A solo performance, sometimes referred to as a one-man show or one-woman show, features a single person telling a story for an audience, typically for the purpose of entertainment. This type of performance comes in many varieties, including autobiographical creations, comedy acts, novel adaptations, vaudeville, poetry, music and dance. In 1996, Rob Becker's Defending the Caveman became the longest running solo (one man) play in the history of Broadway.

Traits of solo performance
Solo performance is used to encompass the broad term of a single person performing for an audience. Some key traits of solo performance can include the lack of the fourth wall and audience participation or involvement. Solo performance does not need to be written, performed and produced by a single person—a solo performance production may use directors, writers, designers and composers to bring the piece to life on a stage. An example of this collaboration is Eric Bogosian in the published version of his show Wake Up And Smell the Coffee, by Theatre Communications Group, New York City.

History
It is assumed that individuals have told stories in front of other members of their tribe or society for thousands of years. They would have orally passed down many of today's myths and legends in this manner. So it is a style of performance that has been with us for generations developing through theatrical people such as Greek Monologists, the strolling Minstrels of Medieval England and the French Troubadors.

Edgar Allan Poe both lectured and recited poetry as a platform performer between 1843 and 1849; his performances stand as a paradigm of the solo performance hybrid simply called "the lecture-recital". The reading tours of Charles Dickens in Britain and America between 1858 and 1870 created a sensation. His American tour of 1867–68 was unparalleled until the arrival of the Beatles in the early 1960s.

Solo performance enjoyed an unprecedented artistic and commercial vogue in the United States during the second half of the nineteenth century (John S. Gentile Calls it the golden age of platform performance). Literary historians often associate the Victorian period with the highest development of the dramatic monologue as a poetic form. There were several discussions about the importance and distinction between the literary monologue and the performance monologue during the nineteenth century, however, this discussions confirms a continuous interchange between literature and performance, which may at times appear competitive but is more often productive. By the time the United States entered the 20th century, the number and variety of professional solo performances presented throughout the country had grown large. This renaissance of solo performance also created ripples in the larger sense of American theatre; after this "boom" of the one man show had passed, the presentational style seeped into popular theatre productions such as Amadeus, Equus, and Evita among others, modeling a combination of representational theatricality and presentational, direct-address style.

By the 1960s, the term performance art became popular and involved any number of performance acts or happenings, as they were known. Many performers, like Laurie Anderson, developed through these happenings and are still performing today.

Types and examples of solo performances
The backgrounds of solo performers over the decades range from vaudeville, comedy, poetry, music, the visual arts, magic, cabaret, theatre and dance.

Solo performers include Rob Becker, Lily Tomlin, Andy Kaufman, Rod Maxwell, Lord Buckley, Eric Bogosian, Whoopi Goldberg, Jade Esteban Estrada, Eddie Izzard, John Leguizamo, Marga Gomez, Anna Deavere Smith, Bill Hicks, Brother Blue and Lenny Bruce.

Several performers have presented solo shows in tribute to famous personalities. The blueprint for this type of show may have been drafted by Hal Holbrook, who has performed as Mark Twain in his solo show, Mark Twain Tonight, more than 2,000 times since 1954. Examples since that time include Julie Harris in the Emily Dickinson biography, The Belle of Amherst; Tovah Feldshuh as Golda Meir in Golda's Balcony; Frank Gorshin as George Burns in Say Goodnight Gracie by Rupert Holmes; Ed Metzger in his solo show, performing since 1978, Albert Einstein: The Practical Bohemian; Metzger in another solo performance, Hemingway: On the Edge; Henry Fonda as Clarence Darrow in Darrow, Ronald Rand as Harold Clurman in Let It Be Art! since 2001 in 25 countries, and Tom Dugan as Simon Wiesenthal in Wiesenthal.

A few actors adapted entire novels for the stage including Patrick Stewart who played all 43 parts in his version of A Christmas Carol, which played three times on Broadway and at The Old Vic in London; actor Gerald Charles Dickens played 26 characters in his performances from the same work; and Jack Aranson starred in a solo, 13-character production of Moby Dick.

Solo performance may be personal, autobiographical creations. This ranges from the intensely confessional but comedic work of Spalding Gray, the semi-autobiographical A Bronx Tale by Chaz Palminteri, or Holly Hughes' solo piece World without End, in which she attempts to make sense of her relationship with her mother, who had died. Another example of this is In The Body of the World, written and performed by Eve Ensler in 2018.

Still other shows may rally around a central theme, such as pop culture in Pat Hazel's The Wonderbread Years, relationships in Robert Dubac's The Male Intellect, the history of the New York City transit system in Mike Daisey's Invincible Summer, or fighting the system in Patrick Combs' Man 1, Bank 0. these themes could also be centered around a certain topic such as a political or social issue. Tim Miller explores the topic of gay culture and society surrounding the LGBTQ community in his production of My Queer Body. Karen Finley expressed her frustration with the standards women are held to and the issues surrounding them such as rape and abortion in her solo piece titled We Keep Our Victims Ready.

Sometimes, solo shows are simply traditional plays written by playwrights for a cast of one. Examples: Shirley Valentine by Willy Russell, I Am My Own Wife by Doug Wright, The Blonde, the Brunette and the Vengeful Redhead by Robert Hewett and Topless by Miles Tredinnick. A performer of shows of this type is Chris Harris, whose performances in the genre include Kemp's Jig, That's The Way To Do It!, Ally Sloper's Half Holiday, Beemaster, 'Arris Music 'All and A Night at the Pantomime.

There have also been many British comedians who have moved away from performing pure stand-up comedy in recent years. The shows that appear annually at the Edinburgh Festival Fringe can involve stories of pathos and the use of technological equipment such as projectors. Examples include Howard Read, who has performed with the animated character Little Howard which was projected with the aid of computers and Dave Gorman, who has performed several shows described as "documentary comedy".

Solo performance in film
The first full-length talking film which showed only a single character was Sofi, a 1968 film starring Tom Troupe. The film was based on "Diary of a Madman" by Gogol.

The 1964 Hindi movie Yaadein also featured only Sunil Dutt, but Nargis Dutt made a few appearances as a silhouette. However, it still made it to the Guinness Book of World Records for the "fewest actors in a narrative film".

Secret Honor, a 1984 film about Richard Nixon with Philip Baker Hall as the disgraced President ruminating on his past.

In the 21st century the "solo performance" had a rejuvenation period with films like Locke, All Is Lost and Buried. The characteristics were different from the previous one-character films that were made – mainly by location and style. Sofi and works like Give 'em Hell, Harry!, were still studio-filmed theater pieces. The 21st-century films were mostly shot on location and were much more stylized with their cinematic expression and camera usage. Most recently films by Marcus Tell showed ongoing characteristics of one-character films.

R. Parthiban wrote, produced, directed, and was the only actor in the 2019 Tamil movie Oththa Seruppu Size 7.

Productions and solo performers/writers
Chazz Palminteri: A Bronx Tale
Rob Becker: Defending the Caveman
Nikolai Vasilievich Gogol: Diary of a Madman
Anton Chekhov: On the Harmful Effects of Tobacco
Rebecca Clarke: Unspoken

 Derek DelGaudio: In & Of Itself

Arnold Schoenberg: Erwartung
John Leguizamo: Freak; Latin History for Morons
David Serero: Christmas for Jews; I, Napoleon
Eve Ensler: In the Body of the World
Daniel Beaty: Emergency
Ronald Rand: Let It Be Art!

See also
The Marsh
Drama Desk Award for Outstanding One-Person Show
Monologue
Monodrama
Performance poetry
Spoken word
United Solo Theatre Festival

References

Vaudeville
Comedy theatre
Plays for one performer

Solo performance


Taif or Ta'if (, ) is a city in the Mecca Province of Saudi Arabia at a height of  on the slopes of the Sarawat Mountains (Al-Sarawat Mountains). It has a population of 521,273 (2004 census). Each summer the Saudi Government moves from the heat of Riyadh to Ta'if. The city is the centre of an agricultural area known for its grapes, roses and honey.

Ethnography
The inhabitants of Ta'if, are largely made up of the Saudis. There are also significant foreigners from Asia, Turkey, and other Arab countries.

History

Early history
In the 6th century the city of Tā'if was ruled by the Banu Thaqif tribe.

The town is about  southeast of Mecca. The walled city was a pagan religious centre. It housed the idol of the goddess al-lāt, who was then known as "the lady of Tā'if." Its climate was different from its dry and barren areas closer to the Red Sea. Wheat, vines, and fruit were grown around Tā'if. The city earned its title "the Garden of the Hejaz."

Both Ta'if and Mecca were resorts of pilgrimage. The people of Ta'if had close trade relations with the people of Mecca. The people of Ta'if carried on agriculture and fruit‑growing in addition to their trade activities.

During the Year of the Elephant, the city was involved in several events.

620 – 632: Muhammad's era

630: The Battle of Hunayn and the Conversion of the City
In 630, the Battle of Hunayn took place at Hunayn, close to this city. Shortly after that, the failed Siege of Ta'if took place. The city was attacked by Banu Daws, but it survived and repelled the attacks. The Battle of Tabouk in 631 left Tā'if completely saperated from the other ares so members of Thaqīf arrived in Mecca to negotiate the conversion of the city to Islam. The idol of al-lāt and other signs of the city's previously pagan past were destroyed.

1517: Surrender to the Ottoman Empire
On 17 July 1517 the Sharif of Mecca gave away Ta'if to the Ottoman Sultan Selim I. As a sign of this, he surrendered to him the keys of the Islamic cities of Mecca and Medina. As part of the Hejaz, Ta'if was also given over to Ottoman control.

1802 – 1813: Retaking by the Saudi and reconquest by the Ottomans
The city remained Ottoman for a further three centuries, until in 1802 it was retaken by Saudi revolt, who were in alliance with the House of Saud. These forces then continued to take Mecca and Medina. The loss was keenly felt by the Ottoman Empire, which viewed itself as the protector of the Holy Cities. The Ottoman Sultan, Mahmud II, called upon his nominal Viceroy in Egypt Muhammad Ali, who launched an attack on the Hejaz and reconquered Ta'if in 1813.

