Abram Adams Hammond (March 21, 1814 – August 27, 1874) was the 12th governor of the U.S. state of Indiana. He succeeded to the office upon the death of Governor Ashbel P. Willard and completed the remaining three months of Willard's term.

Early life

Abram Adams Hammond was born in Brattleboro, Vermont March 21, 1814, the son of Nathaniel and Patty Ball Hammond. He moved to Indiana at the age of six when his family settled in Brookville, Indiana. He attended school and later studied law and was admitted to the bar. In 1835 he moved to Greenfield where he opened a law office. He married Mary Ansden in 1838 and the couple had one daughter. In 1840 he moved again this time to Columbus where he partnered in a law office with John H. Bradley. He was briefly the prosecuting attorney for Bartholomew County.

He moved again in 1846 to Indianapolis where he and his partner relocated their law office. They moved again in 1847 to Cincinnati, Ohio. Still on the move, they returned to Indianapolis in 1849 adding Hugh O'Neal to their law firm. In 1850 the Indiana legislature created a Court of Common Pleas and Hammond was selected to become its first judge. He held the post only briefly and resigned in 1852 to move to San Francisco to form a new law office with Rufus A. Lockwood. He returned to Indiana in 1853 and in 1855 moved to Terre Haute, Indiana where he formed yet another law office with Thomas H. Nelson. He remained in Terre Haute until he was elected lieutenant governor.

Political career
In 1852 John C. Walker was nominated by the Democratic Convention to be the candidate for lieutenant governor. But when it was found he was ineligible due to his age the party's Central Committee choose Hammond, and former Whig. The remnants of the state  Whig Party completely integrated with the state Democratic party in 1852, and Hammond was one of its many pro-slavery member who merged. Hammond was included in the 1856 Democratic ticket as lieutenant governor with Governor Ashbel P. Willard, in hopes of drawing the Whigs who had gone to the Republican Party.

When Governor Ashbel Willard died on October 5, 1860, Hammond was raised to the position of Governor where he served for three months. The death of Willard left the Democratic party without a candidate for governor. Hammond did not seek reelection as the party was in the midst of splitting with many member leaving to join the new Republican Party. Hammond supported Stephen Douglas. Hammond continued to advocate for the peaceful solution to the issue of slavery.

His only act of significance was an address to the General Assembly on January 11, 1860. In it he suggested several new laws, and offered a temporary solution to the problems caused by the gridlock in the assembly. His main theme, though, was to maintain harmony in the Union. He said,

It gives me great pleasure to say that Indiana as a state, has hitherto faithfully kept the bond of Union with all her sister States. Her record is unstained by any act of bad faith. She has never attempted, directly or indirectly, the evade or avoid any of the requirements of the Federal Constitution, and no man could doubt that if the same could be said of every other state, instead of discord, harmony would reign throughout our borders. Let us take pride in maintaining the high position we have thus far occupied as a conservative, union-loving state, and while we throw our weight into the scale in favor of any practice mode of settling the present trouble, let us continue to aid in the permanent and more lasting settlement that must flow from any restoration of amity and cordiality among our people, North and South.

In his speech, Hammond convinced the Assembly to send delegates to a Peace Congress held among most of the states in an attempt to negotiate a compromise on the slavery issue and avoid war. A delegation was sent, but voted unanimously against the conventions Crittenden Compromise, which would have given concessions to the south to avoid the war. The nation was, however, already set for war, and Indiana would become to first western state to mobilize forces for the invasion of the south less than four months later.

Soon after he had completed his term as governor, Hammond came to be severely afflicted with rheumatism and asthma, and retired from public life. He moved to Denver where he believed the warmer and drier climate would ease his suffering. He died there on August 27, 1874. His body was returned to Indianapolis for a ceremony and he was buried in Crown Hill Cemetery.

See also

List of governors of Indiana

References
Notes

Bibliography

External links
Biography and portrait from Indiana State Library
Abram Hammond at FindAGrave

1814 births
1874 deaths
Burials at Crown Hill Cemetery
Governors of Indiana
Indiana Democrats
Politicians from Brattleboro, Vermont
Democratic Party governors of Indiana
Indiana Whigs
19th-century American politicians
People from Brookville, Indiana
People from Hancock County, Indiana
Indiana lawyers
People from Greenfield, Indiana
People from Columbus, Indiana
American prosecutors
Politicians from Indianapolis
19th-century American judges
People from Terre Haute, Indiana
Deaths in Denmark

Abram A. Hammond


Calochilus ammobius, commonly known as the sand beard orchid, is a species of orchid endemic to Queensland. It has a single leaf which is not present during flowering and up to three dull green flowers with reddish brown streaks and a labellum with a purple "beard".

Description
Calochilus ammobius is a terrestrial, perennial, deciduous, herb with an underground tuber and a single leaf  long and  wide but which is not present during flowering. Up to three short-lived dull green flowers with reddish brown streaks,  long and  wide are borne on a thin, wiry flowering stem  tall. The dorsal sepal is  long and about  wide. The lateral sepals are a similar length but narrower. The petals are about  long and  wide. The labellum is flat, pale green and red, about  long and  wide. There are purplish hairs covering about three quarters of the labellum. The column has two purple sham "eyes". Flowering occurs from December to February but each flower only lasts a few hours.

Taxonomy and naming
Calochilus ammobius was first formally described in 2002 by David Jones and Bruce Gray and the description was published in The Orchadian from specimens collected near Chewko. The specific epithet (ammobius) is derived from the Ancient Greek words ammos meaning "sand" and bios meaning "life".

Distribution and habitat
The sand beard orchid grows in low forest with Melaleuca viridiflora, shrubs and grass tussocks in a small area near the type location.

References

ammobius
Orchids of Australia
Orchids of Queensland
Plants described in 2002

Calochilus ammobius


Humleby (lit. "Hops Town") is an enclave of terraced houses situated next to the Carlsberg area in the Vesterbro district of Copenhagen, Denmark. They were built between 1885 and 1891 by the Worker's Building Society to provide healthy housing for the workers at Burmeister & Wain.

The area consists of 235 three storey houses. They were designed by Frederik Bøttger, the architect of the Building Society, who was inspired by English working-class housing.

Streets
 Vesterfælledvej
 Ny Carlsberg Vej* Freundsgade - named after the sculptor Hermann Ernst Freund (1786-1840)
 Jerichausgade - named after the sculptor Jens Adolf Jerichau (1816-1883)
 Bissensgade - named after Herman Wilhelm Bissen (1798-1868)
 Ernst Meyers Gade - named after the painter Ernst Meyer (1797-1861)
 Lundbyesgade - named after the painter Johan Thomas Lundbye (1818-1848)
 Küchlersgade - named after the painter Albert Küchler (1803-1886)
 Carstensgade - named after the painter Asmus Jacob Carstens (1754-1798)

See also
 Kildevækd Quarter

References

External links

 Architecturaol renderings in the Danish National Art Library

Residential buildings in Copenhagen
Vesterbro, Copenhagen

Humleby


Albergue Caritativo Tricoche or Hospital Tricoche (English: Tricoche Charitable Shelter or Tricoche Hospital) is a historic building located on Calle Tricoche street in Ponce, Puerto Rico, in the city's historic district. It was designed by the Spanish Royal Corps of Engineers. The architecture consists of 19th-century civil architecture. When built in 1878, "it held the top spot among public building in Puerto Rico," based on its size and beauty.

The hospital was named after Valentin Tricoche, a 19th-century philanthropist and land owner in Ponce with lands on the western bank of Rio Bucana which included lands with a stone mine. Valentin Tricoche left moneys in his will for the construction of the hospital.

Construction started on 30 May 1873, it was delivered to the Municipal government by the Spanish Royal Corps of Engineers in September 1876, and opened to the public on 11 December 1878.  The structure was built articulated in the Classical revival style. By 1885, the hospital was expanded with an annex which was named "Hospital Civil de Ponce", to differentiate it from the original hospital built with funds from Valentin Tricoche.

The historic structure was listed on the U.S. National Register of Historic Places on 14 May 1987.

History
The "Albergue Caritativo Tricoche" (Tricoche Charitable Shelter) was founded in 1878 thanks to an endowment to the City of Ponce left by Mr. Valentin Tricoche in his will. These funds were to be used for the construction of a shelter-hospital for the poor and needy of Ponce.

Just 7 years after its opening, by 1885, the hospital had been such a success there was no longer enough room for the growing population of the city of Ponce, so an annex was started. It was named "Hospital Civil" to differentiate it from the original structure built with funds from Mr. Valentin's will. Ermelindo Salazar, Bartolo Mayol, and Francisco Maria Franceschi, headed a drive for the collection of popular funds to build the new annex, but enough funds were collected to build just one wing of the annex. Construction of the entire annex structure did not complete until 1896.

By 1885 the municipality had completed a one-story neoclassical style structure that covered an entire urban block. This building remained unchanged until the 1918 earthquake which damaged part of the southern side.

The reconstruction of this side was completed in 1928. During this reconstruction a second story was added to the south side. The architectural vocabulary used for this addition was similar to the 1885 construction. The first floor and main entrance were restored to their original shape.

Since then alterations to the structure have been minimal and mostly due to new regulations by the Department of Health or to serve the community better. The main alteration to the structure was the addition of a new emergency entrance on the southern side on the Bertoly Street facade. The addition did not contribute to the value of the property but neither did it hinder the structure's architectural integrity since it was designed and built with a compatible architectural facade. This was also true of the 1928 second floor, which was clearly separated from the 1885 construction by means of visually acceptable wall.

Hospital Tricoche served the Ponce community since 1878, and closed in 1986. "In its 108-year history the hospital gave the best free-of-cost medical attention available to the poor and needy in the city of Ponce."

In 1972 the Municipality adopted a resolution to rebuild the hospital but, after additional consideration, the plan was abandoned in 1974 in favor of building a new facility away from congestion and with sufficient space for parking. Between the mid 1970s and early 1980s, a new hospital facility was built on Avenida Las Americas. Once built, however, the municipal government could not appropriate the necessary funds to equip and open its new hospital building and, in 1984, agreed to sell the new facility to the Hospital Dr. Pila corporation for $10.37 million, which moved into the new facilities three years later.  Tricoche Hospital shut down in 1999, and sits unused since.

