Thomas Dunham Whitaker (1759–1821) was an English clergyman and topographer.

Life
Born at Raynham, Norfolk, on 8 June 1759, he was the son of William Whitaker (1730–1782), curate of Raynham, Norfolk, and his wife Lucy, daughter of Robert Dunham, and widow of Ambrose Allen. In 1760 his father moved to his ancestral house at Holme, in the township of Cliviger, Lancashire, and the boy was in November 1766 placed under the care of the Rev. John Shaw of Rochdale. In November 1774, after spending a short time with the Rev. William Sheepshanks of Grassington in Craven, he was admitted to St John's College, Cambridge, and went into residence in October 1775. He took the degree of LL.B. in November 1781. His intention to enter the legal profession changed on the death of his father in the following year, when he settled at Holme.

He was ordained in 1785, but remained without pastoral charge until 1797, when he was licensed to the perpetual curacy of Holme Chapel, where he had rebuilt the chapel at his own cost in 1788. He completed his degree of LL.D. in 1801. In 1809 he became vicar of the extensive parish of Whalley, Lancashire. The rectory of Heysham, near Lancaster, was presented to him in January 1813. He resigned it in 1819. On 7 November 1818 he became vicar of Blackburn, a benefice he retained, together with Whalley, until his death.

When settled at Holme he instituted a local literary club. He had influence with the people of his parishes, and on several occasions exerted it to quell disturbances, particularly at Blackburn in 1817. For his 'patriotic services' he was presented with a public testimonial in April 1821. He was also very interested in topography and forestry, writing books on the subjects. In 1818 he was elected a Fellow of the Royal Society as "a Gentleman well versed in various Branches of Natural Knowledge being desirous of becoming a Fellow of the Royal Society"

He died at Blackburn vicarage on 18 December 1821, and was interred at Holme. He married, 13 January 1783, Lucy, daughter of Thomas Thoresby of Leeds, and left several children, of whom one, Robert Nowell Whitaker, also became vicar of Whalley. A monument raised by public subscription was placed in the Church of St Mary and All Saints, Whalley in 1842. His library was sold at Sotheby's in 1823, and his coins and antiquities, with the exception of his Roman altars and inscriptions, which he bequeathed to St John's College, Cambridge, were dispersed in 1824.

Works
His published works were:
 History of the Original Parish of Whalley and Honour of Clitheroe, in the Counties of Lancaster and York, 1801; 2nd edition 1806, 3rd edition 1818; 4th edition (enlarged by John Gough Nichols and Ponsonby A. Lyons), 1872-6, 2 volumes This work used manuscripts of Thomas Lister Parker.
 History and Antiquities of the Deanery of Craven, 1805,  2nd edition 1812; 3rd edition (by Alfred William Morant) 1878.
 De Motu per Britanniam Civico annis 1745 et 1746, 1809, an account in Latin based on John Home's 'History of the Rebellion of 1745.'
 Life and Original Correspondence of Sir George Radcliffe, Knt., LL.D., the Friend of the Earl of Strafford, 1810. Concerns George Radcliffe.
 The Sermons of Dr. Edwin Sandys, formerly Archbishop of York, with a Life of the Author, 1812.
 Visio Will'i de Petro Plouhman ... or the Vision of William concerning Piers Plouhman, 1813.
 Pierce the Ploughman's Crede, edited from the edition of 1553, 1814.
 Loidis and Elmete, or an Attempt to illustrate . . . the Lower Portions of Airedale and Wharfdale, 1816.  An appendix was published in 1821.
 The History of Richmondshire, in the North Riding of Yorkshire, 1823, in  2 volumes. It has thirty-two plates, after J. M. W. Turner.

Whitaker re-edited Ralph Thoresby's Ducatus Leodiensis (2nd edition, with notes and additions, 1816). He also planned, but did not finish, several other works. He published ten occasional sermons and a political speech, and wrote dozens of articles for the Quarterly Review between 1809 and 1818.

References

Turner and Dr. Whitaker Towneley Hall Art Gallery & Museums, Burnley, 1982.

Notes

Attribution

1759 births
1821 deaths
People from Raynham, Norfolk
Alumni of St John's College, Cambridge
18th-century English Anglican priests
19th-century English Anglican priests
English antiquarians
Fellows of the Royal Society
Historians of Yorkshire

Thomas Dunham Whitaker


Chapel of San Ramon (also called the Benjamin Foxen Memorial Chapel and the Sisquoc Chapel
) is a chapel and cemetery located in Santa Maria, California in the United States. It is listed on the California Historical Landmarks list and is also the first historic landmark listed by the county of Santa Barbara. It is considered a quality example of "the transition between the architecture of the old missions and the frame churches of the American settlers." It was also one of the first Catholic churches in the Santa Maria Valley.

History

Frederick and Ramona Foxen Wickenden purchased the property where the chapel sits from the federal government in 1872. The couple donated land for the chapel and a cemetery. Frederick Wickenden sold 5,000 sheep to buy redwood for the chapel's construction; Wickenden, his brother-in-law Thomas Foxen, and Chris Clausen built it in 1875. In 1876, the first burial was made in the cemetery, that of Benjamin Foxen, father of Ramona Wickenden and Thomas Foxen. In 1879, the chapel was dedicated by Francisco Mora y Borrell in behalf of Saint Ramon. In 1908, the chapel joined the Parish of Saint Mary. Regular services were canceled that year, and the church was used only for special occasions. In 1936, the chapel received a new roof and paint. R.E. Easton rededicated the building.

In 1950, the Native Daughters of the Golden West declared the chapel as their own historic landmark and called it "Benjamin Foxen Memorial Chapel." In 1958-59, the chapel was renovated by Winston Wickenden. He replaced the original foundation, made of wood, with concrete. In 1966, it became the first historic landmark listed by the county of Santa Barbara.

Contemporary times

The chapel began to suffer from frequent vandalism and also had structural problems. In 1972, the San Ramon Preservation group was formed to help protect the property from additional vandalism. In January, 1975, the chapel was named to the California Historical Landmarks list. A dedication ceremony was held in August and mass was held by Father Bertin Foxen, great-grandson of Benjamin Foxen. In December of that year, a gate was installed at the entrance to the grounds and was dedicated as the John W. Woolsey Memorial Gate. The San Ramon Chapel Preservation Committee (SRCPC), the organizing body that maintains the property and building, became a non-profit in 1976. Mass began again weekly in November. In 1978, the chapel received a new roof and glass windows.

A new foundation was installed in 1983 and additional renovations took place, totaling $12,154. In 1985, the first electric heater was installed in the chapel. Stations of the Cross were installed on site by Drew Crosby in 1986. The next year, SRCPC offered to turn the property over to the Roman Catholic Archdiocese of Los Angeles. They declined the offer and SRCPC continued to maintain the property. The first water well was installed in 1988. As of 1999, renovations to the chapel continued.

See also
 History of Santa Barbara, California
California Historical Landmarks in Santa Barbara County, California

References

Santa Maria, California
Roman Catholic chapels in the United States
California Historical Landmarks
Churches in Santa Barbara County, California
Roman Catholic churches completed in 1875
1875 establishments in California
19th-century Roman Catholic church buildings in the United States

Chapel of San Ramon


Sir Otto Ernst Niemeyer  (23 November 1883 – 6 February 1971) was a British banker and civil servant. He served as a director of the Bank of England from 1938 to 1952 and a director of the Bank for International Settlements from 1931 to 1965.

An Oxford graduate, Niemeyer began working for HM Treasury in 1906 and rose rapidly through the ranks, finishing his time there as controller of finance (1922–1927). He was recruited to the Bank of England by Montagu Norman, and represented the bank at the League of Nations and on a number of missions overseas. His visit to Australia in 1930 contributed to a political crisis that resulted in the Australian Labor Party split of 1931 and the collapse of James Scullin's government.

Personal life
Niemeyer was born in Streatham, London, the eldest of three children born to Ethel (née Rayner) and Ernst August Wilhelm Niemeyer. His mother was English. His father, originally from Hanover, Germany, arrived in Britain in 1870 and became a naturalised subject. Niemeyer attended St Paul's School, London before going on to Balliol College, Oxford. He married a distant cousin, Sophie Niemeyer, in 1910, and they had four children together. He retired to Lindfield, Sussex, dying there in 1971 at the age of 87.

Career

Treasury
Niemeyer joined HM Treasury in 1906. He rose rapidly through the ranks, becoming deputy controller of finance in 1920 and controller of finance in 1922, succeeding Basil Blackett. He held that position until 1927, serving as the chief adviser to the Chancellor of the Exchequer on financial matters. He took Blackett's place on the financial committee of the League of Nations. According to Frederick Leith-Ross, Niemeyer was "the outstanding Treasury official of the post-war years". His advice was instrumental in the introduction of the British Gold Standard Act 1925, which saw the country return to the gold standard. He left the Treasury at the age of 44, feeling he could advance no further within the department.

Bank of England
Niemeyer was recruited to the Bank of England in 1927 by Montagu Norman, as an adviser to the governor. He represented the bank on the financial committee of the League of Nations until 1937 and on the Corporation of Foreign Bondholders from 1935 to 1965, including as vice-president from 1950 to 1955 and president from 1955 to 1965. In November 1938 had, after discussions with the President of the German Reichsbank, Hjalmar Schacht, Niemeyer put forward a proposal linking Jewish emigration from Germany which would enable Jews to transfer their government bonds to foreign countries. Niemeyer was elected an executive director of the bank in 1938, alongside Cameron Cobbold, and was briefly mooted as successor to Norman in 1944; his candidacy was vetoed by Winston Churchill. He often filled a sort of diplomatic role for the bank, touring a number of different countries in order to provide advice to foreign governments and check up on the bank's debtors. In this capacity he toured Australia and New Zealand (1930), Brazil (1931), Argentina (1933), India (1936), and China (1941).