1813: Johann Ludwig Burckhardt
In 1813, the Swiss traveller and orientalist Johann Ludwig Burckhardt visited Ta'if. He has left an eyewitness account on the city just after it was taken back by the Muhammad Ali, with whom he obtained several interviews while he was there. According to Burckhardt, the wall and ditch around the city had been built by Othman el Medhayfe. There were three gates and several towers on the city walls, which, however, were weak, being in some places only  thick. The castle had been built by Sharif Ghalib. He also noted the destruction of the city caused by the conquest of 1802. Most of the buildings were still in ruin while he was there and the tomb of Abdullah ibn Abbas – cousin of Muhammad and ancestor of the Abbasid Caliphate – had been severely damaged. He also recorded that the population of the city was still mostly Thaqīf. In terms of trade, the city was an trading post for coffee.

1843: Building works in the 19th century
The castle and military barracks in Ta'if were repaired by the Ottomans in 1843, a Hükümet Konağı – mansion for government business – was built in 1869, and a post office was established sometime later.

1916 – 1924: The Arab Revolt and Hashemite control

Prior to the Arab Revolt, Ahmed Bey had been made the commander of Ottoman forces in Tā'if. He had under him a force of 3,000 soldiers and 10 guns of the mountain artillery. Ghalib Pasha, the governor of the Hejaz was also present in the city. In 1916, the Hashemites launched their revolt against the Ottoman Empire in Mecca in June. The city had fallen and then in July, Abdullah, the eldest son of the Hashemite leader and Sharif of Mecca Husayn ibn Ali, was sent with seventy men to Tā'if. While his activities in the area aroused the suspicion of Ahmed Bey, Ghalib Pasha was unconcerned by a so small force. Abdullah secretly built up his army to 5,000 men. He then cut the telegraph wires to the city and then went on the attack. All Hashemite attacks on the city were repelled by the mountain guns, and both sides settled down to an uneasy siege. However, Hashemite guns were slowly brought up to Tā'if, and then the city held out a little longer; it finally surrendered on 22 September. The city thus later became a part of the self-proclaimed Hashemite Kingdom of Hejaz.

1924 – present: Kingdom of Saudi Arabia

1924: Conquest by the Ikhwan under Abdulaziz al-Saud
Ta'if did not remain in Hashemite hands for very long time. Tensions between the King of the Hejaz, Husayn ibn Ali, and Abdulaziz al-Saud, Sultan of Nejd, soon broke out into violence. Although hostilities were temporarily patched up in 1919, by September 1924 the then Saudi-sponsored Ikhwan under the leadership of Sultan bin Bajad and Khaled bin Luwai was ready to attack Ta'if. The city was supposed to have been defended by the king's son, Ali, but he fled in panic with his troops. 300 of them were slain by the Ikhwan. In 1926 Abdulaziz al-Saud was officially recognized as the new king of Hejaz. Ta'if remained a part of the Kingdom of Hejaz until Abdulaziz al-Saud unified his two kingdoms into one under the title of the Kingdom of Saudi Arabia in 1932. The king himself was later to die in the city on 9 November 1953.

1940s: Modernization under the Saudis
Ta'if was still little more than a medieval city when the Saudis took control of it. However, they later stared to modernize the city. Saudi Arabia's first public power generator was set up in Ta'if in the late 1940s. In terms of building roads to the city, in 1965 the then King Faisal inaugurated the  mountain highway between Mecca and Ta'if, and in 1974 the 400 mile Ta'if-Abha-Jizan highway was started.

Places to See
Al Rudaf Park: To the south of Taif is a large natural park with trees and granite rocks. The site also has a small zoo.
Wadi Mitna: Muhammed's sanctuary in 619 AD. Muhammed came here to gain support of the Hawazeen and the Tawfiq but was stoned by the tribes. He was later given sanctuary in a vineyard by two makkans.
Ta'if rose plantation. In the month of April the rose fields are filled with pink roses that are picked at dawn and later distilled into costly ta'if rose oil. Ta'if perfume has been used in several luxury perfumes including Ormonde Jayne Perfumery,  Chanel and Guerlain.
Shubra Palace, the regional museum of Ta'if, in a building of around 1900, which served King Abdul Aziz as a lodging in the 1930s.
Rock Carving Site: Located  north of Taif, this was the site of the Okaz Souk,  the largest and most well known of the pre-Islamic souqs or gathering places. The souq was a place for yearly social, political and commercial gatherings. It was also the location of competitive recitation of poetry and prose. The buildings remain, including outlines of walls of basaltic stone.
Turkish Fort: The remains of the fort are located near the Rock Carvings. Lawrence of Arabia fought here in 1917. Many battles have been fought there and many graves can be found
Nature Reserve: Between Al Hada hospital and the Sheraton Hotel at the top of Al Hada mountain is a large nature reserve at an height of 2100 meters above sea level. Al Hada means tranquillity.
Al Shafa: A small village on the Sarawat mountains at an height of 2200 to 2500 meters above sea level, rich in agricultural products. The fruit gardens of Taif are located here.

Climate

Taif has a hot desert climate (Köppen climate classification BWh), with hot summers and mild winters. Temperatures are not as hot in summer as for lower-lying regions of Saudi Arabia. Rain is low, but all months see some rain, with more rain in spring and late autumn than in other months.

List of inhabitants
Bani Hareth is one of the Adnani Arabs tribes living around Taif in Saudi Arabia.  The tribe is one of the biggest tribes in the area and occupies the full area between Taif and Al Qunfuthah in Saudi.
Bani Adwan is one of the Adnani Arabs tribes living originally in the northern part of Taif, and in the southern part of Jordan. Thu Al issba'a Al Adwani (in Arabic) is a figure of the tribe In the pre-Islamic era, in which he's known as a poet and a man of wisdom.Furthermore, Banu Thabet are people descended from Thabit. The tribe is originally part of Otaibah clan.

People born here

King Faisal I of Iraq
Naif bin Abdul Aziz
Uthman bin Affan
Mutlaq Hamid Al-Otaibi
Sharif Ali|Sultan Sharif Ali, the 3rd Sultan of Brunei Darussalam

People who lived here
Muhammad bin Qasim
Uthman Ibn Affan the 3rd Rashidun (Rightly Guided Caliph) caliph born in Taif.
Midhat Pasha (1822–1884), architect of the first Ottoman constitution who was strangulated in Taif.
Muhammad Muhsin Khan
Hadi Soua'an Al-Somaily (b.1970) First Saudi Olympic medal winner.
Addas- a young Christian slave boy who was the first person from the western province of Taif to convert to the religion of Islam.
`Abd Allah ibn `Abbas died here
Talal Maddah

 Hugh N. Kennedy|Hugh Kennedy - The Prophet and the Age of the Caliphates
 Martin Lings - Muhammad: his life based on the earliest sources
 Johann Ludwig Burckhardt - Travels in Arabia; comprehending an account of those territories in Hedjaz which the Muslims regard as sacred, online version available free from the Gutenberg Project
 Pars Tuğlacı – Osmanlı Şehirleri
 Michael Asher - Lawrence: The Uncrowned King of Arabia
 David Holden and Richard Jones - The House of Saud

References

Cities in Saudi Arabia
6th-century BC establishments
Establishments in Saudi Arabia

Ta'if


Terri Mitchell (born June 13, 1967) is an associate head women's basketball coach at the University of Pittsburgh.  Previously she was the head women's basketball coach at Marquette University. During her tenure, she guided the Golden Eagles to a 348–215 record in 18 seasons. She is the school's all time winningest women's basketball coach, and has taken her teams to postseason play several times. Her teams earned seven straight postseason appearances between 2002 and 2009, including a WNIT championship in 2007. She is the fourth coach in school history.

In her first year, she implemented a transformation, as the team went 21–10, one year after they went 8–20. She has also coached her team to eight 20 win seasons. During the 2006–2007 season, she led the Eagles to a 26–7 record, including Top 25 action for a good portion of the season. The Golden Eagles finished Big East play at 12–4, tied for second place, as Mitchell was named Big East Conference Coach of the year. She played college basketball at Duquesne University.

Mitchell announced her resignation on April 9, 2014. On May 9, 2018, she was announced as an associate head coach for the Pittsburgh Panthers women's basketball team.

Coaching record

References

1967 births
Living people
Marquette Golden Eagles women's basketball coaches
Pittsburgh Panthers women's basketball coaches
American women's basketball coaches

Terri Mitchell


Hocus Pocus is a 1993 American fantasy comedy film directed by Kenny Ortega from a screenplay by Mick Garris and Neil Cuthbert, and a story by David Kirschner and Garris. It follows a villainous comedic trio of witches (Bette Midler, Sarah Jessica Parker, and Kathy Najimy) who are inadvertently resurrected by a teenage boy (Omri Katz) in Salem, Massachusetts, on Halloween night.

The film was released in North America on July 16, 1993, by Walt Disney Pictures. Upon its original release, it received mixed reviews from critics and was initially a box-office bomb, possibly losing Disney around $16.5 million during its theatrical run. However, largely through many annual airings on Disney Channel and Freeform (formerly ABC Family, Fox Family and The Family Channel) all throughout the month of October, Hocus Pocus has been rediscovered by audiences, resulting in a yearly spike in home media sales of the film every Halloween season. The annual celebration of Halloween has helped make the film a cult classic.

The film spawned a franchise, consisting of a sequel novelization, a theme park attraction, a TV special, a short film. A sequel, Hocus Pocus 2, written by Jen D'Angelo and directed by Anne Fletcher, was released on September 30, 2022, on Disney+, with a third film currently in development.

Plot
On October 31, 1693, in Salem, Massachusetts, Thackery Binx witnesses his little sister Emily being whisked away to the woods by the Sanderson sisters, three witches who are named Winifred, Sarah, and Mary. Binx confronts the witches, but he fails to save Emily and her life force is drained, making the witches young again. After that, Binx is transformed into a black cat by the witches, cursed to live forever with his guilt for not saving Emily.

Having been alerted by Binx's friend Elijah, the townsfolk arrest the sisters for the murder of Emily. Before the Sanderson sisters are hanged in the town square while they are denying any knowledge of what happened to Thackery, Winifred casts a curse that will resurrect the sisters during a full moon on All Hallows' Eve if a virgin lights the Black Flame Candle in their cottage. Binx decides to guard the cottage so no one can bring the witches back to life.

Three centuries later, on October 31, 1993, Max Dennison reluctantly takes his younger sister Dani out trick-or-treating where they meet Max's new classmate Allison Watts whom he is attracted to. The three visit the former Sanderson cottage, now an abandoned museum, where Max inadvertently resurrects the witches. The witches attempt to suck the soul of Dani, but Max comes to her rescue.