Physical appearance and description
Hospital Tricoche occupies an entire urban block bounded by Calle Arenas on the north, Calle Tricoche on the south, Calle Bertoly on the east, and Calle Union on the west. It is located a few blocks north of Ponce's main square.

The oldest records found indicate that the structure was built in 1885 consisting of a one-story building organized around two identical anterior courtyards. This original spatial distribution is still preserved today. The southern half was altered in 1928 after the 1918 earthquake damaged part of this side. During this remodeling a second story was added to this half. This southern facade is set back from the street by a fence and front yard. Its main element is the entrance portico articulated by flat tuscan pilasters and three arches, the central one slightly protruding to the front (This portico is part of the original 1885 construction). Over the portico, separated by cornice and parapet with the building's name in sans serif letters. Other decorative elements at this level include overhangs, a segmental round cornice over the recessed center window, louvered casement windows with segmental round openings and plain glass transoms and a rosette on top of the center recess between the two volumes. In contrast, the first floor of this south facade presents large rectangular windows with wide planar moldings and a simple cornice with a segmental pyramidal profile on the top molding, a cornice and rectangular windows with false segmental arch crowned by an equally false keystone all part of the original 1885 construction.

The rear half of the building conserves the original one-story configuration with a repetition of rectangular openings surrounded by wide planar moldings and top cornices. Crowning the center bay of the north (Calle Arenas) facade there is a simple triangular pediment with the date "1885" on top. The Calle Arenas street facade presents a certain rhythm in its treatment of pilasters and bays: two pilasters flank each of the central ones, including the one with the pediment, are flanked and separated by a total of six more pilasters. Wherever the pilasters occur on this facade, the wall is slightly set off to the front.  The bottom of this rear part is lifted on a podium and the pilasters are surmounted by an entablure with a very simple frieze and architrave.

The corners on this rear part of the building are rounded, a somewhat unusual condition for corners in buildings of this type of architecture. After a recent remodeling, most windows and doors were finished in near-duplicative (usually louvered casement) designs. The new annex on the side features arched openings to the street and has glass fenestration. This addition does not contribute to the property's architectural value but due to its disposition and volume it does not harm the main structure's integrity either. Even with the 1928 alterations, the building "is still a magnificent example of Spanish architecture in Ponce and of the neoclassical style".

Recent developments
In 2009, Ponce mayor Francisco Zayas Seijo reported that $1 million had been used by the municipality to remove toxic materials from the Hospital, and was optimistic that the inversion would lead to the opening of the hospital.

In the summer of 2019, the Ponce Municipal Legislature approved a resolution for the lease or sale of the structure.

References

Further reading
 The Puerto Rico Eagle. Feb. 1, 1909.
 Architects and Builders' Magazine. 1909, p. 289.
 Eduardo Newman Gandia. Verdadera y Autentica Historia de la Ciudad de Ponce. Ponce, Puerto Rico. 1913.
 Directorio Comercial de Ponce. 1985.

External links

Hospital buildings completed in 1878
National Register of Historic Places in Ponce, Puerto Rico
Neoclassical architecture in Puerto Rico
Hospitals in Ponce, Puerto Rico
1878 establishments in Puerto Rico
Municipal hospitals
Hospital buildings on the National Register of Historic Places
Government buildings on the National Register of Historic Places in Puerto Rico
Unused buildings in Puerto Rico

Albergue Caritativo Tricoche


Paisa is a 2014 Indian Telugu-language action drama film directed by Krishna Vamsi, produced by Ramesh Puppala under Yellow Flowers banner, featuring Nani and Catherine Tresa in the lead. It was written by Padmasri, K. K. Binojee and Patrikeya. It deals with the power of money and how the whole world revolves around it.

The film was scheduled to release on 20 December 2013 with an 'A' certificate from the censor board for its excessive violence and profanity. However, the film released worldwide on 7 February 2014.

Upon release, the film received mixed reviews from the critics and audience, alike. It was a flop at the box office.

Plot
A minister of Andhra Pradesh Cabinet named Kalamoorthy is removed from his post after the Central Bureau of Investigation proves his involvement in Liquor Mafia and the Election Commission of India declares the first by election after the main elections of that term in that constituency. While a senior ruling party leader Saradhi is willing to spend 25 crore for the election, other senior members ask Sanyasi Naidu to shell out 50 crores and if he wins in the by election, he would become the Chief Minister of Andhra Pradesh. Since it is his ambition to rule the state, Sanyasi Naidu accepts to spend 50 crores. With the help of his trusted aid, the Assistant Commissioner of Police (ACP), Sanyasi Naidu brings 50 crores to India through Hawala transaction into Old City in Hyderabad. The ACP is tasked with transporting the money to the constituency. On completion of the task and if Sanyasi Naidu becomes the Chief Minister, then the ACP would be promoted as Inspector General (IG) of Police. The ACP goes to the Old city to collect the amount and the money is wrapped in big black plastic bags and is placed in the Deck lid of a Black Innova.

Another story runs parallel to the above plot. Prakash is a model of an Old city sherwani firm who dreams to become rich. He has such an obsession for money that he pronounces his name as Pra'cash' often. He has two friends, Tabar, a cab driver and Gokul. Noor, who also works in the same firm, is in love with him. However, as Prakash is in love with Sweety, the daughter of Sanyasi Naidu, Noor decides to leave him and marry an old sheikh in order to solve her family's financial problems on the pressure of their creditor and the local don Yadav. But Prakash does not know that Sweety is Sanyasi Naidu's daughter and Sweety is not aware of Prakash's intentions and takes his advances lightly. When Prakash learns of Noor's marriage, he beats the sheikh, Yadav and his men in disguise and takes away Noor along with his friends. The two plots converge here as Prakash escapes in that Black Innova along with Noor and his friends while the ACP is left severely injured. Neither Prakash nor his companions are aware of the money in the car.

To save Noor, Prakash arranges her stay in Sweety's house to which Sweety accepts. In the meantime, Sanyasi Naidu calls his henchmen to Hyderabad to kill the ACP and find the money. Another gang of Sanyasi Naidu is approached by Saradhi who tells them to find the 50 crores and distribute it among themselves and this stint makes the other gang turning into Saradhi's henchmen. The ACP makes a deal with Encounter specialist Daniel to find the money and share it between them equally. Prakash realises that his phone is missing and is in the Innova and goes to the parking lot along with Tabar in the latter's cab. There Prakash finds the money in the deck lid and shifts the bags into the deck lid of the cab. Tabar and Prakash go to the place where abandoned vehicles are kept and there Prakash and Tabar see the money. The keys are with Prakash and both go away from there. Meanwhile, Daniel and his sub-ordinate go to the parking lot and find only a part of the money in the Innova's deck lid. While they are informing about it to the ACP, Sanyasi Naidu's henchmen kill him and see the photo of Daniel in the caller image when he dials again.

Daniel arrests all the Old city youngsters along with Prakash and Tabar and Daniel's sub-ordinate asks all of them about the money. Meanwhile, the local MLA intervenes and all of them are released. Just as Prakash and Tabar leave the station, Saradhi's henchmen attack Prakash about the money and Prakash manages to beat them and escapes with Tabar. After an inquiry with the local Qazi, Daniel learns about Yadav's presence in the only marriage that happened on the day of missing of Innova. Yadav's men steal the cab from the new area and while Prakash and Tabar blame each other of stealing the money, Yadav makes a call to Prakash and threatens to sell the cab if he does not bring Noor today. But Yadav is unaware of the money in the cab. When Prakash, Tabar and Gokul see Yadav's men with the cab, they try to attack them but Daniel arrests Yadav's men and Sanyasi Naidu's henchmen rob the car. While Prakash, Tabar and Gokul chase them on a bike, they hit the car of Daniel and since Daniel knows that Prakash is also involved in the robbery of Innova after beating Yadav's men at the spot, Prakash and Tabar are arrested. They are tortured and when Daniel tries to shoot Prakash, Tabar tells that the money is in his cab. Tabar is shot by Daniel and Sanyasi Naidu's men kill Daniel and his sub-ordinate and kidnap Prakash. Gokul reaches the spot and takes Tabar along with him whom Prakash believes to be dead.

Sanyasi Naidu sees Prakash and threatens to kill Noor who is present in his house if he doesn't tell the place where the money is. Then Sanyasi Naidu's henchmen inform him that the cab is at the place where they robbed it as there was no petrol in it to drive. Prakash goes there along with Sanyasi Naidu's henchmen and is informed by Sweety that he is going to be murdered after they reach the spot. Prakash beats them up and refuels the cab. He goes to Yadav's place where Tabar and Gokul are being held. He calls Sanyasi Naidu to come there along with Noor if he wants him. Meanwhile, Prakash leaves petrol cans open inside the cab and plans to explode the cab once the petrol leaks. The two parties meet each other and while everything is going smooth, Saradhi's henchmen arrive along with Sweety and threaten Sanyasi Naidu to kill her if Prakash and the 50 crores are not handed to them. Prakash and Sanyasi Naidu are not at all happy as Yadav is now aware of the money's presence and Prakash displays the money in the deck lid. He locks it and throws away the key. In the chaos that ensues, Sweety's life is endangered which worries Sanyasi Naidu.

Once Sweety and Noor are saved, the petrol starts leaking profusely and Prakash throws a burning stick on it which blasts the car and the entire money is burnt into ashes. Sanyasi Naidu is a reformed man. Prakash marries Noor and goes to Dubai along with his friends. There when his friends blame Prakash for burning the money, Prakash replies that before reaching Yadav's place, he took 50 lakhs from the lot and replaced it with white papers. Out of the 49.5 crores, he donates 45 crores to Saheli, an organisation established for the welfare of poor women in old city to ensure that there is no financial problem to the old city families among which Noor's family is also one. The rest 4.5 cores are retained by Prakash with which he starts a very successful Sherwani business in Dubai with his wife and friends as employees.

