Frans Hals the Elder (, , ;  – 26 August 1666) was a Dutch Golden Age painter, chiefly of individual and group portraits and of genre works, who lived and worked in Haarlem.

Hals played an important role in the evolution of 17th-century group portraiture. He is known for his loose painterly brushwork.

Biography
Hals was born in 1582 or 1583 in Antwerp, then in the Spanish Netherlands, as the son of cloth merchant Franchois Fransz Hals van Mechelen ( 1542–1610) and his second wife Adriaentje van Geertenryck. Like many, Hals's parents fled during the Fall of Antwerp (1584–1585) from the south to Haarlem in the new Dutch Republic in the north, where he lived for the remainder of his life. Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals's work.

In 1610, Hals became a member of the Haarlem Guild of Saint Luke, and he started to earn money as an art restorer for the town council. He worked on their large art collection, which Karel van Mander had described in his Schilderboeck ("Painter's Book") published in Haarlem in 1604. The most notable works were those of Geertgen tot Sint Jans, Jan van Scorel, and Jan Mostaert that hung in the St John's Church in Haarlem. The restoration work was paid for by the council. The council had confiscated all Catholic religious art in the Haarlemse Noon, although it did not formally possess the entire collection until 1625, when the city fathers had decided which were suitable for the town hall. The remaining art, which was considered too Roman Catholic, was sold to Cornelis Claesz van Wieringen, a fellow guild member, on condition that he remove it from Haarlem. It was in this cultural context that Hals began his career in portraiture, since the market had disappeared for religious themes.

The earliest known example of Hals's art is the portrait of Jacobus Zaffius (1611). His 'breakthrough' came with the life-sized group portrait The Banquet of the Officers of the St George Militia Company in 1616. His most famous sitter was René Descartes, whom he painted in 1649.

Frans Hals married his first wife Anneke Harmensdochter around 1610. Frans was of Catholic birth, however, so their marriage was recorded in the city hall and not in church. Unfortunately, the exact date is unknown because the older marriage records of the Haarlem city hall before 1688 have not been preserved. Anneke was born 2 January 1590 as the daughter of bleacher Harmen Dircksz and Pietertje Claesdr Ghijblant, and her maternal grandfather, linen producer Claes Ghijblant of Spaarne 42, bequeathed the couple the grave in the Grote Kerk church where both are buried, though Frans took over 40 years to join his first wife there. Anneke died in 1615, shortly after the birth of their third child and, of the three, Harmen survived infancy and one had died before Hals's second marriage. As biographer Seymour Slive has pointed out, older stories of Hals abusing his first wife were confused with another Haarlem resident of the same name. Indeed, at the time of these charges, the artist had no wife to mistreat, as Anneke had died in May 1615. Similarly, historical accounts of Hals's propensity for drink were largely based on embellished anecdotes of his early biographers like Arnold Houbraken; there is no direct evidence that Hals did drink heavily. After his first wife died, Hals took on the young daughter of a fishmonger to look after his children and, in 1617, he married Lysbeth Reyniers. They married in Spaarndam, a small village outside the banns of Haarlem, because she was already eight months pregnant. Hals was a devoted father, and they went on to have eight children.

Contemporaries such as Rembrandt moved their households according to the caprices of their patrons, but Hals remained in Haarlem and insisted that his customers come to him. According to the Haarlem archives, a schutterstuk that Hals started in Amsterdam was finished by Pieter Codde because Hals refused to paint in Amsterdam, insisting that the militiamen come to Haarlem to sit for their portraits. For this reason, we can be sure that all sitters were either from Haarlem or were visiting Haarlem when they had their portraits made.

Hals's work was in demand through much of his life, but he lived so long that he eventually went out of style as a painter and experienced financial difficulties. In addition to his painting, he worked as a restorer, art dealer, and art tax expert for the city councilors. His creditors took him to court several times, and he sold his belongings to settle his debt with a baker in 1652. The inventory of the property seized mentions only three mattresses and bolsters, an armoire, a table, and five pictures (these were by himself, his sons, van Mander, and Maarten van Heemskerck). Left destitute, he was given an annuity of 200 florins in 1664 by the municipality.

The Dutch nation fought for independence during the Eighty Years' War, and Hals was a member of the local schutterij, a military guild. He included a self-portrait in his 1639 painting of the St Joris company, according to its 19th-century painting frame. (It has not been possible to confirm this.) It was not common for ordinary members to be painted, as that privilege was reserved for the officers. Hals painted the company three times. He was also a member of a local chamber of rhetoric, and in 1644 he became chairman of the Guild of St Luke.

Frans Hals died in Haarlem in 1666 and was buried in the Grote Kerk church.  He had been receiving a city pension, which was highly unusual and a sign of the esteem with which he was regarded. After his death, his widow applied for aid and was admitted to the local almshouse, where she later died.

Artistic career

Hals is best known for his portraits, mainly of wealthy citizens such as Pieter van den Broecke and Isaac Massa, whom he painted three times. He also painted large group portraits for local civic guards and for the regents of local hospitals. He was a Dutch Golden Age painter who practiced an intimate realism with a radically free approach. His pictures illustrate the various strata of society: banquets or meetings of officers, guildsmen, local councilmen from mayors to clerks, itinerant players and singers, gentlemen, fishwives, and tavern heroes. In his group portraits, such as The Banquet of the Officers of the St Adrian Militia Company in 1627, Hals captures each character in a different manner. The faces are not idealized and are clearly distinguishable, with their personalities revealed in a variety of poses and facial expressions.

Hals was fond of daylight and silvery sheen, while Rembrandt used golden glow effects based upon artificial contrasts of low light in immeasurable gloom. Hals seized a moment in the life of his subjects with rare intuition. What nature displayed in that moment he reproduced thoroughly in a delicate scale of color and with mastery over every form of expression. He became so clever that exact tone, light and shade, and modeling were obtained with a few marked and fluid strokes of the brush. He became a popular portrait painter and painted the wealthy of Haarlem on special occasions. He won many commissions for wedding portraits (the husband is traditionally situated on the left, and the wife situated on the right). His double portrait of the newly married Olycans hang side by side in the Mauritshuis, but many of his wedding portrait pairs have since been split up and are rarely seen together.

Wedding portraits

The only record of his work in the first decade of his independent activity is an engraving by Jan van de Velde copied from the lost portrait of The Minister Johannes Bogardus. Early works by Hals show him as a careful draughtsman capable of great finish yet spirited, such as Two singing boys with a lute and a music book and Banquet of the Officers of the St George Militia (1616). The flesh that he painted is pastose and burnished, less clear than it subsequently became. Later, he became more effective, displayed more freedom of hand and a greater command of effect.

During this period, he painted the full-length portrait of Madame van Beresteyn (Louvre) and a full-length portrait of Willem van Heythuysen posing with a sword. Both these pictures are equalled by the other Banquet of the Officers of the St George Militia (with different portraits) and the same militia in 1627 and Banquet of the Officers of the St Hadrian Militia of 1633. A similar painting with the date of 1639 suggests some study of Rembrandt masterpieces, and a similar influence is apparent in a group portrait of 1641 representing the regents of the St Elisabeth Gasthuis and in his 1639 portrait of Maria Voogt at Amsterdam.

From 1620 till 1640, he painted many double portraits of married couples on separate panels, the man on the left panel and his wife on the right panel. Only once did Hals portray a couple on a single canvas: Couple in a garden: Wedding portrait of Isaac Abrahamsz. Massa and Beatrix van der Laan, (, Rijksmuseum Amsterdam).

His style changed throughout his life. Paintings of vivid color were gradually replaced by pieces where mostly black came to dominate. This was probably due to the sober dress of his Protestant sitters, more than any personal preference. One simple way to observe this change is to look at all of the portraits that he painted through the years with his trademark pose leaning over the back of a chair:

Portrait painter

Later in his life, his brush strokes became looser, fine detail becoming less important than the overall impression. His earlier pieces radiated gaiety and liveliness, while his later portraits emphasized the stature and dignity of the people portrayed. This austerity is displayed in Regents of the St Elizabeth Hospital in 1641 and, two decades later, The Regents and Regentesses of the Old Men's Almshouse (), which are masterpieces of color, though in substance all but monochromes. His restricted palette is particularly noticeable in his flesh tints, which became greyer from year to year, until finally the shadows were painted in almost absolute black, as in the Tymane Oosdorp.

This tendency coincides with the period when Hals gained fewer commissions from the wealthy, and some historians have suggested that a reason for his predilection for black and white pigment was the low price of these colors as compared with the costly lakes and carmines. Both conclusions are probably correct, however, because Hals did not travel to his sitters, unlike his contemporaries, but let them come to him. This was good for business because he was exceptionally quick and efficient in his own well-fitted studio, but it was bad for business when Haarlem fell on hard times.

As a portrait painter, Hals had scarcely the psychological insight of a Rembrandt or Velázquez, though in a few works, like the Admiral de Ruyter, the Jacob Olycan, and the Albert van der Meer paintings, he reveals a searching analysis of character which has little in common with the instantaneous expression of his character portraits. In these, he generally sets upon the canvas the fleeting aspect of the various stages of merriment, from the subtle, half ironic smile that quivers round the lips of the curiously misnamed Laughing Cavalier to the grin of the Malle Babbe. To this group of pictures belong the Lute Player, the Gypsy Girl and the Laughing Fisherboy, whilst the Marriage Portrait of Isaac Massa and Beatrix van der Laen and the somewhat confused group of the Beresteyn Family at the Louvre show a similar tendency. Far less scattered in arrangement than this Beresteyn group, and in every respect one of the most masterly of Hals's achievements is the group called The Painter and his Family, which was almost unknown until it appeared at the winter exhibition at the Royal Academy in 1906.

According to the Frans Hals catalogue raisonné, 1974, 222 known paintings can be ascribed to Hals. This list was compiled by Seymour Slive in 1970−1974 who also wrote an exhibition catalogue in 1989 and produced an update to his catalogue raisonné work in 2014. In 1989, another authority on Hals, Claus Grimm, disagreed with Slive and published a shorter œuvre of 145 paintings in his Frans Hals. Das Gesamtwerk.

It is not known whether Hals ever painted landscapes, still lifes or narrative pieces, but it is unlikely. His debut for Haarlem society in 1616 with his large group portrait for the St George militia shows all three disciplines, but if that painting was his signboard for future commissions, it seems he was subsequently only hired for portraits. Many artists in the 17th century in Holland opted to specialise, and Hals also appears to have been a pure portrait specialist.

