"Bob's your uncle" is a phrase commonly used in the United Kingdom and Commonwealth countries that means "and there it is", or "and there you have it", or "it's done". Typically, someone says it to conclude a set of simple instructions or when a result is reached. The meaning is similar to that of the French expression "".

Origin

The origins are uncertain, but a common theory is that the expression arose after Conservative Prime Minister Robert Gascoyne-Cecil, 3rd Marquess of Salisbury ("Bob") appointed his nephew Arthur Balfour as Chief Secretary for Ireland in 1887, an act of nepotism, which was apparently both surprising and unpopular. Whatever other qualifications Balfour might have had, "Bob's your uncle" was seen as the conclusive one.

The main weakness in this theory is that the first documented usage of "Bob's Your Uncle" is in the title of a new song in an advertisement for Herman Darewski Music Publishing Co., published in The Stage (London) on 11 January 1923. If Salisbury's notorious nepotism toward Balfour in the 1880s had been so widely spoken of to inspire a popular phrase, it is unlikely that it would have taken nearly forty years for it to appear in print for the first time.

Synonyms and variations
Expressions of self-satisfaction or pride or delight at the end of a sentence describing an action, a situation, an instruction, or direction, especially when it seems easier or quicker than expected:
 A long version is Bob's your uncle and Fanny's your aunt. All versions sometimes spell your as yer.
Expressions with a stronger emphasis on easiness or delight:
 Piece of cake, an informal expression for something very easy.
 It's a doddle, another slang expression for something very easy or it's a cinch.
 Easy peasy, a childish expression for something very easy.

Expressions with a stronger emphasis on self-satisfaction or pride of achievement or just delight:
 Job done, something said when someone has achieved something, especially when it seems easier or quicker than expected.
 Job's a good'un, similar slang meaning "and there you go", or "it's done with!", or "it's finished with", or "it is completed to everyone's satisfaction".
 Lovely jubbly, made famous by 'Del Boy' the main character from long-running English sitcom Only Fools And Horses, "lovely jubbly" refers to "lovely job", or "great", or "good news", or "it is completed to everyone's satisfaction or profit".
 It's in the bag, meaning "job done", or "and there you go", or "great job!", or "it's all yours!", or "it's completed to your own benefit!"
 Back of the net, literally meaning "goal" or "success!", but used for "great", or "victory at last", or "result!", or "it's completed to your own satisfaction!"

Cultural references
In 1954, the song "Bob's Yer Uncle! (an' Fanny's yer aunt)" was a hit on the British sheet music sales charts, reaching No. 22 on 12 June that year. Composed by Tommie Connor and Eddie Lisbona, the first recording released in Britain was by American singer Guy Mitchell in May 1954. The following month, two covers by British artists were released: one by actor John Slater, and another by Billy Cotton and his Band, with vocals by Alan Breeze and The Bandits. The Mitchell version was not released in his native America.

The phrase is used by characters in numerous works of art, entertainment, and media. The following are examples:

 In Mary Poppins, Bert uses the phrase to describe how quickly unusual things happen when in Mary's presence.
 In Pirates of the Caribbean, Jack Sparrow says it when warning Barbossa about the Dauntless and its crew waiting outside of the Isla de Muerta.
 In Agents of S.H.I.E.L.D., Agent Leo Fitz uses the phrase after he explains how they tracked a Rising Tide Hacker in Season 1, Episode 5, "Girl in the Flower Dress"
 In Agents of S.H.I.E.L.D., Agent Phil Coulson uses the phrase to describe the ease of infiltrating Cybertek's headquarters in Season 1, Episode 22, "The Beginning of the End".
 In Weeds, Doug uses the phrase to tell Nancy how quickly her money problems will disappear if she sets up a money laundering business front in order to hide her proceeds from dealing drugs in Season 1 Episode 2 "Free Goat".
 In Flaked, Chip uses the phrase to tell Kara how easy it is to lock the door to his store in Season 1 Episode 1 "Westminster".
 In Mr. Robot, Romero uses the phrase to tell Elliot how easy it will be to hack the climate control systems of Steel Mountain with the Raspberry Pi in Season 1 Episode 5 "eps1.4_3xpl0its.wmv".
 In Homestuck, Caliope uses the phrase to explain Godtier to Dirk after which he questions its meaning.
 In Hitchcock's Frenzy the fruit merchant turned necktie murderer, Robert Rusk (Barry Foster), uses the phrase several times while actually referring to himself. "Anytime, don't forget Bob's your uncle" and later again, "I told you, Bob's your uncle". In those contexts, the phrase didn't seem to mean "And voila--there you have it," like in most of this article. Rather, Rusk simply seems to be claiming a paternal—or avuncular—concern for and offering aid to his friend in trouble.
 In 101 Dalmatians, Horace says it when Jasper tells him to grab a torch.
 In Lock, Stock and Two Smoking Barrels, Diamond Dog says, "and Robert's your father's brother, savvy?" after issuing detailed orders on the robbery his gang is about to commit.
 In The Simpsons episode S11E15 "Missionary: Impossible" Homer says, "I'll help with your next charity scam;" Lovejoy: "The word is 'drive';" Homer: "Sure, sure, Bob's your uncle". Also in The Simpsons episode, "A Streetcar Named Marge" from season 4, Bart says "Bob's your uncle, mate!" while Marge, Lisa, and Bart tear back and forth in southern and cockney English accents, respectively.
 In Terry Pratchett's Guards! Guards! the phrase is used as a running gag throughout, usually with characters fail to understand its true meaning, for example: "Surely Bjorn Stronginthearm is my uncle"
 In the animated show "Archer" in the season 2 episode "Double Deuce", Woodhouse's deceased Captain during WWII says, "Bob's your uncle!" when proposing to his crew to start a tontine.
 In The 100 season three episode "Red Sky at Morning" and season four episode "The Chosen", Monty uses the phrase, and in season five episode "Damocles Part 2" Raven says it.
 In Mission: Impossible – Ghost Protocol, while suggesting a plan for the team, Benji uses the phrase.
 In the 1951 movie Scrooge, when Scrooge presents his housekeeper with a guinea as a Christmas present and gives her the day off, she exclaims "Bob's your uncle!" before she leaves.
 In the British situation comedy Waiting for God, the head of the retirement community Harvey Baines explains one of his plans to the relatives of two of the residents, and at the end says "[...] and Robert is your father's brother". When they show they don't understand what he tells them, he adds on, "Bob's your uncle".
 In Supergirl season four episode "Bunker Hill", Kara uses the phrase.
 In the seventh series of the British TV show Doctor Who, the Doctor uses the expression in the ninth episode titled "Hide" following a detailed enumeration of the steps of his rescue plan.
In the TV detective series 77 Sunset Strip, 01/05/1967, Episode 16—"The Down Under Caper"—when Paddy the foreman takes direction from the ranch owner and Spencer's client, Margaret, before leaving on a supply run.
In Ricky Gervais' Netflix series After Life, episode 2, Ricky's character "Tony" tells his father "Bob's your uncle", to which he replies, "Is he?"
In "DC's Legends of Tomorrow" S5:E9 26 min. Charlie/Clotho says "[...] all I'll do is just run over there, put my hand in that hole, grab the ring, Bob's your uncle."
In Monk S8:E7 "Mr. Monk and the Voodoo Curse" Lt. Disher says "Bob's your uncle" after explaining the crime scene. This leads to an argument with Capt. Stodelmyer as to what it means. Disher explains the niece reported the crime and that the victim's name was Robert.
In the 1990 album by Happy Mondays 'Pills 'n' Thrills And Bellyaches' 'Bob's yer Uncle' is the sixth track.
 2019 video game Pokémon Sword and Shield set in the Galar region, loosely based on the United Kingdom, features a restaurant in the city of Circhester named "Bob's Your Uncle".
 2009 NCIS S7:E1 "Truth or Consequences" Tony DiNozzo is talking to Gibbs about his subtle communication with Vance: "Wow, you guys have a whole little thing going on. But I get it. Wink, wink, nudge, nudge. Bob's your uncle. I'm hip. I dig it."
 In Wolf Creek, the main antagonist Mick Taylor, says a variation of this, using the phrase "Bob's your sister" when he's explaining on how he will fix the protagonist's car.
 In the 1999 film Austin Powers: The Spy Who Shagged Me, Austin Powers uses this expression when briefing fellow agent Felicity Shagwell of his plan to escape Dr. Evil's guards.
 In Lucifer S1:E7 "Wingman" Chloe says it right after Lucifer ditches in the middle of a conversation.
 In Mission: Impossible – Dead Reckoning, after summarizing their plan briefly, Benji uses the phrase

See also
 Garnet Wolseley, 1st Viscount Wolseley, inspiration for "everything's all Sir Garnet"

References

Further reading

1920s neologisms
British English idioms
English phrases
Arthur Balfour
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury

Bob's your uncle


Efraín Enrique Recinos Valenzuela (May 15, 1928 – October 2, 2011) was a Guatemalan contemporary architect, muralist, urbanist, painter and sculptor.

Recinos' works adorn the facades and interiors of many of Guatemala's landmark buildings, including the National Library of Guatemala. However, he is best known as the architect of the Centro Cultural Miguel Ángel Asturias, which serves as the county's national theater and largest cultural complex, opened in 1978. Recinos designed the large, white structure set on a hill to resemble a jaguar, using inspiration from more traditional Mayan motifs. The government considers the theater as a National Heritage site.

Additionally, Recinos also painted the murals located in the Guatemalan National Music Conservatory. Other examples of his work can be found inside La Aurora International Airport and the National Mortgage building. The government of Guatemala awarded him the Order of the Quetzal, one of the country's highest honors for his artistic contributions during his career.

Recinos was born in Quetzaltenango, Guatemala, in 1928. He died at the Hospital Hermano Pedro in Guatemala City on October 2, 2011, at the age of 83. He had been treated for an ulcer.