Cast
 Nani as Prakash
 Catherine Tresa as Noor
 Sidhika Sharma as Sweety (voice dubbed by Anasuya Bharadwaj)
 Bharath Reddy as Saradhi
 Charan Raj as Sanyasi Raju
 Raja Ravindra as Daniel
 Duvvasi Mohan as Daniel's subordinate
 Akbar Bin Tabar as Tabar , Prakash's friend
 Dheer Charan Shrivastav as Prakash's friend
 R.K. as Yadav

Production

Development
After Krishna Vamsi's failure Mogudu, he began working on his next film. The film was officially launched on 29 June 2011 at Hyderabad in the production office in the morning. Krishna Vamsi declared that a New Music Director would work for this film and Prasad Murella would handle the camera. In the end of April 2012, while shooting was continuing, the film's title was declared as Paisa. In January 2013, a press note was issued stating that Nani would sport a Swarovski Crystal Suit which costed 0.45 million. It was said to be an inspiration of the outfits used by Michael Jackson.

Casting
Nani was recruited to play the role of Prakash, a Sherwani Model in Old City who is obsessed to gain Money which even makes him pronounce his name as Pra'cash'. Catherine Tresa was recruited to play the role of Noor, a Muslim girl. This film was supposed to be her Debut in Telugu cinema, but her other projects Chammak Challo and Iddarammayilatho released before this film. Charan Raj was selected to play the main antagonist of the film. In this film, he played the role of a corrupt politician. Hyderabadi Cinema Comedian Akbar Bin Tabar, who is well known for his unique dialogue delivery, was selected to play the role of a Taxi Driver in this film.

Marketing
The first look posters and teaser were released on 24 February 2013 on the occasion of Nani's Birthday. The logo of the film was officially launched on the same day at Hyderabad on the eve of Nani's Birthday. On 27 March 2013 two posters were released by the production team on the eve of Holi festival which carried the team's wishes to the people. On 18 May 2013 the Audio release poster featuring Catherine Tresa was released along with few other posters on the Internet. The film's Trailer was released on 19 May 2013 along with the soundtrack Album.

Reception
The Hindu gave a review stating "A cocktail of crime, comedy and politics requires a solid plot, believable characters and racy storytelling. With Paisa, Krishna Vamsi tries to deliver a dizzying fun outing but tries to make do without a strong plot. Paisa has many things going for it by way of standing out from routine potboilers. There are witty lines, many well-conceived and well-executed scenes but on the whole, this isn't Krishna Vamsi's best." Deccan Chronicle gave a review stating "Krishna Vamsi, unlike his earlier films, does not give attention to the emotional details making the storyline appear routine. His direction is lacking in many aspects making this one not one of his bests. The predictability of the plot is further marred by logical loopholes. The film might disappoint, but you can watch it for Nani" and rated the film 2.5/5. Desimartini.com gave a review stating "Not as talked about as RGV's but Krishna Vamsi's descent into the restless madness is an equally interesting story. A super exciting auteur until a point for whatever reasons had turned into this insecure and loudly eager man that would try anything to distract the audience than letting the film have a shot longer than 12 frames. For the head to handle about 893 cuts in less than a minute and of something that wasn't shot for such a pacey cut, the audience should be real brain dead to not feel irritated" and rated the film 2/5.

Oneindia Entertainment gave a review stating "Krishna Vamsi, who wants to deal with Hawala and money laundering issues in a different way, has chosen wonderful story for Paisa, but he has failed to execute his ideas on screen. Overall, Paisa is a good commercial entertainer, but it is not up to the mark of Krishna Vamsi's previous ventures. Nani's performance is the saving grace in the film. You can watch the film, If you are a hardcore fan of Nani or Krishna" and rated the film 3/5. 123telugu.com gave a review stating "Paisa is a movie that will not give you a paisa vasool experience at the Box Office. Despite some good efforts from Nani, this movie will face huge challenges at the Box Office. Poor technical values, lack of an engaging screenplay and low entertainment value will hurt the film" and rated the film 2.5/5. IndiaGlitz gave a review stating "The script is full of lacunae. Nani's character is inappropriately happy-go-lucky. Moreover, his expression should have been intense in the second part of the film but that is not so. The screenplay was terribly written and executed, as the result, the audience feel that, barring Raja Ravindar, the others were less than perturbed by the mess. It is a Run-of-the-mill film from a director who has seemingly run out of ideas" and rated the film 2.25/5.

greatandhra.com gave a review stating "The opening few minutes of the film doesn't waste any time and gets the audience into the story. It is not until the interval caption that one realizes that first half is over. But trouble begins in second half. It could not sustain the same speed and had a dip which eventually played the spoilsport. Krishna Vamsi has tapped the element of human greed for money so while it appeals to the masses it doesn't have enough for other genre of audience to like it" and rated the film 2/5. gulte.com gave a review stating "Apart from Nani's performance there is nothing much to talk about Paisa. Krishna Vamsi failed execution let the film down. There are few impressive moments in the film, but those are not enough to hold the film together. Krishna Vamsi's eccentric style of filmmaking will not impress many. Even his diehard fans will be disappointed to see him making a mess out of this interesting plot" and rated the film 2.75/5. Apherald.com gave a review stating "These are hard times for Telugu Cinegoers as good movies are hard to find. The poor viewer is not demanding trailblazing or superb art at the movies. All they want is paisa vasool entertainers. Krishna Vamsi's Paisa could have been a great entertainer, unfortunately it isn't!" and rated the film 2/5.

Soundtrack

The soundtrack of the film was composed by Sai Karthik. The album was launched through Aditya Music label on 19 May 2013 in a promotional event held at Shilpakala Vedika in Hyderabad. Nani and Allari Naresh anchored the event. The film's crew and many well known celebrities attended the event. Veteran director Dasari Narayana Rao launched the trailer in the same event.

The soundtrack album received positive response. 123telugu.com gave a review stating "Paisa has some pretty decent music. The film's theme song, 'Paisa Theme', is highly entertaining and music director Sai Karthik has done a very good job with this number. Among the other tracks, 'Govindaa Govindaa' 'Neetho Edho' and 'Mayya Mayya' are good. Sai Karthik has played a safe game, by coming up with pleasant but slightly routine music. Krishna Vamsi is known for coming up with very good visuals for his songs, so let us see what magic he can do this time." IndiaGlitz gave a review stating "It is time for yet another Krishna Vamsi audio – something where each song is driven by the needs of the  script rather than any other extraneous consideration. Sirivennela Seetharama Sastry, the director's favourite, doesn't disappoint. When the theme is paisa, his talent comes to the fore like best. The singers, right from Tippu and Vijay Prakash to Shweta Mohan and others give their best. Sai Karthik gives one of his career bests." Apherald.com gave a review stating "All together Paisa audio is impressive and songs will get more popular once film comes before audiences."

External links

References

2010s Telugu-language films
Films directed by Krishna Vamsi
2014 films
Indian action comedy films
Films scored by Sai Karthik
Indian slapstick comedy films
Indian crime comedy films
Money forgery
Indian interfaith romance films
2014 masala films
2014 action comedy films
2010s crime comedy films

Paisa (2014 film)


The Castrocaro Music Festival, also known as Concorso per Voci Nuove, is an Italian musical contest which takes place every year in the town of Castrocaro Terme e Terra del Sole, near Forlì, from 1957. The competition is exclusively reserved for new talents, and it had its maximum popularity from 1962 to early Eighties when, under the direction of Gianni Ravera, based on an agreement with the Sanremo Music Festival the top two finishers of the competition gained the access to the Sanremo Festival. Singers who were launched by the event include Gigliola Cinquetti, Iva Zanicchi, Zucchero Fornaciari, Fiordaliso, Caterina Caselli, Laura Pausini, Eros Ramazzotti, Franco Simone and Alice.

References

Music festivals in Italy
1957 establishments in Italy

Castrocaro Music Festival


{{Infobox weapon
| name               = FN Five-seven
| image              = FN57mag01.JPG
| image_size         = 300px
| alt                =
| caption            = Five-seven USG with 20 round magazine fitting 5.7×28mm cartridges
| origin             = Belgium
| type               = Semi-automatic pistol
| is_ranged          = Yes
| service            = 2000–present
| used_by            = 20+ nations (see Users)
| wars               = * War in Afghanistan
 Indonesian offensive in Aceh
 Mexican Drug War
 Libyan Civil War
| designer           = FN Herstal
| design_date        = 1993–98
| manufacturer       = FN Herstal
| unit_cost          =
| production_date    = 1998–present
| number             =
| variants           = See Variants
| spec_label         =
| weight             = *  empty  loaded| length             =
| part_length        =
| width              =
| height             =
| diameter           =
| crew               =
| passengers         =
| cartridge          = FN 5.7×28mm
| cartridge_weight   =
| caliber            =
| barrels            =
| action             = Delayed blowback
| rate               = Semi-automatic
| velocity           = * 762 m/s (2,500 ft/s) (SS198)
 625 m/s (2,050 ft/s) (SS195)
 520 m/s (1,700 ft/s) (SS197)
| range              =
| max_range          =
| feed               = Detachable box magazine; capacities:
 10 rounds (restricted)
 20 rounds (standard)
 30 rounds (extended)
| sights             = * "Three-dot" type: fixed or adjustable;  sight radius
}}

The FN Five-seven (stylized as Five-seveN) is a semi-automatic pistol designed and manufactured by FN Herstal in Belgium. The pistol is named for the 5.7×28mm cartridge's bullet diameter, and the trademark's capitalization style is intended to emphasize the manufacturer's initials—FN.

The Five-seven pistol was developed in conjunction with the FN P90 personal defense weapon and the FN 5.7×28mm cartridge. The P90 was introduced in 1990, and the Five-seven was introduced in 1998 as a pistol using the same 5.7×28mm ammunition. Developed as a companion pistol to the P90, the Five-seven shares many of its design features: it is a lightweight polymer-based weapon with a relatively large magazine capacity, ambidextrous controls, low recoil, and the ability to penetrate body armor when using certain cartridge types.

Sales of the Five-seven were originally restricted by FN to military and law enforcement customers, but since 2004, the pistol has also been offered to civilian shooters for uses such as personal protection and target shooting. Although offered only with sporting ammunition, the Five-seven's introduction to civilian shooters was met with vocal opposition from gun control organizations such as the Brady Campaign, and the pistol has been subject to ongoing controversy in the United States.

