Bulldog Camps (formerly known as Enchanted Pond Camps) on Enchanted Pond is a traditional remote Maine sporting camp in the western mountains that has attracted visitors for over a century. Located in Upper Enchanted Township, near Jackman, Maine, United States, the camps were established by Henry Patrick McKenney in the 1880s as a set of logging camps, were converted into an active sporting camp in the early 1900s, and remain a current member of the Maine Sporting Camp Association.

Namesake
The 800 ft. cliffs of Shutdown and Coburn Mountains that rise up abruptly from either side of Enchanted Pond used to significantly resemble the profile of two bulldogs looking across the pond at one another. The pond was nicknamed "Bulldog Pond" and since the camps on its north shore were the only ones on the lake (as they remain today), they were donned with the seemingly unusual name.

History
The camps were originally established in the 1880s by H.P. McKenney who ran the place as a logging camp for many years and it is the historic site of McKenney's famous log sluice built to run his logs from Bulldog to the Dead River, saving him a significant amount of mileage to the mill compared to his old route. A wooden dam was constructed at the outlet of Enchanted Pond in order to hold the water back until it was needed for the drive in the spring, although there was much speculation as to whether or not his sluice would actually work. In the spring of 1900, the first load of logs were guided into the sluice with success and the remnants of the old dam and sluice can still be found at the outlet of the pond.

Logging operations came to an end at Bulldog around 1908 and the place was immediately transformed into an active sporting camp. The camps were popular with anglers and sportsmen as the popularity of the region grew with visits from such notable figures as Henry David Thoreau and President Theodore Roosevelt. The Great Depression hit hard and business dropped in the 1930s and 1940s. The camps changed owners several times and in 1957, a couple by the name of Ruel & Hazel Orff bought the place and breathed new life into it, offering the traditional American Plan along with boat rentals, guide service, and float plane fly-in service. Unfortunately the main lodge burned down in the autumn of 1973, shortly after a change in ownership, and for the next few decades the cabins were available to rent on the housekeeping plan only.

In 2005, current owner Darren Savage bought Bulldog and spent the next several years restoring it to its current state. One of the original 19th century cabins was converted into a new lodge and once again people can enjoy three home cooked meals a day on the traditional American Plan. As the camps had never been open during the winter before, all of the cabins were renovated with new roofs, porches, wood stoves, propane heaters, and full bathrooms with hot running water. A road was built down into the camps that were previously only accessible via 4x4 trail, hiking trail, or float plane. In 2009, the camps gained ownership of a remote camp on the southwest end of Enchanted, the only other building on the pond. This cabin, known as the "Warden's Camp" was built in 1960 by the chief pilot for the Maine Warden Service and is rented out along with the six cabins at the main camp on the north shore.

The camps bring in the fisherman and ATVers in the spring, annual family vacationers in the summer, and hunters and leaf peepers in the fall.

Fishing & Hunting

Once believed to be bottomless, Enchanted Pond was eventually found to be little over 200 ft. deep, making it easily the deepest lake in the region and a great place to catch bright native brook trout in crystal clear oligotrophic waters.

Hunts are run in the fall from the last week of August through the first week of December and include hunts for bear, whitetail deer, moose, coyote, grouse, woodcock, and rabbit.

External links
 Bulldog Camps on Enchanted Pond

Further reading
Calvert, Mary R. The Kennebec Wilderness Awakens. Lewiston: Twin City, 1986. Print.

History of the Moose River Valley. 2nd ed. State of Maine: The Jackman Moose River Valley Historical Society; Jackman Bicentennial Book Committee, 1994. Print.

References

Buildings and structures in Somerset County, Maine
Tourist attractions in Somerset County, Maine
1880s establishments in Maine

Bulldog Camps


Tyden Farm No. 6 Farmstead Historic District is an agricultural historic district located east of Dougherty, Iowa, United States.  It was listed on the National Register of Historic Places in 2009.

Description
At the time of its nomination it consisted of 24 resources, which included eight contributing buildings, two contributing structures, one non-contributing building, and 13 non-contributing structures.  The historic buildings include the farmhouse (1910), wash house and possible summer kitchen (c. 1910), auto garage (C. 1936), the massive gambrel roofed barn (1936), feed shed (1936), machine shed (1936), hen house (1940), and the hog house (1941).  The unique drive-thru corn crib (1936) and the water tower (c. 1920) are the structures.  The large farmhouse is a rural vernacular form of the American Foursquare known as the  Cornbelt Cube.  It is a two-story frame structure capped by a hip roof.  It has an odd wing on the northwest side that houses the main kitchen on the first floor and a bedroom on the second.

Emil Tyden
This was one of eight farms in Floyd and Butler Counties owned by Emil Tyden, a native of Sweden who immigrated to Moline, Illinois in 1882.  He eventually worked for the Union Pacific Railroad where he noticed the inefficiency of sealing boxcars.  He developed and patented the "Tyden Self-Locking Seal," a tamper-proof device that fit any boxcar locking mechanism.  He made a fortune from his invention, opening a factory in Hastings, Michigan.  While remaining in Hastings Tyden began to acquire farms in North Central Iowa in 1915, and his holdings grew to almost .   He hired resident farm managers and hired hands to operate each farm.  Tyden modernized the farms and employed "new agriculture" methods espoused by Iowa State College in Ames that made extensive use of science and technology to improve farming methods and production.   He continued to maintain and expand his holdings during the economic downturn in farming in the 1920s and the Great Depression.  Tyden bought this farm in 1936, and began making improvements.  In 1941 he released all his employees after the harvest and leased the farms out to farmers to run as they saw fit.  Tyden died in 1951.  He still owned Farm No. 6, and it remained in the family until 1994.  The farm is now part of the Silos & Smokestacks National Heritage Area and houses farming exhibits and tours.

References

Houses completed in 1910
Infrastructure completed in 1936
Farm museums in Iowa
Museums in Floyd County, Iowa
Historic districts in Floyd County, Iowa
National Register of Historic Places in Floyd County, Iowa
Farms on the National Register of Historic Places in Iowa
Historic districts on the National Register of Historic Places in Iowa


Steve Jordan (born January 14, 1957) is an American musical director, producer, songwriter, and musician. Currently, he is the drummer for The Rolling Stones. During the 1970s and 1980s, he was a member of the bands for the television shows Saturday Night Live and Late Night with David Letterman.

In the early 1980s, Jordan was a member of the band Eye Witness along with Anthony Jackson on bass, and Manolo Badrena on percussion. Since the mid 1980s, Jordan has also been a member of the X-Pensive Winos, the side project of Rolling Stones guitarist Keith Richards. Jordan and Richards have been production and songwriting partners on many of Richards's solo works. In 2005, he became a member of the John Mayer Trio. Jordan also formed the band The Verbs, which he fronts, with his wife Meegan Voss. On August 5, 2021, it was reported that Charlie Watts had elected to sit out the resumption of the US No Filter Tour due to a heart procedure surgery and that Jordan would temporarily replace him on drums. Following Watts' death, he has played with the Stones both live and in studio.

Early life
Jordan attended New York City's High School of Music and Art, graduating in 1974.

Jordan was a teenager when he became an honorary member of Stevie Wonder's band WonderLove. He also was a substitute drummer in the band Stuff in 1976 and played with Joe Cocker on his American tour. Later, he played drums for the Saturday Night Live band in the 1970s. When John Belushi and Dan Aykroyd toured as The Blues Brothers in the late 1970s, Jordan was their drummer, and recorded on their resulting albums, credited as Steve "Getdwa" Jordan. He did not, however, appear in the film of the same name. Jordan also played in the New York 24th Street Band with  Will Lee, Clifford Carter, and Hiram Bullock, which later became Paul Shaffer and the World's Most Dangerous Band, which played on Late Night with David Letterman from 1982 to 1986.

Career

X-Pensive Winos and Chuck Berry
Jordan, along with fellow Shaffer alumnus Anton Fig, appeared on the Rolling Stones' 1986 release Dirty Work, playing percussion, not drums, contrary to rumors. Keith Richards then hired Jordan to play on Aretha Franklin's cover of "Jumpin' Jack Flash" for a film of the same name.

According to Richards, Jordan kept asking Richards on the plane ride home from the recording session with Franklin in Detroit, to be included in the upcoming documentary by Taylor Hackford Hail! Hail! Rock 'n' Roll, a tribute to Chuck Berry. Richards had been hoping to include Charlie Watts in the project but when that proved unfeasible, Jordan was hired and he appeared in many scenes with Berry and Richards. The success of that project led to Jordan's membership in Keith Richards and the X-pensive Winos, a band that toured and recorded three albums, Talk is Cheap (1988), Main Offender (1992), and Crosseyed Heart (2015). Jordan co-produced all three albums and is credited with songwriting, along with Richards. One of those collaborations made it onto the Billboard Hot 100 via the Rolling Stones Steel Wheels album version in 1989: "Almost Hear You Sigh" peaked at number 50 (U.S.) and 31 (U.K.) in December of that year.

The Verbs
Jordan formed a band with his wife, Meegan Voss, who fronted the all-girl punk bands the PopTarts and the Antoinettes, and they have toured and recorded under the band name The Verbs. They toured Japan in 2007 in support of their first release, And Now... The Verbs. They followed their debut album with Trip, the next release by Jordan and Voss. As in their previous release, this album features Tamio Okuda on lead guitars, Pino Palladino on bass and additional classic guitar work by Danny "Kootch" Kortchmar.

Producing and performance career
Jordan has recorded with such artists as Don Henley, John Mellencamp, Andrés Calamaro, Cat Stevens, Bob Dylan, Sonny Rollins, B.B. King, Stevie Nicks, Sheryl Crow, Neil Young, Donald Fagen, Jon Spencer Blues Explosion, Kelly Clarkson, and many more. He is featured on James Taylor's 1998 DVD, Live at the Beacon Theatre.

Jordan is a Grammy Award-winning and nominated producer with Robert Cray's album Take Your Shoes Off and Buddy Guy's Bring 'Em In, respectively. He has played on Alicia Keys' "If I Ain't Got You" and Bruce Springsteen's Devils and Dust, and he produced the Grammy Award-winning John Mayer album Continuum (2006), John Scofield's That's What I Say, Possibilities by Herbie Hancock, and 23rd St. Lullaby and Play It As It Lays with Patti Scialfa.

Jordan is interviewed on screen, was a musical director, led the house band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz.

In 2006, Jordan joined Eric Clapton's touring band for Clapton's "European Tour 2006", which included seven sold-out shows at the Royal Albert Hall. He continued in Clapton's band as they toured North America in 2007.

In 2008, Jordan produced and played percussion on one track for Los Lonely Boys' third album, Forgiven, at East Side Stages in Austin, Texas.

In 2009, Jordan received another Grammy Award nomination - the Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media, for his work on the soundtrack scoring film for the movie Cadillac Records.

In 2013, Jordan produced the Boz Scaggs album Memphis.

