In United States patent law, the doctrine of inherency holds that, under certain circumstances, prior art may be relied upon not only for what it expressly teaches, but also for what is inherent therein, i.e., what necessarily flows from the express teachings. For a patent claim to be valid, its subject-matter must be novel and non-obvious. The claim is anticipated (i.e. will fail because its subject-matter is not novel) if a single prior art reference, either expressly or inherently, discloses every feature of the claimed invention. The concept of inherency is predicated on the idea that a claim should not pass the test of anticipation merely because a feature of it is undisclosed or unrecognized in the prior art reference. A prior art source may thus still anticipate if an apparently missing element of the claim is inherent in that prior art source.

Procedurally, to rely on the doctrine of inherency, one must provide a basis in fact and/or technical reasoning supporting a determination that an allegedly inherent characteristic necessarily would be present if the teachings of the prior art were followed, even if the inherent feature would not have been recognized.

The fact that a certain result or characteristic may occur or be present in the prior art is not alone sufficient to establish the inherency of that result or characteristic. To establish inherency, the evidence must make clear that the missing matter is necessarily present in the prior art reference.  Inherency may not be established by probabilities or possibilities.

Once the United States Patent and Trademark Office (USPTO) establishes that a product referenced in prior art appears to be substantially identical, the burden shifts to the applicant to show a non-obvious difference.

The doctrine of inherency is typically invoked when an inventor tries to obtain a product patent for a product that had been unintentionally invented earlier ("accidental anticipation").

The United States Supreme Court held in Tilghman v. Proctor that where the first, accidental producer was not aware of the product and did not attempt to produce it, the first production did not bar a patent on the subsequent "invention" of the product. 102 U.S. 707 (1880).

The use of the doctrine of inherency in a determination of obviousness is more complicated because "[t]hat which may be inherent is not necessarily known and that which is unknown cannot be obvious."

A patent applicant may use the doctrine of inherency to respond to a rejection for lack of an adequate written description by showing that the patent application inherently includes the disclosure that is allegedly lacking.

References

 Merges/Menell/Lemley, Intellectual Property in the Technology Age, Aspen Publishers 2006
 Nicholas v. Medicis, The Federal Court has dealt with anticipation and anticipation base on inherency for patents.

Legal doctrines and principles
United States patent law

Doctrine of inherency


Thomas John Beer (born December 21, 1944) is an American football player who played at the University of Houston and professionally for the Denver Broncos of the American Football League (AFL) and the National Football League (NFL)'s Boston / New England Patriots.

Playing career
Beer played as a tight end in 42 games for the Patriots over the 1970–1972 seasons. Beer had 25 receptions for 381 yards and three TD's.  His longest reception was a 31-yard touchdown reception on October 24, 1971.

He also returned two kickoffs for a total of 19 yards.  Beer returned a kickoff four yards to end the first half in the Patriots 31-21 loss to the New York Jets at Harvard Stadium on September 27, 1970.  His longest kickoff return was 15 yards at the end of the first quarter in the Patriots 34-10 loss to the New York Jets at Shea Stadium on October 29, 1972.

Beer lateraled a kickoff to Carl Garrett, who took it 27 yards in the Boston Patriots 45-10 loss to the Buffalo Bills at Harvard Stadium on November 1, 1970.  Later in the same game, he lateraled another kickoff to Garrett, who advanced it 15 yards.

Beer returned a fumbled punt return by Ike Hill five yards in the Patriots 38-33 win over the Buffalo Bills at Schaefer Stadium on November 14, 1971.

Later years
Following his playing days, Thomas Beer co-wrote (with George Kimball) the 1974 memoir Sunday's Fools: Stomped, Tromped, Kicked and Chewed in the NFL, recounting the experience of playing for two of the worst franchises in pro football during his career.

Tom  also was an executive for the New York Stars of the short-lived World Football League.

Tom is currently residing in New Jersey.

See also
 List of American Football League players

References

1944 births
Living people
Houston Cougars football players
Denver Broncos (AFL) players
Boston Patriots players
New England Patriots players
Players of American football from Detroit
People from Grosse Pointe, Michigan

Tom Beer


William C. Mellor, A.S.C. (29 June 1903 – 30 April 1963) was a cinematographer who worked at Paramount, MGM and 20th Century Fox during a career that spanned three decades.

After earning his stripes on a string of B-movies in the 1930s, he first started making serious inroads as a leading cinematographer in 1940 when he worked for Preston Sturges on The Great McGinty.

Mellor did his best work with directors George Stevens (winning Oscars for two of his films, A Place in the Sun in 1951 and The Diary of Anne Frank in 1959) and William Wellman (Westward the Woman, 1951). He also contributed to several Anthony Mann westerns, including The Naked Spur in 1953, and a number of MGM musicals. He was nominated for an Academy Award for his work on Mark Robson's Peyton Place in 1957.

He died suddenly of a heart attack while filming Stevens' The Greatest Story Ever Told in 1963. Loyal Griggs replaced Mellor. He is interred at Forest Lawn Memorial Park in Glendale, California.

Mellor received a posthumous Oscar nomination for his work on the film.