The Five-seven is currently in service with military and police forces in over 40 nations, including Canada, France, Greece, India, Poland, Spain, and the United States. In the United States, the Five-seven is in use with numerous law enforcement agencies, including the U.S. Secret Service. In the years since the pistol's introduction to the United States' civilian market, it has become increasingly popular with civilian shooters.

 History
 Development

The Five-seven pistol and its 5.7×28mm ammunition were developed by FN Herstal in response to NATO requests for a replacement for the 9×19mm Parabellum cartridge and associated pistols and submachine guns. NATO called for two types of weapons chambered for a new cartridge—one a shoulder-fired weapon, and the other a handheld weapon. According to NATO, these new weapons, termed personal defense weapons (PDWs), were to provide "personal protection in last-resort situations when the user is directly endangered by the enemy [...]." In 1989, NATO published document D/296, outlining a number of preliminary specifications for these weapons:
 The new cartridge was to have greater range, accuracy, and terminal performance than the 9×19mm cartridge. Additionally, it was to be capable of penetrating certain types of body armor.
 The shoulder-fired personal defense weapon was to weigh less than 3 kg (6.6 lb), with a magazine capacity of at least 20 rounds.
 The handheld personal defense weapon (pistol) was to weigh less than , although a weight of  was deemed desirable; it was to have a magazine capacity of no fewer than 20 rounds.
 Both weapons were to be sufficiently compact to be carried hands-free on the user's person at all times, whether in the cab of a vehicle or the cockpit of an aircraft, and were to perform effectively in all environments and weather conditions.

FN Herstal was the first small arms manufacturer to respond to NATO's requirement; FN started by developing a shoulder-fired personal defense weapon, the FN P90, along with a small caliber, high velocity 5.7×28mm cartridge type. The original 5.7×28mm cartridge, called the SS90, went into production with the P90 in 1990. This cartridge type was discontinued in 1993, and replaced with the 5.7×28mm SS190, which used a heavier and slightly shorter projectile weighing 2.0 g (31 grains). The reduced length of the SS190 projectile allowed it to be used more conveniently in the Five-seven, which was under development at that time.

In 1993, Jean-Louis Gathoye of FN filed a United States patent application for a delayed blowback operating system intended for the Five-seven pistol, and U.S. Patent 5,347,912 ("Elements for decelerating the recoil of the moving parts of a firearm") was received the following year. In 1995, FN officially announced development of the Five-seven pistol, and a prototype of the pistol was publicly displayed the following year. With some improvements, a double-action only model of the pistol went into production in 1998, and a single-action model called the Five-seven Tactical was then introduced shortly afterward. The Five-seven first entered service in May 2000, when the Cypriot National Guard () purchased 250 pistols for their special forces group.

[[File:FN5711.jpg|thumb |alt=Photo of an all-black Five-seven USG with an extended 30-round magazine |Polymer materials are used extensively in the Five-seven's design; even the steel slide is encased in a polymer shell.]]

 NATO evaluation

In 2002 and 2003, NATO conducted a series of tests with the intention of standardizing a PDW cartridge as a replacement for the 9×19mm Parabellum cartridge. The tests compared the relative merits of the FN 5.7×28mm cartridge and the HK 4.6×30mm cartridge, which was created by German small arms manufacturer Heckler & Koch as a competitor to the 5.7×28mm. The results of the NATO tests were analyzed by a group formed of experts from Canada, France, the United Kingdom, and the United States, and the group's conclusion was that the 5.7×28mm was "undoubtedly" the more efficient cartridge.

At the time, the German delegation and others rejected the NATO recommendation that 5.7×28mm should be standardized, delaying the standardization until its eventual completion in February 2021. Despite this delay, both the 4.6×30mm and 5.7×28mm cartridges (and the associated weapons) have been independently adopted by various NATO countries, according to preference; the Five-seven pistol is currently in service with military and police forces in over 40 nations throughout the world.

 Present
At first, sales of the Five-seven pistol were restricted by FN to military and law enforcement customers, but in 2004 the new Five-seven IOM model was introduced and offered to civilian shooters for use with 5.7×28mm sporting ammunition. The IOM model incorporated several modifications to the weapon's design, such as the addition of an M1913 accessory rail, a magazine safety mechanism, and fully adjustable sights.

Further development of the Five-seven pistol led to the introduction of the Five-seven USG model, which was approved by the ATF as a sporting firearm in 2004. The USG model incorporates a conventionally shaped square trigger guard, a reversible magazine release, and other minor changes.

The Five-seven MK2 was introduced in 2013, replacing the USG model. The MK2 model has cocking serrations on the front of the slide, all black controls, and slightly different iron sights.

The Five-seven MK3 MRD was introduced at Eurosatory in 2022, introducing a threaded barrel, making it possible to use a silencer, a new texture pattern on the grip and deeper slide serrations. The MRD variant is available only to the government and law enforcement, with a civilian version scheduled for a later release.

 Design
The Five-seven is a semi-automatic delayed blowback pistol chambered for FN's 5.7×28mm ammunition. The pistol has a concealed hammer. Polymer materials are used extensively in the pistol's design, and even the steel slide is encased in a polymer shell. This provides reduced weight and greater resistance to corrosion. The slide's polymer shell gives the pistol the appearance of being constructed entirely of polymers, but the slide interior, barrel, trigger, springs, pins, and similar parts are all steel. However, the pistol is unusually lightweight, weighing only 744 g (1.6 lb) with a loaded 20-round magazine.

The Five-seven is a full-size pistol, having an overall length of , a height of , and a max width of . It has the same grip angle as the distinguished Browning Hi-Power and M1911 pistols. Despite the considerable length of the pistol's 5.7×28mm ammunition, the grip is not particularly unwieldy—the distance from the trigger to the back of the grip measures , which is identical to a U.S. Military issue M9 pistol chambered in 9×19mm Parabellum. The Five-seven barrel is cold hammer-forged and chrome-lined, with a total length of  and a rifled length of . The barrel has eight rifling grooves with a right-hand twist rate of 1:231 mm (1:9.1 in), and it weighs . The small caliber gives the barrel a
length in calibers of more than 20, 58% more than a comparable 9x19 barrel. It has a stated service life of 20,000 rounds and the Five-seven is noted for being very accurate.

Current models of the Five-seven are single-action, having a short and light trigger pull of 20 to 30 N (4.4 to 6.6 lbF). They have a Picatinny rail for mounting accessories, and a magazine safety mechanism that prevents the pistol from firing without a magazine inserted. The grip texture on current pistols is extensively checkered for a superior hold, and each side of the slide has a series of narrow ridges at the rear to aid grasping. The trigger and trigger guard surfaces also have grooves to reduce finger slip, and the trigger guard is elongated to ease firing while wearing gloves. The Five-seven is currently offered in two different frame finishes (standard black or flat dark earth), and two different iron sight systems (adjustable sights or low profile fixed sights).

 Ammunition

Particularly significant to the design of the Five-seven pistol is the small caliber, high velocity bottlenecked cartridge it uses. The 5.7×28mm cartridge was created by FN Herstal in response to NATO requests for a replacement for the 9×19mm Parabellum cartridge, which is commonly used in pistols and submachine guns. The 5.7×28mm cartridge weighs 6.0 g (93 grains)—significantly lighter than the average 9×19mm Parabellum cartridge (M882 NATO total cartridge weight of 12 grams (180 grains)) —making extra ammunition less burdensome, or allowing more ammunition to be carried for the same weight. Since the 5.7×28mm cartridge also has a relatively small diameter, an unusually high number of cartridges can be contained in a magazine. The cartridge has a loud report and produces considerable muzzle flash, but it has roughly 30 percent less recoil than the 9×19mm cartridge, improving controllability. Due to its high velocity, the 5.7×28mm also exhibits an exceptionally flat trajectory.

One of the design intents for the standard 5.7×28mm cartridge type, the SS190, was that it would have the ability to penetrate Kevlar protective vests—such as the NATO CRISAT vest—that will stop conventional pistol bullets. Fired from the Five-seven, the 5.7×28mm SS190 has a muzzle velocity of roughly 650 m/s (2,130 ft/s) and is capable of penetrating the CRISAT vest at a range of , or 48 layers of Kevlar material (roughly equivalent to two stacked Level II Kevlar vest panels) at a range of . It is also capable of penetrating a PASGT vest at a range of  or a PASGT helmet at a range of . FN states an effective range of  and a maximum range of  for the 5.7×28mm cartridge when fired from the Five-seven pistol.

In testing conducted by Passaic County, New Jersey Sheriff's Department, the 5.7×28mm SS190 penetrated to a depth of  in bare ballistic gelatin, and a depth of  in gelatin protected with a Kevlar vest. In testing, the SS190 and similar 5.7×28mm projectiles consistently turn base over point ("tumble") as they pass through ballistic gelatin and other media, using the 21.6-mm (.85 in) projectile length to create a larger wound cavity. However, some are skeptical of the bullet's terminal performance, and it is a subject of debate among civilian shooters in the United States.

The 5.7×28mm projectile potentially poses less risk of collateral damage than conventional pistol bullets, because the projectile design limits overpenetration, as well as risk of ricochet. The lightweight projectile also poses less risk of collateral damage in the event of a miss, because it loses much of its kinetic energy after traveling only , whereas a conventional pistol bullet such as the 9×19mm retains significant energy beyond . This range exceeds the engagement distances expected for the 5.7×28mm cartridge's intended applications, so the cartridge's limited energy at long range is not considered to be disadvantageous. Since the 5.7×28mm SS190 projectile does not rely on fragmentation or the expansion of a hollow-point bullet, the cartridge and pistol are considered suitable for military use under the Hague Convention of 1899, which prohibits the use of expanding bullets in warfare.

 Feeding

The Five-seven pistol feeds from detachable box magazines, but it is unconventional in that it feeds cartridges into the chamber without the use of a barrel feed ramp, having a beveled chamber only—the pistol's feeding is inherently reliable because of its use of bottlenecked cartridges. The pistol is supplied with 20-round magazines as standard, or 10-round magazines for jurisdictions with a high-capacity magazine ban. The Five-seven will also accept an aftermarket extended 30-round magazine, which protrudes an additional  from the base of the pistol. With an additional cartridge in the chamber, the Five-seven pistol has a total capacity of 11, 21, or 31 rounds depending on which magazine type is used. Magazine pouches for the Five-seven magazine are available from various manufacturers.