John Mayer Trio
Jordan is a member of the John Mayer Trio, a blues rock power trio that consists of Jordan, on drums and backing vocals, bassist Pino Palladino and guitarist-singer John Mayer. The group was formed in 2005 by Mayer as a change from his pop-acoustic career. The trio released the record Try! on November 22, 2005. The 11-track live album includes cover songs, such as Jimi Hendrix's "Wait Until Tomorrow", and "I Got a Woman" by Ray Charles, two songs from Mayer's release Heavier Things, as well as new songs written by Mayer, in addition to three songs written by Jordan, Mayer, and Palladino. They are: "Good Love Is On the Way", "Vultures" and "Try". Jordan and Mayer also produced the album together on the Columbia Records label.

The trio also performed on December 8, 2007, in Los Angeles, California at the L.A. Live Nokia Theatre for the 1st Annual Holiday Charity Revue, which raised funds for various Los Angeles related charities. The DVD/CD release, entitled Where the Light Is: John Mayer Live in Los Angeles features Palladino on bass and Jordan on drums.

Jordan would later collaborate with Mayer and Charlie Hunter by writing "In Repair", the 11th track from Mayer's 2006 album Continuum. Jordan also contributed to Mayer's fourth album, Battle Studies; videos of the conceptual/recording sessions can be viewed on YouTube.

Super Soul Band
Jordan also belongs to an all-star funk group, that "is redefining the idea of a supergroup." The band consists of Jordan on the drums, Wayne Cobham, Eddie Allen, Clifton Anderson, and Clark Gayton on the horn section. Willie Weeks on bass, Mix Master Mike, Isaiah Sharkey, and Ray Parker Jr. on guitar.

The Rolling Stones
On August 5, 2021, it was announced that Jordan would replace Rolling Stones drummer Charlie Watts on the Stones' 13-date US tour. Watts was first sidelined for health problems and died on August 24, 2021, at the age of 80 after a short illness. Keith Richards recounted in his 2010 autobiography that in the 1980s Watts told him that if he ever wanted to work with another drummer, "Steve Jordan's your man."

Discography

With The Blues Brothers
 Briefcase Full of Blues, 1978
 Made in America, 1980
 Best of the Blues Brothers, 1981
 Dancin' Wid Da Blues Brothers, 1983
 Everybody Needs the Blues Brothers, 1988
 The Definitive Collection, 1992
 The Very Best of The Blues Brothers, 1995
 The Blues Brothers Complete, 2000
 The Essentials, 2003

As sideman

With Casey Abrams
 Casey Abrams (Concord, 2012)
With Arcadia
 So Red the Rose (Parlophone, 1985)
With Patti Austin
 Havana Candy (CTI, 1977)
With Bee Gees
 Still Waters (Polydor Records, 1997)
With George Benson
 In Your Eyes (Warner Bros. Records, 1983)
With Beyoncé
 I Am... Sasha Fierce (Columbia Records, 2008)
With Booker T. & the M.G.'s
 That's The Way It Should Be (Columbia, 1994)
With Ronnie Baker Brooks
 Times Have Changed (Provogue, 2017)
With Solomon Burke
 Like a Fire (Shout! Factory, 2008)
With Andrés Calamaro
 Alta Suciedad (Gasa, 1997)
With J. J. Cale and Eric Clapton
 The Road to Escondido (Reprise Records, 2006)
With Felix Cavaliere
 Castles in the Air (Epic, 1979)
With Kelly Clarkson
 Stronger (RCA Records, 2011)
With Bootsy Collins
 Tha Funk Capital of the World (Mascot, 2011)
 The Power of the One (Bootzilla, 2020)
With Sean Costello
 Sean Costello (Tone-Cool Records, 2004)
With Cracker
 Gentleman's Blues (Virgin Records, 1998)
With Robert Cray
 Take Your Shoes Off (Rykodisc, 1999)
 Shoulda Been Home (Rykodisc, 2001)
 In My Soul (Provogue, 2014)
 Robert Cray & Hi Rhythm (Warner Bros., 2017)
 That's What I Heard (Nozzle, 2020)
With Steve Cropper
 Dedicated – A Salute to the 5 Royales (429 Records, 2011)
With Sheryl Crow
 C'mon, C'mon (A&M Records, 2002)
 Threads (Big Machine Records, 2019)
With Bob Dylan
 Down in the Groove (Columbia Records, 1988)
With Donald Fagen
 The Nightfly (Warner Bros. Records, 1982)
With Ricky Fanté
 Rewind (Virgin, 2004)
With Roberta Flack
 Roberta (Atlantic Records, 1994)
With Robben Ford
 Tiger Walk (Blue Thumb, 1997)
With Bernard Fowler
 Inside Out (Rhyme & Reason, 2019)
With Aretha Franklin
 Aretha (Arista Records, 1986)
With Michael Franks
 The Camera Never Lies (Warner Bros. Records, 1987)
With Jeffrey Gaines
 Somewhat Slightly Dazed (Chrysalis Records, 1994)
With Debbie Gibson
 Think with Your Heart (EMI, 1995)
With Vince Gill
 Down to My Last Bad Habit (MCA Records, 2016)
With Bunky Green
 Visions (Vanguard, 1978)
With Josh Groban
 Bridges (Reprise Records, 2018)
 Harmony (Reprise Records, 2020)
With Hall & Oates
 Our Kind of Soul (U-Watch Records, 2004)
With Herbie Hancock
 Possibilities (Hear Music, 2005)
With Major Harris
 How Do You Take Your Love (RCA Records, 1978)
With Don Henley
 The End of the Innocence (Geffen, 1989)
With Cissy Houston
 Cissy Houston (Private Stock Records, 1977)
 Face to Face (BMG, 1996)
 He Leadeth Me (A&M Records, 1997)
With Garland Jeffreys
 Don't Call Me Buckwheat (BMG, 1991)
 Wildlife Dictionary (RCA Records, 1997)
 The King of In Between (Big Lake, 2011)
 Truth Serum (Luna Park, 2013)
With Billy Joel
 River of Dreams (Columbia Records, 1993)
With Libby Johnson
 Annabella (Wrong Records, 2006)
With Alicia Keys
 The Diary of Alicia Keys (J Records, 2003)
 As I Am (J Records, 2007)
 Keys (RCA Records, 2021)
With Steve Khan Eyewitness
 Eyewitness (Antilles, 1981)
 Modern Times (also released as Blades) (Trio/Passport, 1982)
 Casa Loco (Antilles, 1984)
With B.B. King
 Deuces Wild (MCA Records, 1997)
With K'naan
 Country, God or the Girl (A&M Records, 2012)
With Labelle
 Back to Now (Verve, 2008)
With Cyndi Lauper
 At Last (Epic Records, 2003)
With Bettye LaVette
 Things Have Changed (Verve, 2018)
 Blackbirds (Verve, 2020)
 LaVette! (Jay-Vee, 2023)
With Lori Lieberman
 Letting Go (Millennium Records, 1978)
With Taj Mahal
 Evolution (The Most Recent) (Warner Bros., 1978)
With Ziggy Marley
 Dragonfly (Private Music, 2003)
With Amanda Marshall
 Tuesday's Child (Epic Records, 1999)
With Bruno Mars
 Unorthodox Jukebox (Atlantic Records, 2012)
With John Mayer
 Heavier Things (Columbia, 2003)
 Continuum (Columbia, 2006)
 Battle Studies (Columbia, 2009)
 The Search for Everything (Columbia, 2017)
With John Mayer Trio
 Try! (Columbia, 2005)
With Melanie
 Phonogenic – Not Just Another Pretty Face (Midsong International, 1978)
With John Mellencamp
 Cuttin' Heads (Columbia Records, 2001)
With Keb' Mo'
 The Door (Epic Records, 2000)
 BLUESAmericana (Kind of Blue Music, 2014)
 Moonlight, Mistletoe & You (Concord Records, 2019)
With Ian Moss
 Soul on West 53rd (Liberation, 2009)
With Ivan Neville
 If My Ancestors Could See Me Now (Polydor Records, 1988)
 Thanks (Iguana Records, 1995)
With The Neville Brothers
 Brother's Keeper (A&M, 1990)
With Stevie Nicks
 Rock a Little (Parlophone Records, 1985)
With Odyssey
 Hollywood Party Tonight (RCA Victor, 1978)
With David Paich
 Forgotten Toys (The Players Club, 2022)
With Sam Phillips
 The Indescribable Wow (Virgin Records, 1988)
With The Pretenders
 Get Close (Real, 1986)
With Don Pullen
 Montreux Concert (Atlantic, 1977)
With Nicole Renée
 Nicole Renée (Atlantic Records, 1998)
With Keith Richards
 Talk Is Cheap (Virgin, 1988)
 Main Offender (Virgin, 1992)
 Crosseyed Heart (Republic, 2015)
With LeAnn Rimes
 Spitfire (Curb Records, 2013)
 One Christmas: Chapter 1 (Iconic Records, 2014)
 Remnants (RCA Records, 2016)
With Mark Ronson
 Uptown Special (Columbia Records, 2015)
With Boz Scaggs
 Dig (Virgin Records, 2001)
 Memphis (429 Records, 2013)
 A Fool to Care (429 Records, 2015)
With Helen Schneider
 Let It Be Now (RCA Records, 1978)
With Patti Scialfa
 23rd Street Lullaby (Columbia, 2004)
 Play It as It Lays (Columbia, 2007)
With John Scofield
 Who's Who? (Arista, 1979)
 Electric Outlet (Gramavision, 1984)
 That's What I Say: John Scofield Plays the Music of Ray Charles (Verve Records, 2005)
With John Sebastian
 Tar Beach (Shanachie, 1992)
With Brian Setzer
 The Knife Feels Like Justice (EMI, 1986)
With Feargal Sharkey
 Wish (Virgin Records, 1988)
With Bruce Springsteen
 Devils & Dust (Columbia Records, 2005)
 Wrecking Ball (Columbia Records, 2012)
With Candi Staton
 Chance (Warner Bros. Records, 1979)
With Mike Stern
 Upside Downside (Atlantic, 1986)
With Cat Stevens
 Back to Earth (Island Records, 1978)
With Rod Stewart
 Soulbook (J Records, 2009)
With Andrew Strong
 Strong (MCA Records, 1993)
With James Taylor
 New Moon Shine (Columbia Records, 1991)
With Toto
 Fahrenheit (CBS, 1986)
With Bonnie Tyler
 Faster Than the Speed of Night (Columbia Records, 1983)
With Neil Young
 Landing on Water (Geffen, 1986)
With Steven Van Zandt
 Freedom – No Compromise (EMI, 1987)

Equipment
Jordan plays Yamaha Drums, Paiste Cymbals and Remo drumheads. He has signature drumsticks from Vic Firth.