Selected filmography
Wake Island (1942)
Road to Morocco (1949)
Too Late for Tears (1949)
A Place in the Sun (1951)
The Naked Spur (1953)
Bad Day at Black Rock (1955)
Giant (1956)
Love in the Afternoon (1957)
Peyton Place (1957)
The Diary of Anne Frank (1959)
Compulsion (1959)
The Best of Everything (1959)
State Fair (1962)
Mr. Hobbs Takes a Vacation (1962)
The Greatest Story Ever Told (1965)

External links

1903 births
1963 deaths
American cinematographers
Best Cinematographer Academy Award winners
Burials at Forest Lawn Memorial Park (Glendale)

William C. Mellor


There are two kinds of trestle desk: as with trestle tables, some have trestles joined by one or more stretchers (and sometimes to the desktop), and some have free-standing trestles. They can be dismantled, with the desk top removed from the trestles, for storage or transport.

Antique trestle desk (linked trestles)

The antique trestle desk has linked trestles. It is usually very much like the writing table desk form, which offers a simple flat desktop surface with a few drawers underneath it. Unlike the writing table the trestle desk is supported by two legs instead of four, and the legs are designed to be dismantled easily in order to store or move the desk efficiently.  More precisely, the two legs are two strong side supports which branch out in two feet each (for a total of four) at the bottom. These trestles are fastened together, and sometimes to the desktop, to make a rigid support.

Some antique trestle desks are fitted with small cubbyholes and nooks or small drawers at the extremity of the work surface, and thus resemble a bureau à gradin.

As with most antique desk forms, this trestle desk surface is usually 29 inches (73.7 cm) from the floor (suitable for handwriting).

Modern trestle desk

The modern trestle desk is not so much a desk form as a desk improvisation.  In shape and manufacture it sometimes resembles certain variations of the antique field desk which was used by officers not too far from the battlefield. Basically, the modern trestle desk improv is a plank of wood set on two trestles.

It is eminently portable, and eminently practical, when care is taken to provide stable trestles. The advent of the cubicle desk created a market for independent desk elements of all kinds, such as short, rolling filing cabinets.  These proved suitable for use under a trestle desk and encouraged improvisation.

In the United States, a desk or a table set on X-shaped trestles is sometimes called a sawbuck table.

See also the list of desk forms and types.

References

Gloag, John. A Complete Dictionary of Furniture.  Woodstock, N.Y. : Overlook Press, 1991.
Moser,Thomas.  Measured Shop Drawings for American Furniture.  New York:  Sterling Publishing Inc., 1985.

Desks
Portable furniture

Trestle desk


The Seafarers is Stanley Kubrick's fourth film and third short documentary, made for the Seafarers International Union, directed in June 1953. The film was Kubrick's first in color.

There are shots of ships, machinery, a canteen, and a union meeting. The film was supervised by the staff of The Seafarers Log, the union magazine. For the cafeteria scene in the film, Kubrick chose a long, sideways-shooting dolly shot to establish the life of the seafarer's community; this shot is an early demonstration of a signature technique that Kubrick would use in his feature films. Another such shot involves a group of seafarers walking across screen from a shaded area to a sunlit space as they approach the SIU Union hall.

The film was re-discovered in 1973 by film scholar and filmmaker Frank P. Tomasulo, who arranged for a 16mm print of the documentary to be deposited in the permanent collection of the Library of Congress' Motion Picture Division.

The Seafarers was released on DVD in 2008 with audio commentary from directors Roger Avary and Keith Gordon, as well as an interview with one of Kubrick's daughters. The short is also available as an extra on the 2012 release of Kubrick's first full-length film Fear and Desire.

References

External links

1953 films
Films directed by Stanley Kubrick
Seafaring films
1950s short documentary films
Sponsored films
Documentary films about the labor movement
American short documentary films
1950s English-language films
1950s American films

The Seafarers


Louisa Catherine Adams (née Johnson; February 12, 1775 – May 15, 1852) was the first lady of the United States from 1825 to 1829 during the presidency of John Quincy Adams. She was born in England and raised in France. Her father was an influential American merchant, and she was regularly introduced to prominent Americans. After her family returned to England, she met John Quincy Adams in 1795, and the two began a tenuous courtship. They were wed in 1797 after a year of engagement, and they began a marriage of disagreements and personality conflicts. She joined her husband on his diplomatic mission to Prussia, where she was popular with the Prussian court. When they returned to the United States, her husband became a senator and she gave birth to three sons. John was appointed minister to the Russian Empire in 1809, and they traveled to Russia without their two older sons, against Louisa's wishes. Though she was again popular with the court, she detested living in Russia, especially after the death of her infant daughter in 1812. She lived in Russia alone for a year while John negotiated the Treaty of Ghent, and when he asked her to join him in 1815, she made the dangerous 40 day journey across war-torn Europe.

The Adamses lived in England for two years before returning to the United States when John was appointed Secretary of State. Louisa became a prominent cabinet wife and regularly hosted important guests in her home. She worked to build connections for her husband's 1824 presidential run, allowing for his victory. She was unsatisfied in the White House, where she became reclusive and grew distant from her husband. She instead took to writing, producing plays, essays, poems, and an autobiography. She wished for retirement after her husband lost re-election, but he was elected to the United States House of Representatives. She took a more active interest in politics, supporting abolitionism and greater rights for women in society. She was widowed in 1848, and she suffered a stroke in 1849 that left her with limited mobility. She died on May 15, 1852 at the age of 77, and Congress adjourned for her funeral, the first time a woman was honored in this way. She was the only foreign-born first lady of the United States until 2017, when Melania Trump became first lady. Her tenure as first lady is not as well studied as other parts of her life, due to her reclusiveness and the limited records she kept at the time. She is generally rated in the upper half of first ladies by historians.