Early life
Efrain Recinos was born into an unusual and humble family in Quetzaltenango. His father was a painter, wood sculptor and enjoyed playing music, especially marimba. He did not send Recinos to school at an early age since he thought other kids would be a bad influence for him. Instead, he taught Recinos how to read and write. Consequentially, and because his family moved constantly, Recino's best friend was his pencil and he started drawing.

At age 5 he started drawing monsters, war, and soldiers. These drawings were likely representations of what Guatemala was going through at that time since the dictator Jorge Ubico was in power. At age 7 he could read and write with ease and started to play marimba, violin, and the mandolin. By age 9 he started learning and painting oil landscapes. Finally, at age 12, his father enrolled him at Escuela Costa Rica de Quetzaltenango where he completed his primary studies. He was then enrolled at the Escuela Nacional de Artes Plásticas "Rafael Rodríguez Padilla", where he studied drawing and sculpture. He was critiqued and often yelled at due to his young age compared to his other classmates.

During his teenage years, between 1946 and 1950, he used to make portraits for the ladies he was attracted to. In this manner, he met Elsa his future wife. He then went to the Instituto Nacional Central para Varones, where he finished his mid-level studies. In 1952 he got accepted to the Universidad de San Carlos de Guatemala Faculty of Engineering since the faculty of architecture did not exist. He finished top of his class in 1953 and graduated in 1956 in Architecture.

Career
Recinos started to make a name for himself with his murals. His early murals were commissions for schools and small buildings. His first big project was the murals for Parque de la Industria, in 1961. The site was a space for conventions, concerts, and other events. In 1966, Recinos got a commission for the new national mortgage loans building (Credito Hipotecario Nacional). The work was carved on the exterior concrete walls in which abstraction and the history of exchange were predominant. The building stands out from the rest in the civic center. The year after, 1967, he got a commission for the national library (Biblioteca Nacional). Recinos decided to make the mural outside rather than inside since he wanted to make a parallel between the quietness from inside the library and the urban noise form outside. The mural portrayed the everyday life of a typical Guatemalan however, some got censored.

After the 1944 Guatemalan Revolution, an ancient Spanish building was destroyed. The building was located on a hill near the center of the city. The site was then used for different events and even as a disco for some years. Beginning in 1962, Recinos started making murals on the outside gardens and created an outside theater. Finally, in 1970, the Guatemalan government demolished the main building and gave Recinos the task to design the Teatro Nacional (national theater) there. Recino's main goal was to create a place that represented all Guatemalans. The building is inspired by ancient Mayan pyramids and Guatemalan volcanos and resembles a sitting jaguar from the side. Recinos also wanted to create a place that was alive and filled with art both inside and outside the building. The site was named Centro Cultural Miguel Ángel Asturias, in honor of Nobel Prize winner Miguel Ángel Asturias. His biggest project was completed in 1978 and is now considered one of the finest pieces of architecture in Latin America.

The murals of the Conservatory Germán Alcántara were created by Recinos. The Acoustic Diffusers as Recinos called them, had a very important purpose and that was to improve the acoustic and give architectonic solidity in the area that no side stages were built and an homage for the Guatemalan artists that performed in this stage, placing in unreal side stages, unreal audiences formed by distinguished artists.

Censored murals
During the 1950-60s, dictatorships, depression, and violence were recurring in Guatemala. Due to many factors, a 30-year civil war erupted costing the lives of more than 300,000 Guatemalans. Many intellectuals and artists expressed their discomfort and anger thorough art, including Recinos. However, a lot of artists fled the country due to censorship by the government. Recinos was one of the few that stayed.

In his paintings, sculptures and public works, he exposed the social issues that were happening. Some examples of his discomfort can be seen in his painting "Estado de Sitio" and his sculpture "Presidenta Cuartelazo". Recinos tried to do a mural at the Biblioteca Nacional (national library), but weeks after he started working the Ministerio de Comunicaciones y Obras Públicas (ministry of communication and public works) allowed him to keep working but censored some content. Later in 1979, he tried to make it again by working in the basement. However, after six months, a minister heard about the project and ordered it to be shut down. Shortly after his work disappeared.

Description of art
Throughout his 30-year career, Recinos kept a unique style in his painting, sculpture and architecture. Recino's style was first inspired by Antonio Gaudi in his sculpture and painting, and Frank Lloyd Wright in his architecture. His style has often been described with one word, integration. Taking elements from many art forms and making them into one, as well as using different materials. In many of his creations, Recinos mixed ancient Mayan glyphs with elements taken from contemporary iconography. Recinos also added his own mystic characters to many of his works, which he saw in his dreams or visions. His most famous and iconic character is "La Guatemalita". The character is stylized with a feminine form, her figure is inspired by the map of Guatemala. It became an artistic symbol and with its distinctive style, little by little it became a representation of the essence of all Guatemalans. In his paintings, a vocation towards the baroque stacked characters and recreations of the national landscape. That same sense of interior and exterior baroque translated into his sculptures, using different materials like lacquer oils, varnishes, iron, concrete, plexiglass, everything the artist founded in hand.

Major works

 Murales del Parque de la Industria, 1961.
 Esculturas de la Fuente del parque de la Industria, 1961.
 Monumento de la Industria, 1961.
 Teatro al Aire Libre, 1962–1967.
 Murales del Crédito Hipotecario Nacional, 1963.
 Murales de la Biblioteca Nacional, 1967.
 Murales interiores y exteriores de la Terminal Aérea, 1968.
 Parques del Centro Cultural, 1967–1970.
 Teatro Nacional, 1970–1978.

References

Guatemalan architects
Guatemalan painters
Guatemalan muralists
1928 births
2011 deaths
People from Quetzaltenango
Order of the Quetzal
20th-century Guatemalan people
20th-century Guatemalan painters
20th-century Guatemalan male artists
20th-century Guatemalan sculptors
20th-century architects
Guatemalan male middle-distance runners
Athletes (track and field) at the 1951 Pan American Games
Pan American Games competitors for Guatemala

Efraín Recinos


Manganese(II) chloride is a chemical compound. It has a chemical formula of MnCl2. It is a light pink crystalline solid. It is used to make manganese carbonate and manganese(II) oxide. It is made by reacting manganese with hydrochloric acid or hydrogen chloride. It is also made when manganese(IV) oxide is reacted with hydrochloric acid; this reaction also produces chlorine.

Related pages
Manganese
Iron(II) oxide
Iron(II) chloride

Chlorine compounds
Manganese compounds

Manganese(II) chloride


The Sutter Buttes massacre refers to the murder of a group of Californian Indians on the Sacramento River near Sutter Buttes in June 1846 by a militarized expeditionary band led by Captain John C. Frémont of Virginia. At least 14 California Indians were killed in the massacre.

History

Background
The expansionist movement of the 1840s motivated many Americans to work to push America's borders out into land claimed by Spain, Mexico, Britain, and Native American tribes. "Manifest Destiny", a term coined by journalist John L. O'Sullivan, captured the idea that the young American nation was destined to rule all of the North American continent.

Democratic Senator Thomas Hart Benton of Missouri was a prominent leader of this movement, into which he enlisted his son-in-law, John C. Frémont. Benton obtained government funding for several expeditions led by Frémont to map and explore the western territory.

In 1845, Captain Frémont was sent by the War Department on an expedition to survey the Great Basin and Alta California, a possession of Mexico. Upon arriving in California, Frémont and his men moved about the northern half of the state for several months, provoking the Mexican authorities and building up patriotic sentiment among Americans who had settled there. They briefly left the state in April 1846 under pressure from Mexican authorities, committing the Sacramento River massacre on their way out of the state and the Klamath Lake massacre after leaving it. A message from the American government implying war with Mexico was imminent led Frémont and his men to return to California in late May.

Incident
On 30 May 1846, the band arrived at the Sutter Buttes and set up camp there, planning to take Sutter Fort and raise the American flag. While encamped, Frémont heard rumors that local Indians were preparing an attack on settlers. He took movements of Indian groups and the upcoming harvest as "signs" that the time for the attack was nearing, and stated in his memoirs that he chose to attack them preemptively.

Frémont admits that his goal was to terrorize the Indians into submission and that he ordered his men to "leave no enemy behind."  In the morning he and his armed men approached a rancheria near the location of modern-day Meridian, California. They attacked without warning and killed several Indians, though others escaped. Those killed were likely Patwin people of the Wintun. Frémont's band then proceeded to other rancherias and attempted to attack them as well, but word had spread and the Indians across the land were already fleeing.

Repercussions
Neither Frémont nor any of his expedition members were charged or punished in any way for the killings. Frémont claimed afterwards that his attack "put an end to the intended attack upon the whites" and that the Indians were kept on "good behavior" by fear of him.

Aftermath
In July 1846, Frémont moved on to Sutter Fort and raised the American flag. By August 1846 American military officers had fully occupied the northern half of the state, and by December all of modern California was under American control. John C. Frémont became Military Governor of California in January 1847, but was forced to give up the position less than two months later under disputed circumstances. In 1850 Frémont became California's first U.S. Senator. Frémont, who had become wealthy off of gold mining claims, wrote a bill limiting gold mining claims to White citizens of the United States.  In 1856 Frémont was nominated as the Republican candidate for President, losing the race to James Buchanan. He later fought as a Union general during the Civil War.

By the time Frémont had arrived in the Sacramento River Valley, wealthy landed settlers were beginning to depend on Indian labor in a sort of feudal system, with the Indians working both as free and as bonded labor. To some degree this saved the local Wintu from immediate annihilation, though the stealing of land, rape, and slave raids were common. By the 1850s, White American animosity at Indian possession of the land had built, and large-scale massacres involving hundreds of Wintu deaths commenced, including the Kabyai Creek massacre, the Old Shasta Town massacre and the Bridge Gulch massacre.