Acoustic Drums:Yamaha Maple Custom
 14" x 6.5" snare drum or a 13" x 6.5" Steve Jordan Signature snare drum
 20" x 16" bass drum
 12" x 8" rack tom
 14" x 14" floor tom

Paiste:
 17" Signature Traditionals Thin Crash (as hi-hat top)
 17" Signature Dark Energy Crash (as hi-hat bottom)
 20" Masters Dark Crash Ride
 22" Traditionals Light Ride

Drumheads:
Jordan endorses Remo drumheads and uses Coated Vintage A's and Coated Ambassadors on the toms and snares and either a Coated Powerstroke 3 or a Coated Ambassador on the bass drum.

Drumsticks:
"Steve's Signature stick is light and long for great touch and sound around the drums and cymbals." In hickory. L = 16 ½"; Dia. = .525" Jordan discussed their use in a video interview for Vic Firth.

References

External links

Steve Jordan video interview

Living people
African-American drummers
The High School of Music & Art alumni
Musicians from New York City
American rock drummers
African-American record producers
American session musicians
Paul Shaffer and the World's Most Dangerous Band members
The Blues Brothers members
American funk drummers
American male drummers
1957 births
American rhythm and blues drummers
American jazz drummers
American blues drummers
American soul musicians
Booker T. & the M.G.'s members
Grammy Award winners
American multi-instrumentalists
Record producers from New York (state)
Soul drummers
John Mayer Trio members
20th-century American drummers
Saturday Night Live Band members
Jazz musicians from New York (state)
American male jazz musicians
Primetime Emmy Award winners

Steve Jordan (drummer)


Carlos Avery House is a historic house in the Pittsfield Township, Ohio.

Description and history
The house was built in 1855 and reflects the Greek Revival architectural style. The large two-story brick house sits on a spacious lot slightly elevated from street level. The isolated site has few structures nearby. The first home of Carlos Avery is  to the north and the remnants of a bridge that spanned the Black River. Sitting above the roadway at a curve the house is a prominent feature in the area. The wooded banks of the river behind the house create a picturesque scene.

The foundation is cut sandstone with the top course projecting to form a water table. The walls of locally made brick are not laid in discernable bond pattern. The main mass is rectangular with a gable end facade, a smaller longer wing is attached on the south side has a porch on the west (front). The entry is set to the south of the facade of the main section. The door is flanked by sidelights and has a transom. Simple stone lintels and sills surround the door and six-over-six double-hung sashes of the facade of this section. Two windows are beside the door to the north and above are three symmetrically arranged over the first floor fenestration.

An unusual feature of this section is a broad entablature that projects from the plane of the wall and is painted white. The gable ends have full triangular pediments and broad rectangular attic windows. The smaller wing recalls this with a white frieze featuring long rectangular fenestration. An additional wing apparently built at the same time as the house extends into the space between the two main sections in the rear.

The door opens into a large central hallway on the south of the main section with an open stairway leading to a similar hallway on the second floor. To the right of the stairs is a large open parlor with massive Greek Revival woodwork including triangular pediments above the doors and windows. The south section contains a dining room with fireplace and a kitchen with large fireplace. An unusual curved wall creates a pantry at the rear of this space. This section includes a number of small purposed rooms including an area for spinning flax.

The second floor of the main section has three large bedrooms with woodwork like that below except that it is raked along the sides. A basement with a summer kitchen a fireplace for cooking.

The Carlos Avery House is historically significant as a fine example of domestic rural Greek Revival architecture distinguished by its size and details. The largest extant building from before the Civil War, the property was listed in the National Register of Historic Places on May 31, 1984.

See also
 National Register of Historic Places architectural style categories
 National Register of Historic Places listings in Lorain County, Ohio

References

External links

Houses on the National Register of Historic Places in Ohio
Greek Revival houses in Ohio
Houses completed in 1855
Houses in Lorain County, Ohio
National Register of Historic Places in Lorain County, Ohio

Carlos Avery House


A cavalry-mechanized group (Russian:Конно-механизированная группа (КМГ)) was a type of military formation used in the Red Army during World War II against Germany and Japan. It involved a combination of armor and horses.

Organization
A cavalry-mechanized group normally consisted of a cavalry corps (a unit smaller than a standard infantry division despite its name) and a mechanized corps, and was slightly stronger than a German Panzergrenadier division. The main force element providing combat power was the armoured and motorized formations of the mechanized corps, while the horse-mounted elements of the cavalry corps provided increased flexibility in infiltration and fighting in difficult terrain such as large forests, or swamps, and the ability to continue mobile operations when cut off from supply lines.

Cavalry-mechanized groups were often named after their commander, for example Cavalry-Mechanized Group Pliyev named after Pliyev.

As an example, during the 1945 Soviet invasion of Manchuria, the Soviet-Mongolian Cavalry-Mechanized Group under the command of Colonel General I.A.Pliyev consisted of the following units:

85th Rifle Corps Headquarters
59th Cavalry Division
25th Mechanized Brigade
27th Motorized Rifle Brigade
43d Tank Brigade
30th Motorcycle Regiment
Aviation-Mixed Division (Mongolian)
5th Mongolian Cavalry Division
6th Mongolian Cavalry Division
7th Mongolian Cavalry Division
8th Mongolian Cavalry Division
7th Motorized Armored Brigade (Mongolian)
3d Separate Tank Regiment (Mongolian)
35th Tank Destroyer Artillery Brigade
1914th Antiaircraft Artillery Regiment
1917th Antiaircraft Artillery Regiment
60th Guards Mortar Regiment (Rocket Launchers)
3d Artillery Regiment (Mongolian)

The formation operated in two march columns during the first stage of the battle, advancing rapidly against light opposition, preceded by forward detachments:

Column 1:
25th Mechanized Brigade
43d Tank Bde
267th Tank Regt

Column 2:
27th Mechanized Rifle Brigade
7th Armored Car Bde
30th Motorcycle Regt

Tactics
Cavalry-mechanized groups were used during the second half of the Soviet-German War, following the successful breaching of a German defense.  They would then be inserted to penetrate deep into the rear of the German lines and interrupt supply and reinforcement movements there.  This was a risky task, shown for example by the destruction of Cavalry-Mechanized Group Pliyev during the Battle of Debrecen in Hungary, in autumn 1944.

Cavalry units in the Red Army usually fought as dismounted infantry.  Only when they faced a completely disorganised enemy, for example during the battle of the Korsun Pocket in 1944, or when they were themselves in a desperate situation, such as during Operation Mars in 1942, would they undertake a traditional cavalry charge.

After the Second World War
Cavalry was widely seen as anachronistic by the start of World War II.  The Red Army was the only army to make use of cavalry formations in full-scale combat during the war, and despite the successful use of cavalry formations by the Red Army during the war, the last cavalry division, 4th Guards Cavalry Division, was disbanded in 1955.

Notes

References

US Army TM30-430 'Handbook on Red Army armed forces'
Zaloga, S. and Ness 'The Red Army Handbook'

External links
Article on the use of cavalry by the Red Army

Red Army units and formations of World War II
Cavalry units and formations of the Soviet Union
Mechanized units and formations

Cavalry mechanized group


Fustanella (for spelling in various languages, see chart below) is a traditional pleated skirt-like garment that is also referred to as a kilt worn by men in the Balkans.

The Albanian traditional costume with fustanella had identified the special troops that Albanians constituted within the Ottoman Empire, whose military prowess became renowned, especially in the era of the Ottoman Albanian pashas Ali of Yanina and Muhammad Ali of Egypt. During the late 18th and early 19th centuries Albanian warriors wore it in the Kingdom of Naples and the Ionian Islands. In the 1810s, the Albanian warrior dress was officially adopted by a British regiment in the Ionian Islands. In the 1820s, it became a principal visual symbol of Philhellenism, and during the Greek War of Independence it was worn by the revolutionary fighters. At that time its notoriety as a symbol of male bravery and heroism grew considerably across the Ottoman Empire and spread throughout Europe. Following the Greek independence, fustanella and accompanying embroidered waistcoats and jackets were adopted by the nascent Greek army. In 1835, it was proclaimed the official court costume and eventually it became the Greek national dress. The Albanian-Greek attire thereafter acquired popularity among peoples who wanted to dress in a courageous heroic manner.

In modern times, the fustanella is part of Balkan folk dresses. In Greece, a short version of the fustanella is worn by ceremonial military units such as the Evzones since 1868. In Albania it was worn by the Royal Guard in the interbellum era. Both Greece and Albania claim the fustanella as a national costume.

Origins
A terracotta figurine with a fustanella garment (i.e. a pleated skirt wore by a man) was found in Durrës, in present-day central Albania, dating back to the 4th century CE, clearly providing an early archaeological evidence of a fustanella.

According to a hypothesis the fustanella was originally worn by the Illyrians. It has been claimed that in the 13th century the fustanella was a common dress for Dalmatian men, regarded as one of the Illyrian ancestors of the Albanians. Sir Arthur Evans said that the Albanian fustanella of the female peasants (worn over and above the Slavonic apron) living near the modern Bosnian-Montenegrin borders was a preserved Illyrian element among the local Slavic-speaking populations.

Some scholars have hypothesised that the Albanian/Illyrian kilt became the original pattern of Roman military dress. Baron Franz Nopcsa further theorized that the Celtic kilt emerged after the Albanian kilt was introduced to the Celts in Britain by the Roman legions.

Some scholars have suggested a Roman origin, relating the fustanella to the statues of Roman emperors wearing knee-length pleated tunics. According to a variant of this view, with the expansion of the Romans to colder climates in central and northwestern Europe, more folds would be added to provide greater warmth; according to another variant of this view by folklorist Ioanna Papantoniou, the fustanella ultimately originated from the Celtic kilt, as viewed by the Roman legions, serving as the original prototype.

Concerning the kilts, they are generally regarded as not being worn by Celtic warriors of Roman times and as being introduced in the Scottish Highlands c. 16th Century AD.

Other scholars have hypothesised that the fustanella was derived from a series of ancient Greek garments such as the chiton (or tunic) and the  (or short military tunic). This hypothesis involves a link to an ancient statue (3rd century BC) located in the area around the Acropolis in Athens. However, no ancient Greek clothing has survived to confirm that the origins of the fustanella are in the pleated garments or chitons worn by men in Classical Athens.

In the Byzantine Empire, a pleated skirt known as the podea (Greek: ποδέα) was worn. The wearer of the podea was either associated with a typical hero or an Akritic warrior and can be found in 12th-century finds attributed to Emperor Manuel I Komnenos (r. 1143–1180).

Usage

Albania

In Albanian territories the fustanella was used centuries before Ottoman rule. A fustanella is depicted on a 13th-century proto-maiolica pottery fragment from Durrës. A 14th-century document (1335) listing a series of items including a fustanum (a cloth made of cotton), which were confiscated from a sailor at the port of the Drin River in the Skadar Lake region of Albania. In the late Byzantine period and the early Ottoman period southern Albanians migrated in Greece and in southern Italy, bringing with them their own custom, language and clothing, which included the fustanella garment. In the 19th century the usage of the fustanella stretched through all Albanian inhabited lands, and it had become the ethnic costume characteristic of the Albanian men.