Early life
Louisa Catherine Johnson was born in London on February 12, 1775. She was the second daughter of American merchant Joshua Johnson and British woman Catherine Nuth. The Johnsons were an influential family in American politics, with Louisa's paternal uncle Thomas Johnson being one of the signers of the Declaration of Independence. Little is known of her mother's life prior to her marriage. Louisa's parents may have only married ten years after her birth, potentially making Louisa the only first lady of the United States to be born out of wedlock. She lived a comfortable life as a child in which all of her needs were seen to.

Louisa's father supported American independence, and the Johnsons left England in 1778 in response to the American Revolutionary War. They moved to Nantes, France, where they lived for the next five years. While in France, Louisa attended a Catholic boarding school. She performed well in school, becoming proficient in music and literature, and she learned to speak French fluently. Such was her immersion in French that she was later forced to relearn English. She was also versed in Greek and Latin. The Johnsons lived in luxury, even when they did not have the financial means to do so. Their home in France was a mansion that came to be known as "The Temple of Taste".

The Johnsons returned to England and settled in Tower Hill, while Louisa was placed in a London boarding school. She was teased for her French mannerisms, and the Catholicism that she had learned in France caused conflict with her religious education in England. Her self-esteem suffered, and she kept a distance from her peers. She was sent to be educated by John Hewlett, an Anglican minister and a family friend of the Johnsons. Hewlett became a strong influence on her upbringing, encouraging her intellectualism. The Johnsons suffered financially in 1788, and she was pulled out of school to be educated by a governess.

Marriage

Johnson's father was appointed the American consul to Britain in 1790, and she often assisted in entertaining prominent guests. Among these guests, the Johnson daughters looked for potential suitors, as they were pressured to marry a prominent young man. John Quincy Adams became one such guest in 1795 in his capacity as an American diplomat. He began showing up each day, and only later did the Johnsons realize that he intended to court Louisa, initially believing that his interest was in her older sister Nancy. Only after he complied with a joking request to write her a romantic poem did she consider him a potential suitor.

Johnson and Adams began a courtship, though it was intermittent, and they did not immediately take to one another. Both had previously expressed interest in other potential partners. It was their talents and prestige that eventually drew them to one another. Adams in particular was taken by Johnson's aptitude for singing and music. This pairing also caused a rivalry between Louisa and her older sister, who was jealous for the man she thought would court her.

Johnson and Adams were engaged by 1796, but Adams left England for work and provided a number of excuses as to why he felt they should not be wed, citing his work, his finances, and their personality conflicts. Another factor was the disapproval of his mother, Abigail Adams, who did not wish to see her son marry an Englishwoman. They communicated by letter over the following year, and Johnson came to dread their communications, as Adams's letters were humorless and chastising. Louisa and John eventually married on July 26, 1797, after pressuring from her father. Shortly after the marriage, the Johnsons lost the remainder of their fortune. Louisa's parents fled the country, leaving Louisa and John with little financial support and a mob of angry creditors. The couple disagreed about how much influence a wife should have in her family, and John often made major decisions without consulting her. Both had strong personalities, and their disagreements often became arguments.

Diplomat's wife

Prussia
John was appointed American minister to Prussia in 1797, and the couple moved to Berlin. Louisa experienced several miscarriages over the following years, causing poor health that further strained her relationship with her husband. She eventually gave birth to their first child, George Washington Adams, in 1801. She took a prominent role in diplomatic proceedings when she was not ill from pregnancy, and she was popular among the Prussian aristocracy, personally befriending the king and queen. John was recalled from Berlin by his father after Thomas Jefferson was elected president, and the family left Prussia for the United States.

United States
Adams reunited with her family after arriving at the United States in 1801 while her husband went to his own family home in Quincy, Massachusetts. The journey from Washington to Quincy was interrupted by an uncomfortable dinner with the Jefferson family at the White House and a visit to Martha Washington at Mount Vernon, but it was otherwise long and punishing. Reluctantly, she arrived in Quincy to meet her parents-in-law. While she quickly took to her father-in-law, her mother-in-law remained skeptical of her suitability as a wife.

Adams's father Joshua died in 1802, severely affecting her and leaving the family with no financial support. When her husband was elected to the United States Senate in 1803, she joined him in alternating between Massachusetts and Washington, D.C., much preferring the latter. Unable to afford a home of their own, the family stayed with John's relatives in Massachusetts and with Louisa's relatives in Washington. She gave birth to John Adams II in 1803. She was often left behind while her husband traveled on his own, which she deeply resented. On one such occasion, she suffered a miscarriage. Their third son, Charles Francis Adams, was born in 1807. Her husband resigned from the Senate in 1808, having come in disagreement with the Federalist Party over matters of policy. This disagreement was seen as a betrayal, and the family was thereby excluded from Boston social life.

Russia
When John accepted the position as American minister to Russia in 1809, he did not consult Louisa. He determined that she would accompany him and that their two older sons would stay behind in the United States. She came to regret these arrangements, feeling that she had failed her sons by leaving them. She blamed and resented her husband for this, causing a rift in their marriage. The 80 day journey to Russia proved unpleasant, and they were constantly wary of French ships that were at war with Russia. Her opinion did not change after arriving in Saint Petersburg, which she found disagreeable, but her husband ignored her desires to return to the United States.