See also
 Sacramento River massacre
 Klamath Lake massacre
 Kern and Sutter massacres
 List of Indian massacres

Footnotes

References

1846 in Alta California
June 1846 events
Massacres in 1846
Native American history of California
Massacres of Native Americans
History of Sutter County, California
Sacramento Valley
Patwin
Wintun
Anti-Indigenous racism in California
California genocide
Massacres committed by the United States

Sutter Buttes massacre


The flag of Montenegro () has a red field with gold border and the coat of arms of Montenegro in its center. It was officially adopted on 13 July 2004, when the then Republic of Montenegro was a constituent of the State Union of Serbia and Montenegro, and its precise specification was standardized on 16 September 2004. The flag was retained after Montenegrin independence from Serbia in 2006, and mandated by Article 4 of the Constitution of Montenegro adopted in 2007.

Description
The flag of Montenegro is red, with the coat of arms in the middle, and golden borders. The ratio of the flag is 1:2. The coat of arms takes up  of the flag's height. The middle point of the coat of arms matches the middle point of the flag. The width of the border is  of the flag's height. Two versions of the Montenegrin flag are in use, horizontal, mostly used outdoor; and vertical, mostly used indoor.

Use of flag
The flag is permanently hoisted on:
 the Parliament of Montenegro;
 buildings which are official premises of the President of the Republic, the Prime Minister, the Chairman of the High Court, the Chairman of the Constitutional Court, the Supreme State Attorney and the Human Rights Ombudsman;
 the residence of the President of Montenegro.

The flag is also hoisted on:
 the statehood day of Montenegro and in days of other state holidays of Montenegro, on buildings in which are seated state bodies and other bodies of government
 buildings of the representations of Montenegro abroad;
 aircraft, ships and other vessels according to special regulations;
 voting sites during elections and referendums;
 mourning days determined by the Government, half-masted.

The flag may also be hoisted during international meetings, political, scientific, cultural, artistic, sporting and other manifestations in which Montenegro is represented, according to the rules of such events.

According to international tradition, when the flag is hoisted together with one or more flags of other states or international organizations on Montenegrin soil, the flag takes the place of honour.
The place of honour is considered the center of a circle, the top of a semicircle, the first place in a row, column or a group of flags, the central position between the flags and the left side as seen from the front from the flags of other states or international organizations.

The flag is hoisted, lowered and carried with the usual honors (standing up, saluting etc.) The flag can not be hoisted so as to touch the ground, nor should be used as a table cloth, curtain or similar.

Historical

The historical war flags were the krstaš-barjak, plain flags with crosses in the center.

The Montenegrin war flag used in the Battle of Vučji Do (1876) was red with a white cross pattée in the center and a white border. This flag was used as the military stag during the Montenegrin-Ottoman wars. The same flag was used in Cetinje in 1878, upon the recognition of independence by the Ottoman Empire at San Stefano.
According to the 1905 constitution, the national flag was a tricolour of red-bluish-white, which were the colours of Montenegrin folk costume.

Flags as the state symbols were introduced only in the time of Petar II Petrović-Njegoš. Before him, the principal Montenegrin flag had been the alaj-barjak (regimental colors) with a single symbol on it – the cross (krst). The first written description of a Montenegrin flag dates from the time of Šćepan Mali: it was white, with a red frame and a golden cross on top of the spear. The next comes from 1838: pale-yellow with the small red cross, and in 1876 the flag was described as red with a white cross. At the time of Prince Danilo, the cross on the alaj-barjak was replaced by the two-headed eagle with the initials DI (Danilo I) on its breast, with the lion passant underneath. Prince/King Nikola used many different flags in his time. The first of the variants was the same as Danilo's, differing only in the initials – NI (Nikola I). Around 1910, two new variants appeared: one tricolor (red, blue and white) with the two-headed eagle bearing the initials NI on its breast and the lion passant on the sinister, the other with the two-headed eagle above the initials NI.

In late 1946 a new flag was adopted for the People's Republic of Montenegro as a constituent republic of the Federal People's Republic of Yugoslavia. The flags of several Yugoslav Republics used their traditional tricolors, with the monarchic coat of arms replaced by the red star of Communism. The replacement left the flags of SR Serbia and SR Montenegro identical.

After the 1991–1992 breakup of SFR Yugoslavia, a noncommunist "rump" Federal Republic of Yugoslavia (also known as Serbia and Montenegro) was formed by the Republic of Serbia and Republic of Montenegro. In 1993 the latter adopted as its flag a horizontal tricolor of red, light blue and white, with the size ratio of 1:3, making it the widest national flag in the world.

Increased Montenegrin nationalism saw FR Yugoslavia replaced in 2003 by the looser State Union of Serbia and Montenegro, which failed to prevent a 2006 Montenegrin independence referendum precipitating the dissolution of the union. During this period, in 2004 the Assembly of the Republic of Montenegro passed the "Law on State Symbols and the Day of the Statehood of Montenegro" including a new, distinctive flag, based on an old royal banner. It was promulgated in the official gazette on 12 July 2004 and came into force the following day, which was proclaimed Statehood Day. The July law gave the government 60 days to produce a comprehensive specification; in fact this was finalized on 16 September 2004 and published the next day. In the interim, some flag manufacturers had interpreted the July law's  "gold border" as a fringe rather than a bordure; the latter interpretation was confirmed by the September specification. On the day of proclaiming independence flag of 2004 became Montenegro's national flag.

The flag is mandated by Article 4 of the Constitution of Montenegro adopted in 2007. The provisions relating to the flag in the 2004 Law on State Symbols were affected by subsequent amendments in 2011 and 2019. An updated flag protocol was published in 2020.

Historical flags of Montenegro

See also
 Montenegro
 List of flags of Montenegro
 Coat of arms of Montenegro
 Armorial of Montenegro

Citations

Sources

External links

Encyclopædia Britannica, Flag of Montenegro
 Official documentation

Montenegro

National symbols of Montenegro
Montenegro
Montenegro

Flag of Montenegro


"New Test Leper" is a song by R.E.M., included on their tenth studio album, New Adventures in Hi-Fi, which was released in 1996. It wasn't released as a single; its only non-album issue was on a 1996 Germany-only-released Warner Bros. Records promotional CD. The song was also included in the greatest hits compilation Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011, released in 2011 soon after the group disbanded. The song was played live throughout the Up tour in 1998 and 1999. In 2003, it was played live for two concerts, was played once in 2005, once in 2007, and one final time in 2008.

Recording
The song was recorded at Bad Animals Studio in Seattle, Washington, in March 1996, four months after R.E.M. completed their 1995 world tour in support of their previous album, Monster. On the track, Bill Berry plays drums and shaker; Peter Buck plays guitar; Mike Mills, bass and organ; and Michael Stipe provides the vocals, which were penned during moments of downtime at the studio.

The following month, on April 19, the band recorded an acoustic version of the song at the same location. That version was released as a B-side to the "Bittersweet Me" single. The video of the performance, directed by Lance Bangs, was used as the video to the album version of the song in the Bonus Videos section on the band's In View DVD, released in 2003.

Songwriting and lyrics
The first line of the song contains the lyrics "I can't say that I love Jesus", attracting some controversy. Peter Buck clarified the matter to Q magazine's Tom Doyle in 1996: "It's written from the perspective of a character that Michael saw on TV on a talk show. But are people going to think Michael's talking about himself not liking Jesus? I don't think that people will take us that seriously. It's not like we're tearing up a picture of the Pope on television." He was referring to Sinéad O'Connor's 1992 Saturday Night Live incident.

"'New Test Leper' is something that we only played at soundcheck, like, twice," Buck explained in another interview, this time to Addicted to Noise'''s Michael Goldberg, also in 1996. "And for some reason, we just forgot about it and never really played it. I don't know why. Michael just happened to luckily enough have it on tape. He says, 'I've got this great stuff for that song and none of us even remember playing it.' So we cut it here in Seattle when we did the record. I think it's probably the most R.E.M.-ish sounding thing on the record. Literally, Michael was watching one of those talk shows and I think the subject was 'People judge me by the way I look' or something. Whereas I, when I have the misfortune to look for two minutes at one of those Oprah, Geraldo things, I just get revolted at everyone concerned: the audience, me. Michael actually looked at it and felt like, 'Gosh, what if someone's actually trying to communicate something to these people and this person who's in this awful, tacky, degrading situation?' So it's written from that perspective. And I think probably having done press conferences in the past and being in those kinds of situations, there might be a little empathy from experience that we've had."

According to Darryl White's R.E.M. Timeline, "New Test Leper" received its first live airing on May 31, 1997, at the Variety Playhouse in Atlanta during the final show of The Magnificent 7 vs. The United States' tour. The "Magnificent 7" was composed of Peter Buck, Mark Eitzel, Justin Harwood, Dan Pearson, Barrett Martin, Scott McCaughey and Skerik Walton, with other people performing occasionally. Buck's R.E.M. bandmates were present, and the guitarist left Eitzel to perform the last encore to go backstage and talk with the trio. Berry, however, had already departed and was on his way home. "Bill phoned me after the show to tell me he'd loved it," explained Buck. "But he had to leave halfway through because he was scared he'd be asked to play. It had taken him two hours to drive there; he stayed for forty minutes, and then drove home so he wouldn't be asked to play one R.E.M. song." The remaining threesome put together a short set and took to the stage.

During R.E.M.'s performance on VH1 Storytellers in 1998, Stipe explained the background of the song he described as his "crowning achievement": how he initially (and, thankfully for him, erroneously) thought he'd stolen the song's "biggest line" - What a sad parade - from his friend Vic Chesnutt; how he wanted to write a follow-up to the only other song he knew that contained the word Jesus in the first line - namely Patti Smith's re-working of Van Morrison's "Gloria" ("Jesus died for somebody's sins but not mine"); how he "wanted to write a song that was in the 6/8 polka kind of thing, but wanted the vocal to be contrapuntal; and how he quoted his favorite movie in the second verse ("I am not an animal," from The Elephant Man, a movie that Stipe says also inspired R.E.M.'s "Carnival of Sorts (Box Cars)", amongst others).

References
Black, Johnny (2004). Reveal: The Story of R.E.M.'' London: Backbeat Books. .