The Albanian traditional costume with fustanella had identified the special troops that Albanians constituted within the Ottoman Empire, whose military prowess became renowned, especially in the era of the Ottoman Albanian pashas Ali of Yanina and Muhammad Ali of Egypt. In the Napoleonic era (1799–1815) the Albanian mercenary troops (Muslim Arnaut), whose traditional costume included the fustanella, were counted among the paid Turkish government troops, along with the Janissary troops. After the disbandment of Janissary corps in 1826, the Albanian troops were employed in various armies as frontier battalions when the new Mansure Army was established within the Ottoman army by Mahmud II. In the 1820s the authorities of the Ottoman Provincial Governments overall preferred Arnaut mercenary troops over any of the standing army troops.

During the late 18th and early 19th centuries Albanian warriors wore their traditional costume with fustanella in the Kingdom of Naples and the Ionian Islands. Between 1807 and 1814 it was worn by the men of the Albanian Regiment of the French army, which consisted mainly of Albanian warriors. In the 1810s, the Albanian warrior dress was officially adopted as the standardised military uniform of the 1st Regiment Greek Light Infantry of the British army, which consisted mainly of Albanians and Greeks.

The fustanella was regarded by foreign scholars and travellers as a typical Albanian costume, characterizing the Albanians from the standpoint of dress for many centuries, especially in the 18th and 19th centuries. In 1805 William Martin Leake reported that it was worn by the men at arms of Albanian beys in the Morea, and that "The Albanian dress is daily becoming more customary, both in the Morea and in the rest of Greece". In 1807 Leake reported that the officials of the Albanian ruler Ali Pasha of Yanina, including his sons, were dressed according to the Albanian tradition. In 1809–1810, within the area of contemporary southern Albania and northwestern Greece, British traveller John Cam Hobhouse noticed that when traveling from the Greek-speaking area (region south of Delvinaki) into the Albanian-speaking area (to the direction of Gjirokastër and its surrounding environs), apart from different languages a change of clothing occurred. Those Albanian speakers wore the Kamisa shirt and kilt, while Greek speakers wore woolen brogues.

In the early 19th century, other British travellers within the region noticed the Albanian costume, in particular in 1809 Lord Byron celebrated and described it as "the most magnificent in the world, consisting of long, white kilt, gold-worked cloak, crimson velvet gold laced jacket and waist-coat, silver mounted pistols and daggers". The renowned Albanian clothes were not official uniforms adorned with insignia, but traditional costumes with small differences depending on the regional location or personal preferences of the wearer. After its celebration and description by Byron, who was the most influential Philhellene of the time, the Albanian traditional warrior costume became a principal visual symbol of Philhellenism in the 1820s, appearing in the widespread romantic iconography of klepht and armatole warriors of the Greek revolution. The Albanian traditional costume with fustanella was greatly favoured among the Balkan peoples, and it was imitated by many other peoples. Its spread among other neighbouring peoples such as the Greeks, and even the Turks, is documented by the historians of the time.

In 1848–1849, British painter Edward Lear traveling within the area of contemporary Albania observed that the fustanella was for Albanians a characteristic national costume. Other artists visiting southern Albania in mid-19th century depicted landscapes with Albanians in traditional costume with fustanella, such as Henry Cook and George de la Poer Beresford.

During the 19th century the use of the fustanella was worn over tight fitting  pants amongst male Albanian Ghegs by village groups of the Malësorë or highlanders of the Kelmend, Berisha, Shala and Hoti tribes. They reserved use of the fustanella for elites during important and formal occasions such as dispute resolutions, election of local tribal representatives and allegiance declarations. During the 1920s, the fustanella began to go out of fashion among Tosks being replaced with Western style clothing made by local tailors.

The Albanian fustanella has around sixty pleats, or usually a moderate number. It is made of heavy home-woven linen cloth. Historically, the skirt was long enough to cover the whole thigh (knee included), leaving only the lower leg exposed. It was usually worn by wealthy Albanians who would also expose an ornamented yataghan on the side and a pair of pistols with long-chiseled silver handles in the belt. The general custom in Albania was to dip the white skirts in melted sheep-fat for the double purpose of making them waterproof and less visible at a distance. Usually, this was done by the men-at-arms (called in Albanian trima). After being removed from the cauldron, the skirts were hung up to dry and then pressed with cold irons so as to create the pleats. They then had a dull gray appearance but were not dirty by any means.

The jacket, worn with the fustanella in the Albanian costume, has a free armhole to allow for the passage of the arm, while the sleeves, attached only on the upper part of the shoulders, are thrown back. The sleeves are not usually worn even though the wearer has the option of putting them on. There are three types of footwear that complement the fustanella: 1) the kundra, which are black shoes with a metal buckle, 2) the sholla, which are sandals with leather thongs tied around a few inches above the ankle, 3) the opinga, which is a soft leather shoe, with turned-up points, which, when intended for children, are surmounted with a pompon of black or red wool.

In 1914, the newly formed Greek armed forces of the Autonomous Republic of Northern Epirus (1913–1914) initially did not have their own military uniforms, but later the enlisted men adopted Evzone uniforms. Nowadays among the Greek population in southern Albania, a sigouni, a sleeveless coat made of thick white wool, is worn over the fustanella in the regions of Dropull and Tepelenë.

Bulgaria
The Albanian traditional warrior costume with fustanella spread among Bulgarians, about two decades after it was dressed by the revolutionaries of the Greek War of Independence in the 1820s, when its notoriety as a symbol of male courage and heroism expanded across the region. The Albanian-Greek attire became popular particularly among young men who wanted to take a picture in a heroic pose, although not being themselves involved in fights for independence.

Egypt

The sizeable Albanian guards and janissary troops who settled on the banks of the Nile during the early rule of Mehmed Ali' dynasty were noted for their swagger, their weapons and their costumes, particularly for the pleats of their typical white fustanellas. Those costumes played a major role in Jean-Léon Gérôme's paintings.

Albanian volunteers and mounted infantry were called Arnauts in Egypt, and they were greatly valued in the Egyptian Army, especially for their traditional role as skirmishers, experts of mountain fighting, patrolling and bodyguard units. Contemporary commentators about their dress described their fustanella as "a white many folded" and "a white linen petticoat of enormous size, hanging in numberless plaits from the waist to the knee".

In the 1930s the fustanella continued to characterise Albanian guards in Egypt, as witnessed by Egyptian scholar Magdi Wahba around the department stores in Cairo.

Greece

It has been suggested that the fustanella was already in common use in Greek lands as early as the 12th century. Byzantine warriors, in particular the Akritai, wearing fustanella, are depicted in contemporary Byzantine art. On Byzantine pottery sherds from Greece, Cyprus, and Chersonesus, warriors are shown bearing weapons and wearing the heavy pleated fustanella. This is also confirmed by the Medieval Greek acritic songs of the 12th century; it has been suggested that 11th-century illuminated manuscripts of the songs served as prototypes for later depictions. The garment is also depicted on early 14th-century frescoes in the church of Saint Nicholas Orphanos in Thessaloniki, and the church of Holy Cross of Agiasmati in Cyprus. The full-pleated fustanella was worn by the Byzantine Akritic warriors originally as a military outfit, and seems to have been reserved for people of importance. It was frequently worn in conjunction with bows, swords, or battle-axes and frequently shown covered with a jointed corselet, or with a vest of chain mail. Being a suitable garment for guerrilla mountain units, it might have been worn by the klephts of the Greek Revolution of 1821–1830 for the same reason it would have been worn by the akritai warriors of the Byzantine era earlier.

Southern Albanians introduced their traditional costume with fustanella when they migrated in territories of present-day Greece, subsequently becoming part of the national dress of Greece as a consequence of their settlement in the region. The Albanian warrior dress with fustanella spread among armed irregulars – klephts and armatoles – in the pre-revolutionary period, and was worn by revolutionary fighters during the Greek War of Independence. In the early 19th century, the costume's popularity rose among the Greek population. During the era of post-independence Greece, parts of Greek society such as townspeople shed their Turkish-style clothing and adopted the fustanella which symbolised solidarity with new Greek democracy. Philhellene enthusiasm for the fustanella survived knowledge of its Albanian origins. It became difficult thereafter to distinguish the fustanella as clothing worn by male Arvanites from clothing worn by wider parts of Greek society. Its popularity in the Morea (Peloponnese) was attributed to the influence of the Arvanite community of Hydra and other Albanian-speaking settlements in the area. The Hydriotes however could not have played a significant role in its development since they did not wear the fustanella, but similar costumes to the other Greek islanders. In other regions of Greece the popularity of the fustanella was attributed to the elevation of Albanians as an Ottoman ruling class such as Ali Pasha, the semi-independent ruler of the Pashalik of Yanina. In those areas, its lightweight design and manageability in comparison to the clothing of the Greek upper classes of the era also made it fashionable amongst them in adopting the fustanella.

The Albanian-style costume with fustanella was used in the Ionian Islands by the Albanian warriors, initially within an Albanian militia that was raised by the Russians in 1799, and which was transferred to the French in 1807, after the recovering of the Ionian Islands. On 12 October 1807 Napoleon also approved the recruitment of roughly 3,000 Albanians who had moved to the Ionian Islands, for the most part refugees fleeing the Albanian coast because of the harsh authority of the Ottoman Albanian ruler Ali Pasha of Janina. On 12 December 1807 they were organized as the Albanian Regiment. Local Greeks, Italians and Dalmatians were additionally recruited, however the regiment never achieved its official establishment of 3,254.

The first time the fustanella was worn as part of a standardised military uniform in territories of present-day Greece was in 1810 in the British regiment of Zakynthos, which consisted mainly of Albanians and Greeks. The men of the regiment were reported as wearing "Albanian dress"; their orders stated "clothing and accoutrements were to be made in the Albanian fashion". Enlisted men wore red jackets with yellow cuffs, facings, and trim; for the officers, these were gold and white, over a white shirt, foustanella, breeches and stockings.

In the Peloponnese, the Greeks of Mani did not traditionally wear the fustanella, they used to dress voluminous trousers. Written evidence that some version of the Albanian costume were in use in the Pelopponese was provided by William Martin Leake in March 1805, when he met a local Albanian Bey accompanied by Albanian soldiers. Leake also wrote about the Albanian costume during a visit to Hassan Bey, governor of Monemvasia, reporting that "The Albanian dress is daily becoming more customary, both in the Morea and in the rest of Greece; in the latter from the great increase of the Albanian power; in the Morea, probably in consequence of the prosperity of Ydhra, which is an Albanian colony, and of the settlements of Albanian peasantry that have been made in some parts of the Morea, particularly Argolis, as well as in the neighbouring provinces of Attica and Boeotia."

Following the Greek independence, fustanella and associated embroidered waistcoats and jackets that were worn by the revolutionary fighters were adopted by the nascent Greek army. In 1835, it was proclaimed the official court costume by King Otto of Greece and eventually it became the Greek national dress.