Just as she did in Berlin, Louisa impressed the Russian court and received special attention from the monarch. Unable to afford the elaborate outfits expected of Russian courtiers, she came up with excuses to avoid frequent appearances, first feigning illness and then feigning mourning so that her less formal clothes could be excused. Despite her success, Louisa was unhappy during her time in Russia, as she was separated from her family, regularly ill, and forced to contend with loss. After suffering another three miscarriages, Louisa gave birth in 1811 to her first daughter, and the first American born in Russia, Louisa Catherine Adams II. A year later, the infant died of dysentery, causing Louisa further grief and increasing her resentment against her husband.

When John was called to Ghent in 1814 to negotiate a peace agreement for the War of 1812, Louisa was left in Saint Petersburg, where she would remain for the next year. John learned to afford her a greater level of trust and responsibility while living in Russia, and in December 1814, he tasked her with selling their property in Russia and traveling across Europe to meet him in Paris. She left in February 1815, and for the next 40 days she made the dangerous journey across Europe, which had been ravaged Napoleonic Wars, in the cold winter. She was frequently in danger of bandits, and later of French soldiers that were hostile to her Russian carriage. John and his parents gave Louisa a greater deal of respect after she completed the journey.

Return to London and Washington

Louisa and John returned to London in 1815, as John had been appointed minister to Great Britain. Their children were sent to London as well, and the family lived there reunited for the following two years. Louisa lived more comfortably in London than she had elsewhere; the diplomatic responsibilities were lighter, and she had regular access to an Anglican church. She took on more responsibility in managing the family and assisting her husband in his work, particularly after he suffered a painful eye infection that left him temporarily blinded and an injury to his hand that left him unable to write.

The family returned to the United States when John was appointed Secretary of State in 1817. Louisa found the social politics of Washington distasteful, and she felt that John was too good for it. Despite this, she worked to build political connections for her husband in Washington, hosting a party each Tuesday regularly visiting the wives of influential congressmen. Instead of navigating the complex social rules that had developed in Washington since they last lived there, the Adamses ignored the expectation that they defer to members of Congress in the social hierarchy by calling on them first. The resulting dispute grew to the point that it was addressed by the presidential cabinet. Louisa's relationship with John struggled as he became increasingly occupied by his work, but she finally earned her mother-in-law's respect after returning to the United States, and they shared a friendly reunion. Their close relationship was short-lived, however, as Abigail died in 1818.

As first lady Elizabeth Monroe did not engage in social activity, the responsibility fell to the Adams household to be the social hub of the capital. Louisa's most celebrated accomplishment in this role was the ball that she threw for Andrew Jackson in January 1824, which came to be recognized as one of the city's grandest social events. As John sought the presidency in the 1824 presidential election, Louisa effectively managed his campaign and worked beside him as an equal partner. When the election failed to produce a winner and the result was determined by the House of Representatives, John was chosen through what was criticized as a corrupt bargain, and Louisa shared the criticism that he faced.

First lady of the United States

Upon entering the White House, life became more difficult for the Adamses. The administration was unpopular in Congress and unable to advance many of its policies, invoking a bitterness in John that was often directed toward Louisa. The couple again grew distant as they were affected by the stress of their positions. During vacations, they traveled separately and went long periods of time without seeing one another. Even when separated, they rarely wrote to one another, and the communications they did share were emotionless. Louisa suffered from loneliness while in the White House, which she did not consider a home.

The White House itself was in poor condition when Louisa and John occupied it, as it had never been fully restored after the burning of Washington. Despite this, they were criticized for what the public saw as an opulent residence. Louisa responded to the criticism by holding a public exhibition of the home, which was then criticized as distasteful. Louisa herself became a target in political rhetoric against John, in which she was portrayed as an out of touch European that demanded to be treated as an aristocrat. In response, she published a biography of herself that emphasized her modesty and her American heritage. Though it was published anonymously, she was understood to be the author. It was unprecedented for a first lady, and she was only subjected to increased criticism for the act.

Louisa had always been vulnerable to illness, but her health worsened during her years in the White House, and she was left bedridden on multiple occasions. Even she acknowledged a psychosomatic aspect to her illness. She became less visible as first lady, and even when she did entertain, she often did not attend her own events. She had faced criticism for being more prominent than was expected of a political wife. Instead, she hid from the public, writing plays, poems, essays, and an autobiography. These writings often contemplated the role of women in society as she lamented gender inequality.

Louisa was responsible for making arrangements when Lafayette visited the White House. Louisa's greatest responsibility as first lady came upon the deaths of former presidents John Adams and Thomas Jefferson on July 4, 1826. With the president traveling and Congress in recess, it fell to her to set the social rules for mourning in Washington. She also mourned privately, as she had considered her father-in-law to be a father of her own. Against her husband's wishes, she left the White House and traveled to the Adams family home in Quincy Louisa and John reconciled toward the end of the presidential term in 1828. She again worked to campaign for her husband during the 1828 presidential election, traveling to neighboring states to garner support. She was conflicted, as she was determined to get her husband re-elected, but she also loathed White House life. Louisa and John shared a mixture of despondence and relief when he lost re-election.

Later life
After leaving the White House in 1829, Louisa and John moved to a home at Meridian Hill. Though the White House was still visible from her doorstep, she felt free from the place. Her reprieve was short-lived, as shortly after she left the White House, her son George fell from a steamboat to his death. He had suffered from extensive personal and financial problems, and it was never conclusively determined whether his death was an accident or a suicide. For the first few months after her son's death, Louisa's focus was on consoling her husband. Her grief overpowered her that August, when a trip to Quincy threatened to take her on the very boat from which George had died. She fell severely ill, and the trip was canceled.