R.E.M. songs
1996 songs
Songs written by Bill Berry
Songs written by Peter Buck
Songs written by Mike Mills
Songs written by Michael Stipe
Song recordings produced by Scott Litt
Song recordings produced by Michael Stipe
Song recordings produced by Mike Mills
Song recordings produced by Bill Berry
Song recordings produced by Peter Buck
Music videos directed by Lance Bangs

New Test Leper


Francisco Herrera (1576–1656) was a distinguished Spanish painter, born in Seville. He was the founder of the Seville school.

Biography
Francisco Herrera was born in Seville in 1576. Francisco Pacheco was his teacher, but Herrera soon broke away from the timid style and Italian traditions of Spanish painting of his day, and became the pioneer of that bold, vigorous, effective, and natural style whose preeminent exponent was Velázquez. Herrera was the first to use long brushes, which may, in part, account for his "modern" technique and dexterous brushwork. Many authorities ascribe to him the foundation of the Spanish School. His great talent brought him many pupils, whom his passionate temper and rough manners soon drove away. Velázquez, when thirteen years old, was placed under this great professor, and remained a year with him. Herrera, who was an accomplished worker in bronze, engraved medals skilfully. This gave rise to the charge of counterfeiting, and he fled for sanctuary to the Jesuit College, for which he painted "The Triumph of St. Hermengild", a picture so impressive that when Philip IV saw it (1621) he immediately pardoned the painter. Herrera thereupon returned to Seville. His ungoverned temper soon drove his son to Rome and his daughter to a nunnery. Herrera's pictures are full of energy, the drawing is good and the colouring so cleverly managed that the figures stand out in splendid relief. Many of his small easel pictures, in oil, represent fairs, dances, interiors of inns, and deal with the intimate life of Spain. His large works are nearly all religious. In Seville he painted a "St. Peter" for the cathedral and a "Last Judgment" for the Church of San Bernardo, the latter being considered his masterpiece. After executing many commissions in his native town he removed to Madrid (1650), where he won great renown. In the archiepiscopal palace are four large canvases, one of which, "Moses Smiting the Rock", is celebrated for its dramatic qualities and daring technique. In the cloister of the Merced Calzada is a noteworthy series of paintings whose subjects are drawn from the life of St. Ramon. He painted much in fresco, in which medium his best effort is believed to have been on the vault of San Bonaventura, but this, with all his other frescoes, has disappeared. None of his architectural productions are mentioned, and there remain but a few of his etchings, all of which were reproductions of his paintings. One of his pictures, "St. Basil dictating his doctrine", is in the Louvre, and another, "St. Matthew", is in the Dresden Gallery. Herrera left two sons, "el Rubio" (the ruddy) who died before he fulfilled the great promise of his youth, and "el Mozo" (the younger). He was also the godfather of the Spanish-born Portuguese painter Josefa de Óbidos.

Works
Herrera's finest paintings include "The Last Judgment" and a "Holy Family," both in churches at Seville. Others are in the Louvre, Paris. They exhibit boldness of execution with faultless technique. He is known as El viejo, "the elder," to distinguish him from his son Francisco Herrera the Younger, also a noted painter. Among his pupils was Ignacio de Iriarte and a young Diego Velázquez. Among his other works are:
San Diego (Saint James) (1637), Madrid, private collection
Bebedor (1626), Worcester Art Museum
Job (1636), 215 x 151 cm., Musée des Beaux-Arts de Rouen.
La Parentela de Jesús, Museum of Fine Arts in Bilbao
San Basilio dictando su doctrina (1639), 243 x 194 cm, Louvre
Milagro del Pan y de los Peces (1647), Archbishop's Palace, Madrid
Ciego tocando la zampoña (1650), Kunsthistorische Museum, Vienna

References

External links

Biographie of Francisco Herrera the Elder at the Web Gallery of Art
Francisco Herrera the Elder on Artcyclopedia
Scholarly articles in English about Francisco de Herrera, the Elder both in web and PDF @ the Spanish Old Masters Gallery

1576 births
1656 deaths
16th-century Spanish painters
Spanish male painters
17th-century Spanish painters
Spanish Baroque painters
Spanish Roman Catholics
Painters from Seville
Catholic painters

Francisco Herrera the Elder


Hell's Angels is a 1930 American pre-Code independent epic war film directed and produced by Howard Hughes and director of dialogue James Whale. Written by Harry Behn and Howard Estabrook and starring Ben Lyon, James Hall and Jean Harlow, it was released through United Artists. It follows two dissimilar brothers, both members of the British Royal Flying Corps during the First World War.

The film was originally shot as a silent film. The Jazz Singer, which ushered in the sound era, premiered several weeks before the start of principal photography for Hell's Angels and left the public clamoring for talking pictures.  A year and a half later, Hughes decided to convert his film to sound. The original female lead, Norwegian-American Greta Nissen, had to be replaced due to her accent. Jean Harlow became a major star as her successor.  The production took three years (1927–1930) and Hughes spared no expense, so that despite being one of the highest-grossing films of the early sound era, it did not recoup its exorbitant $2.8 million cost.

Hughes and pilot Harry Parry designed many of the stunts for the dogfighting scenes. When Paul Mantz, the principal stunt pilot, informed Hughes that a stunt in the final scene was too dangerous, Hughes piloted the aircraft himself, but crashed; he suffered a skull fracture and had to undergo facial surgery as well. Three stunt pilots and a mechanic died in accidents during filming.

Most of the footage is black-and-white, but there are several one-color-tinted scenes for dramatic effect, such as a nighttime gun duel; part-screen full-color for the flames consuming a German Zeppelin; and full-screen full-color for one sequence, which is the only color footage of Harlow's career.

In spite of all the difficulties, it was and is today considered a landmark of early sound and color use, and of the epic action film genre.

Plot

Roy and Monte Rutledge are very different British brothers. Straight-laced Roy loves and idealizes the supposedly demure Helen, but Monte is a womanizer. Their German friend and fellow University of Oxford student Karl is against the idea of having to fight England if another war breaks out.

Meanwhile, in Munich, the oblivious Monte is caught in the arms of a woman by her German officer husband, who insists upon a duel the next morning. Monte flees that night. When Roy is mistaken for his brother, he goes ahead with the duel and is shot in the arm.

Karl is conscripted into the German Navy, and the two British brothers enlist in the Royal Flying Corps. Monte gets a kiss from a girl at the recruiting station.

When Roy finally introduces Monte to Helen, she invites Monte to her flat. Monte tries to rebuff her advances for his brother's sake but gives in. The next morning, however, he is for once ashamed of himself.

Meanwhile, Karl is an officer aboard a Zeppelin airship sent to bomb Trafalgar Square, London. As the bombardier-observer, he is lowered below the clouds in a spy basket. He deliberately guides the Zeppelin over water, where the bombs have no effect. Four RFC fighters are sent to intercept the Zeppelin. Roy pilots one, with Monte as his gunner. To gain altitude and speed more quickly, the airship commander decides to sacrifice Karl by cutting the cable that secures his pod. When that is not enough, he orders everything possible to be jettisoned. He then accepts the advice of another officer; the officer and other crewmen obediently leap to their deaths "for Kaiser and fatherland." German machine gunners shoot down three aircraft; Roy and Monte survive a crash landing. After his machine guns jam or run out of ammunition, the last British pilot aloft dives his fighter into the dirigible, setting it ablaze. The brothers narrowly avoid being killed by the crashing Zeppelin.

Later, Monte is branded a coward in France for shirking his duty when another pilot takes his place and is shot down. Roy and Monte step up when a staff colonel asks for two volunteers for a suicide mission. They are to destroy a vital enemy munitions depot. They will sneak in using a captured German bomber the next morning so that a British brigade will have a chance in their otherwise hopeless afternoon attack.

Roy discovers a drunk Helen in a nightclub with Captain Redfield that night. When he tries to take her home, she turns on him, revealing that she never loved him, that she was, in fact, not the young innocent he believed her to be. Devastated, Roy joins Monte for some carousing. Monte decides not to go on the mission and nearly persuades Roy to do the same, but in the end, Roy drags Monte back to the airfield.

They blow up the German munitions dump but get caught in the act by the Imperial German Flying Corps squadron nicknamed the Flying Circus and led by the legendary "Red Baron" - Manfred von Richthofen. Monte defends the bomber with a machine gun until their squadron arrives, and a dogfight breaks out. Their buddy "Baldy" shoots down the one German still targeting the bomber, but then von Richthofen swoops in and shoots the brothers down. They are captured.

As their use of a German plane violated the laws and customs of war, the brothers have the option of talking or facing a firing squad by none other than Roy's old dueling opponent. Monte decides to reveal all he knows of the attack to save his own life. Unable to change his brother's mind, Roy convinces Monte that he should speak with the German general alone. He offers to tell what he knows on the condition that there is no witness to his treason but demands a pistol to kill Monte so no one will know of his cowardice. The general gives him his gun and one bullet. Roy cannot persuade Monte to do the right thing and has no choice but to shoot his brother in the back. Afterward, Roy is executed. The British attack gets off to a successful start.

Cast
In order of the opening credits

Production

Hell's Angels had been originally conceived as a silent, with James Hall and Ben Lyon as Roy and Monte Rutledge, and Norwegian silent film star Greta Nissen cast as Helen, the female lead, and was to be directed by Marshall Neilan. Principal photography began on October 31, 1927, with interiors shot at the Metropolitan Studio in Hollywood. A few weeks into production, however, Hughes' overbearing production techniques forced Neilan to quit. Hughes first hired Luther Reed, on loan from Paramount but still was in conflict over directing roles before hiring a more pliable director, Edmund Goulding, but took over the directing reins when it came to the frenetic aerial battle scenes.