Advice to Australia

Australia had accrued substantial debt, mainly from Britain's independent banking sector, by the late 1920s – partly as a result of Prime Minister Stanley Bruce's
"Men, Money, Markets" economic strategy, and partly because of the large war debt established during World War I. After the Wall Street Crash, the United States called in many of its World War I loans, including many from the UK, which, in turn called in its own loans from Australia. Australia had accumulated such massive debt that it was unable to repay even the interest on its loans. To avert total bankruptcy with the onset of the Australia's Great Depression, Australia asked Britain for a deferment of payment on its war debts. To determine whether or not this was a viable financial option, the Bank of England sent Niemeyer to give an assessment of Australia and its financial situation. He came by arrangement with the Commonwealth Bank of Australia and agreement by Prime Minister James Scullin, who hoped to use Niemeyer's advice as an affirmation of his government's financial policy.

Scullin announced the visit in Parliament on 19 June 1930:"The Commonwealth representative in London has for some time been in close consultation with the Bank of England and other financial authorities with a view to finding a solution of the growing difficulties of providing exchange to cover Australian payments oversea. At the same time the Australian Loan Council has been in close consultation on the same subject with the Commonwealth Bank and the associated banks in Australia. The Government and the banks have already taken important corrective measures for adjusting the trade balance, and the banks have materially assisted the Australian governments to secure exchange on London. The Commonwealth Government is determined that the necessary steps shall be taken to meet promptly all Australian oversea obligations, and as the Bank of England has expressed its willingness to assist Australia to find a solution of its present difficulties the Government and the Bank have mutually agreed that there should be consultation in Australia between a representative of the Bank of England, the Commonwealth Government and the Commonwealth Bank Board. A representative of the Bank of England, Sir Otto Niemeyer, will accordingly visit Australia. He left London yesterday accompanied by an economist and an officer of the Bank of England."

Economic historian Alex Millmow has commented that, when Niemeyer, his adviser Professor Theodore Gregory, and assistant Raymond Kershaw (an Australian economist) arrived in July 1930 they were unaware of the political storm they were to cause, for Niemeyer would bring English orthodox economics down on Australia's head. The high point of Niemeyer's tour was his address at the Melbourne Conference of Commonwealth and State leaders, where he said that the 'cold facts must be faced' ... 'In short, Australia is off budget equilibrium, off exchange equilibrium, and faced by considerable unfunded and maturing debts both internally and externally, in addition to which she has on her hands a very large program of loan works for which no financial provision has been made'. He warned Australia had two years 'to get its house in order' before a tranche of external debt matured in 1932. He believed Australians were too optimistic about the country's prospects.

He was critical of Australia's overconfidence and essentially said that Australia was "living beyond its means" and had become prosperous through "mistakes"; that Australians would have to "accept a lower standard of living"; that Australia should continue to exist only as a means to supply Britain with goods; and that its protectionist attitude was deviating Australia from its true purpose.

The federal and state heads of government gave mixed responses to Niemeyer's plan. The governments of Australia later met to negotiate a compromise in 1931, known as the Premiers' Plan. Populists like Jack Lang and former prime minister Billy Hughes decried Niemeyer's diagnosis and therapy. Anti-English and anti-German sentiment were both at play in the general public rejection of Niemeyer's advice, as well as anti-Semitism (it being wrongly assumed that he was Jewish). He was seen as promoting the interests of wealthy overseas bankers at the expense of the Australian people, who were struggling to cope with the Great Depression.

Other activities and honours
Outside the Bank of England, Niemeyer was a director of the Bank of International Settlements from 1931 to 1965, at the same time as Walther Funk (1938-1939), serving as chairman from 1937 to 1940 and vice-chairman from 1940 to 1946. He helped set up the National Association for Mental Health, serving as provisional chairman from 1943 to 1946. He was a governor of St Paul's School, Marlborough College, and the London School of Economics, serving as chairman of LSE from 1941 to 1957. Niemeyer was appointed Companion of the Order of the Bath (CB) in 1921, Knight Commander of the Order of the Bath (KCB) in 1924, and Knight Grand Cross of the Order of the British Empire (GBE) in 1927.

References

Further reading
 Attard, Bernard. The Bank of England and the origins of the Niemeyer mission, 1921–30, University of London, London, 1989.
 Hughes, W. M. Sir Otto Niemeyer's Report: Bond or Free – Reply by W.M.Hughes, William Homer: Sydney, 1930.
 Macintyre, Stuart. The Oxford History of Australia – Volume 4 1901–1942 – The Succeeding Age, Oxford University Press, Melbourne, 1986
 Millmow, Alex. Niemeyer, Scullin and the Australian Economists, Australian Economic History Review, vol 44 no 2, July 2004.
 Robertson, J. R. Scullin as prime minister: seven critical decisions, Labour History, no. 17, June 1970.

External links

British bankers
1883 births
1971 deaths
Civil servants in HM Treasury
People associated with the Bank of England
Knights Commander of the Order of the Bath
Knights Grand Cross of the Order of the British Empire
High Sheriffs of the County of London
English people of German descent
People from Streatham
People educated at St Paul's School, London
Alumni of Balliol College, Oxford
People from Lindfield, West Sussex
20th-century English businesspeople

Otto Niemeyer


Joseph-Armand Bombardier (April 16, 1907 – February 18, 1964) was a Canadian inventor famous for inventing the snowmobile.  In 2000, Joseph-Armand Bombardier was honored by the government of Canada with his image on a postage stamp.

Childhood
Joseph-Armand was born in 1907 in Valcourt, Quebec. As a child he loved to take things apart and put them back together. He was very good at building mechanical things.  He built his first moving toy at the age of 13. His father had to hide the family car from him because he liked to take apart and re-build the motor. To keep him away from the family car, his father gave him an old car that didn't work.  Joseph-Armand fixed the motor, and put it on old sleds and created the first snow vehicle.

When he was 17 years old he convinced his father to let him quit college and become a mechanic. He continued to study mechanics and electrical engineering at night school.

Inventions
His first patent was for a sprocket wheel and track system in 1937, this system would help him to make the first snowmobile the B7.  These first snowmobiles were used by doctors, veterinarians, innkeepers and funeral directors to get around in the winter. Bombardier went on to design bigger snowmobiles that would carry up to 12 people.

During the War, he made snowmobiles and armoured tracked vehicles for the Canadian Government.

 Because of this, his company began to grow. In the 1970s, it began making airplanes and trains and became the large multi-national corporation now called Bombardier Inc.

He is a member of the Canadian Science and Engineering Hall of Fame.

Further reading

Related pages
 Bombardier Recreational Products
 Snowmobile

References

Other websites
  J. Armand Bombardier Museum
 Joseph-Armand Bombardier  at The Canadian Encyclopedia
 CBC's Bombardier: The Snowmobile Legacy
 Heritage Minute about Joseph-Armand Bombardier

1907 births
1964 deaths
Canadian inventors
People from Quebec

Joseph-Armand Bombardier


"That Green Gentleman (Things Have Changed)" (often shortened to "That Green Gentleman") is a single by American rock band Panic! at the Disco, from their second studio album Pretty. Odd. The song was the second song written by the band after they decided to scrap an album's worth of material, but was not played with "When the Day Met the Night" and "Nine in the Afternoon" at the various festivals Panic performed at during the summer of 2007.

The title of the album was already decided before the line, "Things are shaping up to be pretty odd" was written.

The song was performed (as well as "She's a Handsome Woman", and "Mad as Rabbits") on every date of the European tour prior to the album's release.

This single was also performed during the June 12, 2008, episode of FNMTV, hosted by Fall Out Boy's Pete Wentz.

Music video
On February 10, 2008, MTV released an interview with Panic announcing "That Green Gentleman (Things Have Changed)" as the third single from Pretty. Odd. They also stated that the music video will include the band at different stages in their lives.

The video was recorded as part of a deal with Nokia, a deal comparable to that of Fall Out Boy's "Thnks fr th Mmrs" video, The Academy Is...' "We've Got a Big Mess on Our Hands" and Paramore's "That's What You Get". The video premiered exclusively on Nokiausa.com on May 2.

There are two scenes where a Nokia product is shown. In one the members of Panic at the Disco are seen jumping on a Nokia 5610 XpressMusic phone, and the other is of someone in a crowd using the Nokia 5310 XpressMusic phone to take a picture.

The video, directed by Alan Ferguson, begins with a child version of band member Ryan Ross (Cameron Boyce) opening matryoshka dolls. When he opens the last doll, the members of the band come out and jump off the desk. They then land in a field and find various musical instruments. After playing them for a while, they suddenly open up (in the style of matryoshka dolls) themselves and child versions of themselves come out.

The child versions of the band start running in the hills, while older versions ride penny-farthings and sing in a row boat. The child versions of the band start rolling down a hill in a life-sized matryoshka doll and then opening once more to be elderly versions of the band, who, according to the director of the video, are "the old '06 Panic!". The versions in the rowboat, he said, would be considered "the new Pretty. Odd. Panic". The video ends with the band members rowing the boat into the sunset, along with a zoom-out scene of the matryoshka dolls.

Track listing

UK 3" CD single
"That Green Gentleman (Things Have Changed)"

UK Digipak CD single
"That Green Gentleman (Things Have Changed)"
"She Had the World" (Alternate version)

US 7" single
"That Green Gentleman (Things Have Changed)"
"When the Day Met the Night"

US promotional single
"That Green Gentleman (Things Have Changed)" (album version) – 3:15

UK promotional single
"That Green Gentleman (Things Have Changed)" (album version) – 3:15

Charts

References

External links
Official Panic at the Disco official website

2008 singles
Panic! at the Disco songs
Songs written by Ryan Ross
Songs written by Jon Walker
Songs written by Brendon Urie
2007 songs
Fueled by Ramen singles
Song recordings produced by Rob Mathes
Songs written by Spencer Smith (musician)
Music videos directed by Alan Ferguson (director)


Ulf Aas (14 September 1919 – 16 December 2011) was a Norwegian illustrator. He worked for the newspaper Aftenposten from 1948 (full-time from 1977). He has contributed with illustrations to more than 200 books. He was decorated Knight, First Class of the Royal Norwegian Order of St. Olav in 1999.