In May 1830, Louisa and John moved to the home on the Adams estate in Quincy. Here her condition improved, as she found a home and the mental and physical toll of her depression subsided. She was upset by John's return to public life when he ran for Congress that year, at first refusing to return to Washington and only giving in after it became apparent that the home in Quincy was not habitable in the winter. She confessed her belief that having her husband in Congress would be a benefit to the country that outweighed her own suffering. After John took office, Louisa took an active role in his political career. Louisa's son John Adams II died of illness in 1834 with financial problems of his own. She blamed her husband in part for the failures and deaths of their two older sons, believing that they could have been given better lives had they not been separated from their parents in their childhood. In her grief, Louisa began writing a new autobiography, The Adventures of a Nobody. Two years later, in improved spirits, she wrote another autobiography covering her journey from Russia to France in 1815, hoping that it would inspire other women.

Though she shared society's dismissive attitudes toward African Americans, she became an abolitionist, and she supported her husband in his anti-slavery work in Congress. Her position on the matter was even stronger than her husband's, who had aligned with the abolitionists primarily because of his principled opposition to the gag rule against discussing slavery in Congress. Louisa contributed to a fund to free slaves, and she eventually purchased a slave for the purpose of freeing her. Involvement in the abolitionist movement also opened her to feminism. Though she did not accept feminism in its entirety, she began a correspondence with feminist Sarah Moore Grimké and engaged in Biblical studies to challenge the prevailing view that the Bible ordained the subservience of women.

Louisa was widowed on February 23, 1848, two days after her husband lost consciousness due to a fatal stroke in the United States Capitol. He was 80 years old. She had arrived in Washington to visit him on his deathbed, but as a woman, she was asked to leave as his health failed. She retained her schedule of living in Washington during the winters and Quincy during the summers until a stroke left her infirm in 1849. She was then left in the care of her daughter-in-law Mary. She died on May 15, 1852 at the age of 77. She was the first woman to be honored by an adjournment of Congress for her funeral. She was buried in the Congressional Cemetery, but she was moved to the United First Parish Church shortly after on the initiative of her son.

Legacy

Adams's role as a first lady has received relatively little scholarly analysis compared to the rest of her life, as she did not keep a diary during her years in the White House. She was reclusive during her tenure, and she did not have significant influence in shaping the role.

Adams was the first foreign-born U.S. first lady, as she was born in England and did not visit the United States until adulthood. She remained the only foreign born first lady until Slovenian-American Melania Trump took the role in 2017. Adams was regarded by contemporaries as the "most traveled woman of her time", and she was the only first lady of the 19th century to travel so widely.

Adams National Historical Park maintains Peacefield, the home Adams and her husband lived in some of the time later in their lives. The park has a bedspread on display at Peacefield which she made, as well as a painting of her by Edward Savage. For some time the painting was still owned by Adams's great-great-granddaughter, Mrs. Henry L. Mason, and was loaned to the museum seasonally. The Smithsonian's National Portrait Gallery holds several portraits of Louisa Catherine Adams, including a silhouette and a portrait on an ivory necklace.

Historian polling
Since 1982 Siena College Research Institute has periodically conducted surveys asking historians to assess American first ladies according to a cumulative score on the independent criteria of their background, value to the country, intelligence, courage, accomplishments, integrity, leadership, being their own women, public image, and value to the president. Consistently, Adams has been ranked in the upper-half of first ladies by historians in these surveys. In terms of cumulative assessment, Adams has been ranked:
14th-best of 42 in 1982
16th-best of 37 in 1993
12th-best of 38 in 2003
21st-best of 38 in 2008
18th-best of 38 in 2014

In the 2014 survey, Adams and her husband were also ranked the 19th-highest out of 39 first couples in terms of being a "power couple".

Family tree

Select writings

Autobiographies
 The Adventures of a Nobody
 Narrative of a Journey from Russia to France, 1815 – Published posthumously by her grandson in Harper's Magazine and Scribner's Magazine''''
 The Record of a Life, or My Story

Plays

 Suspicion, or Persecuted Innocence

References

Further reading

 Cook, Jane Hampton. American Phoenix: John Quincy and Louisa Adams, the War of 1812, and the Exile that Saved American Independence (Thomas Nelson, 2013)
 Hecht, Marie B. John Quincy Adams: A Personal History of an Independent Man (Macmillan, 1972)
 Heffron, Margery M. Louisa Catherine: The Other Mrs. Adams (Yale University Press, 2014)
O'Brien, Michael. Mrs. Adams in Winter: A Journey in the Last Days of Napoleon (NY: Farrar, Straus and Giroux, 2010)
Oliver, Andrew. Portraits of John Quincy Adams and His Wife (Harvard University Press, 1970)
Shepherd, Jack. Cannibals of the Heart: A Personal Biography of Louisa Catherine and John Quincy Adams (McGraw-Hill, 1980)

External links

Louisa Adams at C-SPAN's First Ladies: Influence & Image
"Mrs. John Quincy Adams's Narrative of a Journey from St. Petersburg to Paris in February 1815," Scribner's Magazine, Vol. XXXIV, no. 4, October 1903, pp. 448-463.