Escaping, Max steals Winifred's spellbook on advice from the immortal cat Binx. He takes the group to an old cemetery where they are protected from the witches since it is hallowed ground. The witches eventually catch up to them at the cemetery where Winifred raises her former love interest William "Billy" Butcherson from the grave and sends him after the children. The witches pursue the children across town using Mary's enhanced sense of smell. Winifred reveals that the spell that brought them back only works on Halloween and unless they can suck the life out of at least one child, they will turn to dust when the sun rises. They attempt to alert the adults at a Halloween party, including Max and Dani's parents, but the witches cast a spell forcing them to dance until they die. After luring them to the high school, the children trap the witches in a pottery kiln and burn them alive. However, whilst the children are celebrating, the witches' curse revives them again.

Not realizing the witches have survived, Max and Allison open the spellbook, hoping to reverse the spell on Binx. The open spell book reveals the location of the group, and the witches track them down, kidnap Dani and Binx, and recover the spellbook. Sarah uses her singing to lure Salem's children to the Sanderson cottage. Max and Allison free Dani and Binx by tricking the witches into believing that sunrise was an hour early. Thinking that they are done for, the witches panic and pass out, allowing Max, Dani, Allison, and Binx to escape. Back at the cemetery, Billy catches up to the children, takes Max's knife, cuts his stitched mouth open, and insults Winifred before joining the children against the witches. The witches attack from the air and snatch Dani. Winifred attempts to use the last vial of potion to suck the soul of Dani, but Binx knocks the potion out of her hand which Max catches and promptly drinks, forcing the witches to take him instead of Dani.

The sun starts to rise just as Winifred is about to finish draining Max's life force. In the ensuing struggle, Allison, Dani, and Billy fend off Mary and Sarah. Max and Winifred, struggling in the air, fall onto the hallowed ground in the cemetery, causing Winifred to turn into stone. As the sun finishes rising above the horizon, Mary and Sarah disintegrate into dust along with Winifred's stone body. The witches' deaths break Binx's curse, allowing him to finally die and freeing his soul, reuniting him with Emily as they both head off into the afterlife while Billy returns to his grave to sleep. As the adults finally leave the party, Winifred's spellbook opens its eye once more.

Cast

Production

Development
In the 1994 TV documentary Hocus Pocus: Begin the Magic, and on the film's Blu-ray release, producer David Kirschner explains how he came up with the idea for the film one night. He and his young daughter were sitting outside and his neighbor's black cat strayed by. Kirschner invented a tale of how the cat was once a boy who was changed into a feline three hundred years ago by three witches.

Hocus Pocus started life as a script by Mick Garris, that was bought by Walt Disney Pictures in 1984. The film's working title was Disney's Halloween House; it was much darker and scarier, and its protagonists were all 12-year-olds. Garris and Kirschner pitched it to Steven Spielberg's Amblin Entertainment; Spielberg saw Disney as a competitor to Amblin in the family film market at the time and refused to co-produce a film with his "rival."

Writing
Various rewrites were made to the script to make the film more comedic and made two of its young protagonists into teenagers; however, production was stalled several times until 1992, when Bette Midler expressed interest in the script and the project immediately went forward. Midler, who plays the central antagonist of the film (originally written for Cloris Leachman), is quoted as saying that Hocus Pocus "was the most fun I'd had in my career up to that point".

Casting
Ortega met with Leonardo DiCaprio about playing the role of Max after being "impressed" by his audition but he was too busy to take on the role as he was working on What's Eating Gilbert Grape. Rosie O'Donnell was offered the role of Mary Sanderson but she declined as she didn't want to play a mean witch.

Filming
Principal photography began on October 12, 1992. The film is set in Salem, Massachusetts, but most of it was shot on sound stages in Burbank, California. However, its daytime scenes were filmed in Salem and Marblehead, Massachusetts, during two weeks of filming with principal cast. Production was completed on February 10, 1993.

Pioneer Village, a recreation of early-colonial Salem, was used for the opening scenes set in 1693. Other locations included Old Burial Hill in Marblehead, where Max is accosted by Ice and Jay, the Old Town Hall in Salem, where the town Halloween party takes place, and Phillips Elementary School, where the witches are trapped in a kiln. The exterior for Max and Dani's house is a private residence on Ocean Avenue in Salem.

Release
The film was theatrically released by Walt Disney Pictures in the United States and Canada on July 16, 1993. The film received mixed reviews from film critics at the time of its release.  It was not a critical or commercial success upon its release, possibly losing Disney around $16.5 million during its theatrical run. However, largely through many annual airings on Disney Channel and Freeform (formerly ABC Family) all throughout the month of October, Hocus Pocus has been rediscovered by audiences, resulting in a yearly spike in home video sales of the film every Halloween season. The annual celebration of Halloween has helped make this film a cult classic.

Home media
Walt Disney Home Video released the film on VHS and LaserDisc in the United States and Canada on January 5, 1994. and later to DVD on June 4, 2002. Following the film's release on DVD, it has continued to show strong annual sales, raking in more than $1 million in DVD sales each October. In the mid-to-late 1990s, the film was rebroadcast annually all throughout October on ABC and Disney Channel before switching over to ABC Family's 13 Nights of Halloween lineup in the mid 2000s. The film has continuously brought record viewing numbers to the lineup, including a 2009 broadcast watched by 2.5 million viewers. In 2011, an October 29 airing became the lineup's most watched program, with 2.8 million viewers. On September 4, 2012, the film was released on Blu-ray. Disney re-released the film on Blu-ray and Digital HD on September 2, 2018, as part of the film's 25th anniversary. The new release contains special features, including deleted scenes and a behind-the-scenes retrospective. On 15 September 2020, the film was released on Ultra HD Blu-ray in 4K resolution with HDR.

Music

The musical score for Hocus Pocus was composed and conducted by John Debney. James Horner was originally slated to score the film, but became unavailable at the last minute, so Debney had to score the entire film in two weeks. Even though he didn't score the film, Horner came back to write the theme for Sarah (sung by Sarah Jessica Parker, more commonly known as "Come Little Children") which is featured in Intrada's Complete Edition of the score.

Debney released a promotional score through the internet containing 19 tracks from the film. Bootlegs were subsequently released across the internet, primarily because the promotional release missed the entire opening sequence music.

Songs
 "Sarah's Theme" – music by James Horner; lyrics by Brock Walsh; performed by Sarah Jessica Parker
 "I Put a Spell on You" – written by Jay Hawkins and produced and arranged by Marc Shaiman; performed by Bette Midler
 "Witchcraft" – written by Cy Coleman, Carolyn Leigh; performed by Joe Malone
 "I Put a Spell on You" – written by Jay Hawkins; performed by Joe Malone
 "Sabre Dance" – written by Aram Khachaturian, arranged by George Wilson
 Chants and Incantations – conceived and written by Brock Walsh

Reception

Box office
Hocus Pocus was released July 16, 1993, and came in fourth place on its opening weekend, grossing $8.1 million. It dropped from the top ten ranking after two weeks of release. The film was released the same day as Free Willy. According to Kirschner, Disney chose to release Hocus Pocus in July to take advantage of children being off school for the summer.

In October 2020, amid the COVID-19 pandemic, Hocus Pocus was re-released in 2,570 theaters. It made $1.9 million over the weekend, finishing second behind Tenet. The following two weekends it made $1.2 million and $756,000, respectively.

SVOD viewership
According to Whip Media, Hocus Pocus was the 7th most watched movie across all platforms in the United States during the week of October 31, 2021. According to Whip Media, Hocus Pocus was the 2nd most watched movie across all platforms in the United States during the week of September 30, 2022, to October 2, 2022, the 7th during the week of October 9, 2022, and the 9th during the week of October 23, 2022.

Critical response
On review aggregator Rotten Tomatoes, the film has an approval rating of 40% based on 63 reviews, with an average rating of 4.8/10. The website's critical consensus reads, "Harmlessly hokey yet never much more than mediocre, Hocus Pocus is a muddled family-friendly effort that fails to live up to the talents of its impressive cast." Metacritic assigned the film a weighted average score of 43 out of 100, based on 27 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Gene Siskel, reviewing for The Chicago Tribune, remarked that the film was a "dreadful witches' comedy with the only tolerable moment coming when Bette Midler presents a single song." Roger Ebert in The Chicago Sun-Times gave the film one star out of a possible four, writing that it was "a confusing cauldron in which there is great activity but little progress, and a lot of hysterical shrieking". The Miami Herald called it "a pretty lackluster affair", adding this comment: "Despite the triple-threat actress combo, Hocus Pocus won't be the Sister Act of 1993. There are a lot of gotta-sees this summer, and this isn't one of them."

Janet Maslin of The New York Times wrote that the film "has flashes of visual stylishness but virtually no grip on its story". Ty Burr of Entertainment Weekly gave the film a C−, calling it "acceptable scary-silly kid fodder that adults will find only mildly insulting. Unless they're Bette Midler fans. In which case it's depressing as hell"; and stating that while Najimy and Parker "have their moments of ramshackle comic inspiration, and the passable special effects should keep younger campers transfixed [...] [T]he sight of the Divine Miss M. mugging her way through a cheesy supernatural kiddie comedy is, to say the least, dispiriting." Kim Newman of Empire gave the film two stars out of five, writing, "Trying to break expectations isn't always a wise idea and here Disney show how not to do it. With this supposed-family movie, they disappoint on nearly every level. The plot is weak, the action poor and it's got Bette Midler, simply dreadful."

Accolades

Legacy

Over the years, the film has achieved cult status. In its 25th anniversary year in 2018, the first week of Hocus Pocus viewings on Freeform averaged 8.2 million viewers. A special called the "Hocus Pocus 25th Anniversary Halloween Bash" was filmed at the Hollywood Forever Cemetery and features interviews with members of the cast, including Bette Midler, Sarah Jessica Parker, and Kathy Najimy, as well as a costume contest hosted by Sharon and Kelly Osbourne. It aired on Freeform October 20, 2018.

In October 2011, the Houston Symphony celebrated various horror and Halloween classics, including Hocus Pocus, with "The Hocus Pocus Pops". On October 19, 2013, D23 held a special screening of Hocus Pocus at the Walt Disney Studios in Burbank, California, to honor the 20th anniversary of the film. Nine of the cast and crew gathered for the screening, and hundreds of D23 members attended. Returning members included Kathy Najimy, David Kirschner, Thora Birch, Doug Jones, Vinessa Shaw, and Omri Katz.