The Five-seven's magazine can be disassembled for cleaning or lubrication by removing the polymer floorplate. The magazine body is constructed of polymer, with steel inserts at the feed lips. Unlike a conventional pistol magazine, it feeds from double-stack staggered-feed magazine, with a follower that has the same appearance as that of an M16 rifle's magazine, and which is loaded in the same manner: by pushing cartridges straight down into the magazine, rather than pushing them down and back. This setup makes it very easy to load individual cartridges into the magazine. The magazine floorplate has a slight finger spur, and four holes in the left side of the magazine body allow a convenient estimate of the amount of remaining ammunition.

 Controls
All controls (excluding the trigger) on the Five-seven USG and earlier models are grey polymer, in contrast to the black polymer frame and slide cover. Similarly, all of the controls on the Five-seven FDE and Five-seven ODG models are black polymer, in contrast to the flat dark earth and olive drab polymer frames. A takedown lever is located at the front on the left side of the weapon's frame, and a slide release is located at the rear on the left side of the frame; these controls are protected from accidental movements by slight projections in the frame contour. A chamber indicator, in the form of a pin inside a tiny hole, is provided on the left side of the slide. When a round has been chambered, this pin will protrude , which is sufficient to provide both visible and tactile indication of the chamber's status.

Current models of the Five-seven have an ambidextrous manual safety device, which is located in an unconventional position: one control is found on each side of the frame above the trigger guard, where it is reachable with the trigger finger or support hand thumb. A red dot is visible here when the safety is deactivated and the pistol is ready to fire; when the safety is moved to the raised position, it is activated and the red dot is no longer visible. The pistol's push-button magazine release, located on the left side of the frame where the trigger guard intersects with the grip, is square-shaped and reversible for left-handed shooters.

The Five-seven can be disassembled quickly and easily, by using the left hand to retract and hold the slide  rearwards, while simultaneously using the left-hand thumb to push and hold the takedown lever rearwards. When the slide is released, it moves forward freely and the complete slide assembly can be disengaged from the frame, whereupon the barrel (and captured recoil spring) can be removed from the slide. This level of disassembly is sufficient to perform thorough cleaning of the pistol, and FNH USA recommends no further disassembly except by an authorized armorer, FN Herstal, or FNH USA. Reassembly of the pistol is done in the reverse order, except no use of the disassembly lever is necessary.

 Sights and accessories

The Five-seven has a sight radius of ; the pistol is currently offered with either adjustable sights or fixed sights. The "three-dot" type adjustable sights consist of a 2.9-mm (0.12 in) square notch rear and a 3.6-mm (0.14 in) blade front, which has a height of . The sights are targeted at , but can be adjusted for either windage or elevation. The "three-dot" type C-More fixed sights, which are offered as a low profile alternative to the adjustable sights, can only be adjusted for windage. The fixed sights are targeted at  using SS195LF ammunition, and are available with or without tritium-illuminated inserts ("night sights") to aid use of the pistol in dim lighting.

The Five-seven is supplied with a lockable hard case, a locking device and keys, a magazine release reversal tool, a sight adjustment tool (not included with the fixed sights model), a cleaning kit, an owner's manual, and three 20-round magazines (or three 10-round magazines, where restricted by law).

The Five-seven can be used in conjunction with a wide range of firearm accessories; holsters are offered by various manufacturers, and the pistol's MIL-STD-1913 (Picatinny) accessory rail will accept tactical lights or laser aiming devices. With the use of an extended, threaded barrel, the pistol can also be fitted with various sound suppressors developed by Advanced Armament Corporation, Gemtech, Silencerco, and other manufacturers. The Gemtech SFN-57, which was developed in 1998 specifically for use with the Five-seven, is a matte black aluminum suppressor with a length of , a diameter of , and a weight of . Israeli manufacturer FAB Defense offers a complete PDW conversion kit for the Five-seven, designated the KPOS G2 FN 5.7, that allows the pistol to be reconfigured into a shoulder-fired personal defense weapon, and CornerShot offers a weapon system compatible with the Five-seven that allows the shooter to aim and fire around corners without being exposed.

 Variants
Five-seven
The original Five-seven was introduced in 1998, and it is now discontinued. It had no manual safety device and it was double-action only, with a heavy trigger pull of 4.5 to 6.5 daN (10 to 14 lbF); its double-action only trigger was harshly criticized. The original Five-seven had a pebbled grip pattern, a smoothly contoured accessory rail, low profile fixed sights and a large circular-shaped trigger guard designed to facilitate gloved use. It did not have a slide release and the slide was not serrated as on newer models, but a portion at the rear of the slide was instead slightly concave to aid grasping. The pistol also had slightly different markings, with an FN logo placed on the left side of the frame above the trigger guard.

Five-seven Tactical
The Five-seven Tactical was introduced shortly after the original double-action only model, as a single-action alternative. It had a short and light trigger pull of 2 to 3 daN (4.4 to 6.6 lbF), as on current models. It also had the addition of an ambidextrous manual safety device (located on each side of the frame, as on current models), and a slide release. Aside from these modifications, the Tactical model was identical to the original double-action only Five-seven. It was discontinued following the introduction of the IOM model.

Five-seven IOM
The Five-seven IOM (Individual Officer Model) was the first model of the Five-seven pistol to be offered to civilian shooters, debuting in 2004. It is now discontinued in favor of the USG model. The IOM was similar in its basic design to the Tactical version, but differed in that it had a MIL-STD-1913 (Picatinny) accessory rail, a serrated slide and trigger guard, and fully adjustable sights. It also had a magazine safety mechanism incorporated into the design, to prevent the pistol from being fired without a magazine inserted.

Five-seven USG
The Five-seven USG (United States Government) model was approved by the ATF as a sporting firearm in 2004, replacing the IOM model. The USG retained the changes that were incorporated in the IOM, but it had further modifications, including a conventionally shaped square trigger guard, a tightly checkered grip pattern, and a larger, reversible magazine release. It was originally offered with adjustable sights, but starting in 2009 it was also offered with low profile fixed sights. The USG model had a black frame finish with grey controls as standard, but it was also offered in limited quantities with black controls. Since 2013, the USG model is no longer listed by FNH USA.

Five-seven FDE
The Five-seven FDE (Flat Dark Earth) model was built to the same specifications as the Five-seven USG, but it had a brown frame finish and black controls, as opposed to the standard black frame finish and grey controls of the Five-seven USG. Like the USG model, the FDE was offered with either adjustable sights or low profile fixed sights. Since 2013, the original FDE model is no longer listed by FNH USA, although a flat dark earth version of the new MK2 is available.

Five-seven ODG
The Five-seven ODG (Olive Drab Green) model was built to the same specifications as the Five-seven USG model, but it had an olive drab frame finish and black controls, as opposed to the standard black frame finish and grey controls of the Five-seven USG. Like the USG model, the ODG model was offered with either adjustable sights or low profile fixed sights. Since 2012, the ODG model is no longer listed by FNH USA.

Five-seven MK2
The Five-seven MK2 model was introduced in 2013, and is now the standard version of the Five-seven offered by FN Herstal. This new model has cocking serrations on the front of the slide, and has a one-piece metal slide (under the polymer cover), whereas the previous models have a two-piece welded metal slide. It is available only with adjustable sights. The rear sight on the adjustable-sight version has also been changed, with beefed-up construction and white straight-edge sight references compared to the present three-dot target-style sights; these have been described as "combat adjustable sights".

The MK2 has a black frame and slide, with flat black controls in place of the grey controls of the IOM and USG models. It is also available with a flat dark earth frame color. It is slightly wider than previous models and will not fit most custom holsters made for earlier versions of the Five-seven.
 Current model
Five-seven MK3 MRD
The Five-seven MK3 MRD model was introduced in 2022, the main difference is the new FN patented interface that accepts the most commonly used red dot sights, and multisurfaced textures. Optically it has a new slide and a more textured grip, compared to the MK2. It is available in black and flat dark earth.

 Controversies
The Five-seven pistol and 5.7×28mm ammunition were originally restricted by FN to military and law enforcement customers, but in 2004 the new Five-seven IOM model was introduced, and offered to civilian shooters for use with 5.7×28mm SS192 ammunition. FNH USA has marketed the Five-seven to civilian shooters as a pistol suitable for personal protection, target shooting, and similar uses, but the Five-seven's introduction to civilian shooters was strongly opposed by U.S. gun control organizations such as the Brady Campaign; by the end of 2004, sales of the Five-seven pistol had increased dramatically.

In early 2005, the pistol was subject to controversy in the United States after the Brady Campaign stated that commercially available 5.7×28mm SS192 ammunition penetrated a Level IIA Kevlar vest in testing. The National Rifle Association (NRA) shortly countered the Brady Campaign's claim by stating that the gun control group may not have adhered to standard testing procedures, and that FN offers armor-piercing varieties of the 5.7×28mm cartridge only to military and law enforcement customers. Varieties offered to civilians are classified by the U.S. Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF) as not armor-piercing, and it was stated that the SS192 and SS196 cartridge variations were unable to penetrate various types of Kevlar vests in tests conducted by FNH USA.

Michael D. Barnes, then-president of the Brady Campaign, responded to the NRA's statements on the Five-seven by challenging NRA Executive Vice President Wayne LaPierre to be shot with the pistol while wearing a Kevlar vest. The NRA again responded to the Brady Campaign's statements, saying that "Barnes demonstrated his group's complete and utter disregard for gun safety and its flaming zeal to further restrict the rights of law-abiding gun owners." In the same year, two pieces of legislation were introduced in the United States Congress, specifically targeting the Five-seven pistol and 5.7×28mm ammunition for a federal ban: the H.R. 1136: PLEA Act was introduced in the House of Representatives by Rep. Eliot Engel (D-NY), and the S. 527: PLEA Act was introduced in the Senate by Sen. Frank Lautenberg (D-NJ); neither bill proceeded to a vote by the House or Senate.