Painting technique

Hals was a master of a technique that utilized something previously seen as a flaw in painting, the visible brushstroke. The soft curling lines of Hals's brush are always clear upon the surface: "materially just lying there, flat, while conjuring substance and space in the eye."
In this way his style was similar to Édouard Manet; in fact, Hals was described by author Raymond Cogniat as "the Manet of his day." Lively and exciting, the technique can appear "ostensibly slapdash" – people often think that Hals 'threw' his works 'in one toss' (aus einem Guss) onto the canvas. This impression is not correct. Hals did occasionally paint without underdrawings or underpainting (alla prima), but most of the works were created in successive layers, as was customary at that time. Sometimes a drawing was made with chalk or paint on top of a grey or pink undercoat, and was then more or less filled in, in stages. It does seem that Hals usually applied his underpainting very loosely: he was a virtuoso from the beginning. This applies, of course, particularly to his genre works and his somewhat later, mature works. Hals displayed tremendous daring, great courage and virtuosity, and had a great capacity to pull back his hands from the canvas, or panel, at the moment of the most telling statement. He didn't 'paint them to death', as many of his contemporaries did, in their great accuracy and diligence whether requested by their clients or not.

In the 17th century his first biographer, Schrevelius wrote: "An unusual manner of painting, all his own, surpassing almost everyone," on Hals's painting methods. For that matter, schematic painting was not Hals's own idea (the approach already existed in 16th century Italy), and Hals was probably inspired by Flemish contemporaries, Rubens and Van Dyck, in his painting method. Haarlem resident Theodorus Schrevelius was struck by the vitality of Hals's portraits which reflected 'such power and life' that the painter 'seems to challenge nature with his brush'.

Influence

Frans influenced his brother Dirck Hals (born at Haarlem, 1591–1656), who was also a painter. Additionally, five of his sons became painters:
Harmen Hals (1611–1669)
Frans Hals the Younger (1618–1669)
Jan Hals (1620–1654)
Reynier Hals (1627–1672)
Nicolaes Hals (1628–1686)

Though most of his sons became portrait painters, some of them took up still-life painting or architectural studies and landscapes. Still-lifes formerly attributed to his son Frans II have since been re-attributed to other painters, however. Hals painted a young woman reaching into a basket in a still life market scene by Claes van Heussen.

Other contemporary painters who took inspiration from Hals were, with the main cities they were based in:
Jan Miense Molenaer (1609–1668), Haarlem and Amsterdam
Judith Leyster (wife of Molenaer, 1609–1660), Haarlem and Amsterdam
Adriaen van Ostade (1610–1685), Haarlem
Adriaen Brouwer (1605–1638), mostly Antwerp
Johannes Cornelisz Verspronck (1597–1662), Haarlem
Bartholomeus van der Helst (1613–1670), Amsterdam
Cornelis de Bie (1621–1664), Amsterdam

Hals had a large workshop in Haarlem and many students, though 19th century biographers questioned some of his pupils, since their painting styles were so dissimilar to Hals. In his De Groote Schouburgh (1718–21), Arnold Houbraken mentions Philips Wouwerman, Adriaen Brouwer, Pieter Gerritsz van Roestraten, Adriaen van Ostade and Dirck van Delen as students. Vincent Laurensz van der Vinne was also a student, according to his diary with notes left by his son Laurens Vincentsz van der Vinne. Roestraten was not only a student (the Haarlem archives contain a notarised document, which supports this fact), but he also became a son-in-law of Hals when he married his daughter Adriaentje. The Haarlem portrait painter, Johannes Verspronck, one of about 10 competing portraitists in Haarlem at the time, possibly studied for some time with Hals.

In terms of style, the closest to Hals's work is the handful of paintings that are ascribed to Judith Leyster, which she often signed. She also 'qualifies' as a possible student, as does her husband, the painter Jan Miense Molenaer.

In the 19th century, his technique influenced the work of impressionists and realists including Claude Monet, Édouard Manet, Charles-François Daubigny, Max Liebermann, James Abbott McNeill Whistler, Gustave Courbet, and in the Netherlands, Jacobus van Looy and Isaac Israëls. Lovis Corinth named Hals as his biggest influence.

The post-impressionist artist Vincent van Gogh wrote to his brother Theo: 'What a joy it is to see a Frans Hals, how different it is from the paintings – so many of them – where everything is carefully smoothed out in the same manner.' Hals chose not to give a smooth finish to his painting, as most of his contemporaries did, but mimicked the vitality of his subject by using smears, lines, spots, large patches of color and hardly any details.

Legacy

The 1911 Encyclopædia Britannica has an article on Frans Hals by "P.G.K.", who observes: Hals's reputation waned after his death and for two centuries he was held in such poor esteem that some of his paintings, which are now among the proudest possessions of public galleries, were sold at auction for a few pounds or even shillings. The portrait of Johannes Acronius realized five shillings at the Enschede sale in 1786. The Portrait of Willem van Heythuysen at the Alte Pinakothek sold in 1800 for £4: 5s (£4.25 in decimal notation).

Nevertheless, Hals's art did not go altogether unappreciated in the time between his death in 1666 and the 1860s. In his Groote Schouburgh (1718–1721), Arnold Houbraken recorded Hals's life and praised his style, adding that the figures in one of the large group portraits: ... zoo kragtig en natuurlyk geschildert zyn, dat zy de aanschouwers schynen te willen aanspreken ("... are painted so powerfully and naturally, they seem to want to talk to us"). Dutch artists known to have admired Hals enough to make copies of his paintings include Cornelis van Noorde (1731–1795) and Wybrand Hendricks (1744–1831). Empress Catherine the Great (reigned 1762–1796) acquired ten Hals works for her collection. Jean-Honoré Fragonard (1732–1806) visited the Alte Pinakothek to copy Hals's work, and Hals's influence is apparent in Fragonard's portraits de fantaisie. Antoine Watteau (1684–1721) made study sketches after Hals. At the Royal Academy in London, Joshua Reynolds (1723–1792) lectured on Hals in 1774, praising his handling of faces and the consequent remarkable individuality of his portraits. Reynolds was less enthusiastic about Hals's characteristic loose finish, which he thought betrayed impatience. Subsequently, in 1781 Reynolds visited the Hals collection then at Haarlem Town Hall (now at the Frans Hals Museum) and soon after bought two Hals works. Reynolds's biographer James Northcote (1736–1831), who was a fellow portraitist, remarked that Hals could have caught a bird in flight, grasping it, as it were, from life – something he said Titian would not have been capable of.

Starting at the middle of the 1860s his prestige rose again thanks to the efforts of critic Théophile Thoré-Bürger. With his rehabilitation in public esteem came the enormous rise in value, and, at the Secretan sale in 1889, the portrait of Pieter van den Broecke was bid up to 4,420 francs, while in 1908 the National Gallery paid £25,000 for the large family group from the collection of Lord Talbot de Malahide.

Hals's work remains admired, particularly with young painters who can find many lessons about practical technique from his unconcealed brushstrokes. Hals's works have found their way to countless cities all over the world and into museum collections. From the late 19th century, they were collected everywhere—from Antwerp to Toronto, and from London to New York. Many of his paintings were then sold to American collectors.

Several of his most important works are owned by the town council of Haarlem. They are now at the Frans Hals Museum in the Groot Heiligland, Haarlem. Before 1913 they hung in the Town Hall, where impressionists went to see them.

The Hals crater on Mercury is named in his honor.

Hals was pictured on the Netherlands' 10-guilder banknote of 1968.

The Banquet of the Officers of the St George Militia Company in 1616 appears on the restaurant wall in the 1989 Peter Greenaway film The Cook, the Thief, His Wife & Her Lover.

Public collections (selection)
 Frans Hals Museum, Haarlem
 Frick Collection, New York City
 Koninklijk Museum voor Schone Kunsten Antwerpen
 Louvre, Paris
 Mauritshuis, The Hague
 Metropolitan Museum of Art, New York
 Museum Boijmans Van Beuningen, Rotterdam;
Museum of Fine Arts, Boston
 Rijksmuseum Amsterdam.
 Kenwood House
 Wallace Collection, London

See also

List of paintings by Frans Hals
Han van Meegeren

References

Further reading
 Frans Hals biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature
Seymour Slive: Frans Hals, 3 Volumes (oeuvre catalogue), New York / London 1970–1974
Frans Hals (exhibition catalogue Washington/London/Haarlem, 1989.
Claus Grimm published his Frans Hals. Das Gesamtwerk in 1989 (Stuttgart/Zürich; also translated into Dutch and English).
N. Middelkoop and A. van Grevenstein, Frans Hals. Leven, werk, restauratie (Life, work and restorations) (Haarlem Amsterdam 1988). This work gives an account of restorations of the riflemen's pieces, but it also gives a picture of Hals's life and work.
Antoon Erftemeijer (2004): Frans Hals in het Frans Hals Museum, Amsterdam/Gent (in Dutch, English and French), in which various chapters are devoted to Hals's life, his predecessors, portrait painting in the Golden Age, Hals's painting technique and other subjects. Many pictures with close-ups in this book show Hals's works in great detail.
Christopher D. M. Atkins (2003): "Frans Hals's Virtuoso Brushwork", Nederlands Kunsthistorisch Jaarboek, pp. 281–309). Parts of this article are excerpts of The Frans Hals Museum, Haarlem, July 2005 by Antoon Erftemeijer, Frans Hals Museum curator.
Christopher D. M. Atkins (2012): The Signature Style of Frans Hals: Painting, Subjectivity, and the Market in Early Modernity, Amsterdam University Press.
 Henry R. Lew (2018): Imaging the World, Hybrid Publishing, Chapter 9: Frans Hals.
 Steven Nadler (2022): The Portraitist: Frans Hals and His World, The University of Chicago Press.
 Lelia Packer and Ashok Roy (2022): Frans Hals: The Male Portrait, The Wallace Collection.

External links

Frans Hals Museum in Haarlem
Frans Hals Works, Biography and Style
The National Gallery
The Wallace Collection
Web Gallery of Art (large collection of pictures and extensive biography)
Frans Hals at zeno.org
Olga's Gallery
Works and literature on Frans Hals
 Walter Liedtke, "Frans Hals: Style and Substance" (Metropolitan Museum of Art, 2011)

1580s births
1666 deaths
Year of birth uncertain
Flemish painters (before 1830)
Flemish portrait painters
Dutch Golden Age painters
Dutch male painters
Dutch portrait painters
Painters from Haarlem
Sibling artists
Painters from Antwerp
Frans

Frans Hals


Vladislav Lantratov (; born 8 October 1988)  is a Russian principal dancer in the Bolshoi Ballet.

Early life
Lantratov was born in Moscow, Russia to a family of ballet dancers. He graduated from the Moscow Choreographic Academy in 2006, where he had studied under Leonid Zhdanov and then Ilya Kuznetsov, and joined the Bolshoi Ballet in the same year.