References

1919 births
2011 deaths
Artists from Oslo
Norwegian illustrators
Order of Saint Olav

Ulf Aas


Harry Rabinger (1895–1966) was a Luxembourg artist who is remembered for his portraits and Expressionist landscape paintings, especially those of the industrial area in the south of the country.

Biography

Born in the Pfaffenthal district of Luxembourg City on 25 February 1895, Rabinger started his art studies in Paris but was forced to go to Munich when war broke out in 1914. He completed his education by travelling widely, in particular to Hungary, Austria, Czechoslovakia and the Netherlands. It was in 1919 that he came into contact with the south of Luxembourg as an art teacher at the Ecole Industrielle et Commerciale and at the Lycée des Jeunes Filles in Esch-sur-Alzette. At the time, industry was expanding rapidly in the area, providing him with vivid scenes of mines, factories, railways and buildings caked in rusty red coatings.

Although he first became a member of the Cercle artistique de Luxembourg, he joined Joseph Kutter, Nico Klopp and others as a co-founder of the Luxembourg secession movement which succeeded in promoting modern art. After exhibiting his work both in Luxembourg and Brussels, he was charged by the State to paint his monumental work "Terres Rouges" (Red Lands) for the Luxembourg pavilion at the 1937 World Exhibition in Paris. In 1939, together with Jean Schaak, he exhibited large decorative panels at the New York fair where he won an award for his "Ville de Luxembourg". After the war, he went through a difficult period, limiting himself to teaching. He died on 7 September 1966 at his home in Limpertsberg.

Style

Rabinger's work varies from brightly coloured still lifes to startlingly realistic nudes and portraits, including his famous women with boyish hairdos. Above all, he is remembered for his landscapes of the wilds of Normandy and Brittany with rocks, cliffs and rugged coastlines. But he also painted the quieter villages and valleys of the Moselle and the Alzette and the mountains up in the Oesling. As a young artist, he was first influenced by Impressionism but soon developed an Expressionist somewhat Fauvist style with intense colouring and strong contrasts.

References

People from Luxembourg City
1895 births
1966 deaths
20th-century Luxembourgian painters
20th-century male artists
Male painters

Harry Rabinger


, also known as John Manjiro or John Mung, was a Japanese sailor, educator, and interpreter.

Early life
Manjiro was born in the Naka-no-hama in Tosa Province (now Tosashimizu in Kōchi Prefecture). He was the second son of a poor fisherman.  He worked when he was young because his father died and his mother and older brother were sick. Because of this, he did not learn how to read and write very well.

Life in the United States

In 1841, when he was 1 years old , the fishing boat he worked on ran into a storm and was turned over. He and the people with him were on the ocean for five days. They landed on an island in the middle of the Pacific Ocean where no people lived.  They spent 143 days on that island.  An American ship passed by the island and John Manjiro and the others were saved.

At this time, Japan was a closed country. The American ship or any non-Japanese ship could not enter Japan.  Also, any Japanese who left Japan were killed by the Japanese government if they returned to Japan.  Most of the people saved from the island were taken to Hawaii.  The captain of the ship liked John Manjiro and took Manjiro with him.  Manjiro saw a map of the world for the first time and saw how small Japan was in the world.  Manjiro was named "John Mung" by the captain.  He was adopted by the captain of the ship and lived with the captain's family in the United States.

Manjiro learned English, math, measurement, navigation, and shipbuilding at school.  He spent all of his time to studying to be a captain.  He learned new ideas from the Western world. For example, democracy and equality between men and women.

Return to Japan
Manjiro returned to Hawaii and bought a boat.  He and his friends from the fishing boat started to sail back to Japan in December of 1850.  Japan was still a closed country. Because of this, he was investigated by the Shogunate (the rulers of Japan) for a long time.

IN 1851, Manjiro return to his village in Japan.

Around this time, Shimazu Nariakira, a historical person in Japan, was interested in English and shipbuilding. John Manjiro began working as an English teacher. He had a strong friendship with many statesmen. He was even asked to be a statesman himself.

In 1853-1854, Manjiro was the interpreter for Matthew C. Perry when the Americans first came to Japan.

In his later years, Manjiro visited American friends. By then, he could not speak English very well any more.  He died in 1898 at the age of 71 years old.

The Name, "John Manjiro"
John Manjiro was actually born as Manjiro (without a family name).  The name "John" comes from the name of the ship he was saved by when on the island in 1841.  The name of the ship was "John Howland." The captain gave Manjiro this name.  In 1938, Ibuse Masuji, a Japanese writer, first used the name "John Manjiro."  From this book came the name of "John Manjiro."

John Manjiro's English
Manjiro had problems translating because he was not good at translating English sentences. This was because he had not learned basic grammar when he was young.  He was used as interpreter when Commodore Perry came in 1863.  Manjiro pronounced English just as he heard it. His pronunciation was different from present-day English.  Japanese based their pronunciation of English at the time on Manjiro's pronunciation. They were able to be understood by Americans and English people.

The John Manjiro Musical
There is a musical about Manjiro in Japan.  It is called The Dream of John Manjiro.  It was first done in June, 1974.

Trivia
John Manjiro was the first Japanese man to set foot on the contintental United States, to take a train, to ride a steamship, and to wear a necktie. John Manjiro talked about world views with Ryoma Sakamoto, a famous Japanese statesman and general.

References

1827 births
1898 deaths
Japanese translators
People from Kōchi Prefecture

Nakahama Manjirō


Hallsville is a city in Harrison County, Texas, United States, located  west of the county seat, Marshall, on U.S. Highway 80. The population was 3,577 at the 2010 census, up from 2,772 at the 2000 census.  The 2020 census revealed that Hallsville's population was 4,277.

History

Past

The area was first settled in 1839, when Fort Crawford was built one mile west of the site of present Hallsville by W. C. Crawford as a protection against Indians. In 1849,  the fort is reported to have had a post office and a two-story building that served as church, Masonic hall, and school (the only school in western Harrison County until 1868). In 1869, when an independent Southern Pacific Railway crossed a mile north of Fort Crawford, the settlers moved to the railroad and named the new settlement for a railroad official. All that remains at the original location is a cemetery.

A post office named "Hallville" opened in 1869, and the first business in the new community was a saloon. From 1869 to 1872 the town was the terminus of the railroad, and the railroad company built a general office and machine shops there. The community incorporated for the first time in 1870 and was a boom town, with as many as fifty businesses, in the early 1870s. Hallville shipped cotton, wool, and hides. In 1872, when the Texas and Pacific acquired the railroad and built out to Longview in Gregg County, Hallville lost much of its western trade. In 1873, the railroad moved its local headquarters and shops to Marshall. Hallville's incorporation lapsed, and the community lost many of its people to Marshall in the later 1870s. In 1884, it had an estimated 600 inhabitants, three churches, six sawmills, six grist mill-gins, a hotel, two saloons, and a cooperative association. By 1892 the population had fallen to 300, but it recovered to 600 in the 1900s. In 1904, the Hallville school district had two schools serving 180 white pupils and one school serving 111 black pupils. A bank opened in the community in 1909. In the 1920s, the post office changed the spelling of its name to Hallsville. The community reincorporated in 1935.

Present
Until 2003, Hallsville had only one traffic light, located at the main intersection at Main Street (HWY 80) and FM 450.  The town has experienced rapid growth in the past decade and now boasts six traffic lights, a larger corporate grocery store chain, a medical and dental clinic, two dollar stores and several fast-food chains. The heart and pulse of the community still lies in its school functions, particularly sporting events.

Geography

Hallsville is located in western Harrison County at  (32.504036, –94.574904). U.S. Highway 80 passes through the center of town as Main Street, leading east  to Marshall, the county seat, and west  to Longview. Farm to Market Road 450 leads south from the center of Hallsville  to Interstate 20 at exit 604 and north  to Harleton.

According to the United States Census Bureau, Hallsville has a total area of , all  land.

Demographics

As of the 2020 United States census, there were 4,277 people, 1,564 households, and 1,233 families residing in the city.

As of the 2010 census Hallsville had a population of 3,577.  The median age was 32.  The racial and ethnic composition of the population was 89.1% white, 5.5% black or African American, 0.6% Native American, 0.3% Asian, 2.6% from some other race and 2.0% from two or more races.  6.1% of the population was Hispanic of any race.

As of the census of 2000, there were 2,772 people, 993 households, and 799 families residing in the city. The population density was . There were 1,050 housing units at an average density of . The racial makeup of the city was 93.15% White, 4.76% African American, 0.14% Native American, 0.36% Asian, 0.69% from other races, and 0.90% from two or more races. Hispanic or Latino of any race were 2.27% of the population.

There were 993 households, out of which 48.6% had children under the age of 18 living with them, 62.8% were married couples living together, 14.8% had a female householder with no husband present, and 19.5% were non-families. 17.8% of all households were made up of individuals, and 7.5% had someone living alone who was 65 years of age or older. The average household size was 2.79 and the average family size was 3.16.

In the city, the population was spread out, with 33.2% under the age of 18, 7.5% from 18 to 24, 31.3% from 25 to 44, 20.5% from 45 to 64, and 7.5% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 86.9 males. For every 100 females age 18 and over, there were 83.2 males.

The median income for a household in the city was $45,341, and the median income for a family was $49,868. Males had a median income of $39,844 versus $21,833 for females. The per capita income for the city was $19,689. About 5.8% of families and 7.4% of the population were below the poverty line, including 8.6% of those under age 18 and 10.4% of those age 65 or over.