The advent of the sound motion picture came with the arrival of The Jazz Singer, which premiered several weeks before the start of Hell's Angels principal photography. This left the public clamoring for talking pictures and a year and a half into production, after divorcing his wife, the death of two stunt pilots and a mechanic, going through two directors and 2 million dollars, Hughes incorporated the new technology into the half-finished film, but Greta Nissen became the first casualty of the sound age, due to her pronounced Norwegian accent. He paid her for her work and cooperation, and replaced her, because her accent would make her role as a British aristocrat ludicrous. The role was soon filled with a teenage up-and-coming star found by Hall in a revue, and hired by Hughes himself, Jean Harlow.

When Hughes made the decision to turn Hell's Angels into a talkie, he hired a then-unknown James Whale, who had just arrived in Hollywood following a successful turn directing the play Journey's End in London and on Broadway, to direct the talking sequences; it was Whale's film debut, and arguably prepared him for the later success he would have with the feature version of Journey's End, Waterloo Bridge, and, most famously, the 1931 version of Frankenstein. Unhappy with the script, Whale brought in Joseph Moncure March to re-write it. Hughes later gave March the Luger pistol used in the famous execution scene near the film's ending.

One talking scene, filmed in Multicolor but printed by Technicolor, provides the only color film footage of Jean Harlow. (Multicolor was not prepared to print the number of inserts needed for the wide release Hughes wanted.) The inexperienced actress, just 18 years old at the time she was cast, required a great deal of attention from Whale, who shut down production for three days while he worked Harlow through her scenes.

During principal photography, Hughes, along with pilot Harry Parry, designed many of the aerial stunts for the dogfighting scenes. Pioneering aerial cinematographer Elmer Dyer captured many of the aerial scenes with Paul Mantz flying as the principal stunt pilot, leading the team of actual World War I pilots hired by Hughes. Hughes, himself an accomplished aviator, personally directed the aerial scenes from overhead, using radio control to coordinate the flying maneuvers.

Mantz considered the final scene, in which an aircraft had to make a steep pullout after a strafing mission, too dangerous, and reported that his pilots would not be able to do the maneuver safely. Hughes piloted the aircraft himself, but as Mantz had predicted, he failed to pull out, crashed and was seriously injured with a skull fracture. He spent the next few days recuperating in the hospital, where he underwent facial surgery. Three other aviators and a mechanic were killed during the film's production. Pilot Al Johnson crashed after hitting wires while landing at Caddo Field, near Van Nuys, California, where most of the location filming took place. Pilot C. K. Phillips crashed while delivering an S.E.5 fighter to the Oakland shooting location. Rupert Syme Macalister, an Australian pilot, was also killed, and mechanic Phil Jones died during production after he failed to bail out before the crash of a German Gotha bomber, piloted by Al Wilson, which had been doubled by Igor Sikorsky's Sikorsky S-29-A, his first biplane built after his arrival in the United States. In total, 137 pilots were used in filming the last major flying scene.

Due to the delay while Hughes tinkered with the flying scenes, Whale managed to entirely shoot his film adaptation of Journey's End and release it a month before Hell's Angels was released; the gap between completion of the dialogue scenes and completion of the aerial combat stunts allowed Whale to be paid, sail back to England, and begin work on the subsequent project, making Hell's Angels, Whale's actual (albeit uncredited) cinema debut, but his second film to be released.

With the majority of the film shot and in editing, Hughes realized a similar film, Darryl F. Zanuck's The Dawn Patrol, would become a competitor at the box office. After attempting to lease all available period aircraft to stall his competitor, Hughes brought a lawsuit through the Caddo Company and the Gainsborough Corporation, that alleged that the screenplay of Hell's Angels was plagiarized. The lawsuit resulted in The Dawn Patrol being rushed through post-production in order to be in theaters before Hell's Angels. In late 1930, Warner Bros. and Zanuck won the suit.

The film was widely reported as being one of the most expensive films ever made, by contemporary sources, with a reputed budget of $4 million. However, this is a myth created by Hughes to publicise the film, and the accounts for Hell's Angels reveal that it in fact cost only $2.8 million, considerably less than the $4 million cost of Ben-Hur: A Tale of the Christ, released three years earlier.

Reception
Hell's Angels received its premiere at Grauman's Chinese Theatre in Hollywood on May 27, 1930. All the stars and makers of the film attended, as well as Cecil B. DeMille, Buster Keaton, Gloria Swanson, Dolores del Río, Loretta Young and Grant Withers, Norma Talmadge, Mary Pickford and Douglas Fairbanks, Billie Dove, Joe E. Brown, Joel McCrea, Bebe Daniels, Charles Farrell, Ruth Roland and Ben Bard, Mary Brian, Jackie Coogan, Sally Eilers and Hoot Gibson, Lawrence Tibbett, Sally Blane, Wheeler and Woolsey, Joseph Schildkraut, and Charlie Chaplin with his girlfriend Georgia Hale. A program with leather cover was designed for the premiere by famed aviation illustrator Clayton Knight. Reviews were universal in acclaim for the flying scenes but the mundane plot and maudlin characterizations were also noted. The Hell's Angels screening revealed many traits of pre-code Hollywood. In addition to some fairly frank sexuality, there was a surprising amount of adult language (for the time) during the final dogfight sequence, e.g. "son of a bitch", "goddamn it", and "for Christ's sake", along with the words "ass", "hell", and a few uses of "God" in other scenes.

While Harlow, Lyon and Hall received mixed reviews for their acting, Hughes was praised for his hard work on the filming and aircraft sequences. Morduant Hall, reviewer for The New York Times, was especially critical about Harlow's performance, saying, "his film is absorbing and exciting. But while she is the center of attraction, the picture is a most mediocre piece of work."

Harlow had top billing on the posters but in the film itself, she was billed third under Lyon and Hall.

It earned $2.5 million for its backers at the box office, which made it one of the highest grossing sound films of its era, but still slightly less than its $2.8 million production costs.

Tony Gaudio and Harry Perry were nominated for the Academy Award for Best Cinematography.

Legacy
In 1962, film director Stanley Kubrick cited Hell's Angels as one of his 10 favorite films that influenced his later career.

The 1977 TV film The Amazing Howard Hughes has one passage where Hughes (Tommy Lee Jones) directs the Zeppelin segment over and over in non-stop takes: although he did repeated takes, Hughes, in reality, shot the Zeppelin scenes and left the partially shot footage untouched except for adding sound. According to film experts, he did not do any retakes of the Zeppelin sequence.

Martin Scorsese's The Aviator, a 2004 biopic of Hughes, during the opening act portrays the making of Hell's Angels and later its premiere at Grauman's Chinese Theatre.

The line "Would you be shocked if I put on something more comfortable?", spoken by Jean Harlow, was nominated for the American Film Institute 2005 list AFI's 100 Years...100 Movie Quotes.

Hell's Angels has been re-released on VHS and DVD formats by Universal Studios, which in later years acquired the rights to the film. In its original British release, the censor cut more than 30 minutes from the film.

The involvement of Howard Hughes in Hell's Angels spawned a niche within enthusiasts in entertainment, aviation and militaria collectibles groups. Aviation enthusiasts have referenced the quality and authenticity of World War I aviation in the film.

See also
 Jet Pilot (1957)
 List of early color feature films
 List of films with longest production time

References

Notes

Citations

Bibliography

 Balio, Tino. United Artists: The Company Built by the Stars. Madison, Wisconsin: University of Wisconsin Press, 2009. .
 Barlett, Donald L. and James B. Steele. Empire: The Life, Legend and Madness of Howard Hughes. New York: W.W. Norton & Company, 1979. , republished in 2004 as Howard Hughes: His Life and Madness.
 Baxter, John. Stanley Kubrick. New York: Da Capo Press, 1997. .
 Brown, Peter Harry and Pat H. Broeske. Howard Hughes: The Untold Story. New York: Penguin Books, 1996. .
 Budiansky, Stephen. Air Power. London: Penguin Group, 2004. .
 Curtis, James. James Whale: A New World of Gods and Monsters. Boston: Faber and Faber, 1998. .
 Dolan, Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. .
 Eyman, Scott. The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930. New York: Simon & Schuster, 1997. .
 Farmer, James H. "Howard & Hell's Angels". Air Classics',' Volume 26, Number 12, December 1990.
 Hardwick, Jack and Ed Schnepf. "A Viewer's Guide to Aviation Movies". The Making of the Great Aviation Films, General Aviation Series, Volume 2, 1989.
 Orriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Hawthorne, California: Aero Associates Inc., 1984. .
 Osborne, Robert. 65 Years of the Oscar: The Official History of the Academy Awards London: Abbeville Press, 1994. .
 "Production of 'Hell's Angels' Cost the Lives of Three Aviators." Syracuse Herald'', December 28, 1930, p. 59.
 Robertson, Patrick. Film Facts. New York: Billboard Books, 2001. .

External links

 Hell's Angels − Related details

1930 films
1930s color films
1930 drama films
1930s war drama films
American aviation films
American black-and-white films
American epic films
American war drama films
Films directed by Howard Hughes
Films directed by James Whale
Films partially in color
United Artists films
Western Front (World War I) films
World War I aviation films
Cultural depictions of Manfred von Richthofen
Films with screenplays by Harry Behn
1930s English-language films
1930s American films

Hell's Angels (film)


1478 was a common year.

Events
 February 18 – George, Duke of Clarence, convicted of treason against his older brother Edward IV of England, is privately executed in the Tower of London.
 April 26 – The Pazzi attack Lorenzo de' Medici and kill his brother Giuliano during High Mass in the Florence Cathedral.
 December 28 – Battle of Giornico – Swiss troops defeat the Milanese.
 Lorenzo de' Medici becomes sole ruler of Florence
 Grand Prince Ivan III of Moscow conquers Novgorod
 Vladislav II of Bohemia makes peace with Hungary
 Eskender succeeds his father Baeda Maryam as Emperor of Ethiopia at the age of six.

1478


Samuel Wheeler Morris (August 21, 1918 – December 18, 1995) was a former Democratic member of the Pennsylvania House of Representatives.