During the reign of King Otto (1832–1862), the fustanella was worn by the king, the royal court and the military, while it became a service uniform imposed on government officials to wear even when abroad. In that period the dress system in Greece evolved, and most of the Greeks were increasingly wearing European garments, while traditional clothing was still preserved in villages. The uniform with the typical fustanella was mainly used in the army as well as on ceremonial events and feasts.

In the Crimean War (1853–1856), fustanella was worn by volunteers serving in the Greek Volunteer Legion. In 1855, it was insisted that the Greek volunteers should abandon the fustanella and adopt uniforms that were similar to the Russian ones; arguing that the costume of the Greeks was not suitable for military conditions. Aristidis Chrisovergis, one of the commanders, strongly opposed this and refused to take off the fustanella.

Greek villagers of Albanian origin continued to wear the fustanella or the poukamiso (an elongated shirt) on a daily basis until the 20th century. Of the Roumeliotes, the nomadic Greek-speaking Sarakatsani pastoralists wore either trousers or the fustanella, depending on the local tradition. The Aromanians, a Latin-speaking people who lived within Greece also wore the fustanella or trousers depending on the region.

In terms of geographical spread, the fustanella never became part of the clothing worn in the Aegean islands, whereas in Crete it was associated with the heroes of the Greek War of Independence (1821) in local theatrical productions and seldom as a government uniform. The men of the Greek presidential guard, founded in 1868, wear the fustanella as part of their official dress. By the late 19th century, the popularity of the fustanella in Greece began to fade when Western-style clothing was introduced.

The fustanella film (or fustanella drama) was a popular genre in the Greek cinema from 1930s to 1960s. This genre emphasized on depictions of rural Greece and was focused on the differences between rural and urban Greece. In general it offered an idealized depiction of the Greek village, where the fustanella was a typical image. In Greece today, the garment is seen a relic of a past era with which most members of the younger generations do not identify.

The Greek fustanella differs from the Albanian fustanella in that the former garment has a higher number of pleats. For example, the "Bridegroom's coat", worn throughout the districts of Attica and Boeotia, was a type of Greek fustanella unique for its 200 pleats; a bride would purchase it as a wedding gift for her groom (if she could afford the garment). A fustanella is worn with a yileki (bolero), a mendani (waistcoat) and a fermeli (sleeveless coat). The selachi (leather belt) with gold or silver embroidery, is worn around the waist over the fustanella, in which the armatoloi and the klephts placed their arms.

During the 18th and early 19th centuries, the skirts hung below the knees and the hem of the garment was gathered together with garters while tucked into the boots to create a "bloused" effect. Later, during the Bavarian regency, the skirts were shortened to create a sort of billowy pantaloon that stopped above the knee; this garment was worn with hose, and either buskins or decorative clogs. This is the costume worn by the Evzones, light mountain troops of the Hellenic Army. Today it is still worn by the ceremonial Presidential Guard.

Italy

The fustanella has been in usage among the Arbëreshë people since their arrival in Italy.

In the late 18th century the Albanian traditional warrior costume with fustanella was worn by the Albanian troops in the Kingdom of Naples. The Albanian Regiments were disbanded in 1789, however they were restored in 1798 constituting the "Albanian Volunteer Hunters Battalion" (). In 1800 they merged into the Royal Macedonian Regiment (It. "Real Macedonia"), where soldiers were recruited from their homeland until 1812, when the Regiment was disbanded. In 1813 the 526 veterans were sent to their homeland. In 1815, King Ferdinand of Naples commissioned the British General Richard Church to reorganize the Royal Macedonian Regiment called "Macedonian Hunters" (It. "Cacciatori Macedoni") or "Royal Albanian" (It. "Real Albanese") or "Royal Hunters" (It. "Reali Cacciatori"). In 1818 the unit was incorporated into the "Foreign Regiment" (It. "Reggimento Esteri"), constituting in 1820 its 3rd Battalion that was called "Foreign Hunters" (It. "Cacciatori Estero"). It was disbanded on 6 July 1820 after the assassination attempt on King Ferdinand by the Arbëresh Agesilao Milani. Thereafter the exonerated soldiers were sent to their homeland.

The fustanella has been a symbol of economic wealth among Arbëreshë people. It is worn by Arbëreshë men during festivals.

North Macedonia
In Macedonia, the fustanella was worn in the regions of Azot, Babuna, Gevgelija, the southern area of the South Morava, Ovče Pole, Lake Prespa, Skopska Blatija, and Tikveš. In that area, it is known as fustan, ajta, or toska. The use of the term toska could be attributed to the hypothesis that the costume was introduced to certain regions within Macedonia as a cultural borrowing from the Albanians of Toskëria (subregion of southern Albania).

Moldova and Wallachia

In the 18th and 19th centuries many foreign travellers recorded that the bodyguards of the princely courts of Moldova and Wallachia were dressed with the Albanian fustanella.

Turkey

In the Napoleonic era (1799–1815) the Albanian mercenary troops (Muslim Arnaut), whose traditional costume included the fustanella, were counted among the paid Turkish Government Troops, along with the Janissary troops.

In 1808 Albanian Troops of Bayraktar Mustafa Pasha marched beside the new Sultan Mahmud II along Divan Yolu, the Imperial Road that led to the Imperial Council from Constantinople, following the Sultan's Sword Girding.

In the 1820s the authorities of the Ottoman Provincial Governments overall preferred Arnaut mercenary troops over any of the standing army troops. After 1826 these Albanian troops were employed in various armies as frontier battalions when the new Mansure Army was established within the Ottoman army by Mahmud II.

In the 19th century Albanian warriors found immediate employment remarkably in Istanbul, hired as guards of foreign embassies and the homes of the wealthy. They wore their traditional dress with fustanella, which evolved from an untidy costume into a formal uniform that exhibited the status of their employers.

In the Baklahorani annual carnival of the Greek community in Istanbul the traditional fustanella was among the popular costumes worn by the Greek youth.

United States
In the United States, the fustanella is identified with Albanian and Greek populations. It can be frequently seen in Albanian and Greek folk festivals and parades across the country.

Name
The word fustanella derives from Italian fustagno 'fustian' and -ella (diminutive), the fabric from which the earliest fustanella were made. This in turn derives from Medieval Latin fūstāneum, perhaps a diminutive form of fustis, "wooden baton". Other authors consider this a calque of Greek xylino (ξύλινο), literally "wooden" i.e. "cotton"; others speculate that it is derived from Fostat, a suburb of Cairo where cloth was manufactured.

The garment is also known by other names; including tsamika/çamika, associated with the ethnonym of the Albanian sub-group Chams, and kleftiki, associated with brigands known as klephts.

Name in various languages
Words for "skirt" and "dress" included for comparison.

Gallery

See also

Kilt
Lava-lava
Sarong
Medieval Armour

References

Citations

Sources

External links
 Dictionary.com – "Fustanella"
 The Fustanella in Greece

Albanian clothing
Aromanian culture
Greek clothing
Bulgarian clothing
Macedonian clothing
National symbols of Albania
Skirts

Fustanella


Urdish (or Urglish), a portmanteau of Urdu and English, is the macaronic hybrid use of English and Urdu in Pakistan, involving code-switching between these languages where they are freely interchanged within a sentence or between sentences. The term Urdlish is first recorded in 1989. Other less common colloquial portmanteau words for Urdish include (chronologically): Urglish (recorded from 1995), Urdlish (1997) and Urduish (1998).

Many bilingual or multi-lingual Urdu speakers, being familiar with both Urdu and English, display code-switching in certain localities and between certain social groups.

On 14 August 2015, the Government of Pakistan launched the Ilm Pakistan movement, with a uniform curriculum in Urdish. Ahsan Iqbal, Federal Minister of Pakistan, said, "Now the government is working on a new curriculum to provide a new medium to the students which will be the combination of both Urdu and English and will name it Urdish."

References

Languages of Pakistan
Urdu language

Urdish


Natalie Dessay (; born 19 April 1965) is a French soprano, best known as an opera singer before her retirement from opera stage in 2013. She gained wide recognition after her portrayal of Olympia in The Tales of Hoffmann in 1992, and then performing at leading stages, such as the Paris Opera, Vienna State Opera, and the Metropolitan Opera.

Since her earlier career she had been known in coloratura soprano roles in the German and French repertoire, such as Olympia in The Tales of Hoffmann, the title role in Lakmé, Zerbinetta in Ariadne auf Naxos and the Queen of the Night in The Magic Flute. After two vocal surgeries she turned her focus to heavier bel canto roles, such as Amina in La sonnambula, Lucia in Lucia di Lammermoor, Marie in La fille du régiment, Violetta in La traviata, and further explored Baroque music with her collaborations with Emmanuelle Haïm. Since retiring from opera stage, she has pursued a career in theatre and in concert, where she now performs, besides classical, genres such as jazz and chansons.

She has made dozens of recordings under the EMI Classics and Virgin Classics label, and then under Warner Classics/Erato Records. Since 2016 she has been recording under Sony Classical Records.

Early and personal life
Nathalie Dessaix was born in Lyon, she was raised in Saint-Médard-en-Jalles, where she had a few singing lessons with madame Saintrais, a former chorister at the Bordeaux Opera. She dropped the silent "h" in her first name in honour of Natalie Wood when she was in grade school and subsequently simplified the spelling of her surname. In her youth, she had intended to be a ballet dancer and then an actress. After abandoning German, she began taking acting lessons with Gérard Laurent at the Conservatoire de Bordeaux. At the age of 20, her vocal talent was discovered when playing a singing lutin, humming Pamina's aria in Molière's Le Sicilien ou l'Amour peintre, after which she was encouraged to take singing lessons. After graduating with first prize, she joined the choir of the Théâtre du Capitole in Toulouse. In 1988, she won the first edition of competition "Voix Nouvelles", run by France Télécom and was granted a year's study at the "École d'art lyrique" of the Paris Opera, where she sang Elisa in Mozart's Il re pastore. In 1990, she won first prize at the International Mozart Competition in Vienna. Since 1991, she worked with her private tutor, tenor Jean-Pierre Blivet.

Dessay first met bass-baritone Laurent Naouri in 1989. They married in August 1994, and she converted to his Jewish faith. The couple have two children, Tom-Solal (b. 1995) and Neïma-Judith (b. 1998). The family lives in La Varenne-Saint-Hilaire.

Career

Early opera career (1990–2000)
Dessay was quickly approached by a number of regional theatres, and engaged in roles such as Blonde (Die Entführung aus dem Serail), Madame Herz (Der Schauspieldirektor), Zerbinetta (Ariadne auf Naxos). In 1990, she sang Barbarina (The Marriage of Figaro) at the Opéra de Marseille, Bettina (Don Procopio) at the Opéra-Comique, Néméa (Si j'étais roi) at the Opéra Royal de Wallonie. In December 1991, she performed Adele (Die Fledermaus) at the Grand Théâtre de Genève.

