With face unfettered, Patrick has created a three-dimensional, hilarious, totally convincing Tick." The antennae of Tick's mask were also remote-controlled by puppeteer Mark Setrakian for comedic effect. The production design is by Emmy-nominated Michael Wylie.

Over a year and a half after its development, The Tick was finally picked up by the network for an 8:30 p.m. prime time slot on Thursday nights. Due to budget constraints, additional episodes were shot with several-month gaps between filming. Fox had initially wanted to premiere the series in early 2001 as a midseason replacement but opted to air it in prime time both due to its ratings success and the network's fear that a strike might delay the fall season. Cast, crew, and journalists expressed early concern over the high-stakes slot, with Fox's Sunday night comedy schedule looking more favorable. Nevertheless, Fox Television Entertainment Group president Sandy Grushow assured that promoting The Tick during the 2001 World Series would work and that "Baseball is a terrific promotional platform for a show like The Tick." Grushow also noted that if the series were to perform well, the network would have until December 2001 to order new episodes, though they would not likely be ready until late spring or summer at the earliest.

While Fox has been criticized for its lack of investment in the series, N2Toys produced a line of action figures based on it. The live action Tick ultimately failed to recapture the success of its animated predecessor; however, its popularity was strong enough that the series would be released on DVD in 2003. The series led to Christopher McCulloch, who wrote for the Tick comic book, animated series, and sitcom, meeting Patrick Warburton during filming; shortly after, he cast Warburton as the voice of Brock Samson for his Adult Swim series, The Venture Bros. Tick creator Ben Edlund also wrote for The Venture Bros. on occasion.

Cancellation
Concerns regarding the show's time slot, where it aired against popular shows like Survivor: Africa and NBC's Must See TV lineup, were manifested in early 2002 when The Tick was canceled after eight of the nine episodes had aired. According to Patrick Warburton, The Tick performed poorly because Fox did not own the series as they did The Bernie Mac Show and 24, and therefore rarely promoted it. Warburton added that despite fan and critical praise, the high production costs further discouraged FOX from giving The Tick a chance. The costs were increased by overtime pay due to a shortened filming schedule. This comprised a six- or seven-day shooting of each episode shortened to five days. Warburton has repeatedly criticized FOX's mismanagement of the series, reiterating that the network "apparently didn't have a clue."

Cast

 Patrick Warburton as The Tick
 David Burke as Arthur
 Liz Vassey as Captain Liberty
 Nestor Carbonell as Batmanuel

Episodes

Broadcast and syndication
As of February 2009, the show can be downloaded on iTunes. The series was available to stream for free in the United States on Crackle and Joost. The series was also available for streaming on Netflix in Canada beginning in March 2012.

In January 2011, the show began its first showing on UK TV on the Syfy Channel.

As of 2017, with the remake version being on Amazon Video, this series is also available in the UK and USA for streaming for Prime Members.

Home media
Sony Pictures Entertainment released the complete series on DVD for the very first time, with the episodes in correct production order, on September 30, 2003. Tick creator Ben Edlund states on one of the DVD commentary tracks that he hoped the sales of the DVD might spur development of either a revived series or a movie, similar to the fates of other cult TV series such as Firefly (for which he was a writer and producer).  As of 2013, this release has been discontinued and is out of print.

Mill Creek Entertainment acquired the rights to the series and re-released the complete series on February 4, 2014. The episodes are ordered by air date instead of production.

Reception
On Rotten Tomatoes, The Tick received a "Certified Fresh" award with an aggregate score of 88% based on 21 positive and 3 negative critic reviews.  The website's consensus reads: "Thanks in part to Patrick Warburton's committed performance, The Tick offers an inventive, highly stylized, and frequently hilarious take on the superhero genre."

Despite its short television life, Kathie Huddleston of SciFi.com named The Tick a Sci Fi "A Pick" and shared both praise and concern over its longevity:

Entertainment Weeklys Dalton Ross gave the series' DVD release an A− rating and commented, "It was too smart. Too funny. Too weird. So, of course, it failed." While not overtly positive, Noel Murray of The A.V. Club commented, "For all The Tick'''s failings, it was better than most of its broadcast competition two years ago, and it was improving right up until it was yanked off the air."

Upon its DVD release, the series also received praise from DVD Talk, Digitally Obsessed, and Genre Online. Marginally positive reviews came from TV DVD Reviews and DVD Verdict.

In 2002, the series' Victoria J. Auth was nominated for a Costume Designers Guild Award for Excellence in Costume Design for Television – Period/Fantasy.

Reflecting on his time on the series, Patrick Warburton commented, "That, to me, was an honor: To get into the blue suit and get to be The Tick. I loved that. I just wish that our beloved Fox network had actually given us a shot instead of killing off the show as they did." In a 2009 interview, Warburton also noted that he still owns one of the Tick suits as a souvenir, and he expressed interest in playing the character in a feature film.

In a 2009 interview, when asked what project he's worked on that did not get its deserved appreciation, Nestor Carbonell named The Tick:
I think it's gotten the love now, on DVD, from people who've discovered it that way, but it obviously didn't last long ... Lost is certainly a show that I love, and it's definitely gotten a lot of love, but I think The Tick is one that really could've been nurtured a little bit more. I always love it when people bring it up. It was really a special show.

Director Barry Sonnenfeld called the Tick pilot "the best thing I've ever directed." He has also expressed interest in making a feature film based on the character. Both Sonnenfeld and Barry Josephson have stated that if DVD sales of The Tick'' were sufficient, they would push for such a project.

References

External links

2001 American television series debuts
2002 American television series endings
2000s American comic science fiction television series
2000s American satirical television series
2000s American single-camera sitcoms
2000s American superhero comedy television series
American superhero comedy television series
American superhero television series
English-language television shows
Fox Broadcasting Company original programming
Television shows based on comics
Television series by Sony Pictures Television
TV 2001
Television series set in 2001
Television series set in 2002

The Tick (2001 TV series)