Career

Samuel Morris served in World War II and saw action in northern France. He was elected to the Pennsylvania State House as a Democrat in a heavily Republican district and always faced well-funded opponents. He was first elected in 1970, and after losing in 1978, was re-elected every election until 1990. His major issues of concern were preservation of the environment, education, and transportation. He was well-respected by both parties for his knowledge and dedication to the people of his district. Morris founded the French and Pickering Creek Trust in 1967. He lost his bid for re-election in 1990 to Jim Gerlach.

References

Democratic Party members of the Pennsylvania House of Representatives
1995 deaths
1918 births
20th-century American politicians
American military personnel of World War II

Samuel Morris (Pennsylvania politician)


Heungseon Daewongun (; 24 January 1821 – 22 February 1898) was the title of Yi Ha-eung, the regent of Joseon during the minority of Emperor Gojong in the 1860s. Until his death, he was a key political figure of late Joseon Korea. He was also called Daewongun (, sometimes translated as "regent"), Guktaegong, or formally Internal King Heungseon Heonui, and also known to contemporary western diplomats as Prince Gung.

Daewongun literally translates as "prince of the great court", a title customarily granted to the father of the reigning monarch when that father did not reign himself (usually because his son had been adopted as heir of a relative who did reign). While there had been three other Daewonguns during the Joseon dynasty, there was no one as dominant as Yi Ha-Eung in the history of the Joseon dynasty that the term Daewongun usually refers specifically to him.

Grand Internal Prince Heungseon had to solve the difficult problems of a new world historical trend and reconstruction of the impoverished nation at once. The Daewongun is remembered for the wide-ranging reforms he attempted during his regency, as well as for his "vigorous enforcement of the seclusion policy, persecution of Christians, and the killing or driving off of foreigners who landed on Korean soil".

Biography

Early life
The Daewongun was born Yi Ha-eung on 24 January 1821. He was the fourth son of Yi Chae-jung, a member of the royal family who in 1816 was given the name Yi Gu and the title Prince Namyeon. The Daewongun was a 9th generation descendant of King Injo through Grand Prince Inpyeong.

The Daewongun was well-schooled in Confucianism and the Chinese classics. He reputedly excelled in calligraphy and painting. His early government career consisted of minor posts that were mostly honorary and ceremonial. For most of his early life, his connection to the royal house seemed of little help to him. He was poor and humiliated by the rich in-laws of the royal house. Since the Andong Kim clan had a lot of authority and influence over the country, he was barred from obtaining high positions in politics even though he was a member of the royal family, the Jeonju Yi clan. Instead, he drew orchids and sold them to Korean nobilities to earn money.

Rise to power
The Daewongun came to power when his second son, Yi Myeong-bok, was chosen to become king.

In January 1864, King Cheoljong died without an heir. The selection of the next king was in the hands of three dowagers: Queen Sinjeong, mother of King Heonjong; Queen Myeongheon, King Heonjong's wife; and Queen Cheorin, Cheoljong's wife. The "designation right" resided with Dowager Queen Sinjeong, as she was the oldest of the dowagers.

In an apocryphal story, Queen Cheorin sent a minister to fetch the son of Yi Ha-eung, eleven-year-old Yi Myeong-bok, who was flying a kite in a palace garden. The son was brought to the palace in a sedan chair, where Queen Sinjeong rushed forward and called him her son, thus producing the new Joseon king, King Gojong, adopted son of Crown Prince Hyomyeong. This story may or may not have been true.

These facts, however, are known to be correct. On 16 January 1864, Yi Myeong-bok was appointed the Prince of Ikseong by Dowager Queen Sinjeong. The next day, his father was granted the title Daewongun, equivalent to the title of "regent" in Korean, the difference being that the title was only given to the biological father of the young king. On 21 January, Yi Myeong-bok was enthroned as King Gojong, and Dowager Queen Sinjeong began her regency. Yi was apparently chosen because "he was the only suitable surviving male member of the Yi clan and closest by blood to the royal house".

Since Gojong was so young, Queen Sinjeong invited the Daewongun to assist his son in ruling the country. She virtually renounced her right to be regent, and though she remained the titular regent, the Daewongun acted as the de facto ruler of the country, exercising the powers of the regency in the name of the Queen.

Once Gojong became king, there still remained the question of the king's marriage. Gojong's mother Yeoheung decided upon a daughter of the Min clan, Lady Min. The Daewongun remarked that Min "was a woman of great determination and poise" and was slightly disturbed by her. However, he allowed her to marry his son, and unknowingly created his greatest political rival.

Reforms

During his regency, the Daewongun attempted several reforms. His main goal was to "crush the old ruling faction that had virtually usurped the sovereign power of the kings earlier in the century".

When he took power in 1864, the Daewongun was determined to reform the government and strengthen central control. He led an anti-corruption campaign, disciplined the royal clans, and taxed the aristocracy, the yangban. Cumings notes that this was not a revolution but a restoration, as the Daewongun was attempting to return to the days of King Sejong in the fifteenth century.

One of the Daewongun's effective acts as regent was the reconstruction of Gyeongbok Palace. The palace had been built during the reign of the first Joseon king. Much of the building was destroyed in a fire in 1533 and the rest was destroyed during the Japanese invasion of 1592. The rebuilding took seven years and five months. It was perhaps the most costly project during the Joseon dynasty. He also weakened the power of the Andong Kim clan and increased the authority of the ruling family. This act stripped almost all of the Andong Kim clan's power.

The Daewongun's reforms were not very successful, as some scholars say he was "too high-handed and tactless". Furthermore, his policies did not have a long-lasting effect. Once Gojong came of age in 1874, he forced the Daewongun into semi-retirement and undid many of his reforms.

Foreign policy

The Daewongun's foreign policy was rather simple, as Cumings describes it: "no treaties, no trade, no Catholics, no West, and no Japan". He maintained an isolationist policy.

The Isolation Policy was a policy made to isolate Joseon from all foreign forces except for China which he believed to be the strongest. He tried to refuse Russia's quest to open Joseon's ports to them by using France, but France refused to help – causing the 1866 Byeong-in Persecution. He was involved in the General Sherman incident as well. The Isolation Policy became more entrenched in 1868 when German merchant Ernst Oppert attempted to take hostage the bones of the Daewongun's father in order to force him to open Korea to trade; and even further so after the 1871 American attack of Gwanghwado.

The Isolation Policy provided immediate benefits of fortifying Korean patriotism as well as protecting Korean Confucianism. The Heungseon Daewongun was able to protect Joseon from cultural imperialism and westernization and thus protect Korea's heritage from it. However, because he refused to engage in international relations entirely, there was a limited choice of market and slim opportunity for an industrial revolution to occur in Korea. Indeed, the Daewongun wanted to avoid engagement with the West – which would have been inevitable if Western countries were allowed to trade freely – as it would erode government influence. The Joseon Dynasty had a strict social hierarchy: the wealth of the yangban nobility rested on the backs of sangmin farm labourers and tenants; the Daewongun wanted to prevent the collapse of this hierarchy; despite his fame for his fairness and support of civilization, the emancipation of the sangmin would mean the destruction of the yangban, his own social class.

The international relations of Joseon worsened as the Daewongun adopted increasingly desperate and harsher measures in order to repel Westernization. The Daewongun made the choice of protecting the world he knew by trying to shut out foreigners, at the cost of delaying development and modernization, and to keep Korea a hermit kingdom. Many Koreans state that had he chosen to engage with foreign countries as his daughter-in-law Queen Min advocated, the Japanese rule of Korea could have been avoided. However, others state that the ten years of the Isolation Policy was too small a part of the Joseon Dynasty to derive such a statement from.

Retirement
In 1874, King Gojong came of age. His wife, Queen Min, influenced his decision to "assume the full measure of royal responsibility", an action that forced the Daewongun into semi-retirement.

Loss of eldest son 1881
Daewongun's eldest son, Yi Jae-seon (posthumously known as  Prince Imperial Waneun), was with a concubine. Due to an 1881 isolationist conservative plot to overthrow Gojong and install Yi Jae-seon as king but with Daewongun as the effective power behind the throne, this son was executed in October 1881. The plotters were associates of Daewongun but his involvement is not proved.

Return to power

The Daewongun enjoyed a brief return to power during the Imo Incident in 1882. On the second day of the mutiny, a group of rioters were received by the Daewongun, "who reportedly exhorted them to bring down the Min regime and expel the Japanese". King Gojong asked his father, the Daewongun to come to the palace. The Daewongun's appearance, escorted by 200 mutineers, "put an immediate end to the wild melee." Gojong gave the Daewongun "all the small and large matters of the government" and thus the Daewongun resumed his rule. Both Japanese and Chinese forces headed towards Korea to put down the rebellion, and Ma Chien-chung, a Chinese diplomat in Korea, decided that it was time to remove the Daewongun.

The Chinese had three reasons they wanted to remove the Daewongun: First, he attempted to overthrow the pro-Chinese Min faction. Second, "he created a situation which invited the Japanese troops to Korea, thus precipitating the danger of a military conflict between Japan on the one hand and Korea and China on the other." And third, "the Taewongun [Daewongun]-inspired disturbance threatened the foundation of a lawfully constituted government in a dependent nation".

Ma arrested the Daewongun on the charge of disrespect to the emperor for "usurping the power which the emperor had invested in the king of Korea". However, as he was the father of the king, he was dealt with leniently. One hundred Chinese soldiers escorted the Daewongun to a waiting Chinese warship, and from there to Tianjin.

Return to Korea
In the fall of 1885, the Chinese returned the Daewongun to Korea, "despite strong objections from the queen and her followers". After the return, he was unhappy when Empress Myeongseong signed Russia–Korea Treaty of 1884. Daewongun tried to return power again by aiding his grandson Yi Jun-yong, cousin of King Gojong, in an attempt to overthrow King Gojong.