During her Divine Intervention Tour in 2015, Bette Midler appeared on stage dressed as Winifred Sanderson. Her Harlettes appeared with her dressed as Mary and Sarah, and the three of them performed the film's version of "I Put a Spell on You."

On September 15, 2015, the Hocus Pocus Villain Spelltacular was introduced at the Magic Kingdom as a part of Mickey's Not-So-Scary Halloween Party. The show introduces new actresses as the Sanderson Sisters who try to make a villain party and summon or attract various Disney villains in the process. In September 2016, entertainment critic Aaron Wallace published Hocus Pocus in Focus: The Thinking Fan's Guide to Disney's Halloween Classic, the first full-length book written about the film. The book includes a foreword by Thora Birch and afterword by Mick Garris. Billed as a "lighthearted but scholarly look at the film", the book analyzes the film's major themes, which it identifies as festivity, nostalgia, home, horror, virginity, feminism, Broadway-style musical moments, sibling rivalry, "Spielbergian" filmmaking style, Disney villain traditions, and more. Wallace also analyzes Walt Disney World's Hocus Pocus Villain Spelltacular as part of the film's legacy and includes "the largest collection of Hocus Pocus fun facts and trivia ever assembled", complete with extensive endnote citations.

The City of Salem has celebrated its connection to Hocus Pocus, while local filming sites have become an attraction for fans as the film's legacy has grown over the years. In 2018, the Haunted Happenings Grand Parade, an annual Salem festival held every October, was Hocus Pocus-themed in honor of the film's 25th anniversary. A representative for Destination Salem also reported a huge uptick in tourism for the 25th anniversary year, stating: "There's always been a 'Hocus Pocus' component to the visitors to Salem, especially in October. But it's like the film's following grows every year."

The cast reunited for "In Search of the Sanderson Sisters: A Hocus Pocus Hulaween Takeover" which aired on October 30, 2020. The one-hour broadcast was virtual due to the COVID-19 pandemic, and the proceeds will go to the New York Restoration Project. Members of the cast who participated were Bette Midler, Sarah Jessica Parker, Kathy Najimy, Thora Birch, Omri Katz, Vinessa Shaw, and Doug Jones. Other notable participants of the benefit included Meryl Streep, Mariah Carey, Cassandra Peterson, Glenn Close, Billy Crystal, Jamie Lee Curtis, Todrick Hall, Jennifer Hudson, Anjelah Johnson-Reyes, Michael Kors, Adam Lambert, George Lopez, Alex Moffat, Martin Short, Sarah Silverman, John Stamos, Kenan Thompson, Sophie von Haselberg, and Bella Hadid.

In 2022, Disney Channel ran a short titled Hocus Pocus As Told By Chibi. This continues the trend started by Big Hero 6: The Series shorts spin-off Big Chibi 6 The Shorts and continued with Amphibia, Phineas and Ferb, Halloweentown, Big City Greens, DuckTales, Tangled: The Series, Descendants, Moana, Zombies, The Ghost and Molly McGee, High School Musical, The Owl House, and Hamster & Gretel as Chibi Tiny Tales. The short was released on October 15, 2022, simplifies the plot of the first Hocus Pocus.

The Sanderson Sisters appear as playable characters in Disney video games such as Disney Magic Kingdoms and Disney Heroes: Battle Mode.

In 2023, Disney re-released the film in select theaters on October 6 to commemorate its 30th anniversary.

Sequel

In a November 2014 interview, Bette Midler said that she was ready and willing to return for a sequel, and she also said that her co-stars Sarah Jessica Parker and Kathy Najimy were also interested in returning for a sequel. Midler stressed the fact that Disney had yet to greenlight any sequel. In October 2016, Sarah Jessica was asked the prospects of a sequel and said "I would love that. I think we've been very vocal that we're very keen."

In October 2019, a sequel which was going to be developed as a Disney+ exclusive film was announced, with a screenplay which was written by Jen D'Angelo. Midler, Parker, and Najimy all confirmed their interest in reprising their roles. In March 2020, Adam Shankman signed on to direct. In May 2021, it was confirmed that Midler, Parker, and Najimy would reprise their roles as the Sanderson Sisters and it was announced that the film would be released in 2022. The film was released on September 30, 2022. Hocus Pocus 3 was announced to be in development as of June 4, 2023.

Musical adaptation
During an interview on The Big Seance Podcast in September 2021, creator David Kirschner revealed that a Broadway adaptation of the original film is in development. During an interview leading up to the release of Hocus Pocus 2 in September 2022, he stated that "I just want to pinch myself, and I'm just afraid that I'm going to be nine years old and on a Little League field again. But it's just so wonderful just to stand back and watch all of this ... I think you're going to be very pleased." Kenny Ortega revealed to Forbes in 2020 of his interest in possibly returning to direct the production, saying "I think a Hocus Pocus musical would be great fun, really great fun."

See also
 List of American films of 1993

References

External links

1993 films
1993 comedy films
1990s American films
1993 children's films
1990s children's comedy films
1990s children's fantasy films
1990s English-language films
1990s fantasy comedy films
American children's comedy films
American children's fantasy films
American fantasy comedy films
American films about Halloween
American supernatural comedy films
American zombie comedy films
Films about cats
Films about curses
Films about hypnosis
Films about immortality
Films about potions
Films about Satanism
Films about sisters
Films about virginity
Films about witchcraft
Films directed by Kenny Ortega
Films produced by David Kirschner
Films produced by Steven Haft
Films scored by James Horner
Films scored by John Debney
Films set in 1693
Films set in 1993
Films set in Massachusetts
Films set in the Thirteen Colonies
Films shot in California
Films shot in Los Angeles
Films shot in Massachusetts
Films with screenplays by David Kirschner
Films with screenplays by Mick Garris
Hocus Pocus
Resurrection in film
Salem witch trials in fiction
Walt Disney Pictures films

Hocus Pocus (1993 film)


Sir Francis Cowley Burnand (29 November 1836 – 21 April 1917), usually known as F. C. Burnand, was an English comic writer and prolific playwright, best known today as the librettist of Arthur Sullivan's opera Cox and Box.

The son of a prosperous family, he was educated at Eton and Cambridge and was expected to follow a conventional career in the law or in the church, but he concluded that his vocation was the theatre. From his schooldays he had written comic plays, and from 1860 until the end of the 19th century, he produced a series of more than 200 Victorian burlesques, farces, pantomimes and other stage works. His early successes included the burlesques Ixion, or the Man at the Wheel (1863) and The Latest Edition of Black-Eyed Susan; or, the Little Bill that Was Taken Up (1866).  Also in 1866, he adapted the popular farce Box and Cox as a comic opera, Cox and Box, with music by Sullivan. The piece became a popular favourite and was later frequently used by the D'Oyly Carte Opera Company as a curtain raiser; it remains regularly performed today.

By the 1870s, Burnand was generating a prodigious output of plays as well as comic pieces and illustrations for the humour magazine Punch. Among his 55-stage works during the decade was another frequently revived hit, Betsy (1879). For Punch, among other things, he wrote the popular column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life. Also admired were his burlesques of other writers' works. Burnand was a contributor to Punch for 45 years and its editor from 1880 until 1906 and is credited with adding much to the popularity and prosperity of the magazine. His editorship of the original publication of The Diary of a Nobody by the brothers George and Weedon Grossmith was a high point of his tenure in 1888–89. Many of his articles were collected and published in book form. His stage successes in the 1890s included his English-language versions of two Edmond Audran operettas, titled La Cigale and Miss Decima (both in 1891). His last works included collaborations on pantomimes of Cinderella (1905) and Aladdin (1909).

Known generally for his genial wit and good humour, Burnand was nevertheless intensely envious of his contemporary W. S. Gilbert but was unable to emulate his rival's success as a comic opera librettist. In other forms of theatre Burnand was outstandingly successful, with his works receiving London runs of up to 550 performances and extensive tours in the British provinces and the US.  He published several humorous books and memoirs and was knighted in 1902 for his work on Punch.

Life and career

Early years
Burnand was born in central London, the only child of Francis Burnand and his first wife Emma, née Cowley, who died when her son was eight days old. Burnand senior, a stockbroker, was descended from an old Savoyard family, prominent in the silk trade; his wife was a descendant of the poet and dramatist Hannah Cowley.

Burnand was educated at Eton, where, aged fifteen, he wrote a farce, Guy Fawkes Day, played at Cookesley's house, and subsequently at the Theatre Royal, Worthing. While at Eton, he submitted some illustrations to the comic weekly magazine, Punch, one or two of which were published. In 1854 he went to Trinity College, Cambridge, where as an undergraduate he sought the approval of the Vice-Chancellor, Edwin Guest, of the establishment of a Cambridge University Amateur Dramatic Club, with a performance of Box and Cox. Guest and his colleagues refused their consent, but Burnand went ahead without it. The members of the club performed a triple bill under stage names to avoid retribution from the university. The club prospered (and continues to the present day); Burnand acted and wrote plays under the name Tom Pierce.

Burnand graduated in 1858. His family had expected that he would study for the bar, but the Burnands held the right to appoint the incumbent of a Church of England parish that became vacant, and it was agreed that he should train for the priesthood. He enrolled at Cuddesdon theological college, where his studies of divinity led him to leave the Anglican church and become a Roman Catholic. This caused a breach between Burnand and his father, but the estrangement did not last long. To the disappointment of Cardinal Manning, leader of the English Catholics, Burnand announced that his vocation was not for the church but for the theatre. Father and son were reconciled, and Burnand returned to his original plan of reading for the bar at Lincoln's Inn.
[[File:F C Burnand Charicatures Shakespeare.png|right|thumb|upright|Burnand as Mr Punch, Punch'''s mascot]]

1860s: start of writing career
In February 1860 Burnand had his first piece performed in the West End, Dido the Celebrated Widow, a musical burlesque of Dido and Aeneas, played at the St James's Theatre. The following month he married an actress, Cecilia Victoria Ranoe (1841–1870), daughter of James Ranoe, a clerk; the couple had five sons and two daughters. He was called to the bar in 1862, and practised for a short time, but his main interest was in writing. In the early 1860s he wrote several farces in partnership with Montagu Williams, and edited the short-lived journal The Glow-Worm. He then joined the staff of Fun, edited by H. J. Byron. He parted company with Byron when the magazine rejected his proposed 1863 literary burlesque of a Reynolds serial, entitled Mokeanna, or the White Witness. He showed his manuscript to Mark Lemon, editor of Punch, who accepted it for publication; Burnand remained a Punch writer for the rest of his career.Dido was followed by The Îles of St Tropez (1860), Fair Rosamond (1862) and The Deal Boatman (1863), among many others. His most memorable early success was another musical burlesque, Ixion, or the Man at the Wheel (1863), starring Lydia Thompson in the title role, which found audiences on both sides of the Atlantic. By this time Burnand was a skilled negotiator with theatre managements, and he was among the first authors to insist on profit-sharing instead of fixed royalties. For Ixion this brought him a total of around £3,000. Other notable early works included an opéra bouffe, Windsor Castle (1865), with music by Frank Musgrave, and more pun-filled burlesques, including Helen, or, Taken from the Greek, and Guy Fawkes, or The Ugly Mug and the Couple of Spoons, both in 1866. Later in 1866 Burnand had a huge success with the burlesque The Latest Edition of Black-Eyed Susan; or, the Little Bill that Was Taken Up, parodying the three-act melodrama by Douglas Jerrold, Black-Eyed Susan; the show ran for 400 nights at the Royalty Theatre, was played for years provincially and in the US, and was twice revived in London.