Career
In 2006 Lantratov performed in the grand pas in Raymonda, and in the same year danced in Carmen Suite and The Nutcracker. In 2007 he performed in Swan Lake and in 2008 in Yuri Grigorovich's Legend of Love. During the same year, he was in the first cast of Alexei Ratmansky's Russian Seasons at the Bolshoi (performing as one of the Pair in Blue).

In 2009, Lantratov performed as the Ballet Dancer in Ratmansky's The Bright Stream. The same year he learned the parts of the Evil Genius in Swan Lake and Florent in La Esmeralda. The following year, he performed for the first time in Romeo and Juliet as Count Paris and appeared in performances of Sleeping Beauty as Prince Fortune and the Blue Bird.

In 2011, Lantratov performed a number of leading roles for the first time, including Lucien in Ratmansky's Lost Illusions, the Nutcracker Prince in Yuri Grigorovich's Nutcracker, and Basilio in Don Quixote. During 2011, Lantratov also danced in a gala concert in honor of Galina Ulanova in London. He has performed in the first Bolshoi casts of many ballets, including Wayne McGregor's Chroma, George Balanchine's Jewels and Yuri Possokhov's Classical Symphony. In 2013, he was chosen to be the first dancer to perform the role of Eugene Onegin at the Bolshoi Theater in John Cranko's Onegin. In 2014, Lantratov created the role of Petruchio in Jean-Christophe Maillot's Taming of the Shrew.

Vladislav Lantratov performed the starring role in Nureyev at the premiere on 9 December 2017.

Awards
2018 : Prix Benois de la Danse

References

1988 births
Living people
Bolshoi Ballet principal dancers
Russian male ballet dancers
Dancers from Moscow
Prix Benois de la Danse winners
21st-century Russian ballet dancers

Vladislav Lantratov


Elisabeth Chojnacka (born Elżbieta Ukraińczyk; 10 September 1939 – 28 May 2017) was a Polish harpsichordist living in France. She was one of the world's foremost harpsichordists specializing in the performance of contemporary harpsichord music.

Biography

Chojnacka earned a degree from the Fryderyk Chopin Music Academy in Warsaw in 1962, after which she moved to Paris, where she studied with Aimee Wiele. She presented the premiere performances of many works for harpsichord, both solo as well as with ensemble and/or electronics. Over 80 composers dedicated works to her. While she was known particularly for her performance of new music, she also played early music in her concerts, as well as in some of her recordings. In performance, she generally performed with her harpsichord slightly amplified.

She formerly taught at the Mozarteum University of Salzburg in Salzburg, Austria, beginning in 1995. She performed and recorded with the Xenakis Ensemble. She won the Grand Prix du Disque for Modern Music in 2003, for her recording of works by Maurice Ohana.

Death
Chojnacka died on 28 May 2017 in Paris at the age of 77.

Discography
Ohana harpsichord / Ohana - Clavecin
Energy
Plus que Tango
Scott Joplin
Energy Plus
Poulenc
Xénakis
Ohana
Rhythm Plus
Clavecin espagnol du XXème Siècle
Clavecin 2000
L'avant-garde du passé
Le nouveau clavecin
Clavecin d'aujourd'hui

References

Links
 Harpsichord 2000 website
 Elisabeth Chojnacka profile, nieuwe-muziek.nl

Sources
 Harley, James Xenakis: his life in music p. 103, Routledge, New York (2004)

1939 births
2017 deaths
Polish harpsichordists
French harpsichordists
Contemporary classical music performers
Chopin University of Music alumni
Recipients of the Gold Medal for Merit to Culture – Gloria Artis
20th-century Polish musicians
20th-century French musicians
20th-century classical musicians
21st-century Polish musicians
21st-century French musicians
21st-century classical musicians
Musicians from Warsaw
Academic staff of Mozarteum University Salzburg

Elisabeth Chojnacka


Shlomo Carlebach (; 14 January 1925 – 20 October 1994), known as Reb Shlomo to his followers, was a rabbi, religious teacher, spiritual leader, composer, and singer dubbed "the singing rabbi" during his lifetime.

Although his roots lay in traditional Orthodox yeshivot, he branched out to create his own style, combining Hasidic Judaism, warmth and personal interaction, public concerts, and song-filled synagogue services. At various times he lived in Manhattan, San Francisco, Toronto and a Moshav he founded, Mevo Modi'im, Israel. Carlebach is the subject of Soul Doctor, a musical that debuted on Broadway in 2013.

Carlebach is considered by many to be the foremost Jewish religious songwriter of the 20th century.

Carlebach was also considered a pioneer of the Baal teshuva movement ("returnees to Judaism"), encouraging disenchanted Jewish youth to re-embrace their heritage, using his special style of enlightened teaching, and his melodies, songs, and highly inspiring story telling. Following his death, numerous accusations of sexual abuse were levied against him, published in Lilith Magazine.

Biography
Carlebach was descended from old rabbinical dynasties in pre-Holocaust Germany. The Carlebach family is a Jewish family originally from Germany that settled in several countries. He was born in 1925 in Berlin, where his father, Hartwig Naftali Carlebach (1889–1967), was an Orthodox rabbi. He had a twin brother, Rabbi Eli Chaim Carlebach and a sister, Shulamith Levovitz. His family left Germany in 1931 and lived in Baden bei Wien, Austria and by 1933 in Switzerland.

Carlebach studied at Yeshiva Torah Vodaath and Yeshiva Rabbi Chaim Berlin in Brooklyn, New York, and Beth Medrash Gevoha in Lakewood, New Jersey. His teachers included rabbis Shlomo Heiman and Aharon Kotler. He was considered one of Kotler's best students. During his yeshiva studies he was often asked to lead the services as a hazzan (cantor). He received semikha (rabbinic ordination) from Yitzchak Hutner.

In 1950 Carlebach set up a small Torah learning group called T.S.G.G. (pronounced TASGIG), an acronym for "Taste And See God Is Good".

That year, Carlebach attended a Hebrew language ulpan class at the Jewish Theological Seminary (JTS), where he played hasidic melodies on the piano. Sara Schafler-Kelman heard his singing and invited Carlebach to sing chasidic tunes at the Hillel Center on Convent Avenue. Schafler prepared a poster for the event, entitled "The Place of Music in the Hassidic Tradition". This was Carlebach's first invited performance. Years later, Carlebach said to Schafler-Kelman, "You gave me a title for my life's work."

In 1951, Carlebach began learning English in a special program at Columbia University, having previously spoken mainly Yiddish. Becoming fluent in English only at the age of 26, he developed an unusual grammar, mixing Yiddish and English, that became his hallmark, and later influenced the language of his followers, as well as many other members of the neo-hassidic movement.

Carlebach became a disciple of Yosef Yitzchok Schneersohn, the sixth rebbe of the Chabad-Lubavitch movement. From 1951 to 1954, he worked briefly as one of the first emissaries (shluchim) of Menachem Mendel Schneerson, the seventh Lubavitcher rebbe, who urged him to use his special skills and go to college campuses to reconnect Jews to Judaism, but would later disapprove of the non traditional tactics he used. Carlebach left the movement in 1954.

In 1972, he married Elaine Neila Glick, a teacher. They had two daughters, Nedara (Dari) and Neshama. Neshama Carlebach is a songwriter and singer in her own right, basing herself on her father's style and name.

Music career
[[File:קרליבך עם הצדיק מוהראש מברסלב.jpg|thumb|Shlomo Carlebach (left)]]
Carlebach began writing songs at the end of the 1950s, primarily based on verses from the Tanakh or the Siddur set to his own music. Although he composed thousands of songs, he could not read musical notes. Many of his soulful renderings of Torah verses became standards in the wider Jewish community, including Am Yisrael Chai ("[The] Nation [of] Israel Lives"—composed on behalf of the plight of Soviet Jewry in the mid-1960s), Pitchu Li ("Open [for] Me [the Gates of Righteousness]") and Borchi Nafshi ("[May] My Soul Bless [God]"). Carlebach was recording well before this and was invited to the festival by one of its organizers after she heard a recording of Carlebach.

In 1954, the Atlanta Southern Israelite reported that Carlebach was named as the technical advisor for a production of The Dybbuk. Carlebach was to advise on the music used in the theatrical production.

He became known as "The Singing Rabbi".

Some Carlebach melodies were entered in Israel's annual Hasidic Song Festival.
In 1969, his song Ve'haer Eneinu, sung by the Shlosharim won third prize. The Hasidic festivals were a yearly event that helped to popularize his music. He also produced albums with a more liturgical sound. Some of the musicians he worked with during this period added a psychedelic tinge and a wider range of backup instrumentation. Carlebach now spent much of his time in Israel, living in Moshav Me'or Modi'im.

Carlebach's songs were characterized by relatively short melodies and traditional lyrics. His new tunes were easy to learn and became part of the prayer services in many synagogues around the world.

Carlebach returned to New York City, where as part of his performances he spoke of inspirational subjects rooted in Hasidism and Kabbalah. Some of his teachings have been published by his students and appear alongside his recorded songs. Carlebach spread the teachings of Peshischa, Chabad, and Breslov, and popularized the writings of, among others, the rebbe of Ishbitz, Mordechai Yosef Leiner, and rebbe Kalonymus Kalman Shapira of Piasetzno.

Carlebach became the rabbi of the Carlebach Shul on West 79th Street. He continued to perform regularly at concerts, and to record various albums of his original melodies.

On February 27, 2022, Carlebach was posthumously inducted with the inaugural class of the Jewish Music Hall of Fame.

Death and legacy

Carlebach died of a heart attack on his way to Canada while the plane was still on the ground at LaGuardia Airport in New York. The Hebrew date was 16 Cheshvan 5755. His body was flown to Israel for burial at Har HaMenuchot. During the funeral the mourners sang Carlebach's songs, including Chasdei Hashem Ki Lo Samnu. Israel's Ashkenazi Chief Rabbi Yisrael Meir Lau gave a eulogy. An annual memorial service is held at his grave on the 16th of Cheshvan. Additional memorial events take place throughout Israel and around the world.

According to Rabbi Jonathan Rosenblatt, Carlebach "changed the expectations of the prayer experience from decorous and sombre to uplifting and ecstatic as he captivated generations with elemental melodies and stories of miraculous human saintliness, modesty and unselfishness."

Since his death, Carlebach's music has been incorporated in the services of many synagogues, some of which conduct Carlebach minyanim.