1775 births
1852 deaths
18th-century Unitarians
19th-century Unitarians
Burials in Massachusetts
British emigrants to the United States
First ladies of the United States
People from Boston
People from Calvert County, Maryland
People from Whitechapel
Thomas Johnson family
English people of American descent
People from the City of London
Adams political family
Women who experienced pregnancy loss

Louisa Adams


Ken Rosenthal (born September 19, 1962) is an American sportswriter and reporter. He serves as a field reporter for Fox Major League Baseball since 2005, and was an in-studio reporter for MLB Network from 2009 to 2022.  Since August 2017, he is a senior baseball writer for The Athletic.

Career

Beginnings
Rosenthal graduated from the University of Pennsylvania in 1984. After serving as an intern covering sports for Newsday on Long Island, he began his career at the York Daily Record in 1984.  He moved on to the Courier-Post in Cherry Hill, New Jersey for two years before landing a full-time job with The Baltimore Sun, where he was named Maryland Sportswriter of the Year five times by the National Sportscasters and Sportswriters Association during his tenure from 1987 to 2000.  Rosenthal simultaneously contributed to Sports Illustrated from 1990 to 2000, providing weekly notes during baseball season. He then spent five years at The Sporting News until 2005.

Fox Sports
Rosenthal joined Fox Sports in 2005. He regularly wears a bow tie when appearing on Fox Sports telecasts in support of various charitable organizations. In 2015 and 2016, Rosenthal won the Sports Emmy Award for Outstanding Sports Reporter for his work with Fox Sports and MLB Network.

In June 2017, FoxSports.com eliminated its writing staff to focus only on video, leaving Rosenthal without an editorial home.  He began posting stories on his Facebook page. He, however, continues to contribute to Fox Sports as a field reporter for their baseball coverage.

The Athletic
Rosenthal joined The Athletic in August 2017 as a senior baseball writer.

MLB Network
Rosenthal joined MLB Network in 2009 as a "baseball insider."

With MLB Network, Rosenthal contributed to Trade Deadline and National Baseball Hall of Fame coverage, as well as the offseason weekday morning show Hot Stove.

Rosenthal's contract was not renewed by MLB Network in January 2022, reportedly for his criticisms of Rob Manfred.

References

External links
Rosenthal's stories on The Athletic
Rosenthal's stories on FoxSports.com

1962 births
Living people
American sportswriters
American reporters and correspondents
Major League Baseball broadcasters
MLB Network personalities
Jewish American writers
People from Oyster Bay (town), New York
University of Pennsylvania alumni
21st-century American Jews

Ken Rosenthal


Knowledge and its Limits, a 2000 book by philosopher Timothy Williamson, argues that the concept of knowledge cannot be analyzed into a set of other concepts; instead, it is sui generis. Thus, though knowledge requires justification, truth, and belief, the word "knowledge" cannot be accurately regarded as simply shorthand for "justified true belief". It initiated a whole new approach to epistemology, generally referred to as knowledge-first epistemology.

See also
 Gettier problem
 Knowledge
 Epistemology

References

Epistemology literature
2000 non-fiction books

Knowledge and Its Limits


Seed money, sometimes known as seed funding or seed capital, is a form of securities offering in which an investor invests capital in a startup company in exchange for an equity stake or convertible note stake in the company. The term seed suggests that this is a very early investment, meant to support the business until it can generate cash of its own (see cash flow), or until it is ready for further investments. Seed money options include friends and family funding, seed venture capital funds, angel funding, and crowdfunding.

Usage

Traditionally, companies that have yet to meet listing requirements or qualify for bank loans, recognize VC as providers of financial support and value added services.  Seed money can be used to pay for preliminary operations such as market research and product development. Investors can be the founders themselves, using savings and loans. They can be family members and friends of the founders. Investors can also be outside angel investors, venture capitalists, accredited investors, equity crowdfunding investors, revenue-based financing lenders, or government programs.

Early-stage funding
Seed capital can be distinguished from venture capital in that venture capital investments tend to come from institutional investors, involve significantly more money, are arm's length transactions, and involve much greater complexity in the contracts and corporate structure accompanying the investment. Seed funding is generally one of the first steps investors offer to get startups on their feet before they become fully operational. Seed funding involves a higher risk than normal venture capital funding since the investor does not see any existing projects to evaluate for funding. Hence, the investments made are usually lower (in the tens of thousands to the hundreds of thousands of dollars range) as against normal venture capital investment (in the hundreds of thousands to the millions of dollars range), for similar levels of stake in the company. Seed funding can be raised online using equity crowdfunding platforms such as SeedInvest, Seedrs and Angels Den. Investors make their decision whether to fund a project based on the perceived strength of the idea and the capabilities, skills and history of the founders.

Government funding
This is the most selective type of funding. Government funds may be targeted toward youth, with the age of the founder a determinant.  Often, these programmes can be targeted towards adolescent self-employment during the summer vacation.  Depending on the political system, municipal government may be in charge of small disbursements.  The European Commission runs microfinance programmes (loans under €25 000) for self-employed people and businesses with fewer than 10 employees.  European seed capital is available, but typically is limited to a 50% share.  European SMEs can often benefit from the Eureka programme, which federates SMEs and research organisations, such as universities. Government programmes are often tied to political initiatives.

Other sources
Seed money may also come from product crowdfunding or from financial bootstrapping, rather than an equity offering.  Bootstrapping in this context means making use of the cash flow of an existing enterprise, such as in the case of Chitika and Cidewalk.