Gabo Reform
In 1894, the Japanese were strengthening their hold over Korea. They needed someone amenable to them to be a leader in Korea during the Gabo Reform. They approached the Daewongun as a potential leader. When he agreed, on 23 July Japanese soldiers liberated him from the house arrest Gojong had placed him under. In exchange for his help, the Daewongun asked for a promise that if the reforms succeeded, "Japan will not demand a single piece of Korean territory". The soldiers took him to the palace, where they approached the king. The Daewongun reproached King Gojong and announced that he would be taking over.

The Japanese became nervous after placing the Daewongun in charge, as he seemed interested "only in grasping power and purging his opponents and did not see the need for a reform policy". By September 1894, the Japanese decided that the Daewongun was not to be trusted. By early October, it became clear that "the plan to use the Taewongun [Daewongun] as a vehicle for the reform program had misfired". A Japanese statesman, Inoue Kaoru, was sent to Korea as the new resident minister, where he told the Daewongun, "You always stand in the way," and forced the Daewongun to promise that he would "abstain from interference in political affairs".

Involvement in Queen Min's Death
In 1895, Japanese officials in Korea were plotting the removal of Gojong's wife, Empress Myeongseong. Miura Gorō, Inoue Kaoru's successor as Japanese advisor to the Korean government, and Sugimura Fukashi, a secretary of the Japanese legation, planned the attempt. The two decided to involve the Daewongun in the plot, and after making inquiries, learned that he was "indignant enough to plan a coup" and would cooperate with them. On 8 October 1895, early in the morning, Japanese policemen escorted the Daewongun to the palace. His involvement from that point on is unclear, but on that morning, Japanese agents assassinated Empress Myeongseong.

Death
The Daewongun died in 1898, just a little over a year after the formation of the Korean Empire.

Family
Father: Yi Gu, Prince Namyeon (22 August 1788 – 19 March 1836) (이구 남연군)
Grandfather: Yi Byeong-won (6 April 1752 – 11 November 1822) (이병원)
Adoptive Grandfather: Yi Jin, Prince Eunsin (11 January 1755 – 29 March 1771) (이진 은신군)
Grandmother: Lady Jeong of the Yeonil Jeong clan (연일 정씨)
Adoptive Grandmother: Lady Hong of the Namyang Hong clan (1755 – 29 March 1821) (남양 홍씨)
Mother: Princess Consort Min of the Yeoheung Min clan (26 June 1788 – 1831) (군부인 여흥민씨)
Grandfather: Min Gyeong-hyeok (1746–1815) (민경혁)
Grandmother: Lady Han of the Cheongju Han clan (청주 한씨)
Consorts and their Respective Issue(s):
Grand Internal Princess Consort Sunmok of the Yeoheung Min clan (3 February 1818 – 8 January 1898) (순목대원비 민씨)
Lady Yi (이씨) (1838 – 1869)
Yi Jae-myeon, Prince Imperial Heungchin (22 August 1845 – 9 September 1912) (이재면 흥친왕)
Emperor Gojong of Korea (8 September 1852 – 21 January 1919) (대한제국 고종)
Lady Yi (이씨) (1861 – 1899)
Gye Seong-wol (계성월)
Yi Jae-seon, Prince Waneun (1 August 1842 – 27 October 1881) (이재선 완은군)
Lady Yi (이씨) (1855 – 1869)
Kisaeng Chuseon (? – 1885) (기녀 추선)
Lady Seo (? – 7 January 1914) (서씨)
Jin Chae-seon (1842 – ?) (진채선)

In popular culture
 Portrayed by Yoo Dong-geun in the 2001–2002 KBS2 TV series Empress Myeongseong.
 Portrayed by Chun Ho-jin in the 2009 film The Sword with No Name.
 Portrayed by Lee Beom-soo in the 2012 MBC TV series, Dr. Jin.
 Portrayed by Kim Nam-gil in the 2015 film The Sound of a Flower.
 Portrayed by Choi Jong-won in the 2018 tvN and Netflix TV series Mr. Sunshine.
 Portrayed by Ji Sung in the 2018 film Fengshui.
 Portrayed by Jun Kwang-ryul in the 2020 TV Chosun TV series Kingmaker: The Change of Destiny.

Notes
1.In chronological order: Seonjo's Father (Deokheung Daewongun), his son (Jeongwon Daewongun; Injo's Father), and Cheoljong's Father (Jeongye Daewongun). Gojong's Father is the fourth and last
2.He is an illegitimate son.

See also
History of Korea
Prince Imperial Waneun
List of monarchs of Korea

Notes and references

Notes

References

Lee, Moon-Su. Korea Donghak Academy Journal Vol.11 No.-(2002). Heungseundaewongun's Political reformation and its Limitation during Late Chosen Dynasty. p. 1–29. Republic of Korea: Hanguk Donghak Academy, 2002.

External links

1821 births
1898 deaths
19th-century Korean people
19th-century regents
Ha-eung
Regents of Korea
Isolationism
Jeonju Yi clan

Heungseon Daewongun


Gottipati Brahmayya (3 December 1889 – 1984) was a freedom fighter, popularly known as Ryotu Pedda (Leader of Farmers). He was awarded the Padma Bhushan in 1982.

Early life
Brahmayya was born in 1889 in a Kamma family in Ghantasala (Divi Taluka of Krishna district) in Andhra Pradesh, India; he was educated at Noble High School, Machilipatnam, he organized the library movement and the adult education movement in 1917. He was also the President of District Congress Committee during 1922-1923. He was the founder of the Khadi Consumers' and Producers' Society at Ghantasala and became President of Krishna Khadi Board during 1923-1929.

Freedom fighter
Brahmayya was one of the pioneers of the Zamindari Ryot Movement. He participated in the boycott of the Simon Commission in 1927. He was sentenced to imprisonment for one year and six months in 1930 for participating in the black flag demonstration against the then Governor's visit to Machilipatnam. He was imprisoned in Rajahmundry, Berhampore and Vellore jails. He again took part in the civil disobedience movement and was sentenced to two years of imprisonment in Rajahmundry, Bellary, Madras and Cuddalore jails. He was responsible for the temple entry of dalits at Ghantasala in 1933. He was General Secretary of Andhra Provincial Congress Committee during 1937-1940. He was again detained for participating in the Quit India movement in 1942 and placed in Vellore and Thanjavur prisons.

Politician in independent India
After independence, Brahmayya became President of Andhra Pradesh Congress Committee in 1962.  He served as Chairman of Andhra Pradesh Legislative Council from 1964 to 1968.  He was conferred with a doctorate "Kalaprapoorna" by Andhra University. Brahmayya 's autobiography Naa Jeevana Nauka was published in the Telugu daily newspaper Andhra Jyothi in the late 1970s.

References

Recipients of the Padma Bhushan in social work
People from Krishna district
1889 births
1984 deaths
Members of the Andhra Pradesh Legislative Council
Indian independence activists from Andhra Pradesh
20th-century Indian politicians

Gottipati Brahmayya


For the Rosario Railroad station to Puerto Belgrano, see Bajo Hondo Train Station.

Bajo Hondo Train Station is a railway station, located in Bajo Hondo town, Coronel Rosales Municipality, in the Province of Buenos Aires, Argentina.

Services
It is a small station of the branch belonging to the General Roca Railway, from the Tandil to the Bahía Blanca station. It does not provide passenger services.

History

The station was founded in 1891 by the British capital company. Although it had been founded as the Buenos Aires Great Southern Railway (BAGS), it was almost immediately called the Ferrocarril del Sud. The Bajo Hondo station was one of the 504 active stations that the company had until its nationalization. During the presidency of General Juan Domingo Perón, that company was renamed General Roca Railroad until today.

The date of inauguration of this station also doubles as the birth date of the Bajo hondo town.

Since the privatizations of the state-owned company Ferrocarriles Argentinos in the 90's, the Bajo hondo train station stopped providing services to passengers.

The station is currently inactive.

The building at the station has a certain degree of deterioration, and is currently used as a private home.

References

Railway stations in South America
Rail transport in Argentina
Buenos Aires Province

Bajo Hondo Train Station (Roca Railway)


Rock Star is a 2001 American musical comedy-drama film directed by Stephen Herek from a script by John Stockwell, and starring Mark Wahlberg and Jennifer Aniston. It tells the story of Chris "Izzy" Cole, a tribute band singer who ascends to the position of lead vocalist in his favorite band.

The script was inspired by the real-life story of Tim "Ripper" Owens, a singer in a Judas Priest tribute band who was chosen to replace singer Rob Halford when he temporarily left the band. After optioning the filming rights to a New York Times profile of Owens by Andrew Revkin, Warner Bros. hired Stockwell to write the script. Brad Pitt was initially signed to play the lead role, but left due to creative differences, and Wahlberg was eventually hired for the part.

Rock Star garnered mixed reviews from critics and was a box office flop, grossing $19 million worldwide against a production budget of $57 million.

Plot
In the mid-1980s, Pittsburgh resident Chris Cole is a fanatical admirer of a heavy metal band called Steel Dragon. By day, Chris is a photocopier technician and by night, he is the lead singer of a Steel Dragon tribute band called Blood Pollution (the name is taken from a Steel Dragon song).

Internal struggles among the actual Steel Dragon band members culminate with the firing of their lead singer, Bobby Beers, and the beginning of recruitment sessions to find a new vocalist. Chris experiences his own strife with his Blood Pollution bandmates, particularly guitarist Rob Malcolm. During a show, Rob plays a guitar solo instead of following the note-for-note accuracy to the original Steel Dragon song and, after Chris sabotages Rob's amplifier mid-song, a fight breaks out between the two onstage. The next day, Chris goes to rehearsal but he finds out that he has been replaced by his arch-rival, the erstwhile lead singer of another Steel Dragon tribute band. Rob and Chris argue, and Rob criticizes Chris for preferring to remain the singer in a tribute band rather than create his own music.