A musical written about his life, Soul Doctor, by Daniel Wise was presented  off-Broadway in 2008 and New Orleans in 2010, and was received with critical acclaim. The musical had a brief off-Broadway run as a guest attraction at New York Theatre Workshop in the Summer of 2012, and earned Eric Anderson a Drama Desk Award for Outstanding Actor in a Musical nomination for his portrayal of Shlomo Carlebach. Soul Doctor opened on Broadway August 15, 2013.

A documentary film about Carlebach directed by Boaz Shahak, You Never Know, was released at the Jerusalem Film Festival in 2008.

"The Torah Commentary of Rabbi Shlomo Carlebach" is a series of books based on his teachings.

The Shlomo Carlebach Foundation was established to preserve and disseminate the teachings, music, and stories of Rabbi Shlomo Carlebach, and to develop communities that will share the love and joy which he radiated.

Controversy
Carlebach's approach towards keiruv (the popular Hebrew term for Orthodox Jewish outreach) was often tinged with controversy. Put most favorably, "He operated outside traditional Jewish structures in style and substance, and spoke about God and His love in a way that could make other rabbis uncomfortable."

After his death, Lilith magazine, a Jewish feminist publication, catalogued allegations of sexual impropriety against him. Specifically, named accusers are quoted in this article, as well as unnamed sources and Jewish communal leaders with knowledge of the allegations. However, even in his lifetime, Carlebach was approached about these matters. Lilith reports that people present when he was confronted say he acknowledged impropriety, expressed regret, and agreed that, to some degree, his behavior needed to change. The article indicates that most in Carlebach's circles were uncomfortable voicing their accusations at the time, leading to a widespread policy of "silence" which had, in part, enabled his continued offenses.

Since his death, many others have come forward with allegations that Carlebach solicited them, touched them during dancing, or on private walks. Some of the alleged offenses were toward young women, teenagers in camps or youth group retreats. Some of his older accusers point out that they were approached by him at a time in their lives when they were particularly vulnerable, as many of them were transitioning into Jewish life and practice, and as such undergoing large changes in their lives. As their sole spiritual leader at the time, Carlebach held a lot of potential power over them. Most of his offenses were unexpected and undesired touching, or telephone calls "in the middle of the night", which his accusers describe as disturbing, but also as odd. The Lilith article says that for many, his legacy is mixed. Even many of his victims state that he still had great positive impact on their lives, despite the irreparable hurt he caused -- and that, had his problem been more public, and more help been available to him, it is possible he would have willingly sought it.

His followers reject these accusations and say that it is unfair to accuse him after his death.Magid, Shaul, "Carlebach's Broken Mirror" (1 November 2012) Tablet Magazine, Retrieved 30 December 2012 However, accusations had already been made as early as the 1970s. Especially in light of the #metoo movement some have begun to question whether Jewish communities should still use his music. In January 2018 his daughter Neshama wrote an open letter to the women who were harmed by Carlebach. She wrote "I accept the fullness of who my father was, flaws and all. I am angry with him. And I refuse to see his faults as the totality of who he was."

Discography
Albums
 הנשמה לך Haneshama Lach (Songs of My Soul) (Zimra Records ZR-201, 1959; re-released in 2002 by Estate of Rabbi Shlomo Carlebach Restoration Edition [Sojourn Records SR-013])
 ברכי נפשי Borchi Nafshi (Sing My Heart) (Zimra Records ZR-202, 1960; re-released in 2004 by Estate of Rabbi Shlomo Carlebach Restoration Edition [Sojourn Records SR-014])). "12 Songs composed and sung by Rabbi Shlomo Carlebach, with choir and orchestra arranged and conducted by Milton Okun."
 Shlomo Carlebach Sings (Galton 1962, recorded live; later re-released as Rabbi Shlomo Carlebach Sings by the Estate of Rabbi Shlomo Carlebach Restoration Edition [Sameach Music – NDS200CD])
 פתחו לי שערי צדק (At The Village Gate) (Vanguard VRS-9116, 1963)
 מקדש מלך In The Palace of the King (Vanguard VRS-9192 (mono) VSD-79192 (stereo), 1965). "Shlomo Carlebach with chorus and symphony orchestra arranged and conducted by Benedict Silberman"
 שפכי כמים לבך Wake Up World! (Zimrani Records ZR-203, 1965). "Original Songs Composed and Sung by Rabbi Shlomo Carlebach with Chorus and Orchestra Arranged and Conducted by Milton Okun"
 "I Heard the Wall Singing" Vol. 1 (Greater Recording Co. GRC112, 1968)
 "I Heard the Wall Singing" Vol. 2 (Greater Recording Co. GRC114, 1968)
 Vehaer Eynenu (Hed Arzi, 1969)
 Shlomo Carlebach Live, Let There Be Peace (Preiser, 1973, recorded in Vienna)
 Uvnei Yerushalayim (6 Million in Heaven - 3 Million in Hell) (Menorah, 1974)
 Together with Rabbi Shlomo Carlebach (Hed Arzi, 1974)
 Rabbi Shlomo Carlebach Live in Concert (Yisrael B'tach BaShem) (Y&Y Productions, 1974, recorded in Brooklyn)
 Shlomo Carlebach & the Children of Jewish Song sing Ani Maamin (Emes Records, 1975)
 Live in Tel Aviv (Heichal HaTarbut) (Hed Arzi, 1976)
 Days Are Coming (Embassy/Hal Roach Studios, 1979; re-released by Estate of Rabbi Shlomo Carlebach Restoration Edition [Sojourn Records SR-016])
 L'Kovod Shabbos (Sound Path Records, 1980)
 Even Ma'asu HaBonim (1981)
 Nachamu Nachamu Ami [2 vol.] (Rare Productions, 1983)
 Live in Concert (Holyland, 1984, recorded in Brooklyn)Live in England (Menorah,1988)
 Shvochin Asader (1988)
 Live in Concert for the Jews of Russia (NCSY Toronto, 1988, recorded in Toronto)
 Shlomo Sings with the Children of Israel (Hiney Anochi V'hayeladim) (1989)
 Shlomo Carlebach at Festival Arad (1992)
 Shabbos with Shlomo (1992)
 A Melave Malka in Notting Hill (1995, recorded 1.16.1993)
 Shlomo's Greatest Stories [2 vol] (1993)
 Shuva (1994, later packaged in 2 vol. cassette set: "Sweetest Friends")
 Shabbos in Shomayim - The Last Album (1994)

Posthumous/ambiguously timed releases
 Last Shabbos in Galus (Aderet SCG300)
 Carlebach in Jerusalem (Al Eileh) (Noam, 1995)
 The Gift of Shabbos (1995, originally packaged in 2 vol. cassette set: "Sweetest Friends")
 Open Your Hearts (Music Made From The Soul, Vol. 1) (1986 Recordings)
 Holy Brothers and Sisters (Music Made From The Soul, Vol. 2) (1986 Recordings)
 HaNeshama Shel Shlomo (with Neshama Carlebach)
 Songs of Peace (Live performance, 1975)
 Live In South Africa (Live in Johannesburg, 1986) (2 CD)
 Live In Memphis (2020) (streaming)

Singles
 Am Israel Chai and Ein Kelohenou (TAV Records [French label] STE 5729/1, possibly 1967)
 "Live 10/22/74 at the Lane Sound Cube N.Y.C." (Zimrani Records Z-10-11, 1974): Uva'uh haovdim and Mimkomcho

Compilations
 The Essential Shlomo Carlebach (Vanguard VSD 733/34, 1978: At the Village Gate & In The Palace of the King complete)
 The Best of Shlomo Carlibach (Hed Arzi 1973, 14 songs on Cassette 1988, 2 CD)להיטי זהב Shlomo Carlebach Greatest Hits (Unplugged) (3CD, CDH 597, 1999 "For sale out of North America Only")

Appears on
 Rebuild Thy House (B'nai Bescho) (Elana Records ER-101, 1967). Ten songs composed by Rabbi Eliyahu Hartman, five sung each by Carlebach and Cantor Sholom Katz.
 Tanchumim (TG-201, 1975). Songs composed by Tanchum Portnoy, Carlebach sings "Sh'ma Kolenu" & "Yimloch".
 Harmony - Songs of Cecelia Margules (Cecelia Productions, 1990). A compilation of songs by composer Cecelia Margules. Carlebach sings "Mira", "Ani Ma'amin", & "Mi Chamocha".

 Books

 Holy Beggars: A Journey from Haight Street to Jerusalem, Aryae Coopersmith, 2011, One World Light, CA
 Rabbi Shlomo Carlebach: Life, Mission, and Legacy, Natan Ophir (Offenbacher), 2014, Urim, Jerusalem
 The Book of Love and Prayer: Rabbi Shlomo Carlebach Book Collection, Zivi Ritchie, 2019
 Holy Brother: Inspiring Stories and Enchanted Tales about Rabbi Shlomo Carlebach, Yitta Halberstam Mandelbaum, 2002, Rowman & Littlefield, MA
 Lamed Vav: A Collection of the Favorite Stories of Rabbi Shlomo Carlebach, Shlomo Carlebach (Author), Tzlotana Barbara Midlo (Compiler), 2005
 The Torah Commentary of Rabbi Shlomo Carlebach: Exodus, Rabbi Shlomo Carlebach (Author), Rabbi Shlomo Katz (Editor) 2020, Urim Publications
 The Shlomo Carlebach Songbook'', Milt Okun (Editor) 1970, Zimrani Records Inc.

See also
 Ephraim Carlebach
 Hartwig Naftali Carlebach
 Carlebach minyan
 Carlebach movement
 Baal teshuva movement
 Nigun
 Neo-Hasidism

References

External links

 Carlebach Shul
 Carlebach Minyan
 Yeshivat Simchat Shlomo
 The Hevra: Shlomo Carlebach
  Shlomo Carlebach Foundation
 Mostly Music: Shlomo Carlebach
 Audio recording with Shlomo Carlebach in the Online Archive of the Österreichische Mediathek (Interview in  and musical performance) Retrieved 27. March 2021

1925 births
1994 deaths
American Hasidic rabbis
German Hasidic rabbis
Beth Medrash Govoha alumni
Burials at Har HaMenuchot
Shlomo 1925
Hasidic entertainers
Hasidic singers
Yiddish-language singers of the United States
Hazzans
Jewish American musicians
Jewish American songwriters
Jewish entertainers
20th-century American rabbis
Musicians from Berlin

20th-century American musicians
Jewish folk singers
German emigrants to the United States

Shlomo Carlebach (musician)


The Viali di Circonvallazione are a series of 6-lane boulevards surrounding the north part of the historic centre of Florence.

History
The boulevards follow the outline of the ancient walls of Florence, that were demolished in 1865 according to Giuseppe Poggi's project to make Florence, then the capital of Italy, a modern city with wide boulevards inspired by those of Paris. Around the former gates of the city, squares and palaces were created.