Media

Bobcat Radio
Bobcat Radio 104.9 KQAT is an information source for western Harrison County, owned and operated by Hallsville Independent School District.  The low power FM (LPFM) station serves the city of Hallsville and the surrounding community for a 10-mile radius. Bobcat Radio also broadcasts on the Internet.

Education
The city is served by the Hallsville Independent School District.

Notable people

 James M. Collins, U.S. Representative from Dallas County, 1968–1983
 Clint Ingram, NFL Jacksonville Jaguars outside linebacker 2006–2011 – Drafted 2006, University of Oklahoma
 Harry Kinzy, MLB Chicago White Sox pitcher 1934
 Roddrick Muckelroy, former NFL Washington Redskins linebacker – drafted 2010, University of Texas at Austin
 Robert Newhouse, former NFL Dallas Cowboys fullback 1973-1983 - Drafted 1972, University of Houston
 Robert Manley Parker, retired federal judge of the U.S. 5th Circuit Court of Appeals
 Andrea Yates, Murderer who drowned her five children

Climate
The climate in this area is characterized by hot, humid summers and generally mild to cool winters.  According to the Köppen Climate Classification system, Hallsville has a humid subtropical climate, abbreviated "Cfa" on climate maps.

References

External links
City of Hallsville official website

Cities in Texas
Cities in Harrison County, Texas
Populated places established in 1870
1870 establishments in Texas

Hallsville, Texas


D²B (Domestic Digital Bus, IEC 61030) is an IEC standard for a low-speed multi-master serial communication bus for home automation applications. It was originally developed by Philips in the 1980s. In 2006 it has been withdrawn by IEC because another standard was proposed, JTC1 SC 83/WG1. There remain many IEC61030-compliant devices, such as some Philips-branded head units and CD changers from car stereos.

The SCART connector provides a D²B connection for inter-device communication.

See also
 I²C
 ISO/IEC JTC 1

References

External links
 ANSI eStandards bookstore page for IEC 61030

Home automation

IEC 61030


The Defiant Ones is a 1958 American black and white movie which tells the story of two escaped prisoners, one white and one black, who are shackled together and who must co-operate in order to survive. It stars Tony Curtis, Sidney Poitier, Theodore Bikel, Cara Williams, Charles McGraw, and Lon Chaney, Jr.. Ivan Dixon was a stunt double for Sidney Poitier.

Other websites

1958 crime movies
1958 drama movies
1950s crime drama movies
American crime drama movies
English-language movies
Movies directed by Stanley Kramer

The Defiant Ones


Hackett () is an inner north suburb of Canberra, the capital city of Australia. Located approximately 4.5 km (2.8 mi) north-east of the central business district, Hackett is adjacent to Watson, Dickson and Ainslie. It is bounded by Antill Street and Philip Avenue, and the Mount Majura Nature Reserve to the east. Hackett has a neighbourhood oval, and shopping centre.

The suburb was named after Sir John Winthrop Hackett (1848–1916), who was a newspaper editor and worker for the Federation of Australia. Streets in Hackett are named after scientists.

Geology
Calcareous shales from the Canberra Formation is overlain by Quaternary alluvium.
This rock is the limestone of the original title of Canberra "Limestone Plains".
The higher eastern side of Hackett is on top of the lowest layer of the Ainslie Volcanics, a grey Dacite and other erupted particles such as agglomerate and tuff.

Demography

There were 2,991 usual residents of Hackett enumerated in the 2016 Census.

Hackett is socially and economically advantaged. In 2016, its population was highly educated, with 53% of adults having completed a university degree, compared to just 22% in Australia as a whole. Its unemployment rate was estimated to be just 2.6% in December 2019, just over half the national average of 5.1%. This relative economic prosperity is reflected in median personal incomes which, in the 2016 Census, were reported to be 1.6 times the national average. Overall, the Australian Bureau of Statistics estimate that Hackett is among the top 5% most advantaged suburbs in Australia according to its index of socio-economic advantage and disadvantage.

Hackett is less culturally and linguistically diverse than the rest of the Australian Capital Territory and Australia as a whole. It has an unusually large proportion of the population born in Australia and relatively few residents born in China and India, and a relatively large number of households where English is the only language spoken. In terms of religious diversity, Hackett is unusual in that a majority of residents (53%) report having no religious affiliation, compared with 30% nationally.

Politics

Hackett is located within the federal division of Canberra, which is currently represented by Alicia Payne in the House of Representatives. The suburb is the home of Andrew Leigh, the Member of Parliament representing the neighbouring electoral division of Fenner.

House of Representatives primary vote statistics are shown to the right for the Dickson East polling place (at Dickson College) in the 2019 federal election. The Dickson East booth, located on the boundary between Hackett and Dickson, returned the strongest vote for the Greens in the House of Representatives of any polling place in the Australian Capital Territory in the 2019 federal election.

In the ACT Legislative Assembly, Hackett falls within the electorate of Kurrajong. Kurrajong is represented by five Members of the Legislative Assembly (MLAs), who are elected using the proportional Hare–Clark electoral system. Currently, it is represented by two Labor, two Greens and one Liberal MLA. Four of these five MLAs are cabinet ministers. The suburb is represented in local matters by the Hackett Community Association, an affiliated member of the North Canberra Community Council.

Particular street names
Grayson Street is named after scientist Henry Joseph Grayson
Mackenzie Street is named after anatomist William Colin Mackenzie
Madigan Street is named after geologist Cecil Thomas Madigan.
Maitland Street is named after geologist Andrew Gibb Maitland
Richards Street is named after geologist Henry Caselli Richards
Rivett Street is named after chemist Albert Cherbury David Rivett.
Selwyn Street is named after English Australian geologist Alfred R. C. Selwyn
Skeats Street is named after English Australian geologist Ernest Willington Skeats.

Footnotes

Suburbs of Canberra

Hackett, Australian Capital Territory


Paul Squibb was a college football player.

Chattanooga
Squibb was a prominent running back for the Chattanooga Mocs of the University of Chattanooga, selected All-Southern in 1915.  That year, he set a record with 5 touchdowns in the game against Carson-Newman. He was inducted into the Chattanooga Hall of Fame in 1987. Before a game with his alma mater Washington & Jefferson, Chattanooga coach Johnny Spiegel said "I have the greatest fullback playing football today. He is Squibb and for the first time in weeks he will be in perfect condition Saturday. I know we have received several wallopings, but we are good and will demonstrate this to your satisfaction."

See also
1915 College Football All-Southern Team

References

American football halfbacks
Chattanooga Mocs football players
All-Southern college football players
Year of birth missing
Year of death missing

Paul Squibb


Birdman, stylized as Birdman or (The Unexpected Virtue of Ignorance), is a 2014 American black comedy-drama film directed by Alejandro González Iñárritu. It was written by Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr., and Armando Bó. The film stars Michael Keaton as Riggan Thomson, a faded Hollywood actor best known for playing the superhero "Birdman", as he struggles to mount a Broadway adaptation of Raymond Carver's short story, "What We Talk About When We Talk About Love". The film's supporting cast includes Zach Galifianakis, Edward Norton, Andrea Riseborough, Amy Ryan, Emma Stone, and Naomi Watts.

The film covers the period of previews leading to the play's opening. With a brief exception, it appears as if it was filmed in a single shot, an idea Iñárritu had from the film's conception. Cinematographer Emmanuel Lubezki believed that the recording time necessary for the long take approach could not have been made with older technology. The film was shot in New York City during the spring of 2013 with a budget of $16.5 million, jointly financed by Fox Searchlight Pictures, Regency Enterprises and Worldview Entertainment. It premiered the following year in August, when it opened the 71st Venice International Film Festival.

Birdman had a limited theatrical release in the United States on October 17, 2014, followed by a wide release on November 14. Grossing more than $103 million worldwide, the film received critical acclaim, with praise for its screenplay, direction, cinematography, and the performances of the cast (particularly Keaton, Norton, and Stone). Birdman won the Academy Award for Best Picture, along with Best Director, Best Original Screenplay, and Best Cinematography from a total of nine nominations, tying it with The Grand Budapest Hotel for the most nominated and awarded film at the 87th Academy Awards. It also won Outstanding Cast in a Motion Picture at the 21st Screen Actors Guild Awards, as well as Best Actor in a Musical or Comedy for Keaton and Best Screenplay at the 72nd Golden Globe Awards.

Plot

Riggan Thomson is a faded actor famous for playing a superhero named Birdman in a film trilogy from 1989 to 1992. He is tormented by the mocking and critical internal voice of his past self as Birdman and frequently visualizes himself performing feats of levitation and telekinesis. Riggan is trying to regain recognition by writing, directing, and starring in a Broadway adaptation of Raymond Carver's short story, "What We Talk About When We Talk About Love." However, the Birdman voice wants Riggan to return to blockbuster cinema and insists that he is essential to Riggan's identity.

Jake, Riggan's best friend and lawyer, is producing the play, which co-stars Riggan's girlfriend, Laura, and Broadway débutante Lesley. Riggan's daughter Sam, a recovering drug addict with whom he is trying to reconnect, is working as his assistant. The day before the first preview, a light fixture falls onto Riggan's hapless co-star, Ralph. At Lesley's suggestion, Riggan replaces Ralph with her boyfriend, the brilliant but volatile and self-absorbed method actor Mike Shiner.

The first previews are disastrous: Mike breaks character over replacing his gin with water, attempts to rape Lesley during a sex scene, and complains that the prop gun does not look natural. Riggan clashes continually with Mike, culminating in a brawl after Riggan reads a New York Times interview with Mike in which he steals Riggan's personal reason for doing a Raymond Carver play. Jake persuades Riggan to continue with the play. When Riggan berates Sam after finding her using marijuana, she insultingly rebukes and chastises him, telling him he is irrelevant, and the play is for his own vanity.