One day, Chris receives an unexpected phone call from Steel Dragon's founder and rhythm guitarist, Kirk Cuddy, and is offered an audition for the band (thanks to two of Blood Pollution's groupies, who showed Kirk a videotape of one of Blood Pollution's concerts). After hanging up on Kirk once, thinking he's being pranked by Rob, Chris ecstatically agrees. At the studio, he meets the band and gives an outstanding performance of "We All Die Young" (a Steel Dragon song in the movie, but it is a real song by Steelheart, whose lead vocalist, Miljenko Matijevic, provides Cole's singing voice for the film). Chris joins the band as their new singer, adopting the stage name "Izzy". Following a successful debut concert with Steel Dragon, Izzy must come to grips with the pressures of his new-found fame and success. The band embarks on a lengthy tour and Izzy experiences the excesses of the lifestyle, with the group's road manager, Mats, serving as a sympathetic mentor to Izzy.

His new lifestyle impacts his life both for better and worse, particularly with his relationship with his supportive girlfriend, Emily Poule, when she decides not to continue with him throughout the remainder of the tour as a rock star girlfriend, though Emily and Izzy agree to get back together when the tour reaches Seattle. Eventually, Steel Dragon stops in Seattle for a show, and Emily arrives at his hotel room as they had previously arranged, although Izzy has become so inebriated while on tour he forgot about the arrangement and does not even know what city he is in. Although taken aback by all the groupies, Emily still tries to reconnect with him, reminding him of their plans to meet up once he got to Seattle; however he is too intoxicated to really understand what she is saying, eventually suggesting they go to Seattle together. Heartbroken with his inconsiderate behavior, intoxication and the fact that he is having sex with so many groupies, Emily leaves him.

Six months later, Izzy reports to the next series of Steel Dragon recording sessions with song concepts and artwork for the band's next album. The rest of the band like his ideas, but they reject them, with Kirk explaining that the band has to stay true to the "Steel Dragon thing" to fulfill fan expectations. Izzy is angered upon realizing that he was only recruited for his vocal abilities. After a heartfelt conversation with Mats about how he feared he had no control over the direction life has taken him, Izzy begins to reconsider his rock star lifestyle. On the next tour, in a scene directly paralleling one near the beginning of the film with their roles reversed, Izzy hears a fan singing along with him toward the end of a live concert. Impressed, Izzy pulls the fan, who introduces himself as Thor, onstage and hands him the microphone to finish the concert.  Backstage, Izzy realizes that what he thought he wanted for so long was not what he wanted, and he says goodbye to Mats, departing from the band while doing so.

After leaving Steel Dragon and ditching his rock star image and stage name, Chris makes his way to Seattle and starts a new band with his old friend and former bandmate, Rob, allowing him to write his own music. Chris finds Emily working in the coffee shop she and her roommate purchased a few years earlier, and he is initially too ashamed to speak to her. While walking one evening, Emily sees a flyer for his band posted on the wall and takes it down. In the final scene, Chris is singing with his band in a bar and Emily walks in. Chris leaves the stage and speaks to her. They reconcile, ending the film with a kiss and the final note of Chris' first original song "Colorful" (which is a real song by The Verve Pipe).

During the credits, Cuddy talks about the future of the band and Bobby Beers is shown to have taken up Irish Dancing after his sacking from Steel Dragon.

Cast
The band members are portrayed by ex-Dokken and current Foreigner bassist Jeff Pilson; Black Label Society founder and Ozzy Osbourne guitarist Zakk Wylde; actor Dominic West; and ex-Foreigner and Black Country Communion drummer Jason Bonham (the son of the late  John Bonham, drummer for Led Zeppelin). Myles Kennedy, who was at the time the lead vocalist of The Mayfield Four and now the front man of Alter Bridge and Slash's solo project, makes a cameo appearance.

The singing voice for Wahlberg's character was provided by Steelheart frontman Miljenko Matijevic for the Steel Dragon Songs, and the final number was sung by Brian Vander Ark of The Verve Pipe. Jeff Scott Soto (of Talisman, Yngwie Malmsteen, Soul SirkUS, and Journey) provided the voice of Jason Flemyng's character Bobby Beers. Ralph Saenz (aka Michael Starr of Steel Panther) also appears briefly, as the singer auditioning ahead of Chris at the studio.

Tribute band Blood Pollution is also made up of known musical artists, including guitarist Nick Catanese (Black Label Society), drummer Blas Elias (Slaughter), and bassist Brian Vander Ark (The Verve Pipe, who also contributed a song to the film's soundtrack). Actor Timothy Olyphant portrays Blood Pollution's guitarist, Rob Malcolm.  Bradley, the singer who replaces Chris in Blood Pollution, is played by Third Eye Blind frontman Stephan Jenkins.

Production
After The New York Times ran a story on Tim "Ripper" Owens in 1997, various Hollywood studios ran to option the filming rights. Warner Bros. won the bid, and hired John Stockwell to write the script. Stockwell soon began researching the heavy metal music and tribute band scene and visited Owens' hometown of Akron, Ohio. Afterwards the project, under the working title Metal God, got the involvement of George Clooney's newly founded Maysville Pictures. Brad Pitt signed to star in 1998, but wound up dropping the project following creative differences with the studio. Eventually Mark Wahlberg, a former rapper with Marky Mark and the Funky Bunch who co-starred with Clooney in Three Kings, was hired for the main role in May 1999. Stephen Herek signed to direct in October, and the following month Jennifer Aniston became attached for the main female role, while Callie Khouri was hired to revise the script. Judas Priest were initially approached, but the band had some objections to the initial script and were phased out as it was rewritten into a more original story loosely based on the facts, in spite of the band still offering to give advice and assistance to the production.

Wahlberg spent five months preparing for his role as Chris Cole, working with a vocal coach, growing his hair, attending the metal scene and wandering around Los Angeles in-character. A concert scene was shot at the Los Angeles Memorial Sports Arena before 10,000 Metallica and Megadeth fans.
While filming one Steel Dragon performance, the crew pranked Wahlberg by playing Marky Mark's "Good Vibrations" instead of a rock track, and footage of this is featured during the film's end credits. By 2001, Warner renamed the project from Metal God to Rock Star in order to attract a broader rock fandom instead of just metal fans.

Reception
The film opened at  at the U.S. box office taking US$6,018,636 in its opening weekend, and grossing a domestic total of $17,008,282 and $2,325,863 internationally for a worldwide gross of $19,334,145; based on a $57 million budget, Rock Star was a box office bomb.

On Rotten Tomatoes, the film has an approval rating of  based on  reviews, with an average score of . The website's consensus states: "Like its title, Rock Star is rather generic, being not so much about the heavy metal scene than about rock cliches and formula". On Metacritic, the film has a score of 54 out of 100 based on 32 reviews, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "B−" on scale of A to F.

Roger Ebert of the Chicago Sun-Times gave it 2.5 out of 4 stars and wrote: "By the end of the film I conceded, yes, there are good performances and the period is well captured, but the movie didn't convince me of the feel and the flavor of its experiences."

Tim "Ripper" Owens, the inspiration for the story, noted to Rolling Stone that while he considered Rock Star "a Spinal Tap kind of movie" that distanced from the real facts to feature "all the cliches of sex, drugs, and rock and roll", he found the portrayal of the band members as accurate and was still flattered to become the basis for a movie. When Judas Priest bassist Ian Hill was asked about his reaction to Rock Star in an interview in PopMatters magazine, he said "I mean, I quite enjoyed the movie.  It was entertaining, you know?" Hill was quoted as saying "It had nothing to do with Rob Halford, Ripper Owens and Judas Priest, it's got nothing to do with that, whatsoever. It was fiction. Apart from the fact that 'Local Boy Makes Good'? That was the only true aspect of the movie." Hill was quick to add "I watched it once. I don't have the urge to watch it again."

Soundtrack

A small number of the songs featured in the film and on the soundtrack were released after the dates given in the film. They are marked with an asterisk.

Partial list of songs that were featured in the movie but did not appear on the soundtrack CD:
 AC/DC – "Are You Ready"*
 Culture Club – "Karma Chameleon"
 Def Leppard – "Let's Get Rocked"*
 Def Leppard – "Rock! Rock! (Till You Drop)"
 Foghat – "Chateau Lafitte '59 Boogie"
 Frankie Goes to Hollywood – "Relax"
 Marky Mark and the Funky Bunch – "Good Vibrations"
 Ralph Saenz, Peter Beckett, and Steve Plunkett – "California Girls" (The Beach Boys cover)
 Talking Heads – "Once in a Lifetime"
 Steel Dragon – "Reckless" (Phoenix Down cover)
 Jennifer Aniston - Believe in Me
 Trevor Rabin - Batman Theme
 Steel Dragon - Crown of Falsehood (written by Zakk Wylde)
 Pat King & Brian Grant - Sheedy's

Year-end charts

Home media
The film was released on DVD and VHS on January 22, 2002 by Warner Home Video.

References

External links

2001 films
2001 comedy films
2001 drama films
2000s American films
2000s English-language films
2000s musical comedy-drama films
American musical comedy-drama films
American rock music films
Films about musical groups
Films directed by Stephen Herek
Films scored by Trevor Rabin
Films set in the 1980s
Films set in Pittsburgh
Films shot in Los Angeles
Heavy metal films
Warner Bros. films

Rock Star (2001 film)


Rufus Barker Bausell, Jr. (born 1942) is an American biostatistician and retired professor at the University of Maryland, Baltimore, where, from approximately 1999 to 2004, he was the director of their center for studying complementary and alternative medicine. He was also the co-founder of the academic journal Evaluation & the Health Professions, and served as its editor-in-chief for more than three decades. An expert on research methods, he is known for criticizing alternative medicine, saying that alternative medical treatments are little to no more effective than placebos. He is the author of the book Snake Oil Science: The Truth About Complementary and Alternative Medicine, published in 2007 by Oxford University Press. He has also written a book about teaching in the United States and how he feels it could be improved, entitled Too Simple to Fail.

References

Living people
Critics of alternative medicine
University of Maryland, Baltimore faculty
Biostatisticians
1942 births
American statisticians
Place of birth missing (living people)
Academic journal editors

R. Barker Bausell