Today
Today the viali di Circonvallazione are the main arterial street of Florence for the traffic from west to east.

The route (from west) starting from Ponte alla Vittoria bridge is:

Viale Fratelli Rosselli (with Torre della Serpe and Leopolda Station)
Piazzale of Porta al Prato
Viale Filippo Strozzi (around the Fortezza da Basso)
Viale Spartaco Lavagnini
Piazza della Libertà (with Porta San Gallo, Triumphal Arch of the Lorraine and the Parterre)
Viale Giacomo Matteotti
Piazzale Donatello (around the English Cemetery)
Viale Antonio Gramsci
Piazza Beccaria (with Porta alla Croce, Archive of State and La Nazione headquarters)
From here the boulevards divide into:
 Viale Giovine Italia (with the Torre della Zecca and Arno River)
 Viale Giovanni Amendola

Gallery

Streets of Florence
Boulevards

Viali di Circonvallazione


Double Sin and Other Stories is a short story collection written by Agatha Christie and first published in the US by Dodd, Mead and Company in 1961 and retailed for $3.50. The collection contains eight short stories and was not published in the UK; however all of the stories were published in other UK collections (see UK book appearances of stories below).

List of stories
Double Sin
Wasp's Nest
The Theft of the Royal Ruby (also known as The Adventure of the Christmas Pudding)
The Dressmaker's Doll
Greenshaw's Folly
The Double Clue
The Last Seance
Sanctuary

Publication history
 1961, Dodd Mead and Company (New York), Hardcover, 247 pp
 1962, Pocket Books (New York), Paperback, (Pocket number 6144), 181 pp
 1964, Dell Books, Paperback, 191 pp

First publication of stories in the US

 The Double Clue: August 1925 (Volume 41, Number 4) issue of the Blue Book Magazine with an uncredited illustration.
 The Last Seance: November 1926 issue of Ghost Stories magazine under the title The Woman Who Stole a Ghost.
 Wasp's Nest: 9 March 1929 issue of Detective Story Magazine under the title The Worst of All.
 Double Sin: 30 March 1929 issue of Detective Story Magazine under the title By Road or Rail.
 Sanctuary: serialised in the weekly newspaper supplement This Week magazine in two instalments from 12 to 19 September 1954 under the title Murder at the Vicarage (not to be confused with the novel of the same name) with illustrations by Robert Fawcett.
 Greenshaw's Folly: March 1957 (Volume 29, Number 3) issue of Ellery Queen's Mystery Magazine, unillustrated.
 The Dressmaker's Doll: June 1959 (Volume 33, Number 6) issue of Ellery Queen's Mystery Magazine, unillustrated.  The story had previously appeared in Canada in the 25 October 1958 issue of the Star Weekly magazine.
 The Theft of the Royal Ruby: serialised in the weekly newspaper supplement This Week magazine in two instalments from 25 September to 2 October 1960 with illustrations by William A. Smith.

For first publications in the UK, see the applicable UK collections below.

UK book appearances of stories

The stories contained in Double Sin and Other Stories appear in the following UK collections:

 The Hound of Death (1933): The Last Seance.
 The Adventure of the Christmas Pudding (1960): The Theft of the Royal Ruby (under the title The Adventure of the Christmas Pudding) and Greenshaw's Folly.
 Poirot's Early Cases (1974): Double Sin, Wasp's Nest, and The Double Clue.
 Miss Marple's Final Cases and Two Other Stories (1979): The Dressmaker's Doll and Sanctuary.

References

External links
Double Sin and Other Stories at the official Agatha Christie website

1961 short story collections
Short story collections by Agatha Christie
Hercule Poirot short story collections
Miss Marple short story collections
Dodd, Mead & Co. books

Double Sin and Other Stories


The Perils of Pauline is a 1914 American melodrama film serial produced by William Randolph Hearst and released by the Eclectic film company, shown in bi-weekly installments, featuring Pearl White as the title character, an ambitious young heiress with an independent nature (in the time before women could vote in the United States) and a desire for adventure.

Despite popular associations, Pauline was never tied to a railroad track in the series, an image that was added to popular mythology by scenes in stage melodramas of the 1800s, in serials featuring the resourceful "railroad girl" Helen Holmes in her long-running series The Hazards of Helen, and in other railroad-themed Holmes cliffhangers such as The Girl and the Game. The images of Holmes' railroad adventures were blended in the public mind with Pearl White's cliffhanging adventures, probably because White became the bigger celebrity.

The serial had 20 episodes, the first being three reels (30 minutes), and the rest two reels (20 minutes) each. After the original run, it was reshown in theaters a number of times, sometimes in re-edited versions, through the 1920s. Today, The Perils of Pauline is known to exist only in a condensed, reformatted 9-chapter version (approximately 214 minutes), released in Europe in 1916 by Pathé Freres.

In 2008, The Perils of Pauline was selected by the Library of Congress for the United States National Film Registry, as being "culturally, historically, or aesthetically significant".

Plot
Before Pauline (Pearl White) will agree to marry Harry (Crane Wilbur), who proposes marriage to her on the tennis court, she says that she wishes to be allowed to embark upon activities of her choice for a year and then write about them afterward. She proceeds then to plan to ride in a balloon, fly an airplane, drive a racing car, ride in a horse race, go on a treasure hunt, act in a motion picture, and tour a submarine, among other things, and frequently ends up in trouble after being assaulted by henchmen of Raymond Owen (Paul Panzer), her adoptive father's scheming secretary, who wants to dispose of Pauline and gain her inheritance for himself. Owen hires the disreputable Hicks (Francis Carlyle) who owes Owen money, and later Gypsy king called Balthazar to sabotage Pauline's plans, or kidnap or murder her and often Harry ends up coming to her rescue when she is trapped on a cliff or tied up in a house set afire, but as the series goes on she is also shown to be able to extricate herself from various predicaments as well. Finally, after she ends up trapped on an abandoned ship being used for target practice by the Navy and is genuinely terrified by the experience, Pauline decides she has had enough of adventuring and agrees to marry Harry. Owen is drowned by a sailor he has refused to allow to blackmail him, and all is well.

Cast
 Pearl White as Pauline Marvin
 Crane Wilbur as Harry Marvin
 Paul Panzer as Raymond Owen (Called Koerner in the European release)
 Edward José as Sanford Marvin
 Francis Carlyle as Owen's Henchman, Montgomery Hicks
 Clifford Bruce as Gypsy Leader Balthazar
 Donald MacKenzie as Blinky Bill
 Jack Standing as Lieutenant Summers
 Eleanor Woodruff as Lucille

Chapter titles
The original serial episodes had no titles, only episode numbers. Titles for episodes have been applied to them from the condensed Pathé release of the serial or sometimes as derived from novelizations of the serial.

The original 20 episodes contained the following story elements:

 MUMMY CASE/WILL Pauline's ambition to have adventures and write about them before marrying, Egyptian mummy speaks to Mr. Marvin, Death of Marvin and Owen's plot to kill Pauline and gain her inheritance
 AIRFIELD Owen tampers with an airplane he thinks Pauline will fly and causes it to crash
 OLD SAILOR'S STORY Blinky Bill the sailor tells a story of mutiny and treasure
 TREASURE ISLAND Expedition to an island to recover lost treasure; bomb on board ship
 RECEPTION/ABDUCTION BY CHINESE Pearl charms Signor Baskinelli, seized by Chinamen, imprisoned in a Joss House
 BALLOON/CLIFF Owen and Hicks conspire to set Pauline aloft in a balloon, rescue from cliff's edge
 HOUSE FIRE/WESTERN ACTION Pauline trapped in abandoned house set afire, Harry rescues her, she travels West and is kidnapped
 INDIANS Pauline is believed to be a goddess and tested by an Indian tribe
 DEVIL'S ISLAND Pauline acts in a movie for director Louis Gasnier
 SMUGGLERS Lighthouse, rocket gun
 SOPHIE MACALLEN'S WEDDING Escaped lions, auto crash
 CAPTURED BY GYPSIES Pauline abducted, Harry fights Balthazar
 SERPENT IN THE GARDEN Snake in basket, Steeplechase, house party in Adirondacks, cliff's edge
 TRAPPED IN RUINED MILL Trapped by rising water, escape on high telegraph wire
 DUEL/AUTO RACE Ferrari challenges Harry to duel, Auto race, car sabotaged by Owen
 THE GERM "Drowning disease" caused by germ
 DOG AND COUNTERFEITERS Pauline's dog abducted by counterfeiters
 SUBMARINE Spy sabotages submarine, Pauline is on board
 FAKE PUBLISHER Hotel trap, circus car, escaped ape
 FLOATING COFFIN: Pauline takes motorboat to abandoned ship used for target practice by Navy men

Titles of the Pathé 9-episode condensed and re-edited re-release stories which have been used subsequently were:

1 - "Par le Vertige et Par le Feu" (Trial by Fire (US),Vertigo and Fire, or From Cloud to Cliff)
2 - "La Deesse du Far-West" (Goddess of the Far West)
3 - "La Tresor du Pirate" (The Pirate Treasure)
4 - "Le Virage Mortel" (The Deadly Turning (US),The Deadly Curve)
5 - "La Fil Aerien" (A Watery Doom (US), The Aerial Wire)
6 - "L'Aile Brisee" (The Shattered Plane (US), The Broken Wing)
7 - "La Plongee Tragique" (The Tragic Plunge)
8 - "Le Reptile Sous les Fleurs" (The Snake in the Flowers (US), The Serpent in the Flowers)
9 - "Le Cercueil Flottant" (The Floating Coffin)

Behind the scenes

Pearl White was hesitant to accept the title role, but signed up for $250/week and a large amount of  publicity.

William Randolph Hearst was involved in plot development.  He was also present at the premiere at Loew's Broadway Theatre, on March 23, 1914.  According to "The Truth About Pearl White" by Wallace E. Davis, the general release was approximately April 1, 1914.

E. A. McManus, head of the Hearst-Vitagraph service organization, was the person who proved how successful a serial could be.  He co-operated with the largest film equipment and production company in the world at that time, a France-based company named Pathé, to produce this serial, which was Pathé's first entry into the medium. George B. Seitz tried to follow the cliffhanging pattern of The Adventures of Kathlyn but each chapter was mostly self-contained.

After retiring from law enforcement, William J. Flynn, former director of the Bureau of Investigation (forerunner of the FBI), became a scenario writer for the motion picture industry through his acquaintance with the actor King Baggot, who was considered the greatest film star in the country at that time in 1912. Producers Theodore and Leopold Wharton commissioned him to write story lines for their films, including Pauline. The Whartons also eventually adapted Flynn's experiences into a 20-part spy thriller titled The Eagle's Eye (1918), starring Baggot.