During the final preview, after seeing Mike and Sam kissing backstage, Riggan accidentally locks himself outside with his robe stuck in the fire escape door. He is forced to walk through Times Square in his briefs and enter through the audience to do the final scene. A concerned Sam is waiting in his dressing room after the show, and she thinks the performance was very unusual but interesting. She shows him that the Times Square footage is going viral and explains how this actually helps him.

Riggan goes to a bar for a drink and approaches Tabitha Dickinson, a cynical and highly influential theater critic. She promises to "kill" his play with a deprecating review without seeing it. On the way back, Riggan buys a pint of whiskey, drinks it, and passes out on a stoop. The next day, walking to the theater with a severe hangover, he visualizes Birdman trying to convince him to abandon the play and make a fourth Birdman film. Riggan then imagines himself flying through the streets of Manhattan before arriving at the theater.

On opening night, the play goes very well. In his dressing room, a strangely calm Riggan confesses to his ex-wife, Sylvia, that several years ago, he attempted to drown himself in the ocean after she caught him having an affair. He also tells her about the Birdman voice, which she ignores. After Sylvia leaves, Riggan picks up a real gun for the final scene in which his character commits suicide. At the climax, Riggan shoots himself in the head on stage. The play receives a standing ovation.

Riggan wakes up in a hospital—the suicide attempt merely blew off his nose, which has been surgically reconstructed. Tabitha has published a glowing review of the play, mistaking the suicide attempt for a new acting technique. Sam visits with flowers and takes a picture of him to share with the skyrocketing number of followers on the Twitter account she has created for him.

While she steps outside to find a vase, Riggan goes into the bathroom, removes the bandages revealing his swollen new nose, and says goodbye to Birdman, seen seated on the toilet. Fascinated by the birds flying outside his room, he opens the window, peers up at them, and then climbs out onto the ledge. Sam returns to an empty room and frantically runs to the open window, scanning the ground before slowly looking up into the sky and smiling at what she sees.

Cast

Production

Development
Birdman director Alejandro G. Iñárritu originally conceived the film as a comedy filmed in a single shot set in a theatre. The original choice behind the film's genre, which was subsequently re-adapted to concentrate on Riggan's final emotional tailspin, came from the director wanting to see a change in his approach. All his previous films were dramas, and after directing Biutiful, he did not want to approach his new film in the same tragic manner again. The decision to make the film appear as a single shot came from his realization that "we live our lives with no editing". By presenting the film as a continuous shot, he could "submerge the protagonist in an 'inescapable reality' and take the audience with him". Iñárritu shared his idea with the Argentine screenwriters/cousins Nicolás Giacobone and Armando Bo, as well as playwright Alexander Dinelaris, Jr., who had all worked with him on his previous film. Their first reaction was to tell him the continuous-shot idea could not work. According to Dinelaris and Giacobone, "huge" and "important" people told him to not even try the project for the same reason. Iñárritu himself described the technique as "almost suicidal", worrying that it would be distracting, instead of immersive. Dinelaris later said that had they truly paused and considered the idea, they might have talked Iñárritu out of it.

The personal and vocational experiences of the four co-writers were central to writing the script. Dinelaris' exposure to Broadway shaped the depictions of rehearsals and events backstage, though he admitted exaggerating these. He also felt his background writing long scenes of dialogue helped since scenes in the film "were really more like play scenes". Iñárritu's own experiences influenced many of Birdmans themes. "What this film talks about, I have been through", Iñárritu recalled. "I have seen and experienced all of it; it's what I have been living through the last years of my life." Dinelaris described this aspect as "a laughing look at oneself", but said it had to be done in a comedic way; otherwise, "it would have been the most unbelievably self-absorbed look at the subject". Themes from Raymond Carver's short story "What We Talk About When We Talk About Love", which Riggan adapts for stage in the story, also influenced the script. Iñárritu wanted to find the connection between the themes in Riggan's story and those of Carver's. Because of this, it was important to the director that Carver's story be the subject of the play depicted within the film. Therefore, Iñárritu stated that his desire to use Carver's work was "terrifying" because the rights to using the Carver material were still subject to the possibility of being rejected during development of the film, but no issues arose. Carver's widow, writer Tess Gallagher, loved the script and permitted the adaptation, saying that Carver would be laughing about the film.

While some aspects of the film the first frame with Riggan, for instance went unchanged from Birdman's conception to release, others went through several iterations. One of these was the sequence in which alter ego Birdman takes complete control over Riggan's thoughts. The writers knew it would occur at Riggan's lowest point, so at one stage planned for it to happen after Riggan hears the initial negative press coverage and destroys his dressing room. In another discarded version, Riggan tries to drown himself in Central Park and flies out to save himself.

The film's ending also changed, the final version being written halfway through filming. The original intended to depict Johnny Depp in Riggan's dressing room with a Pirates of the Caribbean poster in the back. Iñárritu grew to strongly dislike this ending, calling it "so embarrassing", and rewrote it with Dinelaris and Giacobone after a new ending came to him in a dream. Iñárritu was reluctant to describe the original ending, but it was leaked by Dinelaris. He said the original ending was set in the theatre, instead of the hospital, and involved Depp putting on Riggan Thomson's wig, and in Jack Sparrow's voice, "... the poster asks Depp, 'What the fuck are we doing here, mate?', and it was going to be the satire of the endless loop of that." The director and co-authors ruled out the satirical ending, and favored the new, more ambiguous, ending.

The project of co-writing was expedited by the collaboration between the four co-writers on the internet working from different geographical locations. With Iñárritu in Los Angeles, Giacobone and Bo in Buenos Aires, and Dinelaris in New York, the script was mainly written through Skype calls and emails. Although this complicated the writing process, Dinelaris said he believed the best ideas in Birdman came from Skype sessions at two in the morning where he and Giacobone were "cracking each other up". Incorporating the one-shot feature also affected the writing. Bo said: "We wrote everything thinking of this one shot, and a lot of decisions that would mostly be taken in the editing room were taken before shooting". The one-shot approach meant the scenes could not be removed or re-ordered in post-production, so the writers needed to be "very, very sure about what was on the page". As a result, it took about a year and a half to complete the final draft. As Dinelaris summarized: "You have to be an idiot to do it all in one shot. You have to be an idiot to attempt it. It takes a great, great deal of ignorance to not pay attention to the difficulties and to think you're going to do this. Birdman looks like a good idea now, but [at the time of production] we did not know how we would land."

Casting

Iñárritu cast several of the leading roles before the film was financed. Among these was the lead role. Early in script development, Iñárritu did not have Keaton in mind, but he had changed his mind by the end: "When I finished the script, I knew that Michael was not the choice or option, he was the guy". Iñárritu cast Keaton for his depth in a variety of acting styles: He could handle the demands of the stage, up-close work, and comedy and empathy "with a profound depth to both".

Keaton knew about Birdman before Iñárritu contacted him. He was in the middle of production of another project when he learned that Iñárritu was making another film. Keaton, a fan of his work, flew home to find out more. Iñárritu sent him the script and they discussed it over dinner. The first thing Keaton asked the director was whether he was making fun of him (regarding his role in Tim Burton's Batman films), but after Iñárritu explained the role, its technicalities, and the film's production, Keaton agreed to play Riggan. Despite this, the final film contains numerous references to Burton's Batman films, including the year Riggan is mentioned to have last played Birdman being 1992.

Iñárritu called his decision behind casting Galifianakis as Jake "a bet". Galifianakis met the director's criteria of being lovable and funny, but Iñárritu also considered him sensitive, which scored him the role. Emma Stone already knew she wanted to work with Iñárritu before she was offered the role of Sam. The script that Iñárritu gave her and the rest of the cast came with the photo Man on Wire, which featured Philippe Petit crossing the Twin Towers on a tightrope. Iñárritu told the cast, "We are doing that".

Once these actors were committed, Iñárritu sought funding. He first invited Fox Searchlight Pictures to finance the project, but they turned his offer down because they felt his asking budget was too high. At one stage Megan Ellison of Annapurna Pictures wanted to be involved in the project, but decided against it because, unlike her other films, she had not been involved since the beginning. Iñárritu approached Brad Weston, president of New Regency, who accepted the offer. When executive Claudia Lewis of Searchlight heard about the deal, she reconsidered and asked to be included in the deal. Searchlight and New Regency had previously worked together to finance 12 Years a Slave, and they decided to join together for Birdman, financing a budget of $16.5 million.

Weston and Lewis developed a close relationship with Iñárritu, editing the script with him and switching some of the actors. When they joined production, Josh Brolin was set to play the role of Mike Shiner, but the financiers decided to switch him for Norton because of scheduling conflicts.

He said Norton's experience as a theatre actor, combined with his self-confidence, meant that "in a way, there was some kind of mental reality to Edward", but Norton believes he was the one who convinced Iñárritu to take him on. Norton was a fan of the director's work and impressed with his ability to push outside film-making boundaries. Norton heard about Iñárritu's project from a friend. Once he got the script, he read it straight through until 3:00 am. Norton said, "I laughed so hard I woke people up." Norton wanted to meet Iñárritu the next day, and once they met, Norton told him he could not cast someone who was the "embodiment" of what the script was taking aim at. Instead, the director needed to cast someone "who has at least a little bit of authentic depth of experience, in this world". Iñárritu agreed.

Amy Ryan, one of the last actors to be cast, was invited because Iñárritu had seen her in the play Detroit. Lindsay Duncan had vast experience in the theatre world too, and decided to accept the offer to play the critic because of the quality of the script. "It's delicious because of the writing." But like Shiner's character, Iñárritu found casting Laura difficult. Riseborough met him on a street corner for a cup of tea, and recalling the event, said, "I told him that I would crawl across hot coals to work with him". Iñárritu described Laura as "a very wacky, quirky role", but said, "when [Andrea Riseborough] did it, I knew that it was her, because she did it right in the tone, and she understood who she was – she was not judging".