In 1866, Burnand adapted the popular farce Box and Cox as a comic opera, Cox and Box, with music by the young composer Arthur Sullivan. The piece was written for a private performance but was repeated and given its first public performance at the Adelphi Theatre in 1867. The reviewer for Fun was W. S. Gilbert, who wroteCox and Box became a popular favourite and was frequently revived. It was the only work not by Gilbert in the regular repertory of the D'Oyly Carte Opera Company during the 20th century and is the only work of Burnand's still frequently staged.Fredric Woodbridge Wilson. "Burnand, Sir Francis Cowley", Grove Music Online, Oxford University Press, accessed 8 July 2014  Its success encouraged its authors to write the two-act opera, The Contrabandista (1867), revised and expanded as The Chieftain (1894), but it did not achieve much popularity in either version.

More burlesques followed in 1868, including Fowl Play, or, A Story of Chicken Hazard and The Rise and Fall of Richard III, or, A New Front to an Old Dicky. In 1869, Burnand wrote The Turn of the Tide, which was a success at the Queen's Theatre, and six other stage works during the course of the year.

1870s: prolific author

Burnand's wife Cecilia died in 1870 at age 28, leaving him with seven small children. In 1874 Burnand married her widowed sister, Rosina (d. 1924), who was also an actress."Rosina (née Ranoe), Lady Burnand", National Portrait Gallery, accessed 9 July 2014. She had appeared in, among other things, Burnand's Black-Eyed Susan and Gilbert's An Old Score, and had performed together with her sister and Burnand in Burnand's one-act burlesque of The Odyssey, Patient Penelope; or, The Return of Ulysses. It was at that time illegal in England for a man to marry his dead wife's sister, although such marriages made outside British jurisdiction were recognised as valid; accordingly the wedding ceremony was performed in continental Europe. There were two sons and four daughters of this marriage.

Throughout the 1870s, Burnand maintained a prodigious output. For the stage he wrote 55 pieces, ranging from burlesques to pantomimes, farces and extravaganzas. He was the sole author of most of them, but worked on a few with Thomas German Reed, J. L. Molloy, Henry Pottinger Stephens and even with H. J. Byron. His stage pieces of the 1870s included Poll and Partner Joe (1871), Penelope Anne (1871; a sequel to Cox and Box), The Miller and His Man (1873; "a Christmas drawing room extravaganza" with songs by Sullivan), Artful Cards (1877), Proof (1878), Dora and Diplunacy (1878, a burlesque of Clement Scott's Diplomacy, an adaptation of Sardou's Dora), The Forty Thieves (1878; a charity collaboration among four playwrights, including Byron and Gilbert), Our Club (1878) and another frequently revived hit, Betsy (1879). He provided a burlesque of Robbing Roy to the Gaiety Theatre in 1879. Burnand's prolific writing came at some cost in quality. A biographer wrote that he "was a facile and slapdash writer. False rhymes and awkward rhythms occur frequently in his verse, and his favourite devices included puns, topical references and slang."

Burnand also translated or adapted for the London stage several French operettas by Offenbach, Edmond Audran, Charles Lecocq and Robert Planquette. At the same time as his busy theatrical career, he was a member of the staff of Punch under Lemon and his successors, Shirley Brooks and Tom Taylor, writing a regular stream of genial articles. His best-known work for the magazine was the column "Happy Thoughts", in which the narrator recorded the difficulties and distractions of everyday life. A. A. Milne considered it "one of the most popular series which has ever appeared in Punch"; alongside it, he rated as Burnand's best comic contributions his burlesques of other writers, such as "The New History of Sandford and Merton" (1872) and "Strapmore" by "Weeder" (1878).

1880s: editor of Punch

The third editor of Punch, Tom Taylor, died in July 1880; the proprietors of the magazine appointed Burnand to succeed him. In Milne's view the magazine's reputation increased considerably under Burnand:

A later biographer, Jane Stedman, writes, "His predecessor, Tom Taylor, had allowed the paper to become heavy, but Burnand's rackety leadership brightened it."  Burnand, who declared himself "hostile to no man's religion", banned Punch's previous anti-Catholicism, although he was unable to prevent some antisemitic jokes.

One of Burnand's biggest successes, both in Punch and on stage, was satire of the aesthetic movement. His play The Colonel (1881), based on The Serious Family, a play by Morris Barnett, ran for 550 performances and toured extensively. It made so much money for the actor-manager Edgar Bruce that he was able to build the Prince of Wales Theatre. Burnand rushed The Colonel into production to make sure that it opened several months before Gilbert and Sullivan's similarly themed comic opera, Patience, but Patience ran even longer than The Colonel. Oscar Wilde, no fan of Burnand's farces, wrote, in anticipation of seeing Patience: "With Gilbert and Sullivan I am sure we will have something better than the dull farce of The Colonel". For the Gaiety Theatre, Burnand wrote a burlesque of The Tempest entitled Ariel in October 1883, with music by Meyer Lutz, starring Nellie Farren and Arthur Williams. The Times complained of the "flatness and insipidity" of Burnand's text and of his vulgarising the original. The Observer was less censorious, finding the piece moderately amusing, and correctly predicting that it would run successfully until it had to make way for the annual Gaiety pantomime at Christmas.<ref>"At the Play", The Observer, 14 October 1883, p. 7; and "Theatres", The Times', 8 December 1883, p. 8</ref>

In 1884, Burnand wrote Paw Claudian, a burlesque of the 1883 costume (Byzantine) drama Claudian by Henry Herman and W. G. Wills, presented at Toole's Theatre starring J. L. Toole. The same year, he wrote a burlesque of Black-Eyed Susan, called Black Eyed See-Usan, for the Alhambra Theatre. Burnand wrote several musical works around 1889 and 1890 with the composer Edward Solomon, including Pickwick, which was revived in 1894. Pickwick was recorded by Retrospect Opera in 2016, together with George Grossmith's Cups and Saucers. Other stage pieces included adaptations for Augustin Daly in New York.

Later years

In 1890, Burnand wrote Captain Therèse, followed later that year by a very successful English version of Audran's operetta, La cigale et la fourmi (the grasshopper and the ant) retitled La Cigale, with additional music by Ivan Caryll. In 1891, he produced an English adaptation of Audran's Miss Helyett, retitled as Miss Decima. Burnand's The Saucy Sally premiered in 1892, and Mrs Ponderbury's Past played in 1895. He was knighted by King Edward VII at Buckingham Palace in 1902, for his work on Punch.

Burnand's 1897 comic opera, His Majesty, with music by Alexander Mackenzie, failed despite the contributions of the lyricist Adrian Ross and a Savoy Theatre cast including Ilka Pálmay, George Grossmith and Walter Passmore. The blame was generally held to be Burnand's. The Times commented, "Mr Burnand's experience as a librettist of comic opera, and Sir Alexander Mackenzie's inexperience in this class of composition might lead the public to expect a brilliant book weighed down by music of too serious and ambitious a type. The exact opposite is the case." Burnand's libretto was judged dull and confused, but Mackenzie's music was "marked by distinction as well as humour." Stedman comments that Burnand's conviction that he, not Gilbert, should have been Sullivan's main collaborator defied the facts: The Chieftain, his rewrite of The Contrabandista with Sullivan, ran for only 97 performances in 1894, and His Majesty managed only 61 performances. Nevertheless, Burnand used his position as editor of Punch to print antagonistic reviews of the plays of Gilbert and refused to give the Gilbert and Sullivan operas reviews in the magazine.

Burnand's last stage works were a collaboration with J. Hickory Wood, at the Theatre Royal, Drury Lane in 1905, on a pantomime of Cinderella, and he was partly responsible for a pantomime of Aladdin for the same theatre in 1909. His later contributions to Punch became increasingly wordy and anecdotal, relying on far-fetched puns, but he was a good judge of talent, and under him the paper prospered. Stedman rates as a high point of his editorship the publication of The Diary of a Nobody by the brothers George and Weedon Grossmith, which was soon turned into book form and has never been out of print. He was reluctant to retire, but was persuaded to do so in 1906, and was succeeded by Owen Seaman. In 1908, Burnand became the editor of The Catholic Who's Who, published by Burns & Oates.

Burnand lived for much of his life in Ramsgate, Kent, on the south coast of England and was a member of the Garrick Club in London. He had a very large circle of friends and colleagues who included William Makepeace Thackeray, Mark Lemon and most writers, dramatists and actors of the day. George Grossmith wrote:

After a winter of bronchitis, Burnand died in 1917 at his home in Ramsgate, at the age of 80. He was buried in the cemetery at St Augustine's Abbey church in Ramsgate.

Books
Burnand's best-known book, Happy Thoughts, was originally published in Punch in 1863–64 and frequently reprinted. This was followed by My Time and What I've Done with It (1874); Personal Reminiscences of the A.D.C., Cambridge, (1880); The Incomplete Angler (1887); Very Much Abroad (1890); Rather at Sea (1890); Quite at Home (1890); The Real Adventures of Robinson Crusoe (1893); Records and Reminiscences, (1904); and The Fox's Frolic: or, a day with the topsy turvy hunt, illustrated by Harry B. Neilson (1917).