Surviving chapters of the French condensation of Pauline are noteworthy for their unintentionally funny re-translations of their title cards and dialogue captions in the English version, filled with misspellings, poor punctuation, terrible grammar, and odd expressions. The film was recut and adapted for home-movie use, and all of the printed captions were translated into French. Later, when the American home-movie industry beckoned, the original English titles had been scrapped, so the French technicians tried to translate the titles back into English.  These errors have also been blamed on Louis J. Gasnier, director and supervisor of the production. Gasnier, as explained by Crane Wilbur, made linguistic mistakes that confused the French-speaking crew.  The new title cards also renamed the villain's character: Raymond Owen as "Koerner," in reference to German "villainy" during World War I.

Much of the film was shot in Fort Lee, New Jersey, where many early film studios in America's first motion picture industry were based at the beginning of the 20th century. Scenes were also filmed in Pittsburgh, Pennsylvania and Staten Island, New York. The term "cliffhanger" may have originated with the series, owing to a number of episodes filmed on or around the New Jersey Palisades—though it is also likely to refer to situations in stories of this type where the hero or heroine is hanging from a cliff, seemingly with no way out, until the next episode or last-minute resolution.

Pearl White performed most of her own stunts for the serial, but also was stunt doubled by a man. Filmed in the Adirondacks in New York, the stunt double rode a horse off a cliff into the lake below. Considerable risk was involved. In one incident, a balloon carrying White escaped and carried her across the Hudson River into a storm, before landing miles away. In another incident her back was permanently injured in a fall.

One of the more famous scenes in the serial which depicted a curved railroad bridge was supposedly the Ingham Creek trestle in New Hope, Pennsylvania on the Reading Company's New Hope Branch (now the New Hope and Ivyland Railroad line). The railroad is a tourist attraction today. Other supposed locations for the railroad scenes include the Belvidere-Delaware Railroad in Lambertville and Raven Rock, New Jersey and the Long Island Rail Road in the Hamptons on Long Island. These stories are likely legends since there were no major scenes involving action with trains in the serial.

Milton Berle claimed The Perils of Pauline as his first film appearance, playing the character of a young boy, though this has never been independently verified and is unlikely as no child characters appear in the serial. The serial did mark one of the early credits for the cinematographer Arthur C. Miller, who was transferred to the project from the Pathé News department.

Pathé established an American factory and studio facility in Jersey City, New Jersey in 1910, and also established the Eclectic Film Company as a subsidiary distribution company for both its American and European products. Although the Jersey City plant produced moderately popular comedies, dramas, and newsreels largely directed at the US market, Pauline was the first American-made Pathé effort to achieve worldwide success under the Eclectic banner.

The final peril has Pauline sitting in a target boat as the Navy opens fire. The idea was also used in To the Shores of Tripoli (1942).

Sequels and remakes

This successful serial was quickly followed by The Exploits of Elaine, also starring White. Many imitations and parodies followed, heralding the first golden age of the American film serial.

The title The Perils of Pauline was reused by Universal Studios for a 1933 sound serial with a different plot, by Paramount Pictures as the Betty Hutton vehicle The Perils of Pauline (1947), and by Universal again in 1967 as an updated comedy.

An abortive mixed-media musical was planned to be based on the film, called Who's That Girl?, meant to be premiered by The Boys from Syracuse producer Richard York on Broadway in 1970, with a book written by Lewis Banchi and Milburn Smith, and with the planned participation of the songwriting duo Ray Evans and Jay Livingston.

Legacy
The Perils of Pauline is the prime example of what scholar Ben Singer has called the "serial-queen melodrama". There has been a recent reassessment of Singer's model in light of broader film forms.

The film's style was later subject to nostalgic caricature in many forms (e.g. Dudley Do-Right), but the original heroine was neither as helpless as the caricatures, nor did the original series include the much-parodied "tied to railroad tracks" or "tied to buzzsaw" scenarios which appeared in later films in this vein. Even the title phrase "Perils of" was often adopted by later serials, for example, in Universal's Perils of the Secret Service, Perils of the Wild, and Perils of the Yukon. and Republic Pictures' Perils of Nyoka.

The 1969–70 cartoon series The Perils of Penelope Pitstop was patterned after this serial, and included the plot point of the villain trying to eliminate the heroine so he can keep her inheritance.

The Thunderbirds episode "The Perils of Penelope" was inspired by The Perils of Pauline.

See also
 List of film serials
 List of film serials by studio
 List of incomplete or partially lost films

References

External links

1914 films
1914 drama films
1910s action drama films
American silent serial films
American action drama films
American black-and-white films
Articles containing video clips
1910s English-language films
Films directed by Louis J. Gasnier
Films shot in New Jersey
Films shot in Fort Lee, New Jersey
Films shot in Pennsylvania
Pathé Exchange film serials
United States National Film Registry films
Melodrama films
1910s American films
Silent American drama films

The Perils of Pauline (1914 serial)


Nava Semel (; September 15, 1954 – December 2, 2017) was an Israeli author, playwright, screenwriter and translator. Her short story collection Kova Zekhukhit  (Hat of Glass) was the first work of fiction published in Israel to address the topic of the "Second Generation"—children of Holocaust survivors.

Biography
Nava Artzi (later Semel) was born  in Jaffa, the daughter of Yitzhak Artzi, a politician and member of the Knesset, and Mimi (Margalit), a survivor of the Auschwitz concentration camp and Kleineshenau. Her maternal grandmother was the sister of Rabbi Meir Shapiro. She was the younger sister of Israeli singer Shlomo Artzi. She earned an MA in art history from Tel Aviv University.

Semel was married to Noam Semel, Director General of the Cameri Theatre of Tel Aviv, and mother of three children. She lived in Tel Aviv, Israel.

Literary career
Semel published 16 books, plays, opera libretti, poetry and screenplays. She also wrote plays and translated for the Hebrew stage. Her acclaimed novel And the Rat Laughed was adapted into an opera libretto in 2005. Her work focuses on the "second generation" (children of Holocaust survivors) in Israel. Her characters are native born Israelis, who confront their identity issues and deal with the scars of the painful past.

Public activism
Semel was a member of the Board of Directors of Massuah, the Institute for Holocaust Studies at Kibbutz Tel Yitzhak, and for many years was a member of the Board of Governors of Yad Vashem. She was also on the Board of Directors of the "New Foundation for Television and Cinema".

Awards and recognition
She received the Prime Minister's Prize for Hebrew Literary Works in 1996, "The Women Writers of the Mediterranean Award" in France 1994, and "Women of the Year in Literature of the City of Tel Aviv" 2006.

Published works

Fiction

Poems of Pregnancy and Birth. Poetry Collection, 1985.
Hat of Glass. The first Israeli book in prose to focus on the children of Holocaust survivors. Published in 1985; with a new edition 1998. Translated into German, Italian and Romanian. Stories from the collection were published in Great Britain, Spain, Greece, France, Turkey, Albania and China.
Paper Bride. Novel, published in 1996, then in Romania 2000, and Germany 2003. Finalist of the YA German book award 2004.
Becoming Gershona. Young Adult novel, published by Viking-Penguin, winner of the National Jewish Book Award in the United States 1991. Has been translated into Italian, German, Romanian, and Dutch, and adapted for Israeli television.
Night Games. Novel, published in 1994.
Flying Lessons. Cross-over novel which tells the story of a Holocaust survivor from Tunisia who teaches an Israeli girl how to fly. Published by Simon & Schuster in 1995. It was chosen as one of the best young adults novels in Germany 1995. It has been translated into German, Czech, Italian, Spanish, Dutch, Serbian and Albanian, and was adapted for the Israeli television. In 2009, it was produced as an opera, composed by Ella Milch-Sheriff, directed by Yael Ronen. The opera was a co-production of the Cameri Theatre of Tel Aviv with the Israeli New Opera and the Beer Sheva Sinfonyetta Orchestra. The libretto was published as a book by the Institute for Israeli Drama 2010.
Who Stole the Show?. Children's book, published in 1997. It won the Illustrated Book of the Year Award 1998 and was cited at the "Ze'ev Award" 1999. It was published in Italy 2003, and an English-Romanian bi-lingual edition was published in 2008. Adapted for a television series in 1999.
Night Poems. Poetry collection for young people on darkness and fears, published in 2000.
And the Rat Laughed. Novel, published in 2001, to highly favorable reviews. It was published in Germany 2007 and Australia 2008. It was produced as an opera in 2005, and a film version is planned.
The Courage to be Afraid. Another poetry collection for young people on darkness and fears, published in 2005. Selected poems were published in Great Britain, Germany and the USA. They were also set to music by Ella Milch-Sheriff and Hava Alberstein.
IsraIsland. Novel, published in 2006. A documentary based on the book is in production (Director: Oshra Schwartz). Excerpts were published in the USA.
Beginner's Love. Young adult book, published in 2006. It was then published in Italy in 2007, the Czech Republic in 2008 and Germany in 2010. The book won the "Best 7" award of the German Radio in 2010.
Australian Wedding. Autobiographical fiction, published in 2009. Excerpts were published in the United States and Australia.