In March 2007, legislation was again introduced in the United States Congress by Rep. Engel, under the new designation H.R. 1784: PLEA Act. Once again, the bill failed to proceed to a vote. In the following years, the Five-seven was subject to further controversy due to reports of the pistol's use by drug cartels in the Mexican Drug War. In the United States, the Five-seven has been used once to shoot and kill a police officer, causing the line of duty death of Wisconsin State Patrol Trooper Trevor Casper. Various news sources such as The Boston Globe and La Jornada also report incidents in which the pistol was used to shoot and kill police officers or civilians in Mexico. According to the ATF, the Five-seven is one of the weapons favored by drug cartels in the Mexican Drug War, and a smuggled Five-seven pistol can sell for up to 66,000 pesos (US$5,000) in Mexico. From Mexico, the pistols have been smuggled into other South American countries; in a July 2010 drive-by shooting in Envigado, Colombia, two cartel gunmen armed with Five-seven pistols opened fire on a group of bystanders outside a nightclub, leaving 9 people dead and 10 wounded.

In November 2009, the Five-seven again became subject to controversy in the United States, following the shooting at Fort Hood military base, in Texas. A U.S. Army psychiatrist, Major Nidal Hasan, opened fire on fellow soldiers with a Five-seven pistol, killing 13 people and wounding 29 in the worst shooting ever to take place on an American military base. Shortly after the shooting, FNH USA responded with a fact sheet dismissing allegations about the nature of the pistol, stating that it is only offered to civilians with sporting ammunition. Later in the month, a number of gun control organizations such as the Brady Campaign wrote a collaborative letter to U.S. President Barack Obama, citing the weapon's use by the Fort Hood shooter and Mexican drug cartels, and calling on him to ban importation of the Five-seven pistol and 5.7×28mm ammunition. In July 2010, legislation was introduced in the United States Congress by Rep. Engel, for a third time, under the new designation H.R. 6030: PLEA Act. Like its previous incarnations, the H.R. 6030 bill failed to proceed to a vote by either the House of Representatives or Senate.

 Users

The first military organization to adopt the Five-seven was the Cypriot National Guard (Greek: Εθνική Φρουρά''), which purchased 250 pistols in May 2000 for its special forces group. By 2009, the Five-seven was in service with military and police forces in over 40 nations throughout the world.

In the United States, the Five-seven (as of 2010) is used by over 300 law enforcement agencies, including the U.S. Secret Service. Military and law enforcement organizations using the Five-seven include:

See also

 FK BRNO Field Pistol – Modern Czech pistol chambered for bottlenecked, high velocity 7.5 FK ammunition.
 FK Brno PSD – Modern Czech pistol chambered for bottlenecked, high velocity 7.5 FK ammunition
 Fort mod. 28 – semi-automatic pistol chambered for the 5.7×28mm cartridge
 Heckler & Koch UCP – Competing 4.6×30mm PDW-caliber pistol project briefly developed by Heckler & Koch in Germany.
 PSA 5.7 Rock – Semi-automatic pistol chambered for the 5.7×28mm cartridge
 QSZ-92  – Chinese pistol designed by Norinco, utilizing proprietary 5.8×21mm armor-piercing ammunition.
 Remington XP-100 – The Remington XP-100 (from eXperimental Pistol number 100) is a bolt-action pistol produced by Remington Arms from 1963 to 1998. The XP-100 was one of the first handguns designed for long-range shooting, and introduced the .221 Fireball and 6×45mm.
 RSh-12
 Ruger-57 – Semi-automatic pistol chambered for the 5.7×28mm cartridge
 Smith & Wesson M&P 5.7  – Semi-automatic pistol chambered for the 5.7×28mm cartridge
 Thompson/Center Contender – The Thompson/Center Contender is a break-action single-shot pistol or rifle that was introduced in 1967 by Thompson/Center Arms. It can be chambered in cartridges from .22 Long Rifle to .45-70 Government.

References

External links

  – FNH USA
 Owner's Manual
 FNH Firearms Blog
 "FNH USA Five-seven Pistol 5.7×28mm" – Tactical-Life

Video

5.7×28mm firearms
Delayed blowback firearms
FN Herstal firearms
Semi-automatic pistols of Belgium
Weapons and ammunition introduced in 1998

FN Five-seven


A mace is a wooden, metal-reinforced or metal shaft, 3 or more feet long, with a head made of iron or steel adding another foot to 18 inches to the length of the weapon. The head is normally about or slightly thicker than the diameter of the shaft, shaped with flanges, knobs or spikes to allow greater penetration of armour. It, like the war hammer and different other weapons of the time, came about because of the increased use of more effective armor on the battlefield.

Mace (weapon)


Yuliy Borisovich Briner (; July 11, 1920 – October 10, 1985), known professionally as Yul Brynner, was a Russian-born actor. He was best known for his portrayal of King Mongkut in the Rodgers and Hammerstein stage musical The King and I, for which he won two Tony Awards, and later an Academy Award for Best Actor for the film adaptation. He played the role 4,625 times on stage and became known for his shaved head, which he maintained as a personal trademark long after adopting it for The King and I. Considered one of the first Russian-American film stars, he was honored with a ceremony to put his handprints in front of Grauman's Chinese Theatre in Hollywood in 1956, and also received a star on the Hollywood Walk of Fame in 1960.

In 1956, Brynner received the National Board of Review Award for Best Actor for his portrayal of Rameses II in the Cecil B. DeMille epic The Ten Commandments and General Bounine in Anastasia. He was also well known as the gunman Chris Adams in The Magnificent Seven (1960) and its first sequel Return of the Seven (1966), along with roles as the android "The Gunslinger" in Westworld (1973), and its sequel, Futureworld (1976).  In addition to his film credits, he also worked as a model and photographer and was the author of several books.

Early life

In Russia

Yul Brynner was born Yuliy Borisovich Briner on July 11, 1920, in the city of Vladivostok. He had Swiss-German, Russian, Buryat (Mongol) and purported Roma ancestry. He was born at his parents' home, a four-story house on 15 Aleutskaya Street, Vladivostok, into a wealthy Swiss-Russian family of landowners and silver mining developers in Siberia and the Far East. At the time the territory was controlled by the Far Eastern Republic and Vladivostok was partially under Japanese control. The Briner family enjoyed a good life at their four-story mansion. In October 1922, the Red Army occupied Vladivostok, and most of the Briner family's wealth was confiscated and nationalized at the end of the Russian Civil War. The Briners were stripped of home ownership, but the family, including an elder sister, Vera, continued living in their house under a temporary status.

Later in his life, Brynner humorously enjoyed telling tall tales and exaggerating his background and early life for the press, claiming that he was born Taidje Khan of a Mongol father and Roma mother on the Russian island of Sakhalin. He occasionally referred to himself as Julius Briner, Jules Bryner or Youl Bryner. The 1989 biography by his son, Rock Brynner, clarified some of these issues.

Brynner's father, Boris Yuliyevich Briner, was a mining engineer and inventor of Swiss-German and Russian descent, who graduated from Mining University in Saint Petersburg in 1910. The actor's grandfather, Jules Briner, was a Swiss citizen who moved to Vladivostok in the 1870s and established a successful import/export company. Brynner's paternal grandmother, Natalya Yosifovna Kurkutova, was a native of Irkutsk and a Eurasian of partial Buryat ancestry.

Brynner's mother, Marousia Dimitrievna (née Blagovidova), hailed from the Russian intelligentsia and studied to be an actress and singer; she was allegedly of Russian Roma ancestry. Brynner felt a strong personal connection to the Roma and in 1977 he was named honorary president of the International Romani Union, a title that he kept until his death.

In 1922, after the formation of the Soviet Union, Yul's father Boris Briner was required to relinquish his Swiss citizenship and all family members were made Soviet citizens. Brynner's father's work required extensive travel, and in 1923, in Moscow he fell in love with an actress, Katerina Ivanovna Kornakova, who was the ex-wife of actor Aleksei Dikiy, and stage partner of Michael Chekhov at the Moscow Art Theatre. Many years later, Katerina Kornakova would help Brynner with her letter of recommendation asking Michael Chekhov to employ him in his theatre company in America. In 1924, Yul's father divorced his mother and continued to support her and his children. His father also adopted a girl, because his new wife was childless, and many years later, after the death of his father, Brynner would take his adopted sister into his care. The father and son relationship remained complex and emotionally traumatic for Brynner. After leaving his son and daughter with their mother in Vladivostok, Boris Briner and Katerina Ivanovna Kornakova briefly lived in Moscow, but eventually they moved to Harbin, Manchuria, which at that time remained under Japanese control. There the family established business in international trade.

In China
In 1927, Brynner, with his mother and his elder sister, Vera (January 17, 1916 – December 13, 1967), emigrated from Vladivostok, Russia to Harbin, China. There, young Yul and his sister Vera attended a school run by the YMCA.

In 1930, Brynner's father gave him an acoustic guitar as a birthday present. That guitar and the following music lessons made a lasting influence on Brynner's artistic development. His natural curiosity, creativity, and imagination became now focused on mastering the guitar technique and studying classical and contemporary music. Brynner studied music under the guidance of his elder sister, Vera, who was a classically trained opera singer. After several years of arduous studies, Brynner became an accomplished guitar player and singer.

In France and Switzerland
In 1933, fearing a war between China and Japan, Brynner, with sister Vera and their mother, moved to Paris. There, on the 15th of June, 1935, the fourteen-year-old Brynner made his debut at the "Hermitage" cabaret in Paris, where he played his guitar and sang in the Russian and Roma languages. After initial success, he continued performing at various Parisian nightclubs, sometimes accompanying his sister, playing and singing Russian and Roma songs. At that time, Brynner was a student at a lyceum in Paris, where he studied French. His classmates and teachers were aware of his strong character, as he was often involved in fist fighting. In the summer of 1936, Brynner worked as a lifeguard at a resort beach in Le Havre. There he joined a French circus troupe, trained as a trapeze acrobat and worked with a circus troupe for several years, but after sustaining a back injury he left the circus troupe owing to near-unbearable pain, causing him to take narcotics; soon Brynner developed a drug dependency. One day, while buying opium from a local dealer, Brynner met Jean Cocteau (18891963) and the two became lifelong friends. Cocteau introduced Brynner to Pablo Picasso, Salvador Dalí, Marcel Marceau, Jean Marais, and the bohemian milieu of Paris. The experience and connections eventually helped him in his multifaceted career of acting, directing, and producing.