Notes and references
Notes

References

Sources

External links

 Profile of Burnand
 F. C. Burnand letters and memoranda, 1873–1907, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts

1836 births
1917 deaths
Alumni of Trinity College, Cambridge
Converts to Roman Catholicism
English humorists
English magazine editors
English opera librettists
Knights Bachelor
People associated with Gilbert and Sullivan
People educated at Eton College
People from Ramsgate
English male dramatists and playwrights
Punch (magazine) people
English male non-fiction writers

F. C. Burnand


Ameera Shah (born 24 September 1979) is an Indian entrepreneur and the managing director of Metropolis Healthcare, a multinational chain of pathology centers based in Mumbai, with presence in seven countries. She is the daughter of Dr Sushil Shah, the founder and chairman of Metropolis Healthcare. She has been honored as a 2015 Young Global Leader by the World Economic Forum.

She was named to Fortune India's "Most Powerful Women in Business" list in 2017, 2018, and 2019. Shah was featured in the list of Forbes India's Tycoons of Tomorrow 2018.

Early life
Ameera Shah was born to Dr. Sushil Shah, a pathologist, and Dr. Duru Shah, a gynaecologist. She belongs to a family of doctors in Mumbai. Her elder sister Aparna Shah is a geneticist. She studied commerce at junior college in H.R. College of Commerce and Economics. She obtained a degree in finance from the University of Texas at Austin.

She used to work with Goldman Sachs in New York. Later, she completed the Owner-President Management Program at Harvard Business School. Shah is an industry spokesperson and has been featured as a speaker in various National and International forums, industry events and conclaves. She has spoken at events organized by Indian Institute of Management Ahmedabad, Harvard Business School, TED, and CII.

Career

Metropolis Healthcare
She took over her father's pathology business- Metropolis Lab in 2001. She subsequently transformed a single diagnostic lab which had a revenue of about $1.5 million and 40 employees, to Metropolis Healthcare, a multinational chain of 125 diagnostic labs with $90 million in revenue and 4,500 employees. She successfully led the listing of the company in April 2019.

Board memberships and affiliations
She serves as a Board Member of Marico Kaya Enterprises Limited and the Managing Director of Metropolis Healthcare Limited. She is presently the Independent Director at Torrent Pharmaceuticals Limited., Shoppers Stop Limited and Kaya Limited She is an advisor to Baylor College of Medicine. She is also on the global advisory board of AXA.

Shah has also served as secretary of the Indian Association of Pathology Laboratories (IAPL) and co-chairperson of Federation of Indian Chambers of Commerce and Industry (FICCI) Health Services Committee in 2012.

Other ventures
Between 2016 and 2017, she starred in and was an investor on the startup reality television show The Vault.

In 2017, Shah founded Empoweress, a not-for-profit initiative for women-led businesses to find advice, mentorship and micro-funding.

Honours and awards
CNBC-AWAAZ CEO Awards 2019
Business Today's Most Powerful Women list, 2018, 2019
Tycoons of Tomorrow by Forbes India, 2018
India's Most Powerful Women in Business (ranked at no. 28) by Fortune India Magazine, 2019
India's Most Powerful Women in Business (ranked at no. 36) by Fortune India Magazine, 2018
India's Most Powerful Women in Business (ranked at no. 46) by Fortune India Magazine, 2017
Asia's Power Business Women 2015, Forbes
Young Global Leader, World Economic Forum, 2015
 Women Leadership Award at the CMO Asia Awards, 2015
Exemplary Women Leadership Award, World Women Leadership Congress & Awards, 2014
 40 Under 40 Business Leaders by The Economic Times
Young Achiever of the Year, CMO Asia Awards, 2011
 Young Entrepreneur of the Year Award, 2011 by Entrepreneur India & Bloomberg

Personal life
Ameera Shah married a UK-based Indian origin businessman in 2010. She is currently married to Hemant Sachdev, an Indian retail entrepreneur, who serves as a non-executive director of Metropolis Healthcare. In March 2020, she gave birth to a baby boy named Karma. The family relocated to Dubai during the COVID-19 pandemic.

References

External links

Living people
Harvard Business School alumni
Businesspeople from Mumbai
21st-century Indian businesswomen
21st-century Indian businesspeople
1979 births
Businesswomen from Maharashtra
McCombs School of Business alumni
Indian businesspeople in the healthcare industry

Ameera Shah


Butler Square (originally the Butler Brothers Company building) is a former warehouse and office building in Minneapolis, Minnesota, United States.  The building is located within the Minneapolis warehouse district and was listed on the National Register of Historic Places in 1971.  It is significant for its restrained Chicago School design by major Minneapolis architect Harry Wild Jones, and as a leading example of the older warehouse/office buildings in Minneapolis–Saint Paul.  Jones designed other buildings in Minneapolis such as the Minneapolis Scottish Rite Temple, Calvary Baptist Church, the Lakewood Cemetery Chapel, and the Washburn Park Water Tower.

It was originally built as a warehouse for Butler Brothers, a mail-order firm, on the land that formerly housed the Athletic Park baseball stadium.  It had rather heavy construction in keeping with its function as a warehouse, featuring thick interior masonry walls with thin, recessed windows topped by corbelled parapets.  The interior is built with heavy timber posts and beams, cut from Douglas fir grown near Aitkin, Minnesota.  The columns are  wide at the bottom level, gradually diminishing to  wide on the top level.  The basement included a horse stable, to accommodate deliveries, and the building had three large coal-fired boilers for heating.  Mechanical elevators were used to move goods throughout the building.  The building had a rail spur to facilitate boxcar loading.  Gradually, as truck transportation became more competitive with rail transportation, the urban location of the building rendered it inefficient as a warehouse.

In 1972 real estate developer Charles Coyer purchased the building with plans to rebuild the east half of the building as an office-retail complex.  As part of the renovation, a central atrium in the eastern half of the building was built to allow natural light into the building.  This made the retail and office space more marketable, since the large floor space and small windows made it difficult to get enough natural light into the interior.  James H. Binger purchased the building in 1979 with similar plans to develop the west half of the building.  The atrium on western side was built with more of the heavy timber construction exposed, and more efficient mechanical systems were installed.  The renovation of the building has served as a catalyst for additional development and preservation within the Minneapolis Warehouse District.

See also
 National Register of Historic Places listings in Hennepin County, Minnesota

References

External links

 Butler Square

Commercial buildings completed in 1908
Commercial buildings on the National Register of Historic Places in Minnesota
National Register of Historic Places in Minneapolis
Office buildings in Minnesota
Warehouses on the National Register of Historic Places
1908 establishments in Minnesota
Chicago school architecture in Minnesota

Butler Square


Morin-Heights is a town in the Laurentian Mountains region of Quebec, Canada. It is west of Saint-Sauveur and north of Lachute; municipally, it is within the Regional County Municipality of Les Pays-d'en-Haut.

It is primarily a tourist town, having a large ski hill (Ski Morin Heights) that is popular during the winter months and being on a recreational trailway (the Aerobic Corridor), which is used year-round. A dense network of hiking, cross country skiing, snowshoeing and mountain biking trails surround Morin Heights, making it the closest multi-recreational outdoor hub to Montreal (45-minute drive in moderate traffic). The old train station, on Lac Écho road, is the starting point for most recreational activities, year-round. The Rivière à Simon offers enjoyable canoeing and kayaking all the way down to Christieville and beyond.

Formerly located just south of the town was a recording studio, called Le Studio, built in 1975, which is now closed. The facility was used by numerous Canadian and international artists, including The Tragically Hip, Rush,  Nazareth, Pilot,  April Wine, Asia, Rainbow, Barenaked Ladies, Sting, The Police,  The Rolling Stones, David Bowie, The Bee Gees, Cat Stevens, and Lawrence Gowan, as well as by Quebec artists Jean-Pierre Ferland, Richard Séguin, Lucien Francœur and Garolou. In 1994, another important music recording facility was built in Morin Heights, on the northern edge of town. Conceived and built by Swedish-born artist Lars Westvind, Studio Nomade exclusively hosted Sarah McLachlan's recording projects up to 2000. It then was open to other artists, and is still a frequently used production facility. The town hosts a theatre company featuring mostly English-language plays, as well as a choir.

History
The first European settlers (the Seale brothers) arrived from Ireland around 1850, followed by French Canadians from Lachute, Saint-Jérôme and Saint-Eustache. In 1852, the Morin Township was formed and in 1855, the Township Municipality of Morin-Partie-Sud was established in a part of the township (the remaining part became Sainte-Adèle).

The township was named after its founder and 19th-century politician Augustin-Norbert Morin (1803–1865) who had at that point a huge farm of more than  on the banks of the Rivière du Nord, built around 1850–1860 and included a home, saw mill, and flour mill. An alternate, less accepted origin for the name Morin concerns an engineer named Morin who was dispatched by the provincial government to survey the region and had hired a Native American named Simon as guide, whose name was used to identify the river flowing through the township.

Until 1911, the territory had just the names of Bas-Morin or Morin Flats, name of the post office between 1875 and 1911, while the railway station was known as Morin Heights Station. In 1950, Morin-Partie-Sud changed its statutes and name to become the Municipality of Morin-Heights.

The town gained notoriety in 1994 when members of the Order of the Solar Temple took part in a mass suicide, after setting fire to the ski chalet they occupied in the community.

On March 12, 2008, a roof collapse in the Gourmet du Village bakery warehouse killed three women. An excessive accumulation of snow was suspected to be the cause of the accident. A total of 40 people were in the building at the time of the collapse.

Demographics

Private dwellings occupied by usual residents: 2211 (total dwellings: 2762)

Home language:
 English: 17%
 French: 74.8%
 other language only: 4.5%

Education

Sir Wilfrid Laurier School Board operates Anglophone public schools:
 Morin Heights Elementary School
 Laurentian Regional High School in Lachute

Morin Heights Library serves the community.

See also
List of municipalities in Quebec

References

External links
Morin Heights municipal/community Web Site
Morin Heights Historical Association

Morin Heights
Municipalities in Quebec
Incorporated places in Laurentides

Morin-Heights


Uzita (Uçita) was the name of a 16th-century native chiefdom, its chief town and its chiefs. Part of the Safety Harbor culture, it was located in present-day Florida on the south side of Tampa Bay.

History
The chief town was near the mouth of the Little Manatee River on the south side of Tampa Bay, Florida in the area of Hillsborough County that is now Ruskin, Florida. The territory of Uzita was said to extend from the Little Manatee River to Sarasota Bay. The Uzita people were part of the Safety Harbor culture.