Stage and screen
An Old Woman. Monodrama on the life of the elderly. Produced by the Haifa Municipal Theatre 1983, and ran until 1989.
The Last winter. Original dialogues for an Israeli-American feature film co-production. Director: Riky Shelach. Actresses: Kathleen Quinlan and Yona Elian, 1983.
Hunger. Radio drama, based on a story from "Hat of Glass", produced by the WDR in Germany, 1989.
The Child behind the Eyes. Monodrama, first produced in 1986, and ran on the Israeli stage for 11 years. It has also been produced as a radio play by the BBC London, Radio France, Radio Belgium, Radio Spain, Radio Ireland, six radio stations in Germany, Radio Austria and Radio Romania. It won the "Best Radio Drama" award in Austria 1996, and released on CD. New Broadcast in Austria 2008. On the stage it was performed in Rome (1990), New York (1991), Los Angeles (1996), Prague (1997), Sibiu Theatre Festival (2004), Resita Theatre in Romania (2005), State Theatre of Ankara, Turkey (2005), Lodz Theatre - Poland (2006), Bucharest Theatre (2007). New production in Israel in Arabic 2006 with actress-singer Amal Murkus. The play was published as a print book in 1988 and an e-book in 2002.
Saying Kaddish and Leave – a screenplay for a documentary on the Holocaust of the Jews in Romania. Produced by the Israeli Educational TV in 1999.
Thousand Calories. TV drama, produced by the Israeli 2nd channel, 2002.
An Old Man. Monodrama, produced by the Israeli Theatre for Young People 2003.
And the Rat Laughed. Opera based on the novel, composed by Ella Milch-Sheriff, directed by Oded Kotler. Produced by the Israeli Chamber Orchestra and the Cameri Theatre of Tel Aviv. World Premiere April 2005. The opera ran on the stage of the Cameri Theatre until 2009. Nava Semel and Ella Milch-Sheriff won the "Rosenblum Award" of the City of Tel Aviv. The opera was performed also in Warsaw 2006, Sibiu Festival 2007 and the National Theatre in Bucharest 2007. A new production of the opera opened in 2009 in Toronto, Canada on the stage of Opera York. It was performed in Hebrew.
Sneaking into the Bible. Song cycle on biblical themes, composed by Ella Milch-Sheriff. Ramat Gan Chamber Choir, conducted by Hanna Tsur. Premiered at the Abu Gosh Music Festival in 2005. Performed also at Tzavta Theatre 2005 and Ramat Gan Theatre 2007.
There in the World That Is New. Musical, 6 minute-piece on a girl on her journey to Israel after the Holocaust. Composed by Ella Milch-Sheriff. Performed by Li-Ron Choir Herzliya, conducted by Ronit Shapira, Torchlight Assembly, Holocaust Memorial Day 2008 at Massuah, Institute for Holocaust Studies, Kibbutz Tel Yitzhak. Live broadcast on cable TV HOT.
Ballad of Three Prophets. Ten-minute musical piece on the three faiths, composed by Ella Milch-Sheriff. Performed by Moran Choir, conducted by Neomi Faran. Premiered at the Song Bridge Festival, Poland on May 8, 2008. Performed also on Holocaust International Commemoration Day 2009 at Massuah, Institute for Holocaust Studies, Kibbutz Tel Yitzhak.
Whereabouts Unknown. TV drama about new immigrants upon their arrival to Israel in 1949. Produced by the Israeli Television- First Channel (Director: Yahli Bergman) 2010.

References

External links
 Nava Semel Official website
 Nava Semel at the Institute for the Translation of Hebrew Literature (ITHL)
 "Nava Semel talks about the Jewish tragedy and the act of remembering", Interview with Bookaholic Romania, 23 March 2015

1954 births
2017 deaths
Israeli female dramatists and playwrights
Israeli female screenwriters
Israeli novelists
Israeli people of Romanian-Jewish descent
Israeli people of Polish-Jewish descent
Israeli poets
Tel Aviv University alumni
Israeli women novelists
Israeli women poets
Recipients of Prime Minister's Prize for Hebrew Literary Works
Deaths from cancer in Israel
Burials at Kiryat Shaul Cemetery
Jewish women writers
People from Jaffa

Nava Semel


Kamen Rider Blade (Masked Rider ♠ (Blade)), is a Japanese television series.

Production
It is the fourteenth installment in the Kamen Rider Series. It aired on TV Asahi from January 25, 2004 to January 23, 2005. It is a joint collaboration between Ishimori Productions and Toei. Along with the standard insect motif of the Kamen Rider Series, Kamen Rider Blade also uses a Playing card motif. Each Rider is assigned one of the suits from a deck of cards. It aired as a part of TV Asahi's Super Hero Time block with Tokusou Sentai Dekaranger.

DVDs
Blade was later released on DVD by Toei. There were twelve volumes released with the first eleven having four episodes per DVD and the twelfth with five episodes.

Story

Ancient battle
Ten thousand years ago, a large battle known as the Battle Royal was fought by fifty-two Undead. Each side represented a species fighting for dominance. The winner was the Human Undead, known as Category Two of Hearts, giving dominion of the Earth to humanity.

New Battle Royal
In the present day, archaeologists discover the sealed Undead. But unfortunately, they accidentally set them free. Thus, a new Battle Royal begins.

Rider system
Having developed the Rider System, based on the Joker's ability to copy sealed Undead, the organization BOARD (Board of Archaeologists Research Department) equips two young men, who become Kamen Riders: Kazuma Kenzaki and and Sakuya Tachibana fight together as Kamen Rider Blade and Kamen Rider Garren to protect humans from Undead and seal them. Also fighting Undead is the mysterious Hajime Aikawa as Kamen Rider Chalice, whose purpose is unknown. In addition, young Mutsuji Kamijo fights to free himself from the control of the sealed Undead powering his own Undead-made Rider System. He fights as Kamen Rider Leangle.

Cast
 Kazuma Kenzaki / Kamen Rider Blade: Takayuki Tsubaki
 Sakuya Tachibana / Kamen Rider Garren: Kousei Amano (Played as "Hironari Amano")
 Hajime Aikawa / Kamen Rider Chalice, Ryo Mikami (29, 30): Ryoji Morimoto
 Mutsuji Kamijo / Kamen Rider Leangle: Takahiro Hōjō
 Shiori Hirose: Yumi Egawa
 Kotaro Shirai: Terunosuke Takezai
 Hikaru Kurihara: Kaori Yamaguchi
 Amane Kurihara, Young Amane: Hikari Kajiwara
 Nozomi Yamanaka: Arisa Miyazawa
 Kei Karasuma: Kazuhiro Yamaji
 Yoshito Hirose: Junichi Haruta
 Hiroshi Tennoji: Kohji Moritsugu
 Sayoko Fukasawa: Urara Awata
 Isaka: Yasukaze Motomiya
 Miyuki Yoshinaga: Mika Hijii
 Noboru Shima: Kazunari Aizawa
 King: Makoto Kajimo
 Kanai: Akira Kubodera
 Rouzer Voice: Takeshi Sasaki
 Rouzer Absorber Voice, King Rouzer Voice: Fumihiko Tachiki
 Narration: Jūrōta Kosugi

Missing Ace cast
 Junichi Shimura / Kamen Rider Glaive: Yuuki Kuroda
 Natsumi Miwa / Kamen Rider Larc: Yoko Mitsuya
 Shin Kagami / Kamen Rider Lance: Takao Sugiura
 Amane Kurihara: Miku Shida

Songs
 Opening themes
 "Round ZERO~BLADE BRAVE"
 Lyrics: Shoko Fujibayashi
 Composition: Katsuya Yoshida
 Arrangement: Akio Kondō
 Artist: Nanase Aikawa
 Episodes: 1 - 30
 "ELEMENTS"
 Lyrics: Shoko Fujibayashi
 Composition: Miki Fushisue
 Arrangement: RIDER CHIPS & Cher Watanabe
 Artist: RIDER CHIPS featuring Ricky
 Episodes: 31 - 49
After his performance in "ELEMENTS", Ricky was made RIDER CHIPS' permanent vocalist.
 Insect themes
 "Kakusei" ("Awakening")
 Lyrics: Shoko Fujibayashi
 Composition: Cher Watanabe
 Arrangement: Akio Kondō
 Artist: Ricky
 Episodes: 2 - 23
 "Rebirth"
 Lyrics: Shoko Fujibayashi
 Composition: Yukari Aono
 Arrangement: Cher Watanabe
 Artist: Sakuya Tachibana (Kousei Amano)
 Episodes: 23 - 30, 47
 "Take it a Try"
 Lyrics: Shoko Fujibayashi
 Composition & Arrangement: Cher Watanabe
 Artist: Hajime Aikawa (Ryoji Morimoto)
 Episodes: 31 - 49

Japanese science fiction television series
2004 television series debuts
2005 television series endings

Kamen Rider Blade


Andy Preston (born 31 July 1966) is an English politician, charity chairman, and businessman. He was elected Mayor of Middlesbrough in May 2019, serving until his defeat in May 2023. He previously stood for the role of elected mayor of Middlesbrough in 2015.

Charity work

After retiring from fund management, Preston moved back to the North of England. Between 2002 and 2008 Preston was a patron of international children's charity ARK. He was also chairman of charity Fairbridge Teesside from 2005 to 2010. The first charity he founded, in 2011, was Middlesbrough and Teesside Philanthropic Foundation which raises and distributes funds to boost communities across the urban area of Teesside.

An early supporter and trustee of the charity was public relations executive Mark Bolland The Foundation is supported by a number of local businesses including Middlesbrough Football Club, Steve Gibson's Bulkhaul and Cleveland Cable Company. It has also won support from Olympic long jumper Chris Tomlinson. After being elected mayor of Middlesbrough, Preston stood down from his role as chairman of the Foundation, relinquishing any decision-making role in the charity's activities but continuing in an honorary role of founder. By this time the charity had raised more than £3 million.

A couple of years after launching the Philanthropic Foundation, Preston launched a new charity called CEO Sleepout which holds events across the UK to raise funds to combat homelessness and poverty.
In December 2016 Preston launched a charity restaurant, The Fork in the Road, in Middlesbrough with the goal of providing employment opportunities for ex-offenders, recovering addicts and the long term unemployed. A number of the Fork in the Road restaurant's staff came through a programme designed to offer precious opportunities to those who need a helping hand – recovering addicts, ex-offenders and the long-term unemployed. The fit-out costs and working capital for this social enterprise came from CEO Sleepout charity and Public Health England. Preston transferred the Fork in the Road from CEO Sleepout to another local charity, Recovery Connections, after being elected mayor of Middlesbrough in 2019

Preston previously chaired Tees Valley Education, an academy trust operating in some of the UK's most disadvantaged areas.

Business

Andy Preston has been involved in numerous businesses in North East England and also invests in commercial property. He and his brother Chris restored the former Kirby College in Middlesbrough, converting it into apartments. In 2013, through a £1 million renovation they also converted a 19th-century Middlesbrough building previously known as the Cleveland Club into office accommodation called Boho Four Gibson House. He has also invested in a number of start-up businesses in the North East of England.

Politics

Andy Preston was historically an active member of Labour Party. In 2013 he spearheaded a successful campaign to retain the role of elected mayor of Middlesbrough when then Mayor Ray Mallon called a referendum on the position. Preston stood for election as an independent in 2015 to become elected mayor of Middlesbrough, narrowly losing out to Labour's Dave Budd. In 2016 Preston took up a voluntary role as Tees Valley business ambassador for the Britain Stronger in Europe campaign ahead of the referendum to decide whether the country should remain or leave the European Union. After being linked as a potential candidate to become the first Tees Valley Mayor, Preston ruled himself out of the race but warned against the election of a "career politician".

Preston was elected as Mayor of Middlesbrough on 2 May 2019, after running as an independent. He won in the first round with 59% (17,418) of the votes counted, with Labour's Mick Thompson coming second with 6,693 votes. In a local election held in 2023 he was defeated by the Labour candidate Chris Cooke who won 10,956 votes to Preston's 10,196.