In April 1992 she made her Paris Opera debut, singing the role of Olympia in The Tales of Hoffmann with José van Dam. The Roman Polanski production was not well received, but it began her road to stardom. In 1993, she joined in the troupe of the Vienna State Opera as Blonde in Mozart's Die Entführung. In December, she was asked to replace Cheryl Studer, who was going to perform all main female roles, in Olympia in a production of Hoffmann.
After attending a performance where Barbara Bonney had sung Sophie in Der Rosenkavalier under Carlos Kleiber, she was cast in the same role with another conductor. Besides Olympia, Blonde, Zerbinetta, her best known and most often played roles, she also performed Italian Singer (Capriccio), Aminta (Die schweigsame Frau), Fiakermilli (Arabella) with the company.

Dessay sang her first Queen of the Night in The Magic Flute at the 1994 Aix-en-Provence Festival in Robert Carsen's staging to critical acclaim. She went on performing the role in productions at the Opéra National de Lyon, Salzburg Festival, Opéra Bastille, Vienna State Opera. In October 1994, she made her New York Metropolitan Opera debut with Fiakermilli. In 1995, she first performed the title role in Lakmé at the Opéra-Comique, and La Scala debut in The Tales of Hoffmann. In 1996, she debuted in the role of Ophélie in Hamlet opposite Simon Keenlyside at the Grand Théâtre de Genève; the new production by Moshe Leiser and Patrice Caurier revived in 2003 at the Royal Opera House, Covent Garden and the Liceu with her in the same role.

In 1997 she sang the title role in Stravinsky's The Nightingale conducted by Pierre Boulez and staged by Stanislas Nordey at the Théâtre du Châtelet. She returned to the Metropolitan Opera in September as Zerbinetta, and then returned to the Opéra de Lyon in Offenbach's Orphée aux enfers. In 1998 she portrayed Olympia at the Met, and later in the year in Lyon, performed Tytania in Britten's A Midsummer Night's Dream and Aspasia in Mozart's Mitridate, re di Ponto. In 1999 she took on the role of Amina in La sonnambula at the Lausanne Opera. She collaborated with William Christie in several projects: Carsen's new production of Handel's Alcina, which premiered at the Palais Garnier and later staged at the Lyric Opera of Chicago, and Andrei Serban's new production of Rameau's Les Indes galantes, which opened the new Paris Opera season.

Dessay was Olympia in Robert Carsen's new production of The Tales of Hoffmann, premiering on 22 March 2000, at the Opéra Bastille. She starred in Hamlet at the Théâtre du Capitole and later at the Théâtre du Châtelet.
In July 2000, she opened the new Jérôme Savary's production as Olympia at the Chorégies d'Orange. Later in the year, she took up the role of Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève, and then interpreted the Queen of the Night for the last time at Palais Garnier, with her last performance on 24 December 2000.

Vocal problems (2001–2004)
Dessay started 2001 by opening La sonnambula at La Scala. In February, she took part in a Vienna-Dresden co-production of Die schweigsame Frau at the Théâtre du Châtelet.

During the 2001/02 season in Vienna, Dessay began to experience vocal difficulties and had to be replaced in almost all of the performances of La sonnambula. Subsequently, she was forced to cancel several other performances, including the French version of Lucia di Lammermoor in Lyon and a Zerbinetta at the Royal Opera House in London. She withdrew from the stage and underwent surgery to remove a vocal cord nodule in July 2002.

She returned to the stage in March 2003 in Ariadne auf Naxos at the Met, and later in the year performed in the premiere of Laurent Pelly's new production of the opera at the Palais Garnier.
In the summer of 2003, she gave her first US recital in Santa Fe. She was so attracted to New Mexico in general and Santa Fe in particular that the Santa Fe Opera quickly rearranged its schedule to feature her in a new production of La sonnambula during the 2004 season. In 2004, she also performed her first Italian Lucia at the Lyric Opera of Chicago and first Massenet's Manon at the Grand Théâtre de Genève.

In the 2004/05 season, she withdrew from Ariadne auf Naxos at the Opéra Bastille and cancelled concert performances at the Théâtre des Champs-Élysées. She underwent surgery to remove a polyp on the other vocal cord and began vocal training subsequently.

Later opera career (2005–2013)
Dessay returned on stage in a benefit concert at the Opéra de Montréal on 8 May 2005, and later in the month, took part in Haydn's The Creation at the Festival de Saint-Denis. In November she starred in Gounod's Roméo et Juliette as Juliette at the Metropolitan Opera. She withdrew the premiere on 14 November, reportedly ill, but resumed in the following performances.
In July 2006 she returned to Santa Fe Opera, singing Pamina in The Magic Flute. In September she opened the Paris Opera season in Lucia di Lammermoor at the Opéra Bastille and then performed La sonnambula in concert version at the Opéra de Lyon and the Théâtre des Champs-Élysées, the former of which was recorded and released on CD.

The year 2007 saw Dessay starring in the premiere of Laurent Pelly's production of  La fille du régiment at Covent Garden, and its reprise at the Vienna State Opera. She performed the title role in Manon at the Liceu in Barcelona in June/July and opened the season at the Metropolitan Opera in the new Mary Zimmerman production of Lucia di Lammermoor. She returned in the same season to sing Lucia again and subsequently reprised in Pelly's production of La fille du régiment. She later returned to the production twice, in London (2010) and in Paris (2012). She went on performing Lucia at the San Francisco Opera and a joint concert with tenor Jonas Kaufmann as part of the Festival de Radio France et Montpellier. In October 2008, she sang Manon at the Lyric Opera of Chicago.

In January 2009 she sang the part of Mélisande in a much acclaimed production of Debussy's Pelléas et Mélisande at the Theater an der Wien.
On 2 March 2009, Dessay premiered in Zimmerman's new production of La sonnambula opposite Juan Diego Flórez at the New York Metropolitan Opera. It was the opera's revival at the company after 37 years since Renata Scotto's performance. On 3 July 2009 she gave her first performance in the role of Violetta in La traviata at Santa Fe Opera in a production by Laurent Pelly with her husband Laurent Naouri appearing as Giorgio Germont. In October, she performed in Musetta in La bohème at the Opéra Bastille.

In 2010, Dessay performed in La sonnambula at the Opéra Bastille. Due to illness, she cancelled the final two performances in the run as well as the upcoming Hamlet at the Met, where she was replaced by Marlis Petersen. After performing her last La sonnambula at the Vienna State Opera, on 20 April 2010 she was awarded the title of Austrian Kammersängerin. She debuted in Russia in a solo concert with the Mariinsky Theatre Orchestra on 18 June, and also participated in the 150 anniversary concert of the theatre on 17 September. She performed in a joint concert with Juan Diego Flórez at the Chorégies d'Orange, before going on Teatro Regio di Torino's Japan tour of La traviata.

In 2011, she debuted in the role of Cleopatra in Handel's Giulio Cesare, conducted by Emmanuelle Haïm, at the Palais Garnier. Ill, she was replaced by Canadian soprano Jane Archibald in some performances, who shared the role in the run. She then returned to the Met for Lucia, and performed in Pelléas et Mélisande in concert form at the Théâtre des Champs-Élysées and the Barbican Centre, before heading to Moscow for a concert version of Lucia with the Mariinsky Theatre Orchestra. She portrayed Violetta at the Aix-en-Provence Festival in a new production of La traviata, which later reprised at the Vienna State Opera with her in the same role. The development of the production in France was filmed as part of the 2012 documentary Becoming Traviata.

In January 2012, Dessay starred in the premiere of Coline Serreau's production of Massenet's Manon in the title role at the Opéra Bastille. She returned to the Met in April for Willy Decker's production of La traviata, where she was replaced by Hong Hei-kyung on the opening night and, in another performance, after the first act, due to a cold. She was originally going to portray all main heroines in The Tales of Hoffmann at the Salle Pleyel, yet she withdrew for unspecified reasons and was replaced by Sonya Yoncheva. In 2013, she limited herself to Antonia in a revival of Pelly's production of the same opera, which took place at the Liceu and the San Francisco Opera. In April 2013, she was featured as Cleopatra in David McVicar's production of Giulio Cesare at the Metropolitan Opera.

In June 2013, Dessay announced that the title role of Massenet's Manon at the Théâtre du Capitole in Toulouse on 15 October 2013 would be her final operatic performance. Previously she had mentioned plans of taking a sabbatical from opera performance in 2015. She described her retirement as "opera is quitting her", as she had done all the roles suitable for her light soprano voice and had no intention to be further associated with them.

Post-opera career
Dessay had collaborated frequently with Michel Legrand in concerts. In May 2009, she dedicated two concerts of songs written by him in Toulouse. In 2013, they released a joint album entitled Entre elle et lui.

She voices Gabi the poisonous frog in the Canadian French dub of the 2014 film Rio 2.

Dessay made her theatre debut in May 2015 in a French adaption of Howard Barker's monologue Und, staged by Jacques Vincey, at the Théâtre Olympia in Tours. The programme reprised in July at the Théâtre de l'Athénée as part of Festival Paris Quartier d'été. In 2016, it toured to Paris, Marseille, Valence, and Orléans. In 2017, it was further toured, and later ran at the Théâtre Déjazet in Paris.

On 27 November 2015, she sang Barbara's Perlimpinpin accompanied by Alexandre Tharaud at the national tribute to the victims of the November 2015 Paris attacks.

In 2016 she released an album inspired by the paintings of Edward Hopper, Portraits of America. The concept started by selecting eight French prose poems based on Hopper paintings by the poet Claude Esteban, from his award-winning collection of forty-seven such poems, Soleil dans une pièce vide (Sun in an Empty room, 1991). These were set to music by composer Graciane Finzi, and recording with reading by Dessay. These poems were supplemented by selecting ten additional Hopper paintings, and songs from the American songbook to go with them.

Artistry
Dessay emphasizes the acting aspect in opera and describes herself as a "singing actress" (). She once expounded:
"[Acting] is more important. For me, singing and music are only a means of expression, the goal being a theatrical and emotional experience. ... it would be 70% theater and 30% music and voice, which is not to say that it is unimportant, because you must have that 30%. You can't say, "I act and I don't care if I don't sing well." You must sing well and make music, be a musician. But that's only 30% of the singer's work, even if that 30% is primordial."

Awards and honours
 33345 Nataliedessay, asteroid
 Singer of the Year (Artiste lyrique de l'année) in the Victoires de la musique classique (1995, 1996, 1998, 2000, 2002, 2005)
 2002: Prize of Music of the Simone and Cino Del Duca Foundation from the Académie des Beaux-Arts
 2003: Chevalier of the Ordre des Arts et des Lettres
 2008: Laurence Olivier Award for her Covent Garden performance of La fille du régiment
 2008: Opera News Award
 2008: Prize in honorem from Académie Charles-Cros for her entire career
 2010: Austrian Kammersängerin
 2011: Chevalier of the Legion of Honour
 2011: Laurent-Perrier Grand Century Prize
 2015: Commandeur of the Ordre des Arts et des Lettres

Opera roles
The roles which have been performed on stage or fully recorded in studio.