The people of Uzita were the first inhabitants of Florida to be encountered by both the Narváez expedition in 1528 and the de Soto expedition in 1539. The town of Uzita was described as consisting of the chief's house on a mound, seven or eight other houses, and a "temple" (apparently a charnel house). The houses were made of wood and palm thatch, and probably housed a large number of people each. The Uzitans used bows and arrows. The Spanish described the bows as being very long. Some arrows were sharpened reeds that could pierce a shield, or splinter and penetrate chain mail, while others had fish bone or stone points. The Uzitans practiced human sacrifice.

Juan Ortiz, who had been sent on a small boat to search for the missing Narvaez expedition, was captured by the Uzitans. For several years the Uzitan set him to guard the bodies in the charnel house from wild animals at night. Utiza, the chief, planned to roast Ortíz over a grill, but the chief's daughter asked her father to spare him from sacrifice. When the chief later planned again to sacrifice Ortíz, the chief's daughter helped the Spaniard to escape to the neighboring chiefdom of Mocoso.

Uzita is not mentioned in Spanish records after the departure of the de Soto expedition. In the early 17th century the Spanish referred to the area where Uzita had been located as Pohoy.

See also
 List of sites and peoples visited by the Hernando de Soto Expedition

References

Sources cited

External links
 De Soto National Memorial - Camp Uzita - accessed July 18, 2009

Native American tribes in Florida
Indigenous peoples of the Southeastern Woodlands
Former chiefdoms in North America

Uzita (Florida)


Shirin Framroze Darasha (27 December 1938 – 2 May 2012) headed the J.B. Petit High School For Girls as the School Principal for over three decades, from 1973 – 2007. A renowned Indian educator, playwright and feminist, she challenged many stereotypes and traditions in Indian society. She had strong views on the importance of "joy" during childhood.  She was not in favour of the excessive work-load and homework fetish that continued to dominate the Indian educational scene. She took issue with the prevalent view that girls were at a disadvantage apropos of mathematics and sciences. Darasha maintained that in a nurturing environment where they were not set up to fail in comparison with boys, girls would flourish and blossom. Her creative use of drama in education was an extension of her enduring interest in the stage – as playwright, producer and director. Over the years, Darasha established herself as a distinct and passionate figure in the field of female education in India.

Early life and background

Shirin Darasha was born to a Parsi family and raised in Bombay, India.

On graduating (matriculation) from Queen Mary School, Bombay she attended St. Xavier's College, Mumbai, studying for a Bachelor's in Psychology. On completion, she studied further to earn her master's degree in psychology, also from Bombay University. To pursue further studies abroad, Shirin Darasha was awarded the Fulbright scholarship. She completed her master's degree in education from East-West Center, Hawaii.

Career as playwright

Darasha was a talented playwright who focused on themes and personalities associated with twentieth century Indian history.  Her popular play "Madam Cama" was first staged in 1988. In 1990, during the Fifth World Zoroastrian Congress, a special performance of the play was included in the proceedings. The play was also televised on Doordarshan.  In her plays, Darasha challenged social conventions that resulted in women being stereotyped.  She was particularly caustic about matrimonial advertisements; she dealt head-on with the Indian preference for "light complexions" and made a characteristic case for how "dark skin" was beautiful. Darasha's collaborations with Pearl Padamsee in various stage productions in Mumbai were well known and widely admired.

Career as principal
After working, at Hindi Vidya Bhavan and The Bombay International School, Darasha was appointed as Principal of J.B. Petit School in 1972. She was also known for encouraging her students to be more open as her front door donned the sign "Please Do Disturb". She incorporated what she learned from the performing arts into her teachings and used the concepts of drama to instill confidence in her pupils.

Darasha was elated when her J.B. School Debate Team won the all-India Debate Competition hosted by the Foundation for Universal Responsibility of His Holiness the Dalai Lama; the prize was a trip for the whole debate team and for Darasha to visit the Dalai Lama at his ashram and have a private audience with him. This was particularly appropriate given Darasha's interest and identification with Buddhism.This was particularly appropriate given Darasha's interest and identification with Buddhism.
In February 1988, Zoroastrian community magazine Parsiana ran an article entitled "The 'Principal' of Drama" which focused on her lifelong passion for the stage. In her interview, she declared that she did not consider herself religious, though she had Buddhist leanings.

Death

At the age of 73, Shirin Darasha died of pulmonary fibrosis. She was cremated, and her funeral was attended by hundreds of students and teachers who had been taught, mentored and inspired by her over the decades.

References

External links

Indian theatre directors
Indian theatre managers and producers
Indian feminists
20th-century Indian women educational theorists
1938 births
2012 deaths
Businesspeople from Mumbai
Indian women theatre directors
St. Xavier's College, Mumbai alumni
Indian psychologists
Indian women psychologists
20th-century Indian educational theorists
20th-century Indian businesspeople
Women educators from Maharashtra
20th-century Indian businesswomen
Educators from Maharashtra
Parsi people from Mumbai
20th-century Indian women educators
20th-century Indian educators
Indian Buddhists

Shirin Darasha


William Eddison Dawson (October 1, 1829 – December 10, 1902) was an English-born businessman and political figure on Prince Edward Island. He was the seventh mayor of Charlottetown from 1878 to 1882 and from 1894 to 1898.

He was born in Leeds, the son of William Dawson and Mary Best. Dawson came to the island with his mother and family in 1843 following the death of his father. He worked as a clerk in a dry goods firm, becoming a partner in 1855. In the same year, he married Ann Ferrant Compton. Dawson opened his own business in 1863. He helped found the Union Bank of Prince Edward Island in 1863 and served as a director. He was also a county magistrate and a member of the school board. Dawson served as president of the Queens County Liberal-Conservative Association. Dawson died in Charlottetown at the age of 7llm.

References

Mayors of Charlottetown
1829 births
1902 deaths
Canadian magistrates

William Eddison Dawson


Livewire(s), Live Wire(s), The Live Wire or Live Wired may refer to:

 Live wire (electricity), a wire with a flow of electric current

Computers
 Livewire (networking), a digital audio networking technology
 LiveWire Professional, computer software for stock market analysis
 Livewire Segmentation Technique, an image segmentation technique
 LiveWire, a server-side JavaScript environment by Netscape

Entertainment

Comics
 Live Wire (comics), several comics-related characters and series including:
 Live Wire (DC Comics) or Garth Ranzz, more commonly known as Lightning Lad, a member of the Legion of Super-Heroes
 Live Wire (Marvel Comics), a supervillain in the Marvel Comics universe
 Livewire (DC Comics), a former supervillainess, now ally of Superman
 Livewire (Valiant Comics) or Amanda McKee, a superhero in the Valiant Comics Universe
 Livewires (comics), a Marvel Comics series

Film
 The Live Wire (1917 film), a British lost silent film starring Ronald Colman
 The Live Wire (1925 film), an American silent film starring Johnny Hines
 The Live Wire (1935 film), an American film directed by Harry S. Webb
 The Live Wire (1937 film), a UK film directed by Herbert Brenon
 Live Wire (film), a 1992 film starring Pierce Brosnan
 Live Wires (1921 film), American silent drama film
 Live Wires (1946 film), a 1946 film starring The Bowery Boys

TV and radio
 Live Wire Radio, a syndicated live radio variety show, Portland, Oregon
 Livewire (radio station), a student-run radio station at University of East Anglia, Norwich, UK
 "Livewire" (Superman: The Animated Series), an episode of Superman: The Animated Series
 "Livewire" (Supergirl), an episode of the CBS television series Supergirl
 Livewire (talk show), a 1980s teen talk show on Nickelodeon
 Livewire (Wellington), the radio station run by Wellington High School
 WWF LiveWire, a World Wrestling Federation TV series, 1996 to 2001

Music
 Live Wire (album), a 2004 album by Third Day
 Live Wire (Maren Morris album), 2011
 "Live Wire" (Martha and the Vandellas song), 1964
 "Live Wire" (Mötley Crüe song), 1981
 The Live Wire: Woody Guthrie in Performance 1949, a 2007 album by Woody Guthrie
 Live Wired, a 1996 album by Front Line Assembly
 Livewired in Europe, a 2023 album by Nebula
 Live Wires (album), a 1992 album by Yellowjackets
 Live Wire (Lowen & Navarro album)
 "Live Wire", a song from T.N.T. by AC/DC
 "Live Wire", a song from Seotaiji 7th Issue by Seo Taiji
 "Livewire", a 2015 song from the album Oh Wonder by Oh Wonder
 "Live Wires", a 2004 album by Stratospheerius

Literature
 Live Wire (novel), a 2011 novel by Harlan Coben
 The Live Wire (magazine), a short-lived 1908 pulp magazine
 Livewire (magazine), rock music magazine 1991–1997
 Livewired  (book) (Livewired: The Inside Story of the Ever-Changing Brain), a neuroscience book by David Eagleman

Other entertainment
 Live Wire, an art installation by Natalie Jeremijenko
 Live Wire!, a game developed by Square Enix Europe (SCI/Eidos)
 LiveWire Chicago Theatre, a non-profit theater arts organization

People
 Stephen Maguire (born 1981), Scottish snooker player nicknamed "Livewire"
 Tim Shieff (born 1988), freerunner and traceur nicknamed "Livewire"

Other uses
 LiveWire (motorcycle), a motorcycle
 LiveWire (company), a spin off electric motorcycle company from Harley Davidson
 Mountain Dew LiveWire, a soft drink

See also
 Live Wire/Blues Power, a 1968 album by Albert King

Livewire


The Palace School (Enderun-i Hümayun Mektebi) was a special school inside of the innermost court of Topkapı Palace that provided the education for the servants of the Ottoman dynasty, who went on to staff the administrative elite of the Ottoman Empire. These were converts to Islam, young males between 8 and 20 years old, who were mostly taken away from the rural Christian communities settled in Rumelia in a process known as devşirme.

The most promising of the latter were sent to the school located in the grounds of the imperial Topkapı Palace, where they studied law, linguistics, religion, music, art, and fighting, as well as performing functions as palace staff.

In parallel with the male segment of the school, the women of the imperial harem were also given an education. The girls of the palace school were taught the principles of Islam, as well as practical skills such as sewing, embroidering, dancing, singing, music, story-telling, and basic literacy. After completing their respective educations, male and female graduates were frequently married off to one another.

The number of pages serving in the palace varied, from approximately 300 in the time of Mehmed II to 700 by the beginning of the seventeenth century.