Types of Seed funding

Friends and family funding: This type of seed funding involves raising money from friends and family members.

Angel investing: As mentioned above, angel investors are wealthy individuals who provide seed funding in exchange for equity ownership.

Seed accelerators: These are programs that provide startups with seed funding, mentorship, and resources to help them grow their businesses.

Crowdfunding: This type of funding allows startups to raise money from a large number of people, typically through an online platform.

Incubators: These are organizations that provide startups with seed funding, office space, and resources to help them grow their businesses.

Government grants: Some government agencies provide seed funding for startups working on specific projects or in specific industries.

Corporate ventures: Some big companies set up venture arms to provide seed funding to startups in their industry or complementary field.

Micro-Venture Capital: A type of venture capital that provides seed funding to new startups and early-stage companies with a small amount of money.

See also
 Angel investor
 Crowdsourcing
 Private equity
 Revenue-based financing
 Series A round
 Venture capital

References

Corporate finance
Venture capital
Angel investors

Seed money


Ahmad Tibi, Arab: أحمد الطيبي , Hebrew: אחמד טיבי , (born December 19, 1958 in Tayibe) is an Israeli politician. He is political leader and founder of Ta'al ("Arab Movement for Renewal").

Tibi is an Arab Israeli and a Muslim.

After being educated as a physician specializing in gynecology at the Hebrew University of Jerusalem he worked at the Hadassah Medical Center in Jerusalem.

From 1993 to 1999 he advised Palestinian leader Yasser Arafat. In this capacity he negotiated with the Israelis on the issue of the Wye River Memorandum in the United States in 1998.

In 1999 he became a Member of Knesset. He has been deputy speaker of the Knesset since 2006. He has also been a The Joint List politician since 2015.

Tibi wants Israel being brought back to its borders of before the Six-Day War of 1967. He advocates both the two-state solution, the return of Palestinian refugees and the lifting of the Jewish nature of the State of Israel.

He is considered a controversial politician because of his ties with all sorts of Palestinians (not only in Israel but also in the Palestinian territories) and of things he said in parliament.

References
 Bio at Knesset Website

1958 births
Living people
Hebrew University of Jerusalem alumni
Israeli political leaders
Members of the Knesset
Muslims
Physicians
Israeli-Arab people

Ahmad Tibi


Vladimir Aleksandrovich Teplyakov () (November 6, 1925 – December 10, 2009) was a Russian physicist who is best known for his work with particle accelerators. He, working with his friend I.M. Kapchinsky, created the Radio Frequency Quadrupole (RFQ) principle, which was very important dealing with the speed of low energy ion beams.

Life
Teplyakov was born in the USSR on November 6, 1925. He was made to join the Red Army in January 1943 and fought in the Second World War on the Ukrainian front. After the war ended, he went to and graduated from the All-Union Correspondence Polytechnic Institute in Moscow. After leaving school, he began work at the Institute of Chemical Physics. From 1959-1966, he worked at Chelyabinsk-70, where he kept up his study of high-current proton accelerators. In 1966, he and several of the people that he worked with were moved to the Institute of High Energy Physics in Protvino, Russia.

Civilian honours
Lenin Prize in 1998 for his work on creating the RFQ.
Order of Lenin and the Order of the October Revolution.

Military honours
Order of Glory, 3rd class the
Order of the Patriotic War, 2nd Class
medal for the Capture of Vienna.

Notes and references
 "Vladimir Alexsandrovich Teplyakov" Translation from Atomnaya Energiya, Vol. 99, pp. 396-397, November 2005.
 "The Linear Accelerator Structures With Space-Uniform Quadrupole Focusing" June 1979
 "RFQ pioneer celebrates 80th birthday"  November 2, 2005
 "Teplyakov's Proposal for the IFMIF Accelerator RFQ" Retriever on December 11, 2009
 "Циклы научных работ, выполненные в ГНЦ ИФВЭ и удостоенные высших государственных премий"  Retrieved on December 11, 2009
 "Vladimir Teplyakov" Retrieved on December 12, 2009
 "Wapedia: Lenin Prize" Retriever on December 13, 2009
 "Accelerator Application To Medicine And Technology" Retrieved on December 13, 2009
 "Победа в Великой Отечественной войне" Retriever on December 12, 2009
 "Путь к УРАЛу. История ускорителя и человека." Retrieved on December 11, 2009

Russian physicists

1925 births
2009 deaths
Recipients of the Order of Lenin

Vladimir Teplyakov


Gabriel Pierre Marie Bouret (2 March 1817 - December 1890) was a French painter born in Paris.

He apprenticed with Jean-Charles-Joseph Rémond before becoming an artist in his own right whilst studying at the Ecole des beaux Arts, Paris. He first exhibited at the Salon in 1843 with his painting, 'Vue prise aux Mares', and then again in 1868 with two paintings, 'Le retour a la ferme' and 'Une rue de Village en Normandie'. He traveled mainly in France to sketch en-plein air landscapes and forest views, in particular in the mid east of France in Poligny and near to the lake of Neuchatel. He died in Paris in December 1890.