Rehearsal and filming

Once the writing was finished, Iñárritu contacted friend and cinematographer Emmanuel Lubezki to discuss his idea for the film. After reading the script, Lubezki was worried that Iñárritu would offer him the job since Birdman "had all of the elements of a movie that I did not want to do at all" comedy, studio work and long takes but changed his mind after further discussion with the director. The pair had worked together on commercials and a short film in the anthology To Each His Own Cinema, but not on any feature films. Lubezki wanted to be sure that this was a decision Rodrigo Prieto, cinematographer of all four of Iñárritu's feature films, was comfortable with, but after receiving his blessing, the two headed into pre-production.

Lubezki was concerned that no film had been shot in the way Iñárritu envisioned, meaning there would be no reference material to look up. The two decided the only way to learn how to shoot it would be to shoot it themselves, so they built a proxy stage at Sony Studios in Los Angeles. The setup was minimal. Canvas and C-stands were used for walls, while tape and a few pieces of furniture marked out areas. Using a camera and some stand-ins, the duo worked through the movie to see if it was possible. Realizing no theatre could accommodate the intricate camerawork they needed, they hired Kaufman Astoria Studios in New York. Still, Iñárritu wanted to shoot at a Broadway theater, but would have to wait until several weeks into rehearsals before securing St. James Theatre. They then spent a few months designing and making "blueprints" of the shots and blocking the scenes, using the stand-ins to read and walk through the script. The planning was precise. Iñárritu said: "There was no room to improvise at all. Every movement, every line, every door opening, absolutely everything was rehearsed." The actors started rehearsing once this preliminary work was completed: According to Lubezki, they did the scenes with the actors "once we kind of knew what the rhythm of the scenes were". He described the atypical approach "like an upside down movie where you do post-production before the production".

Editors Douglas Crise and Stephen Mirrione were involved in the project by this stage. When Iñárritu told Mirrione that he planned for Lubezki to record table readings and the rehearsals, he suggested they edit them immediately to discover what was and was not working early on. The editing also allowed the editors to discuss pacing issues with the director, such as the position of the night-day transitions and other moments of rest in the film. Production designer Kevin Thompson was on hand too, and mapped out the scenes. The camerawork required many elements of the set to be built in a certain way. For example, Riggan's makeup mirror and desk were constructed so that the camera would see his reflection. Thompson also took into consideration the needs of the crew, for instance designing the stairs a little wider for Steadicam operator Chris Haarhoff's footsize.
He then constructed a template of the set they would build when in New York. The writers were also involved in the rehearsals, fine-tuning the script to "make sure the film was fluid and never stopped".

Once the logistics of the scenes were worked out and they had the timing down, the team headed to Kaufman Studios for more rehearsals, followed by principal photography based exclusively in New York during the spring of 2013. The studios were used to film the backstage areas of the film, including Riggan's dressing room and the theatre corridors. St. James Theatre was used for two weeks; it was the location for the stage scenes. The bar segments were shot in The Rum House on 47th Street, and 43rd Street was used for the action-sequence. The film was unable to be shot chronologically because of scheduling with the theatre. Throughout the locations, including the studio, the scenes were lit with natural light, since Lubezki wanted the movie "to look as naturalistic as possible". The night-time scenes were possible to film in this way due to the brightness of New York. Lubezki found lighting the scenes to be the hardest part of his work on the film. Not only did the lighting need to look realistic, but also had to be designed so that the continuous movements of the camera did not project the crew's shadows onto the actors.

Throughout shooting, Arri Alexa cameras were used; an Alexa M was used for handheld sequences, and an Alexa XT was attached to the Steadicam. Neither used matte boxes, however. Steadicam operator Chris Haarhoff explained this decision: "We didn't want this big black thing gliding into their eyeline. This way we could get very close and get the light past the lens and onto the actor's face." Lubezki who did all the handheld camerawork had chosen the Alexa M because the camera was very small and allowed him to get into tiny spaces and close to the actors, sometimes filming two inches (5 cm) away from Keaton's face. The camera also allowed recording for such a long period necessary for the long takes of the movie that Lubezki went so far as to say the movie would have been impossible to do years before. The cameras were lensed with Leica Summilux-C or Zeiss Master Primes. Lubezki stated that these gave clean images, saying "You can have all these lights in the frame and they are not really causing bad flare or things like that". In terms of sizes, they initially trialled a 21mm, but this did not give Iñárritu the "intimacy" he wanted. The crew instead went to an 18mm Leica, which was used for the majority of the film. Only when emphasis was needed did they switch the lens to a 14mm, but this was rare.

Despite all the preparation, a typical shooting day would begin with rehearsals. These usually lasted most of the morning, after which photography followed. The meticulous timing for the scenes meant that takes were cancelled because of the slightest mishaps. Emma Stone, in an interview with Jimmy Fallon, recalled how a six-minute take of the scene where Riggan first meets Mike was ruined after she walked around a corner too quickly. Takes were also repeated if a scene's rhythm did not feel right to Iñárritu, or if he and Lubezki were not satisfied with a shot's framing. As shooting progressed, lines of dialog would also be dropped, giving Iñárritu more options during post-production. Because of this, the number of takes for a given scene was high, usually 20 for the shorter scenes, the takes running smoothly around the fifteenth. Chris Haarhoff described it as "a type of dance where everyone would hopefully try to peak all at the same moment". The locations sometimes placed restrictions on the takes too; the live Times Square sequence was shot only twice since they did not want to attract the attention of tourists.

Whenever shooting was taking place there was pressure on everyone involved, but the cast had a positive experience. Norton said that normally in movie production half the people can "check out" due to repetitive aspects, but during the shooting of Birdman, "everybody's on, the whole thing, and you're all on pins and needles because you're all relying on forty other people not to drop the ball". Because of this, Stone said the director was able to get the best out of the cast, saying Iñárritu's process "creates this sort of fury in you, and then you end up realizing that he just got so much out of you that you didn't even know you had". Naomi Watts commented that the atmosphere "felt emblematic of how it feels onstageat least my long-time memories from long ago". Andrea Riseborough, meanwhile, described the process as "wonderful", mentioning how it was possible to hear the filming of a sequence from far away before the camera arrived, and then "the magic happens with you, and then everything leaves you, and everything's silent". Once they successfully completed a take though, it was obvious to everybody involved. Norton said: "I've never, ever been on a set where every day ended with an enormous, authentic sort of cheer at having made it. You're waiting for the scream from [Iñárritu], and everybody was genuinely excited."

Music and soundtrack

The film's original music segments are a drum score consisting entirely of solo jazz percussion performances by Antonio Sánchez. The score is offset by a number of well-known classical music pieces, including Mahler and Tchaikovsky. Iñárritu did not regard the particular choice of classical pieces as important. Nonetheless, the choice of classical music was strongly oriented to highly melodic scores taken predominantly from the 19th century classical repertoire (Mahler, Tchaikovsky, Rachmaninov, Ravel). Iñárritu stated that the classical components come from the world of the play, citing the radio in Riggan's room and the show itself as two sources of the music. The classical music segments also included two compositions by American composer John Adams. Several jazz compositions by Victor Hernández Stumpfhauser and Joan Valent counterbalance the original music composition by Sánchez. The drum sections comprise the majority of the score, however, and were composed by Sánchez. Iñárritu explained the choice by saying they helped to structure scenes, and that "The drums, for me, was a great way to find the rhythm of the film... In comedy, rhythm is king, and not having the tools of editing to determine time and space, I knew I needed something to help me find the internal rhythm of the film."

Iñárritu contacted friend and jazz drummer Antonio Sánchez in January 2013, inviting him to compose the score for the film. His reaction to writing a soundtrack using only drums was similar to Lubezki's thoughts of shooting the movie like a single shot: "It was a scary proposition because I had no point of reference of how to achieve this. There's no other movie I know that has a score like this." Sánchez had also not worked on a film before, nevertheless, after receiving the script, he composed "rhythmic themes" for each of the characters. Iñárritu was looking for the opposite approach, however, preferring spontaneity and improvisation. Sánchez then waited until production moved to New York before composing more, where he visited the set for a couple of days to get a better idea of the film. Following this, a week before principal photography, he and Iñárritu went to a studio to record some demos. During these sessions the director would first talk him through the scene, then while Sánchez was improvising guide him by raising his hand to indicate an event such as a character opening a door or by describing the rhythm with verbal sounds. They recorded around seventy demos, which Iñárritu used to inform the pacing of the scenes on set, and once filming was complete, spliced them into the rough cut. Sánchez summarized the process by saying, "The movie fed on the drums, and the drums fed on the imagery". The official soundtrack was released as a CD (77 min) in October 2014, and as an LP (69 min) in April 2015.
When the Academy of Motion Picture Arts and Sciences released their longlist for the Academy Award for Best Original Score in December 2014, Birdman or (The Unexpected Virtue of Ignorance) was absent from the list. The previous day, Sánchez received a note from the award committee explaining the decision, quoting rule fifteen of the 87th Academy Award Rules, noting "the fact that the film also contains over a half an hour of non-original (mostly classical) music cues that are featured very prominently in numerous pivotal moments in the film made it difficult for the committee to accept your submission". Sánchez launched an appeal, and along with Iñárritu and the executive vice-president of Fox Music, they sent letters to Charles Fox, the chair of the Academy's music branch executive committee, asking that the committee reconsider their decision. One of the points they raised was that the committee incorrectly calculated the ratio of classical to original music, which after being clarified Sánchez thought he was "on really solid ground". A response from Fox on December 19, however, explained that a special meeting of the music committee was held, and although its members had "great respect" for the score and considered it "superb", they thought that the classical music "was also used as scoring", "equally contributes to the effectiveness of the film", and that the musical identity of the film was created by both the drums and classical music. Ultimately, they did not overturn their decision. Sánchez said that he and Iñárritu were not satisfied with the explanation.