By 1937, Brynner's efforts to control his spinal pain with opium and other drugs eventually led to drug abuse. Seventeen-year-old Brynner became a drug addict and the family tried to help him treat the illness. He spent a year in Lausanne, Switzerland treating his drug addiction at a Swiss clinic for drug addicts and at Lausanne University Hospital under the generous patronage of his aunt Vera Dmitrievna Blagovidova-Briner, his mother's sister. His aunt Vera Dmitrievna was a physician trained at a medical school in Saint Petersburg, Russia, before the revolution, and later practiced in China and Switzerland. The year-long treatment in Switzerland, which included hypnotherapy, had a lasting effect on Brynner's health. Yul never used illicit drugs again in his life, though he became addicted to cigarette smoking which gradually deteriorated his lungs and negatively affected his health much later in his life.

Back in China
In 1938 Brynner's mother was diagnosed with leukemia, and the two briefly moved back to China seeking help from his father, who continued supporting them. In Harbin, Brynner's father had a lucrative trade business and lived with his second wife, actress Katerina Ivanovna Kornakova, who was a former member of the Moscow Art Theatre. Katerina Kornakova gave Brynner his first professional acting lessons by showing him scenes from her repertoire at Moscow Art Theatre, and instructing him how to respond to her lines using his voice tone and body language. During their first lessons, Katerina Kornakova demonstrated and explained to Brynner the principles of Konstantin Stanislavsky's school of acting, and the innovative ideas of Michael Chekhov, who founded his own school. Brynner was excited and impressed with the new experience, enabling him to act on a much higher level than his work as a circus acrobat. His father initially tried to prepare his son for a management position at their family business, but changed his mind after watching several acting lessons and witnessing Brynner's happiness.

Katerina Kornakova was impressed with Brynner's intellectual and physical abilities and recommended him to study acting with her former partner Michael Chekhov. Brynner took the letter of recommendation from his stepmother and also accepted money and blessings from his father. With the generous support from both his father and stepmother, Brynner became encouraged and confident in his future success as an actor. At the same time, Brynner's mother's illness progressed and required special medical treatment that was available only in the United States, so Brynner took his mother on a long trip across the world.

In America

In 1940, speaking little English, Brynner and his mother immigrated to the United States aboard the , departing from Kobe, Japan, and arriving in San Francisco on October 25, 1940. His final destination was New York City, where his sister already lived. Vera, a singer, starred in The Consul on Broadway in 1950 and appeared on television in the title role of Carmen. She later taught voice in New York.

During World War II Brynner worked as a French-speaking radio announcer and commentator for the US Office of War Information, broadcasting to occupied France. He also worked for the Voice of America, broadcasting in Russian to the Soviet Union during WWII. At the same time, during the war years, he studied acting in Connecticut with the Russian actor Michael Chekhov, and also worked as a truck driver and stage hand for Michael Chekhov's theatre company. Brynner was introduced to Michael Chekhov on the recommendation from his father's second wife, actress Katerina Ivanovna Kornakova who was a former acting partner of Chekhov at the Moscow Art Theatre.

By the time he turned 21, Brynner had already made several international journeys around the world traveling between Asia, Europe, and America. Such extensive traveling contributed to his exposure to a variety of cultural experiences and may have enriched his creativity.

In 1941, Brynner performed as a singer and guitar player at the "Blue Angel" club in New York. There he met and fell in love with Marlene Dietrich. She was 40, Brynner was 21; it was a mutually beneficial relationship, and the two became lifelong friends.

Career

1940s
In 1941, Brynner made his stage debut in Broadway production of Shakespeare's Twelfth Night that premiered on the 2nd of December 1941. In it, Brynner appeared as Fabian and delivered only a few lines in his broken English with a noticeable Russian accent. The job helped to start adding English to the list of languages he spoke, which included French, Japanese, Hungarian, and Russian. The show was soon closed, as were many other Broadway productions, after the attack on Pearl Harbor as America declared war on Japan and Nazi Germany. Soon Brynner found a job as a radio commentator delivering war propaganda in French and Russian at the Voice of America radio station. He had little acting work during the next few years but among other acting stints he co-starred in a 1946 production of Lute Song with Mary Martin. He also did some modeling work and was photographed nude by George Platt Lynes.

Brynner's first marriage was to actress Virginia Gilmore in 1944, and soon after he began working as a director at the new CBS television studios. In 1948 and 1949, he directed and also appeared on television alongside his wife in the first two seasons of Studio One and also appeared in other shows.

Brynner made his film debut in Port of New York, released in November 1949.

1950s

The King and I
The next year, at the urging of Martin, Brynner auditioned for Rodgers and Hammerstein's new musical in New York. He recalled that, as he was finding success as a director on television, he was reluctant to go back on the stage. Once he read the script, however, he was fascinated by the character of the King and was eager to perform in the project.

Brynner's role as King Mongkut in The King and I (4,625 times on stage) became his best-known role. He appeared in the original 1951 production and later touring productions as well as a 1977 Broadway revival, a London production in 1979 and another Broadway revival in 1985. He won the Tony Award for Best Featured Actor in a Musical for the first of these Broadway productions and a special Tony for the last. He reprised the role in the 1956 film version, for which he won an Academy Award as Best Actor and in Anna and the King, a short-lived TV version on CBS in 1972. Brynner is one of only ten people who have won both a Tony and an Academy Award for the same role.

In 1951 Brynner shaved his head for his role in The King and I. Following the huge success of the Broadway production and subsequent film Brynner continued to shave his head for the rest of his life, though he wore a wig for certain roles. Brynner's shaven head was unusual at the time and his striking appearance helped to give him an exotic appeal. Some fans shaved off their hair to imitate him, and a shaven head was often referred to as the "Yul Brynner look".

Brynner's second motion picture was the film version of The King and I (1956) with Deborah Kerr. It was a huge success critically and commercially.

Cecil B. de Mille hired Brynner for The Ten Commandments (1956) to play Ramesses II opposite Charlton Heston after seeing him in the stage version of The King and I, telling Brynner backstage that he was the only person for the role. He rounded out his year with Anastasia (1956), co-starring with Ingrid Bergman under the direction of Anatole Litvak. Both films were big hits and Brynner became one of the most in-demand stars in Hollywood.

MGM cast Brynner as one of The Brothers Karamazov (1958), which was another commercial success. Less so was The Buccaneer (1958), in which Brynner played Jean Lafitte; he co-starred with Heston, Inger  Stevens, Claire Bloom and Charles Boyer in a historically accurate tale of the Battle of New Orleans. The film was produced by De Mille and directed by Anthony Quinn.

MGM used Brynner again in The Journey (1959), opposite Kerr under the direction of Litvak, but the film lost money. So too did The Sound and the Fury (1959) based on the novel by William Faulkner with Joanne Woodward.

However, Brynner then received an offer to replace Tyrone Power, who had died during the making of Solomon and Sheba (1959) with Gina Lollobrigida. The movie was a huge hit, which postponed the development of a planned Brynner film about Spartacus. When the Kirk Douglas film Spartacus (1960) came out, Brynner elected not to make his own version.

1960s
Brynner tried comedy with two films directed by Stanley Donen: Once More, with Feeling! (1960) and Surprise Package (1960), but public response was underwhelming. He made a cameo in Testament of Orpheus.

Although the public received him well in The Magnificent Seven (1960), a Western adaptation of Seven Samurai for The Mirisch Company, the picture proved a disappointment on its initial release in the U.S. However, it was hugely popular in Europe and has had enduring popularity. Its ultimate success led to Brynner's signing a three-picture deal with the Mirisches. The film was especially popular in the Soviet Union, where it sold 67million tickets. He then made a cameo in Goodbye Again (1961).

Brynner focused on action films. He did Escape from Zahrain (1962), with Ronald Neame as director, and Taras Bulba (1962), with Tony Curtis for J. Lee Thompson. Both films were commercial disappointments; Taras Bulba was popular but failed to recoup its large cost.

The first film under Brynner's three-picture deal with Mirisch was Flight from Ashiya (1963) with George Chakiris. It was followed by Kings of the Sun (1963), also with Chakiris, directed by Thompson. Neither film was particularly popular; nor was Invitation to a Gunfighter (1964), a western. Morituri (1965), opposite Marlon Brando, failed to reverse the series of unsuccessful movies. He had cameos in Cast a Giant Shadow (1966) and The Poppy Is Also a Flower (1966).

Brynner enjoyed a hit with Return of the Seven (1966), reprising his role from the original. Less popular were Triple Cross (1966), a war movie with Christopher Plummer; The Double Man (1967), a spy thriller; The Long Duel (1967), an Imperial adventure tale opposite Trevor Howard; Villa Rides (1968), a Western; and The File of the Golden Goose (1969).

Brynner went to Yugoslavia to star in a war film, Battle of Neretva (1969). He supported Katharine Hepburn in the big-budget flop The Madwoman of Chaillot (1969). Brynner appeared in drag (as a torch singer) in an unbilled role in the Peter Sellers comedy The Magic Christian (1969).

Later career
Brynner went to Italy to make a Spaghetti Western, Adiós, Sabata (1970) and supported Kirk Douglas in The Light at the Edge of the World (1971). He remained in lead roles for Romance of a Horsethief (1971) and a Western, Catlow (1971).

Brynner had a small role in Fuzz (1972) then reprised his most famous part in the TV series Anna and the King (1972) which ran for 13 episodes.

After Night Flight from Moscow (1973) in Europe, Brynner created one of his iconic roles in the cult hit film Westworld (1973) as the 'Gunslinger', a killer robot. His next two films were variations on this performance: The Ultimate Warrior (1975) and Futureworld (1976).

Brynner returned to Broadway in Home Sweet Homer, a notorious flop musical. His final movie was Death Rage (1976), an Italian action film.