Controversies
In 2015, Preston was criticised for using his parents' Middlesbrough address on his nomination papers, rather than that of his actual home, but he denied breaking election rules.

In August 2023 following an investigation by Cleveland Police, Preston was charged with four counts of non-disclosure of pecuniary interests in Executive meetings in contravention of S30(4) and 34(1)(b) and (3) of the Localism Act 2011, with a court date set of 21 August 2023.

Charges for non-disclosure were all dropped on August 14 2023 after the CPS reviewed additional information.

Personal life

Preston and his wife have lived at Otterington Hall, a grade II-listed mansion near Northallerton, since at least 2007. It has "one of the best topiary gardens in England and certainly the best in Yorkshire".

References

English businesspeople
Living people
1966 births
People from Middlesbrough
Mayors of Middlesbrough
Independent politicians in England

Andy Preston (politician)


On May 13, 1846, the United States Congress passed An Act providing for the Prosecution of the existing War between the United States and the Republic of Mexico, thereby declaring war against Mexico. The declaration resulted in the Mexican–American War (1846–48). The act laid out regulations for the size and organization of the militia to participate in the war, how they were to be recruited, and the amount of money appropriated for the war—10 million dollars. The act was amended on June 18, 1846 () to clarify and expand the organizational structure provided for by the original law.

Declaration of war text
Whereas, by the act of the Republic of Mexico, a state of war exists between that Government
and the United States:

Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That, for the purpose of enabling the government of the United States to prosecute said war to a speedy and successful termination, the President be, and he is hereby, authorized to employ the militia, naval, and military forces of the United States, and to call for and accept the services of any number of volunteers, not exceeding fifty thousand, who may offer their services, either as cavalry, artillery, infantry, or riflemen, to serve twelve months after they shall have arrived at the place of rendezvous, or to the end of the war, unless sooner discharged, according to the time for which they shall have been mustered into service; and that the sum of ten millions of dollars, out of any moneys in the treasury, or to come into the treasury, not otherwise appropriated, be, and the same is hereby, appropriated for the purpose of carrying the provisions of this act into effect.

SEC. 2. And be it further enacted, That the militia, when called into the service of the United States by virtue of this act, or any other act, may, if in the opinion of the President of the United States the public interest requires it, be compelled to serve for a term not exceeding six months after their arrival at the place of rendezvous, in any one year, unless sooner discharged.

SEC. 3. And be it further enacted, That the said volunteers shall furnish their own clothes, and if cavalry, their own horses and horse equipments; and when mustered into service shall be armed at the expense of the United States.

SEC. 4. And be it further enacted, That said volunteers shall, when called into actual service, and while remaining therein, be subject to the rules and articles of war, and shall be, in all respects except as to clothing and pay, placed on the same footing with similar corps of the United States army; and in lieu of clothing every non-commissioned officer and private in any company, who may thus offer himself, shall be entitled, when called into actual service, to receive in money a sum equal to the cost of clothing of a non-commissioned officer or private (as the case may be) in the regular troops of the United States.

SEC 5. And be it further enacted, That the said volunteers so offering their services shall be accepted by the President in companies, battalions, squadrons, and regiments, whose officers shall be appointed in the manner prescribed by law in the several States and Territories to which such companies, battalions, squadrons, and regiments, shall respectively belong.

SEC. 6. And be it further enacted, That the President of the United States be, and he is hereby, authorized to organize companies so tendering their service into battalions or squadrons, battalions and squadrons into regiments, regiments into brigades, and brigades into divisions, as soon as the number of volunteers shall render such organization, in his judgment, expedient; and the President shall, if necessary, apportion the staff, field, and general officers among the respective States and Territories from which the volunteers shall tender their services as he may deem proper.

SEC 7. And be it further enacted, That the volunteers who may be received into the service of the United States by virtue of the provisions of this act, and who shall be wounded or otherwise disabled in the service, shall be entitled to all the benefit which may be conferred on persons wounded in the service of the United States.

SEC 8. And be it further enacted, That the President of the United States be, and he is hereby, authorized forthwith to complete all the public armed vessels now authorized by law, and to purchase or charter, arm, equip, and man, such merchant vessels and steam boats as, upon examination, may be found fit, or easily converted into armed vessels fit for the public service, and in such number as he may deem necessary for the protection of the seaboard, lake coast, and the general defense of the country.

SEC. 9. And be it further enacted, That whenever the militia or volunteers are called and received into the service of the United States, under the provisions of this act, they shall have the organization of the army of the United States, and shall have the same pay and allowances; and all mounted privates, non-commissioned officers, musicians, and artificers, shall be allowed 40 cents per day for the use and risk of their horses, except of horses actually killed in action; and if
any mounted volunteer, private, non-commissioned officer, musician, or artificer, shall not keep himself provided with a serviceable horse, the said volunteer shall serve on foot.

APPROVED, May 13, 1846.

References

1846 in international relations
1846 in Mexico
1846 in the United States
May 1846 events
1846 documents
D01
Mexico
Mexican-American history

United States declaration of war on Mexico


Malaya Zemlya (, lit. "Small Land") was a Soviet uphill outpost on Cape Myskhako () that was recaptured after battles with the Germans during the Battle of the Caucasus, on the night of 4 February 1943. The episode paved way for a Soviet attack on German forces in Novorossiysk.

Cape Myskhako is associated with a stand made by the 800-strong contingent of the Soviet Naval Infantry against the Germans during the Second World War. The special forces were dropped during winter high storms by the Soviet Black Sea Fleet, after the unsuccessful landing attempt at Malajia Ozereevka. The landing at Malaya Zemlya had aimed to be a decoy, but after the landing at Bolshaia Ozereevka was lost in an ambush, the offensive plan was reworked and the landing site at Malaya Zemlya was made the main landing location.  Upon landing to secure the beachhead, they came under a German counter-offensive with air support.

The marines held their ground. The leader of the group, the Soviet Major Caesar Kunikov () was mortally wounded, and was posthumously awarded the highest Soviet honor Hero of the Soviet Union.

The battle was the subject of the first book of Brezhnev's trilogy, which exaggerated Leonid Brezhnev's role in the Eastern Front.

External links
Malaya Zemlya Memorial

Novorossiysk
Battles and operations of the Eastern Front of World War II
History of Kuban
Leonid Brezhnev

Malaya Zemlya


Khijadia Dosaji is a village and former non-salute Rajput princely state on Saurashtra peninsula in Gujarat, western India.

History
It was a single village princely state in Gohelwar prant, under Gohel Rajput Chieftains.

It had a population of 361 in 1901, yielding a state revenue of 2,600 Rupees (nearly all from land; 1903–4) and paying 427 Rupees tribute, to the Gaekwar Baroda State and Junagadh State.

During the British Raj, the petty state was under the colonial Eastern Kathiawar Agency.

External links
History
 DSAL.UChicago - Kathiawar

Princely states of Gujarat

Khijadia Dosaji


Ethel Portnoy (March 8, 1927 – May 25, 2004) was a Dutch writer of prose, who wrote essays, columns, short stories, travel stories and several novels.

Biography
Ethel Portnoy was born in Philadelphia but grew up in the Bronx in New York City as the daughter of Russian-Jewish immigrants. She took classes in English literature in New York City and learned French in the United States, then departed to Europe in 1950 with a Fulbright for the University of Lyon. She also studied cultural anthropology and archeology in Paris, with Claude Lévi-Strauss amongst others. She married Dutch author Rudy Kousbroek (1929–2010) in 1951. She raised two children and until 1962 she worked at the UNESCO. She worked for Dutch papers and was published in Randstad, in the weeklies Haagse Post and Vrij Nederland and also in the NRC Handelsblad. The family moved to The Hague in 1970. In 1978 Portnoy and Hannemieke Stamperius founded the feminist literary journal Chrysallis. Since 1979, she worked at the journal Maatstaf.

Portnoy debuted as a novelist in 1971 at the age of 44 with the book Steen en Been. She wrote in English, but considered herself a Dutch writer. Her books were translated by her (ex-)husband (they were divorced in the 1980s), their daughter Hepzibah Kousbroek (1954–2009) and by Tinke Davids.

Works
Most of her books were published by Amsterdam publisher Meulenhoff.
 1971 - Steen en been en andere verhalen. Meulenhoff.
 1974 - De brandende bruid. Meulenhoff
 1978 - Broodje Aap. De folklore van de post-industriële samenleving. De Harmonie, Amsterdam (urban legends)
 1978 - Belle van Zuylen ontmoet Cagliostro: Een toneelstuk in twee bedrijven. Meulenhoff
 1981 - Het ontwaken van de zee. Meulenhoff
 1983 - Vliegende vellen: Schetsen en verhalen. Meulenhoff
 1984 - Amourettes en andere verhalen. Knippenberg
 1984 - Vluchten: Reisverhalen. Meulenhoff
 1985 - Een hondeleven. Arbeiderspers, Amsterdam
 1986 - De geklede mens. Cantecleer
 1986 - De lifter en andere verhalen. Anthos
 1987 - Dromomania. Stiefkinderen van de cultuur: Essays. Meulenhoff
 1989 - Opstandige vrouwen. Meulenhoff
 1990 - Rook over Rusland: Reisverhaal. Meulenhoff
 1991 - De eerste zoen. Meulenhoff.
 1992 - Europese kusten: Fotografische impressies. Martin Kers, photography. Inmerc
 1992 - Gemengde gevoelens. Meulenhoff
 1992 - Madonna's appel: Over vrouwen en de media. Meulenhoff
 1992 - Broodje aap met: Een verdere bijdrage tot de folklore van de post-industriele samanleving. Harmonie.
 1993 - Altijd zomer. Meulenhoff
 1994 - Overal thuis: Reisverhalen. Meulenhoff
 1996 - Bange mensen: Een Haagse vertelling. Meulenhoff
 1998 - Genietingen: Essays.Meulenhoff
 2000 - Zielespijs en wat verder ter tafel komt: Essays. Meulenhoff
 2003 - Portret. Meulenhoff (memoirs)
 2004 - Parijse feesten. Meulenhoff
 2004 - Vijf onbekende zaken van Sherlock Holmes. De Harmonie

Trivia
The Dutch language is using the term "Broodje Aap" ('monkey sandwich') to refer to urban legends as a result of Portnoy's book with the same title.

Literature
 Doeschka Meijsing: Ethel Portnoy: Informatie. Meulenhoff, Amsterdam 1984
 Lydia Lippens: Ethel Portnoy: Een bibliografie. Lippens, 1986

References

External links
 Entry on Portnoy by Dutch art historian Gary Schwartz

Dutch women writers
Dutch Jews
American emigrants to the Netherlands
Writers from Philadelphia
1927 births
2004 deaths

Ethel Portnoy