Post-production and visual effects
Birdman or (The Unexpected Virtue of Ignorance) was edited by Douglas Crise and Stephen Mirrione, who had both worked with the director before on 21 Grams and Babel. Stitching shots together was, of course, a crucial component of the editing, but Crise and Mirrione already had experience doing this. The director had included takes that were joined together in previous films, but in these if the editors didn't think the stitching worked, they had the ability to introduce cuts. Mirrione said that in Birdman Iñárritu had "let go of that safety net". Because of this the editors needed to be involved in the project early on, and during principal photography Crise was on set every day. (Mirrione was busy and unable to be in New York.) Crise was not used to being on set and providing feedback, but said he was happy Iñárritu "dragged it out" of him, knowing that they wouldn't have much room to fix scenes later so they needed to get them right. For stitching, aside from the director, Crise also discussed strategies with Lubezki and Thompson, and techniques for gluing takes together included panning on walls and actors' bodies. The editors were used to being able to adjust the rhythm of a scene by the positioning of cuts, so without this tool used Sánchez's music instead. The director gave the New York recordings to Crise early on to help with pacing, asking him to cut the music to the film. Still, in terms of the editing workflow, Crise described it as "pretty traditional". The editors cut the film together back in Los Angeles. A few weeks after shooting, they were quite far along the cut itself, and transitioned into visual-effects mode, where they fine-tuned the shots.

The visual effects for the film were created by Montreal based studio Rodeo FX. They spent four months working on the film, and according to visual effects supervisor Ara Khanikian "visual effects touched 90% of the frames in the movie". A lot of the work was subtle, such as stitching shots together, or creating the background for the windows in the hospital scene. Many shots in the film feature mirrors, and much work was spent removing the reflections of the crew from these. To accomplish this the studio created a 2.5D digital matte painting of the reflected environment. They then rotoscoped out the parts of the mirror not containing the foreground actors and their reflections, and replaced these with the digital environment. Some of the original shots captured smudges and dirt on the mirrors, so the studio developed a way to extract them so they could paste them back into the film. A matte-painting was constructed for the night-day time lapses in the film too, created by matchmoving and reprojecting shots of the buildings it features, captured at different times of the day, together. Rodeo FX also adjusted the pace of scenes. Iñárritu demanded a "very precise rhythm and flow" to the film, so the studio had to re-speed much of it with timewarp curves to fit the pacing the director desired.

Unlike some of the smaller adjustments though, the flying sequence required extensive preparation. Iñárritu spent three weeks with Halon Entertainment to previsualize the sequence. In New York, Lubezki then used the choreography of the previsualization to shoot background plates for the sequence, using a camera crane on a truck. When these were shot, Lubezki had mounted four GoPro cameras to the lens of the film camera to capture the light environment around him. Later, on a greenstage in Montreal, using a technique he had developed on Gravity, Lubezki lit Keaton with LED panels featuring high-dynamic-range images of the surrounding New York footage. The panels then realistically lit Keaton. Khanikian described the effect of the process, saying, "Instead of using standard lighting on greenscreen, [we were getting] the proper red bounce from the red bricks, and the same color of the sky reflected on Michael's head. It worked so well." Rodeo FX then completed the final shots. The sequence was the last piece the editors inserted into the film. Mirrione commented that before the sequence was finished, they "had only imagined what it was going to feel like", but once it was completed, "it took the movie to this ecstatic level that absolutely blew me away".

Sound design for the film was handled by Martín Hernández, who has worked on all the director's feature films. The production sound his team was given was "surprisingly perfect and clean", so they didn't need to spend much time tidying it. The lack of visual cuts in the film meant a departure from the usual way Hernández edited sound though. "Normally, Alejandro likes, as he calls it, 'the clashing of the sounds'. The camera changes angle within the scene and there is a change of everything backgrounds, texture, dialog. Obviously, that would not work on Birdman because here, everything is flowing." Additionally, the sound of objects in the film needed to be coordinated with their position onscreen, a non-trivial task, since the camera was nearly always moving. Hernández also helped to cut Sánchez's tracks, selecting and editing moments from the New York recordings against the film. When the tracks were re-recording in Los Angeles, in order "to have distance, and closeness and resonance" the team used thirty-two microphones for each take. Hernández described the job as "crazy". A large challenge of the post-production soundwork was designing the sound of the theatre audience, particularly in the scene when Mike is drunk and comes out of character. Iñárritu knew how he wanted the audience to respond, but figuring out the sound of their reaction took four months of work from five sound designers. Hernández said he thought, for a film in general, that the narrative created by sound "provokes more 'explosions'" than that created by images, and that in Birdman, "Alejandro has sound exploding all throughout the film".

The digital intermediate was completed by a team at Technicolor led by Steven Scott. They had previously collaborated with Lubezki on Gravity, but needed to approach Birdman differently because of the continuous-shot approach. According to Scott, "we have never done anything like it before". The color timing had to be done in such a way that the transitions between color-corrected environments were invisible, in contrast to a usual film where the transitions coincide with visible cuts. To do this, the team inserted their own cuts whenever the camera was stationary, and in the middle of pans and other camera movements. They then devised a way to color correct the stationary cuts and turn the moving cuts into a form of dissolve, allowing them to "do all these independent, crazy, complicated, color corrections that would flow organically from one to another". Inserting the dissolves required rotoscoping methods which the software Scott and his team were using did not have, but an enterprise agreement between Technicolor and the software's developer led to the creation of a tool Scott required. For the color timing itself, one of the priorities of the team was making the faces as dimensional and readable as possible. This required, amongst other things, that faces be highlighted, but the moving camerawork meant that the mattes used in this process had to be animated by hand. Lubezki would provide notes on the areas he wanted tracked, then the team would carry out the animations. Of the whole process, Iñárritu remarked that "everyone was out of their comfort zone", while Scott said it was the most challenging DI project of his career.

Analysis and themes
The director has emphasized and defended the various ambiguities intentionally included in the film: "At the ending of the film, [it] can be interpreted as many ways as there are seats in the theater." Many aspects of film theory were debated concerning the film by critical reviews which included, among other subjects, (a) film genre; (b) intended and unresolved ambiguities of plot; and (c) the complex interaction of Riggan's personal life with his professional life as an actor. A short list of the diverse forms of film genre associated with the film has included it being referred to alternatively as a black-humor film, a mental health film, a realism/surrealism/magical realism film, a dark-humor parody film, a film of psychological realism, a failed domestic reconciliation drama, or a film concerning theatrical realism and naturalism. Iñárritu has maintained his penchant, well-known to followers of his previous films, for deliberately including multiple plot lines in this film which are intentionally left unresolved at the ending. Separate reviews in the press have also summarized the film as closely associated with the theme of the final tailspin of a late mid-life crisis in the life of a has-been actor seeking closure and resolution in his public and private life.

The father-daughter themes in the film, portrayed through the relationship of Riggan and Samantha, were the "most difficult" and important parts of the film to depict for co-writers Dinelaris and Giacobone, as they both had similar experiences within their families involving their own relationships with their daughters. When the writers were asked about the meaning of the ambiguous ending which the director refused to comment upon, they stated that any comedic ending was completely ruled out. The writers also stated that reflections about the conclusion to the film were not directly concentrated upon Riggan or the character of Birdman as much as upon the lives of the surviving characters portrayed in the film, in particular the portrayal of Riggan's daughter Samantha.

Noting the thematic pull between Riggan's insanity or actual superpowers, Travis LaCouter of First Things writes that "the importance of these powers real or imagined is apparent: They are for Riggan the thing beyond the labels, the kernel of his genius and, because he sees drawing upon them as selling out, the source of his great angst." LaCouter concludes that "the quirky profundity of this film is in how it dares the viewer to consider the everyday magic that we tend to ignore, repress, or resent".

Critics Barbara Schweizerhof and Matthew Pejkovici see the film's central theme as a satirical critique of contemporary theatrical realism, with Pejkovici comparing it favorably to Fellini's film 8½ (1963). As Pejkovici states: "Much like Fellini's 1960[sic] classic 8½, Iñárritu's Birdman is a very intimate film about an artist's malaise, yet is epic, innovative, and ambitious in approach. Iñárritu captures the artist's battle between ambition, admiration, and celebrity with stunning scope and skill in the form of a one-take format, as his camera sweeps through the backstage corridors, across the stage, out on the busy NYC streets, and back again in breathtaking fashion."

Thematically, Richard Brody also compared it to Opening Night (1977) by John Cassavetes. Brody said that the actors played in "the sort of modern naturalism, without eccentricity of gesture, excess of expression, or heightened and formalistic precision, that is the business-casual of contemporary cinema". The Wall Street Journals Caryn James compared the story to that of Don Quixote (who believes himself to be a knight), as the main character believes he is a superhero (the equivalent to a knight in the 21st century). This relationship was also highlighted by the scholarly literature.

Release
Birdman was selected as the opening film of the 71st Venice International Film Festival along with Mohsen Makhmalbaf's new film. A limited release began in four North American theatres on October 17, 2014, followed by a nationwide release in 857 theatres on November 14, 2014.

Box office
Birdman grossed $42.3 million in North America and $60.9 million in other territories, for a worldwide total of $103.2 million, against a budget of about $17 million.

The film earned $424,397 during its limited North America opening in four theatres in New York and Los Angeles on the weekend of October 17, 2014, a per-theater average of $106,099, making it the 18th all-time earner (eighth among live-action movies) and ranking  20. In the second weekend of October 24, 2014, Birdman expanded to 50 theaters and earned $1.38 million, which translates to a $27,593 per-theater average. The film expanded nationwide to 857 theaters in the weekend of November 14, 2014, grossing $2,471,471, with a per theatre average of $2,884, and ranking  10. In the same weekend, Birdman grossed $11.6 million.