 Elisa, Il re pastore (Mozart)
 A little girl, Joseph (Méhul)
 Barbarina, Le nozze di Figaro (Mozart)
 Bettina, Don Procopio (Bizet)
 Néméa, Si j'étais roi (Adam)
 Madame Herz, Der Schauspieldirektor (Mozart)
 Zaide, Zaide (Mozart)
 Minka, Le roi malgré lui (Chabrier)
 Naiad, Ariadne auf Naxos (Strauss)
 Adele, Die Fledermaus (J. Strauss II)
 Javotte, Le roi l'a dit (Delibes)
 Olympia, Les contes d'Hoffmann (Offenbach)
 Violante, La prova di un'opera seria ()
 Blonde, Die Entführung aus dem Serail (Mozart)
 Zerbinetta, Ariadne auf Naxos (Strauss)
 Sophie, Der Rosenkavalier (Strauss)
 Le feu, L'enfant et les sortilèges (Ravel)
 Italian Singer, Capriccio (Strauss)
 Fiakermilli, Arabella (Strauss)
 Queen of the Night, Die Zauberflöte (Mozart)
 Lakmé, Lakmé (Delibes)
 Ophélie (Ophelia), Hamlet (Thomas)
 Aminta, Die schweigsame Frau (Strauss)
 Nightingale (Rossignol), The Nightingale (Stravinsky)
 Eurydice, Orphée aux enfers (Offenbach)
 Tytania, A Midsummer Night's Dream (Britten)
 Aspasia, Mitridate, re di Ponto (Mozart)
 Amina, La sonnambula (Bellini)
 Morgana, Alcina (Handel)
 Hébé/Fatime/Zima, Les Indes galantes (Rameau)
 Konstanze, Die Entführung aus dem Serail (Mozart)
 Lucia, Lucia di Lammermoor (Donizetti)
 La Musica, L'Orfeo (Monteverdi)
 Manon, Manon (Massenet)
 Juliette, Roméo et Juliette (Gounod)
 Pamina, Die Zauberflöte (Mozart)
 Marie, La fille du régiment (Donizetti)
 Mélisande, Pelléas et Mélisande (Debussy)
 Violetta, La traviata (Verdi)
 Musetta, La bohème (Puccini)
 Cleopatra, Giulio Cesare (Handel)
 Antonia, Les contes d'Hoffmann (Offenbach)

Discography

Solo recitals and collaborations

 Mozart: Concert Arias (1995). Theodor Guschlbauer, Orchestre de l'Opéra de Lyon (EMI)
 French Opera Arias (1996). Patrick Fournillier, Orchestre Philharmonique de Monte-Carlo (EMI)
 The EMI Centenary Gala at Glyndebourne (1997)
 Vocalises (1998). Michael Schønwandt, Berliner Sinfonie-Orchester (EMI)
 Mozart Heroines (2000). Louis Langrée, Orchestra of the Age of Enlightenment (Virgin)
 Handel: Arcadian Duets (2002). Emmanuelle Haïm, Le Concert d'Astrée (Virgin)
 French Opera Arias (2003). Michel Plasson, Orchestre national du Capitole de Toulouse, Les Éléments (Virgin)
 Claude Nougaro: La note bleue (2004). (Blue Note)
 Strauss: Amor (Opera Scenes and Lieder) (2004). Antonio Pappano, Royal Opera House Orchestra (Virgin)
 Delirio: Handel Cantatas (2005). Emmanuelle Haïm, Le Concert d'Astrée (Virgin)
 Italian Opera Arias (2007). Evelino Pidò, Concerto Köln (Virgin)
 David Linx: Changing Faces (2007)
 The Miracle of the Voice + documantary Greatest Moments on Stage (2006, compilation). (Virgin)
 Lamenti (2008). (Virgin)
 Bach: Cantatas (2008). Emmanuelle Haïm, Le Concert d'Astrée (Virgin)
 Mad Scenes (2009, compilation). (Virgin)
 Fiction: Live at Folies Bergère (2009). [DVD]
 Quatuor Ébène: Fiction (2010). (Virgin)
 Handel: Cleopatra (2011). Emmanuelle Haïm, Le Concert d'Astrée (Virgin)
 Une fête Baroque (2012). Emmanuelle Haïm, Le Concert d'Astrée (live, Virgin)
 Debussy: Clair de lune (2012). Philippe Cassard (Virgin)
 Alexandre Tharaud: Le Bœuf sur le toit (2012). (Virgin)
 Rio–Paris (2014). (Erato)
 De l'opéra à la chanson (2014, compilation). (Erato)
 Fiançailles pour rire: Mélodies françaises (2015). Philippe Cassard (Erato)
 Baroque (2015, compilation). (Erato)
 Pictures of America (2016). (Sony)
 Schubert: Lieder (2017). Philippe Cassard (Sony)
 Between Yesterday and Tomorrow (2017). (Sony)
 Nougaro: Sur l'écran noir de mes nuits blanches (2019). Yvan Cassar (Sony)

Operas

CDs

 Méhul: La Légende de Joseph en Egypte (1989). Claude Bardon, Orchestre Régional de Picardie (Le Chant du Monde)
 Offenbach: Les contes d'Hoffmann (1996). Kent Nagano, Orchestra & Chorus of the Opéra National de Lyon (Erato)
 Mozart: Die Zauberflöte (1996). William Cristie, Les Arts Florissants (Erato)
 Delibes: Lakmé (1998). Michel Plasson, Chœur & Orchestre national du Capitole de Toulouse (EMI)
 Offenbach: Orphée aux enfers (1998). Marc Minkowski, Choir & Orchestra of the Opéra National de Lyon (EMI)
 Handel: Alcina (1999). William Christie, Les Arts Florissants (live, Erato)
 Stravinsky: Le rossignol and Renard (1999). James Conlon, Orchestra of the Paris Opera (EMI)
 Mozart: Mitridate, re di Ponto (1999). Christophe Rousset, Les Talens Lyriques (Decca)
 Strauss: Ariadne auf Naxos (2001). Giuseppe Sinopoli, Staatskapelle Dresden (Deutsche Grammophon)
 Donizetti: Lucie de Lammermoor (2002). Evelino Pidò, Orchestra & Chorus of the Opéra National de Lyon (Virgin)
 Monteverdi: L'Orfeo (2004). Emmanuelle Haïm, Le Concert d'Astrée, Les Sacqueboutiers (Virgin)
 Bellini: La sonnambula (2007). Evelino Pidò, Orchestra & Chorus of the Opéra National de Lyon (Virgin)
 Donizetti: Lucia di Lammermoor (2011). Valery Gergiev, Mariinsky Theatre Orchestra & Chorus (live, Mariinsky)

DVDs

 Méhul: La Légende de Joseph en Egypte (1989)
 Offenbach: Les contes d'Hoffmann (1997)
 Offenbach: Orphée aux enfers (1997)
 Strauss: Arabella (2002)
 Strauss: Ariadne auf Naxos (2003)
 Thomas: Hamlet (2004)
 Massenet: Manon (2007)
 Donizetti: La fille du régiment (2007)
 Debussy: Pelléas et Mélisande (2009)
 Bellini: La sonnambula (2010)
 Verdi: La traviata (2012)
 Handel: Giulio Cesare (2012)

Sacred and concert works

 Carmina Burana (Orff) (1995)
 Mozart: Great Mass in C minor and Masonic Funeral Music (2006)
 Magnificat (Bach) and Dixit Dominus (Handel) (2007)
 Handel: Il trionfo del tempo e del disinganno (2007)
 Symphony No. 2 (Mahler) (2010, live)
 A German Requiem (Brahms) (2011, live)

Soundtrack / spoken
 Time Regained (1999, Jorge Arriagada)
 Joyeux Noël (2006, Philippe Rombi)
 La boîte à joujoux (2007, spoken children's story)
 La petite sirène (2008, spoken children's story)
 Le lac des cygnes (2017, spoken children's story)

Joint albums
 Entre elle et lui (with Michel Legrand) (2013)

Films
 Stravinsky: Le rossignol (2005)
 Becoming Traviata (2012)
 Rio 2 as Gabi (2014)
 Dilili in Paris as Emma Calvé (2018)

Notes

References

External links

Former official website archived on 22 November 2016

Natalie Dessay on Warner Classics
Natalie Dessay on Sony Classical

1965 births
Living people
People from Gironde
French operatic sopranos
Knights of the Legion of Honour
Conservatoire de Bordeaux alumni
Commandeurs of the Ordre des Arts et des Lettres
Laurence Olivier Award winners
Österreichischer Kammersänger
EMI Classics and Virgin Classics artists
Sony Classical Records artists
Converts to Judaism
20th-century French women opera singers
21st-century French women opera singers
Erato Records artists

Natalie Dessay


James Banyard (14 November 1800 – 1863) was a Wesleyan Local Preacher, founder of The Peculiar People, farmer and shoemaker.

Early life
James Banyard was born in the market town of Rochford, Essex. His father, Robert Banyard (1776 - 1815), worked at Rochford Hall as a ploughman; James also became an agricultural labourer but spent most of his free time carousing in local pubs. Described as "an ugly man" with a loud booming voice, James was charismatic and became a popular local figure thanks to a talent for conjuring tricks, mimicry and topical rhyme. He composed comedy songs called "glees" (unaccompanied songs for men's voices in three or more parts, popular c.1750–1830) and one called "The Syren Wrecked on The West Knock" was still remembered 25 years after his death.  He had no time for religion and indulged in heavy alcohol consumption. He was also a poacher for which he was eventually jailed. Whilst in prison he learnt the craft of shoemaking which became his livelihood upon his release. He married Susan Garnish (1802–1844) in around 1826 but continued to lead a dissoloute and argumentative life. By his early thirties his wife began to despair of his drunken behaviour. Following a visit to a local fair she "insisted he reform" and made him promise to attend the local Wesleyan Methodist chapel. The preacher's words had a dramatic effect on Banyard and "a change came over him". He became a strict teetotaller and began going to church  regularly. Banyard became a respected member of the Rochford Methodist community and eventually became a preacher at the local chapel himself.

Influence of Rev. Robert Aitken and meeting William Bridges

The Scottish-born Anglican cleric Robert Aitken had left the Church of England in 1834 having been overcome by "the spirit of the Lord". He became an evangelical revivalist and founded his own Christian Society. Between the years 1837 and 1839 the teetotaller Aitken was in London preaching "in the open air" in Lambeth and at Whites Row Chapel in Spitalfields. It was in Spitalfields that a Methodist local preacher and hat block maker from Southwark  William Bridges, heard Aitken evangelize on the text Enoch walked with God. Bridges became "a changed man" and in 1837 founded his own tiny religious sect called the Plumstead Peculiars. That same year Bridges visited one of his sisters in Rochford and struck up a friendship with Banyard, swapping ideas and discussing "religious topics".  Bridges invited Banyard to stay with him in London and at some point led him to Aitken. Banyard instinctively realised that Aitken and Bridges had "something more than he" and before leaving Bridges' home at 8 Gravel Lane Southwark, is said  to have gone to an upstairs room, fallen to his knees and been 'born again'. Bridges would later have a similar influence on the leader of another rural sect, John Sirgood.