Notes

Further reading

Topkapı Palace
Education in the Ottoman Empire

Palace School


Guild socialism is a political movement advocating workers' control of industry through the medium of trade-related guilds "in an implied contractual relationship with the public". It originated in the United Kingdom and was at its most influential in the first quarter of the 20th century. It was strongly associated with G. D. H. Cole and influenced by the ideas of William Morris.

History and development

Guild socialism was partly inspired by the guilds of craftsmen and other skilled workers which had existed in England in the Middle Ages. In 1906, Arthur Penty published Restoration of the Gild System in which he opposed factory production and advocated a return to an earlier period of artisanal production organised through guilds. The following year, the journal The New Age became an advocate of guild socialism, although in the context of modern industry rather than the medieval setting favoured by Penty.

In 1914, S. G. Hobson, a leading contributor to The New Age, published National Guilds: An Inquiry into the Wage System and the Way Out. In this work, guilds were presented as an alternative to state control of industry or conventional trade union activity. Guilds, unlike the existing trade unions, would not confine their demands to matters of wages and conditions but would seek to obtain control of industry for the workers whom they represented. Ultimately, industrial guilds would serve as the organs through which industry would be organised in a future socialist society.

The guild socialists "stood for state ownership of industry, combined with 'workers' control' through delegation of authority to national guilds organized internally on democratic lines. About the state itself they differed, some believing it would remain more or less in its existing form and others that it would be transformed into a federal body representing the workers' guilds, consumers' organizations, local government bodies, and other social structures."

Ernst Wigforss—a leading theorist of the Social Democratic Party of Sweden—was also inspired by and stood ideologically close to the ideas of Fabian Society and the guild socialism inspired by people like R. H. Tawney, L.T. Hobhouse and J. A. Hobson. He made contributions in his early writings about industrial democracy and workers' self-management.

The theory of guild socialism was developed and popularised by G. D. H. Cole who formed the National Guilds League in 1915 and published several books on guild socialism, including Self-Government in Industry (1917) and Guild Socialism Restated (1920). A National Building Guild was established after World War I but collapsed after funding was withdrawn in 1921.

The science fiction work of Olaf Stapledon suggested that a more "individualistic" form of guild socialism would be a natural outcome for a united humanity hundreds of years in the future.

Cole's ideas were also promoted by prominent anti-authoritarian intellectuals such as the British logician Bertrand Russell, first through his 1918 essay Roads to Freedom. Other thinkers who incorporated Cole's writings on guild socialism include the economist Karl Polanyi, R. H. Tawney, A. R. Orage, and the American liberal reformer John Dewey.

For scholar Charles Masquelier, "[i]t is by meeting such a twofold requirement that the libertarian socialism of G.D.H. Cole could be said to offer timely and sustainable avenues for the institutionalization of the liberal value of autonomy...By setting out to 'destroy this predominance of economic factors' (Cole 1980, 180) through the re-organization of key spheres of life into forms of associative action and coordination capable of giving the 'fullest development of functional organisation'...Cole effectively sought to turn political representation into a system actually capable of giving direct recognition to the multiplicity of interests making up highly complex and differentiated societies".

See also

 Alfred Richard Orage
 Bertrand Russell
 Christopher Lasch
 Anarcho-syndicalism
 Council communism
 Corporatism
 Distributism
 Industrial democracy
 Market socialism
 Mutualism (economic theory)
 National syndicalism
 Industrial unionism
 Libertarian socialism
 Syndicalism
 Workplace democracy
 Strasserism

Footnotes

External links

Socialism
Economic theories
Labour movement
Libertarian socialism
Types of socialism
Socialism
Syndicalism

Guild socialism


In software testing, monkey testing is a technique where the user tests the application or system by providing random inputs and checking the behavior, or seeing whether the application or system will crash. Monkey testing is usually implemented as random, automated unit tests.

While the source of the name "monkey" is uncertain, it is believed by some that the name has to do with the infinite monkey theorem, which states that a monkey hitting keys at random on a typewriter keyboard for an infinite amount of time will almost surely type a given text, such as the complete works of William Shakespeare. Some others believe that the name comes from the classic Mac OS application "The Monkey" developed by Steve Capps prior to 1983. It used journaling hooks to feed random events into Mac programs, and was used to test for bugs in MacPaint.

Monkey Testing is also included in Android Studio as part of the standard testing tools for stress testing.

Types of monkey testing
Monkey testing can be categorized into smart monkey tests or dumb monkey tests.

Smart monkey tests
Smart monkeys are usually identified by the following characteristics:
 Have a brief idea about the application or system
 Know its own location, where it can go and where it has been
 Know its own capability and the system's capability
 Focus to break the system
 Report bugs they found
Some smart monkeys are also referred to as brilliant monkeys, which perform testing as per user's behavior and can estimate the probability of certain bugs.

Dumb monkey tests
Dumb monkeys, also known as "ignorant monkeys", are usually identified by the following characteristics:
 Have no knowledge about the application or system
 Don't know if their input or behavior is valid or invalid
 Don't know their or the system's capabilities, nor the flow of the application
 Can find fewer bugs than smart monkeys, but can also find important bugs that are hard to catch by smart monkeys

Advantages and disadvantages

Advantages
Monkey testing is an effective way to identify some out-of-the-box errors. Since the scenarios tested are usually ad-hoc, monkey testing can also be a good way to perform load and stress testing. The intrinsic randomness of monkey testing also makes it a good way to find major bugs that can break the entire system. The setup of monkey testing is easy, therefore good for any application. Smart monkeys, if properly set up with an accurate state model, can be really good at finding various kinds of bugs.

Disadvantages
The randomness of monkey testing often makes the bugs found difficult or impossible to reproduce. Unexpected bugs found by monkey testing can also be challenging and time consuming to analyze. In some systems, monkey testing can go on for a long time before finding a bug. For smart monkeys, the ability highly depends on the state model provided, and developing a good state model can be expensive.

Similar techniques and distinctions
While monkey testing is sometimes treated the same as fuzz testing and the two terms are usually used together, some believe they are different by arguing that monkey testing is more about random actions while fuzz testing is more about random data input. Monkey testing is also different from ad-hoc testing in that ad-hoc testing is performed without planning and documentation and the objective of ad-hoc testing is to divide the system randomly into subparts and check their functionality, which is not the case in monkey testing.

See also

Random testing

References

Software testing

Monkey testing


Dame Gertrude Ann Cosgrove  ( Geappen; 1882–1962) was the wife of Sir Robert Cosgrove (1884–1969), twice Premier of Tasmania. They married on 10 January 1911 at St. Mary's Catholic Cathedral, Hobart, Tasmania and had four children.

Gertrude Cosgrove was a staunch companion to her husband in his political career; their elder son, Robert, was killed in 1940 while serving with the Royal Air Force. Gertrude Cosgrove was treasurer of the West Hobart women's branch of the Australian Labor Party and active in the Australian Comforts Fund, the Country Women's Association, the Australian Red Cross and the Victoria League.

From 1916 she worked devotedly for the Elizabeth Street State School, Hobart. Her leisure activities included gardening and crochet. She was created a Dame Commander of the Order of the British Empire on 1 January 1947 and invested at Buckingham Palace by King George VI in 1949.

She died in 1962, survived by her husband and three children.

External links
 Biography of Robert Cosgrove, adb.online.anu.edu.au. Accessed 24 November 2022.
 W. A. Townsley, Cosgrove, Dame Gertrude Ann (1882 - 1962), Australian Dictionary of Biography, Volume 13: Melbourne University Press (1993), p. 506

1882 births
1962 deaths
Australian Dames Commander of the Order of the British Empire
People from Hobart
Wives of knights

Gertrude Cosgrove


Rael Bertarelli Gimenes Toffolo (born March 18, 1976) is a Brazilian musician, composer and musicologist born in São Paulo.

Education
Toffolo holds a Bachelor of Music in composition and conducting from the Universidade Estadual Paulista as well a master's degree in Musicology  He is also professor in composition and musical theory at the Universidade Estadual de Maringá. His work as a researcher is in the field of Ecological Psychology, Neural Nets, Artificial Intelligence, and Cognitive Science applied to musical composition.

Career
Toffolo works within contemporary classical music. He has composed for various formations including chamber music, solo instruments and electroacoustic music.

List of works
Tempesta di Mare (2011)
O resto no copo (2010)
Sturm und Drang (2010)
Estudo para violão (2008)
Mutazione (2008)
El mar y las campanas (2008)
Beethoven através do Espelho I (2008)
2 Estudos para piano (2005)
Af for dance (2004)
Beethoven através do espelho - inventio (2005)
Sem Título, lápis sobre papel, técnica mista (2001)
Peça para Voz e percussão Múltipla (2000)
Peça para grupo instrumental (2000)
O Tempo da Espiral (2000)
Omaggio? (2000) - para sons eletroacústicos
Peça Para Piano e Percussão (1999)
Seven Ocean Waves
Anhatomirin (1996)

Awards
 Second Place (tie) for solo flute - National Competition Rhythm and Sound - UNESP - work with Ocean Waves Seven (1998)
 Third Place - 1st International Electroacoustic Composition Contest - State Conservatory "Juscelino Kubitschek de Oliveira" to work for Af Dance (2006)
 Award for Classical Composition of Funarte bass and real-time processing with the work on The Rest Cup 2010

References

1976 births
Living people
Brazilian composers
São Paulo State University alumni

Rael Toffolo


Andy Hartley Payne (November 17, 1907 – December 3, 1977) was the winner of the International Trans-Continental Footrace in 1928. He ran the  route from Los Angeles to New York City, much of it along U.S. Route 66, in 573 hours, 4 minutes, 34 seconds, (23 days) averaging  over an 84-day staged run.

Payne, a member of the Cherokee Nation, grew up in Foyil, Oklahoma which was one of the check point towns along the route of the race. His father was a friend of Will Rogers and had worked on the ranch of the latter's family during his youth.

The footrace was organized to promote U.S. Route 66 which had recently been built as a simple, well-paved route across the country, and dubbed "the main street of America". First prize was $25,000 which Payne used to pay off the mortgage on his father's farm.

Andy Payne was elected clerk to the supreme court in Oklahoma City, Oklahoma and was reelected 5 times afterwards.  {PBS documentary on the Great American Race of 1928}

He died in December 1977 at the age of 70.

See also
 Ultramarathon

References

External links
The Great American Foot Race

1907 births
1977 deaths
Cherokee Nation sportspeople
Native American sportspeople
American male ultramarathon runners
Sportspeople from Oklahoma
People from Rogers County, Oklahoma
20th-century Native Americans

Andy Payne