The film opened in Mexico on November 13, 2014, grossing $628,915 in its opening weekend, and opened in the United Kingdom on January 2, 2015, grossing $2,337,407 over the weekend. In the United Kingdom, Australia, and Italy, the film grossed $7.6 million, $3.97 million, and $1.97 million, respectively.

Critical response
On review aggregation website Rotten Tomatoes, the film holds an approval rating of 91%, based on 351 reviews, and an average rating of 8.50/10. The website's critical consensus reads: "A thrilling leap forward for director Alejandro González Iñárritu, Birdman is an ambitious technical showcase powered by a layered story and outstanding performances from Michael Keaton and Edward Norton." On Metacritic, the film received a weighted average score of 87 out of 100, based on 58 critics, indicating "universal acclaim". Audiences surveyed by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. In 2015, the film was named as one of the top 50 films of the decade so far by The Guardian.

Margaret Pomeranz and David Stratton from At the Movies praised the film's writing, direction, performances and cinematography. Stratton also described the implementation of the percussion score as "really exciting", while Pomeranz summarised: "It's just really beautifully written and stunningly performed and beautifully made." The pair both gave the film five stars, making Birdman the only film to receive such a rating from the hosts in 2014. In The New York Times, Manohla Dargis compared the main character to Icarus, the Greek mythological figure who crashed to his death after flying too close to the sun. She also noted a reference to Susan Sontag's Against Interpretation in the dressing-room mirror.

Richard Kolker compared the film to both Alfred Hitchcock's Rope (1948) and Alexander Sokurov's Russian Ark (2002). Kolker concludes that Birdman is "a film about acting, identity, transformation, and the mysterious effects of superheroes, (and) is filmed to create the illusion of being made in one continuous take. As with Rope, the edits are hidden, and the result is a rhythmic slide through the life of an actor in search of his self, a search doomed from the start." Ollie Cochran called the film "an amalgam of technical prowess, hypnotising visuals and pragmatically perceptive dialogue", believing it to be "a thought-provoking, energetic perspective of a fading actor looking to revitalise his career."

International reception of the film was also at a high level of praise. In Germany, a film aggregate rating at EPD Film gave the film a 3.4 out of 5 rating, based on seven critiques. The German critic Barbara Schweizerhof gave the film a 4 out of 5 possible stars, complimenting the director's satirical virtuosity in making the film. In her review, Schweizerhof spoke of the film as inviting the viewer to re-watch it "a second and third time", and praised the technical achievement of representing a storyline depicting "the feverish stream of consciousness" of its main character throughout the film.

The camerawork, which depicts most of the film as one continuous take, was met with extensive acclaim for its execution and usage. The acting was widely praised, particularly Keaton's, with Peter Debruge of Variety calling the performance the "comeback of the century". Debruge described the film as "a self-aware showbiz satire", and called it "a triumph on every creative level". Robbie Collin of The Daily Telegraph rated the film 5/5 and gave particular praise to the use of long takes by Emmanuel Lubezki, director of photography. Richard Roeper gave the film an "A" and wrote that Keaton made a serious case for an Academy Award for Best Actor nomination (which Keaton later achieved).

Writing for The New Yorker, Richard Brody called the film "Godardian", comparing it to Pierrot le Fou (1965), Every Man for Himself (1980), Alphaville (1965), and Germany Year 90 Nine Zero (1991), four classic films by French director Jean-Luc Godard. However, he suggested the film fell short of reaching the same cinematic mastery, adding, "it's not a good idea for a filmmaker to get in the ring with Mr. Godard". In his critical comments on the film, he concluded that the film "trade[d] on facile, casual dichotomies of theatre versus cinema and art versus commerce" and "deliver[ed] a work of utterly familiar and unoriginal drama". In another review in The New Yorker separately supplementing the review by Brody, Anthony Lane rejected the film's suggestion that film critics are out to destroy films, explaining, "Someone could have told Iñárritu that critics, though often mean, are not preemptively so, and that anybody who'd say, as Tabitha does, 'I'm going to destroy your play', before actually seeing it, would not stay long in the job."

Some reviews were negative. Richard Lawson of Vanity Fair, called the film "hoary" and "deceptively simple". Scott Tobias, writing for The Dissolve, gave the film 1.5 stars. He commends Lubezki's cinematography as succeeding at "trapping viewers in a pressure-cooker atmosphere as Riggan and his players struggle to keep it together", but suggests that Iñárritu is "incapable of modulation", and that there exists "a sourness to Birdman that Iñárritu can't turn into wit".

Accolades

At the 87th Academy Awards, Birdman or (The Unexpected Virtue of Ignorance) won four Academy Awards: Best Picture, Best Director, Best Original Screenplay, and Best Cinematography. Michael Keaton was nominated for Best Actor, Edward Norton and Emma Stone were nominated in Best Supporting Acting categories, and it also received nominations for Sound Editing and Sound Mixing.

Keaton received his first Golden Globe Award, winning for Best Actor in a Motion Picture – Musical or Comedy at the 72nd Golden Globe Awards. The film also won the Golden Globe Award for Best Screenplay.

Top ten lists
Birdman or (The Unexpected Virtue of Ignorance) was listed on many critics' top ten lists.

 1st – Anne Thompson, Indiewire
 1st – Garry Arnot, Cinema Perspective
 1st – Steve Persall, Tampa Bay Times
 1st – Christy Lemire, RogerEbert.com
 1st – Lisa Kennedy, Denver Post
 1st – Kristopher Tapley, HitFix
 1st – Steven Rea, The Philadelphia Inquirer
 1st – James Verniere, Boston Herald
 2nd – Bob Mondello, NPR
 2nd – Rafer Guzmán, Newsday
 2nd – Gregory Ellwood, HitFix
 2nd – Peter Travers, Rolling Stone
 2nd – Jocelyn Noveck, Associated Press
 2nd – Ann Hornaday, The Washington Post
 2nd – Bill Goodykoontz, Arizona Republic
 2nd – Barbara Vancheri, Pittsburgh Post-Gazette
 2nd – Mick LaSalle & Leba Hertz, San Francisco Chronicle
 2nd – Jeffrey M. Anderson, San Francisco Examiner
 3rd – Rene Rodriguez, Miami Herald
 3rd – Alci Rengifo, The Corsair
 3rd – Peter Debruge, Variety
 3rd – Todd McCarthy, The Hollywood Reporter
 3rd - Christopher Orr, The Atlantic
 3rd – Betsy Sharkey, Los Angeles Times (tied with The Grand Budapest Hotel)
 4th – People
 4th – Richard Roeper, Chicago Sun-Times
 4th - Matthew Jacobs & Christopher Rosen, The Huffington Post
 5th – Alison Willmore, BuzzFeed
 6th – Lou Lumenick, New York Post
 6th – Jessica Kiang, Indiewire
 6th – David Ansen, The Village Voice
 6th – Peter Hartlaub, San Francisco Chronicle
 7th - RogerEbert.com
 7th – Jeff Baker, The Oregonian
 7th – Glenn Kenny, RogerEbert.com
 8th – Matt Mueller, Indiewire
 9th – Owen Gleiberman, BBC
 9th – Chris Nashawaty, Entertainment Weekly
 10th – Ty Burr, The Boston Globe
 10th – Sasha Stone, Awards Daily
 10th – Richard Corliss, Time
 Top 10 (ranked alphabetically) – David Denby, The New Yorker
 Top 10 (ranked alphabetically) – Moira Macdonald, Seattle Times
 Top 10 (ranked alphabetically) – Justin Lowe, Indiewire
 Top 10 (ranked alphabetically) – Claudia Puig, USA Today
 Top 10 (ranked alphabetically) – Carrie Rickey, CarrieRickey.com
 Top 10 (listed alphabetically) – Stephen Whitty, The Star-Ledger
 Top 10 (listed alphabetically) – Joe Morgenstern, The Wall Street Journal
 Top 10 (ranked alphabetically) – Joe Williams & Calvin Wilson, St. Louis Post-Dispatch
 Best of 2014 (listed alphabetically, not ranked) – Manohla Dargis, The New York Times

Notes

References

External links

2014 black comedy films
2014 comedy-drama films
2014 films
American black comedy films
American comedy-drama films
American satirical films
BAFTA winners (films)
Best Foreign Film César Award winners
Best Picture Academy Award winners
2010s English-language films
Films about actors
Films about comics
Films about theatre
Films directed by Alejandro González Iñárritu
Films featuring a Best Musical or Comedy Actor Golden Globe winning performance
Films set in 2014
Films set in a theatre
Films set in Manhattan
Films shot in New York City
Films whose cinematographer won the Best Cinematography Academy Award
Films whose director won the Best Directing Academy Award
Films whose writer won the Best Original Screenplay Academy Award
Fox Searchlight Pictures films
Independent Spirit Award for Best Film winners
Magic realism films
Midlife crisis films
One-shot films
Psychological comedy films
Raymond Carver
Regency Enterprises films
Films with screenplays by Alejandro González Iñárritu
Self-reflexive films
TSG Entertainment films
Worldview Entertainment films
American psychological films
2014 comedy films
Golden Eagle Award (Russia) for Best Foreign Language Film winners
Films about father–daughter relationships
Films produced by Arnon Milchan
2010s American films
Surreal comedy films
Films produced by John Lesher (producer)

Birdman (film)


Master of the Children is a title awarded to an adult musician who is put in charge of the musical training, and in some cases the general education (which sometimes gets offered as a priceless perk to recruit the best singers) of choir boy (or since the late 20th century in a growing number of choirs boys and girls), as was common in major church choirs, often attached to a cathedral, monastery, collegiate church or court chapel, such as the musically particularly significant English Chapel royal, to train the young recruits (not just as future adult singers but at least as much because their treble -boy soprano- the voice was considered angelic, hence liturgically ideal).

References

Positions within the British Royal Household
Music educators

Master of the Children