The Banyardites, and The Peculiar People

Banyard returned to Rochford and began preaching "Right of Liberty"; believing there was no sin in Christians once they accepted the Holy Spirit in Christianity, he asserted "for to know our sins are forgiven is the first step in religion". Quite soon there was a "dispute" with the Rochford Wesleyan church and Banyard was ejected for refusing to obey instructions. He began open air preaching in Rochford Square and held prayer meetings at his cottage. Banyard was often "drenched with pails of water" and had "filth of all sorts" thrown at him; including "rotten eggs and dead cats"; one of the worst tormentors amongst the intolerant and irreligious was Banyard's embittered former friend, Layzell.  In spite of this early opposition his message began to catch on. At first the sect were known simply as The Banyardites. As the congregation grew Banyard and Bridges took over the lease of an old workhouse building known as The Barracks in Rochford circa 1838 and set up their own chapel at Union Lane (near the Marlborough Head Inn).

Faith Healing
Shortly after the chapel opened a man called William Perry from Southend arrived at The Barracks "helped by two other men". He was weak with consumption (tuberculosis) and claimed that whilst at prayer he had heard a voice reciting James 5: Verse 14 -15 The Prayer of Faith. Perry believed the preacher could act and an instrument of the Lord and might cure him. At first Banyard was apparently reluctant to indulge in Divine healing saying "it is not for me to dampen your faith, brother"; but eventually "they got on their knees and prayed". The man is said to have recovered and "walked 12 miles that same day". There followed several similar 'miracle cures', including a Charles Porter of Southend who was cured of a liver complaint. These events gave the Banyardites the reputation of a "special people" with special "gifts from God himself". They help explain the phenomenal growth of the movement which 'spread like wildfire" and established chapels in Essex, Kent, and East London. The Banyardites are said to have helped bring order to Daws Heath, an area so notorious that J W. Burrows described it as "a hotbed of lawlessness". In 1848 there was a setback when the "laying on" of Banyard's hands failed to save a child at Prittlewell. On this occasion the anger of the local population saw Banyard "guarded out of the village by the police". This tragic event did not prevent the sect's leaders hiring a hall in Prittlewell in 1850 where they preached on "various occasions". A church 'Elder' Isaac Anderson describes how he was "baptised with water" by Banyard at a "special meeting" held in 1851 at Rochford and "accepted into the church". By this time, with Bridges operating in London, the movement in Essex was too large for one man with a growing family to control.
In 1852 the Banyardites officially became the Peculiar People, a name Bridges had taken from the book of Deuteronomy (Deuteronomy 14:2). Banyard and three other men, Samuel Harrod, David Handley and John Thorogood, were ordained as Bishops. (Thorogood's son John Thorogood Jnr, later married Banyard's eldest daughter Hephzibah in October 1868). At this time a constitution was established; there were Bishops, Elders and 'Saints' and their strict code included abstention from alcohol and smoking. The sect adopted a dress code for worship: a dark suit and bowler hat for men, and black capes and bonnets for the women. Their hymns were sung without musical accompaniment, a practice later adopted by the Society of Dependents.

Later life
Susan Banyard had died childless aged 42 in 1844; James remarried in 1845 to the widow Judith Knapping  (nee Lucking) (1823 - 1877), and together they had seven children.  In 1855 Banyard's fifth child Josiah was born in Rochford. When the boy became seriously ill, Banyard "agonised" at length but eventually a doctor was called in. From this time on, Banyard began to advise the use of prayer and medical attention. This matter led to the first doctrinal schism within the church of the Peculiar People when Banyard was deposed as Bishop. Because  he owned the Rochford chapel he continued to preach there to "a loyal minority". Banyard was replaced by Bishop Samuel Harrod (who was deposed himself in 1890 following a sex scandal).

Death
Banyard's decision to seek medical aid for his son, saw him reduced in stature in his own movement for the final eight years of his life. Sadly Josiah died in 1861. James and Judith had a final child together that same year, Tamar Banyard.  James Banyard continued to preach until "disease and death silenced him". He died on 31 October 1863; the cause of death is unknown. He was buried in the graveyard of St Andrew's Church, Rochford. In 1877 his wife was laid to rest with him. In 1950, Anna Turner (née Banyard) joined her parents. The inscription reads: "In memory of James Banyard of Rochford. The founder of the Peculiar People in the County of Essex. Born 31 January. Died 31 October 1863."

References

Methodism
English evangelicals
1800 births
English Christian religious leaders
19th-century Christian clergy
1863 deaths
People from Rochford
Burials in Essex

James Banyard


Ana María Casanova (born August 16, 1946), known by her stage name Moria Casán, is an Argentine actress and TV personality.
Casán made her theatre debut in 1970, and quickly became one of the country's leading vedettes during Argentina's Golden Age of revue. Her sex symbol status was further cemented during the late 1970s and 1980s, as she starred in various sexual comedy films alongside Alberto Olmedo, Jorge Porcel and Susana Giménez. Since the mid-1980s, Casán has also established herself as an important TV personality, hosting various sketch comedy programs and talk shows throughout the years. Most recently, Casán was a judge in the popular TV competition Bailando por un Sueño from 2006 to 2017. She currently hosts the TV show Incorrectas and continues starring in several theatrical productions.

Casán remains a popular figure in Argentine showbusiness. Her insult comedy and off-color humor, popularized through her usual feuds with other media personalities, has generated various phrases that are now part of the national lexicon — the press has nicknamed her "karateka tongue". In 2013, the Buenos Aires Herald wrote that "[her] larger than life persona is a pop icon as much for her stage performances as for her bold, daring public statements." Casán is also "the great gay icon of the country", and a fixture in national LGBT culture; as the community sees "her as an icon of liberation and transgression." Her only daughter, Sofía Gala, is also an actress.

Career

Casán was born in Buenos Aires. Following in the footsteps of Argentine revue diva Nélida Roca, Moria Casán became a stage sex symbol and chorus girl. She started as a dancer but immediately acquired major roles due to her versatility, powerful voice and on-screen presence. She worked with outstanding revue actors during the 1970s, such as Nélida Lobato, Adolfo Stray, Don Pelele, Pablo Barbieri, Juan Verdaguer, and José Marrone. She was the first revue girl to demand to leave sexual comments directed at her person off the stage, and to be placed at an equal level with a man. This significant change revolutionized the revue genre locally, and numerous prospective female stars took their cues from Casán in subsequent years.

Moria Casan was asked to express her opinion about a wide spectrum of topics in most of the country's leisure magazines. She became known for her musical shows and on television as a TV hostess and producer.  She was the first to have the protagonist role in music halls on TV, both as dancer and actress. Most of her film career has been made up of sexual comedies, acting with well-known comedians as Alberto Olmedo, Jorge Porcel, and her friend, Susana Giménez. She married fellow actor Mario Castiglione in 1986, with whom she had a daughter, and, following an acrimonious divorce, remarried with Luis Vadalá.

Casán became among the most recognizable figures in Argentine television, and hosted numerous local variety shows since Monumental Moria in 1989, including A la cama con Moria in the early 1990s (in which guests were interviewed in a suggestively ample, round bed), Amor y Moria (Love and Moria) in the late '90s, and her 2000 talk show, Entre Moria y Vos (Between Moria and You). She has also appeared in the theatre, notably in Sebastián Moncada's Brujas (Witches), between 1991 and 1996. Casán ran a much-publicized, though unsuccessful, 2005 campaign for a seat in the lower house of Argentina's National Congress, the Chamber of Deputies, on the Movimiento Federal de Centro, a new center-right party she created.

After many years in the entertainment industry, Moria evolved into a "show woman"a Latin American term for a woman who can actually perform, rather than being a mere sex symbolbased on her multi-faceted talent and a peculiar phrasing that became popular among people of all ages.  Her later appearances included those in the popular sitcom, Doble vida, and in recurring seasons of Bailando por un Sueño (Dancing for a Dream), where she appeared between 2006 and 2008 as a contest judge. Remaining active in the theatre, in 2009 she performed in Une visite inopportune, by local playwright Copi, and directed by the French dramatist Stéphan Druet. She has also established a restaurant and an actors' and dancing school, the Escuela de Arte Moria Casán.

Among the phrases she popularized are '¿Quiénes son?' (Who are you) "si queres llorar, llorá" (if you want to cry, cry), "a-hora!" (right now!), "te lo pido por favor!" (I am asking you please!), "se colgaron de nuevo" (they're hung-up again), and more recently "what pass? qué pasa papi?" ('what pass,' what's happening daddy?) or "cuando fumo me siento una geisha" (when i smoke i feel like a geisha)  among many, many others.

Filmography

References

External links

1946 births
Actresses from Buenos Aires
Argentine people of Italian descent
Living people
Argentine film actresses
Argentine stage actresses
Argentine television actresses
Argentine television personalities
Women television personalities
Argentine female dancers
Argentine dancers
Argentine vedettes
Argentine musical theatre actresses
Argentine musical theatre female dancers
Bailando por un Sueño (Argentine TV series) participants
Bailando por un Sueño (Argentine TV series) judges

Moria Casán


The Death of Sardanapalus (La Mort de Sardanapale) is an oil painting on canvas by Eugène Delacroix, dated 1827. It currently hangs in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.

The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821), and in turn inspired a cantata by Hector Berlioz, Sardanapale (1830), and also Franz Liszt's opera, Sardanapalo (1845–1852, unfinished).

Visual analysis

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.

Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.

There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

Reception
Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David's eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828.

Linda Nochlin has argued that this painting scandalized the salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own--a collapse of the distinction between the "Other" of Orientalism (i.e., Sardanapalus) and western man.

The composer Franz Liszt was inspired by Delacroix's painting (and Byron's play) to compose an Italian opera--Sardanapalo--on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

Notes

References
 Bussy, Dorothy. Eugène Delacroix. London: Duckworth and Co., 1912.
 Trippett, David, "An Uncrossable Rubicon: Liszt's Sardanapalo Revisited," Journal of the Royal Music Association 143 (2018), 361-432.

External links

 The Death of Sardanapalus – Analysis and Critical Reception
 Eugène Delacroix (1798–1863): Paintings, Drawings, and Prints from North American Collections, a full text exhibition catalog from The Metropolitan Museum of Art, which discusses The Death of Sardanapalus
 The Destroyed Room, a 1978 photograph by Jeff Wall was inspired by this work (TATE Modern).

Ancient Mesopotamia in popular culture
1827 paintings
Paintings about death
Paintings by Eugène Delacroix
Paintings in the Louvre by French artists
Horses in art
Sardanapalus

The Death of Sardanapalus