Personal life
Although Brynner had become a naturalized U.S. citizen, aged 22, in 1943, while living in New York as an actor and radio announcer, he renounced his US citizenship at the U.S. Embassy in Bern, Switzerland, in June 1965 because he had lost his tax exemption as an American resident working abroad. He had stayed too long in the United States meaning he would be bankrupted by his tax and penalty debts imposed by the Internal Revenue Service.

In 2006, Brynner's son Rock wrote a book about his father and his family history titled Empire and Odyssey: The Brynners in Far East Russia and Beyond. He regularly returned to Vladivostok, the city of his father's birth, for the "Pacific Meridian" Film Festival.

Health
In September 1983, Brynner suffered a sore throat, his voice changed and doctors found a lump on his vocal cords. In Los Angeles, only hours before his 4,000th performance in The King and I, he received the test results indicating that he had inoperable lung cancer while his throat was not affected. Brynner had begun smoking heavily at age 12. Although he had quit in 1971, his promotional photos often still showed him with a cigarette in hand, or a cigar in his mouth. He and the national tour of the musical were forced to take a few months off while he underwent radiation therapy which produced a side effect that damaged his throat and made it impossible for him to sing or speak easily. The tour then resumed.

In January 1985, the tour reached New York for a farewell Broadway run. Aware he was dying, Brynner gave an interview on Good Morning America discussing the dangers of smoking and expressing his desire to make an anti-smoking commercial. The Broadway production of The King and I ran from January 7 to June 30 of that year, with Mary Beth Peil as Anna. His last performance, a few months before his death, marked the 4,625th time he had played the role of the King.

Other interests
In addition to his work as a director and performer, Brynner was an active photographer and wrote two books. His daughter Victoria put together Yul Brynner: Photographer (), a collection of his photographs of family, friends, and fellow actors, as well as those he took while serving as a UN special consultant on refugees.

Brynner wrote Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East (1960), with photographs by himself and Magnum photographer Inge Morath, and The Yul Brynner Cookbook: Food Fit for the King and You (1983 ).

He was also an accomplished guitarist and singer. In his early period in Europe, he often played and sang gypsy songs in Parisian nightclubs with Aliosha Dimitrievitch. He sang some of those same songs in the film The Brothers Karamazov. In 1967, Dimitrievitch and he released a record album The Gypsy and I: Yul Brynner Sings Gypsy Songs (Vanguard VSD 79265).

Relationships and marriages

Brynner married four times, his first three marriages ending in divorce. He fathered three children and adopted two. His first wife (1944–1960) was actress Virginia Gilmore with whom he had one child, Yul "Rock" Brynner (1946–2023). He was nicknamed "Rock" when he was six years old in honor of boxer Rocky Graziano. Rock was a historian, novelist, and university history lecturer at Marist College in Poughkeepsie, New York and Western Connecticut State University in Danbury, Connecticut.

Yul Brynner had a long affair with Marlene Dietrich, who was 19 years his senior, beginning during the first production of The King and I.

In 1959, Brynner fathered a daughter, Lark Brynner, with Frankie Tilden, who was 20 years old. Lark lived with her mother and Brynner supported her financially. His second wife, from 1960 to 1967, Doris Kleiner is a Chilean model whom he married on the set during shooting of The Magnificent Seven in 1960. They had one child, Victoria Brynner (born November 1962), whose godmother was Audrey Hepburn. Belgian novelist and artist Monique Watteau was also romantically linked with Brynner, from 1961 to 1967.

His third wife (1971–1981), Jacqueline Simone Thion de la Chaume (1932–2013), a French socialite, was the widow of Philippe de Croisset (son of French playwright Francis de Croisset and a publishing executive). Brynner and Jacqueline adopted two Vietnamese children: Mia (1974) and Melody (1975). The first house Brynner owned was the Manoir de Criquebœuf, a 16th-century manor house in northwestern France that Jacqueline and he purchased. His third marriage broke up, reportedly owing to his 1980 announcement that he would continue in the role of the King for another long tour and Broadway run, as well as his affairs with female fans and his neglect of his wife and children.

On April 4, 1983, aged 62, Brynner married his fourth and final wife, Kathy Lee (born 1957), a 26-year-old ballerina from Ipoh, Malaysia, whom he had met in a production of The King and I. They remained married for the last two years of his life. His longtime close friends Meredith A. Disney and her sons Charles Elias Disney and Daniel H. Disney attended Brynner and Lee's final performances of The King and I.

Death
Brynner died of lung cancer on October 10, 1985, at New York Hospital at the age of 65. His remains were cremated and the ashes were buried in the grounds of the Saint-Michel-de-Bois-Aubry Orthodox monastery, near Luzé, between Tours and Poitiers in France.

Anti-smoking campaign
Prior to his death, with the help of the American Cancer Society, Brynner created a public service announcement using a clip from the Good Morning America interview. A few days after his death, it premiered on all major US television networks and in other countries. Brynner used the announcement to express his desire to make an anti-smoking commercial after discovering he had cancer, and his death was imminent. He then looked directly into the camera for 30 seconds and said, "Now that I'm gone, I tell you: Don't smoke. Whatever you do, just don't smoke. If I could take back that smoking, we wouldn't be talking about any cancer. I'm convinced of that." His year of birth, in one version of the commercial, was incorrectly given as 1915.

Legacy

In Russia

On September 28, 2012, a 2.4-m-tall statue was inaugurated at Yul Brynner Park, in front of the home where Brynner was born at Aleutskaya St. No. 15 in Vladivostok, Russia. Created by local sculptor Alexei Bokiy, the monument was carved in granite monolith that was acquired in China and delivered to Vladivostok, Russia. The grounds for the park were donated by the city of Vladivostok, which also paid additional costs. Vladivostok Mayor Igor Pushkariov, US Consul General Sylvia Curran, and Brynner's son, Rock, participated in the ceremony, along with hundreds of local residents.

The Briner family cottage in suburban Vladivostok is now a Yul Brynner museum.

In the U.S.
In 1956, Brynner imprinted his hands and feet into the concrete pavement in front of Grauman's Chinese Theatre in Hollywood, California. In 1960, Brynner was honored with a star on the Hollywood Walk of Fame at 6162 Hollywood Boulevard.

In 2022, a podcast was launched celebrating his filmography, entitled "Here's Looking at Yul, Kid," and has included guests such as Ron Howard.

In France
Brynner spent many years living, studying, and working in France, and his last will stated his wish to be buried there. His resting place at Abbaye royale Saint-Michel de Bois-Aubry has a memorial mention dedicated to him.

Filmography

Short subjects:
 On Location with Westworld (1973)
 Lost to the Revolution (1980) (narrator)

Box office ranking

At the height of his career, Brynner was voted by exhibitors as among the most popular stars at the box office:
 1956 – 21st (US)
 1957 – 10th (US), 10th (UK)
 1958 – 8th (US)
 1959 – 24th (US)
 1960 – 23rd (US)

Select stage work
 Twelfth Night (1941) (Broadway)
 Lute Song (1946) (Broadway and US national tour)
 The King and I (1951) (Broadway and US national tour)
 Home Sweet Homer (1976) (Broadway)
 The King and I (1977) (Broadway, London and US national tour)
 The King and I (1985) (Broadway)

Awards and nominations

 In 1960, he was inducted into the Hollywood Walk of Fame with a motion pictures star at 6162 Hollywood Boulevard.

References

Further reading

External links

1920 births
1985 deaths
American male musical theatre actors
American people of Buryat descent
American people of Mongolian descent
American people of Russian descent
American people of Swiss-German descent
Best Actor Academy Award winners
Burials in France
Deaths from lung cancer in New York (state)
Donaldson Award winners
Male Spaghetti Western actors
Naturalized citizens of the United States
People from Vladivostok
People of the United States Office of War Information
People who renounced United States citizenship
Soviet emigrants to the United States
Special Tony Award recipients
Tony Award winners

Yul Brynner


Claude William Henderson (born 14 June 1972) is a South African former cricketer who bowled left-arm spin and played in seven Test matches and four One Day Internationals in  2001 to 2002.

Domestic cricket

Henderson played domestically for Boland and Western Province before joining Leicestershire in 2004, Henderson became the first Kolpak registered player in the County Championship, which allows certain players without a British passport, to play in England without counting as an overseas player under the restrictions on overseas players.

In June 2006, against Surrey, Henderson recorded an innings analysis of three wickets for 235 runs from 54 overs and 2 ball, the most expensive innings figures in the history of the County Championship.

Henderson was in fine form for the Lions cricket team in the 2006–07 SuperSport Series. He was the 5th leading wicket taker in the competition with 34 wickets at an average of 24 He has had a disappointing 2007 season with Leicestershire though.

In 2008, he joined Cape Cobras and after consistent performances, he gained a place in the Cobras squad for the inaugural Champions League Twenty20 competition in India in 2009.

2011 marked Henderson's testimonial year at Leicestershire. Despite this, he was also Leicester's leading wicket taker in the County Championship and was a significant contributor in the Foxes 2011 Friends Life t20 cup win, where his 4 over spell in the final against Somerset conceded just 11 runs. He was rewarded with a new contract at the end of the season.

Henderson announced that he would be retiring from first class cricket at the end of the 2013 season at the age of 41. He plans to return to South Africa, where he will become a television pundit and coach. His last game turned out to be the County Championship match at the end of April 2013 against Gloucestershire, where his final victim was Benny Howell.

International cricket

Henderson had to wait until 2001 to make his international debut after Nicky Boje needed surgery. He was selected to make his test debut against neighbours Zimbabwe in Harare. Following the retirement of Boje from the South African test side, Henderson was approached to replace him for the home series against India. Henderson rejected the approach because of his contract with Leicestershire, only willing to play for South Africa if he was given a contract with the South African cricket board.

Coaching career

On 5 October 2021, Henderson was announced as director of cricket at Leicestershire County Cricket Club.

Career-best performances

References

1972 births
South Africa Test cricketers
South Africa One Day International cricketers
South African cricketers
Boland cricketers
Cape Cobras cricketers
Leicestershire cricketers
Lions cricketers
Western Province cricketers
Living people
Worcestershire Cricket Board cricketers
People from Worcester, South Africa
South African cricket coaches
Cricketers from the Western Cape

Claude Henderson