References

 E. Benezit, Dictionnaire des Peintures, Sculpteurs, Dessinateurs et Graveurs, 1949, Vol. II, pg. 71.

1817 births
1890 deaths
19th-century French painters
French male painters
Painters from Paris
Burials at Père Lachaise Cemetery
19th-century French male artists

Gabriel Bouret


A counterattack is a tactic employed in response to an attack, with the term originating in "war games". The general objective is to negate or thwart the advantage gained by the enemy during attack, while the specific objectives typically seek to regain lost ground or destroy the attacking enemy (this may take the form of an opposing sports team or military units).

A counter-offensive is a broad-scale counterattack. The counter-offensive is executed after exhausting the enemy's frontline troops and after the enemy reserves had been committed to combat and proven incapable of breaching defenses, but before the enemy has had the opportunity to assume new defensive positions. Sometimes the counter-offensive can be of a more limited operational maneuver nature, with more limited objectives rather than those seeking attainment of a strategic goal. A counter-offensive as considered by Clausewitz to be the most efficient means of forcing the attacker to abandon offensive plans. Counter-offensives can be executed not only on land, but also by the naval, and air forces. Strategic counter-offensives have been recorded by military historians in many wars throughout military history. Although not always known as such, because they are usually described by historians in conjunction with the defensive phase, such as the Battle of Moscow.

A saying, attributed to Napoleon Bonaparte illustrate the tactical importance of the counterattack : "the greatest danger occurs at the moment of victory". In the same spirit, in his Battle Studies, Ardant du Pic noticed that "he, general or mere captain, who employs every one in the storming of a position can be sure of seeing it retaken by an organised counter-attack of four men and a corporal".

A counterattack is a military tactic that occurs when one side successfully defends off the enemy's attack and begins to push the enemy back with an attack of its own. In order to perform a successful counterattack, the defending side must quickly and decisively strike the enemy after defending, with the objective of shocking and overwhelming the enemy. The main concept of the counterattack is to catch the enemy by surprise. Many historical counterattacks were successful because the enemy was off guard and not expecting the counterattack.

Analyzing historical counterattacks

In the past, there have been many notable counterattacks which have changed the course of a war. To be specific, Operation Bagration and the Battle of Austerlitz are good examples of the proper execution of a counterattack.

Operation Bagration

Operation Bagration during World War II was one of the largest counterattacks in military history. In the summer of 1944 the assault by around 1.7 million Red Army soldiers successfully put the Red Army on the offensive in the Eastern Front after Nazi Germany in Operation Barbarossa had captured the territory against the Soviet Union in the summer of 1941.

The Soviet counterattack focused on Belorussia, but prior to the counterattack starting, the Soviet Union fooled Nazi military leaders into believing that the attack would take place further south, near Ukraine.

To aid the deception, the Red Army established fake army camps in Ukraine and after German reconnaissance planes reported Soviet troop concentrations in the area, panzer and infantry divisions were rushed south from Belorussia, leaving it vulnerable to a major assault.

To support the attack, partisan groups in German-controlled territory were instructed to destroy German railroads to hamper German efforts to transport supplies and troops throughout the occupied territories and further weaken German Army Group Centre in Ukraine.

On 22 June 1944, the attack on Belarus by 1.7 million Soviet troops began and overwhelmed the depleted Germans defenders.

On 3 July, the Red Army captured Minsk, and later the rest of Belorussia.

Operation Bagration was a huge Soviet success and opened a direct route to Berlin after the fall of Belorussia, leading to the Red Army beginning to take over the territory that had been taken by the Wehrmacht three years before.

Battle of Austerlitz

Another military battle that utilized the counterattack tactic was the Battle of Austerlitz on 2 December 1805. While fighting the Austrian and Russian armies, Napoleon purposely made it seem as if his men were weak from the fighting in several cases. Napoleon had his men retreat in an attempt to lure the Allies to battle. He purposely left his right flank open and vulnerable. This deceived the Allies into attacking and the Allies fell into Napoleon's trap. When the Allied troops went to attack Napoleon's right flank, Napoleon quickly filled up the right flank so the attack was not effective. However, on the Allied side, a large gap was left open in the middle of the Allied front line due to troops leaving to attack the French right flank. Noticing the large hole in the middle of the Allied lines, Napoleon attacked the middle and had his forces also flank around both sides, eventually surrounding the Allies. With the Allies completely surrounded, the battle was over. The Battle of Austerlitz was a successful counterattack because the French army defended off the Allied attack and quickly defeated the Allies. Napoleon deceived the Allies. He made his men seem weak and near defeat.

Battle of St. Vith

The Battle of St. Vith was part of the Battle of the Bulge, which began on 16 December 1944, and represented the right flank in the advance of the German center, 5th Panzer-Armee (Armored Army), toward the ultimate objective of Antwerp. Given the task of countering the German advance, US General Bruce C. Clarke decided that a mobile defense was the best solution. Knowing that the German army was aiming for an objective far behind the battle line, he decided that they could afford to lose a few kilometers a day - the idea being that a slowing down of the advance was as good as stopping them outright, since the Germans were limited by time.

The mobile defense he used at St. Vith involved the use of M36 tank destroyers acting as a base of fire to resist the oncoming German armored thrust, slowing them down enough to then counter-attack them with a force of M4 Sherman tanks. Artillery and Infantry were involved in this process as a combined arms force. The key was not to engage the Germans in a pitched battle, but to slow their advance enough to ruin their offensive timetable. The counter-attacks ensured that the German forces could not break through the slowly retreating forces. Clarke's success was one of the first times armor had been used in a mobile defense.

See also
 Cult of the offensive
 Battleplan (documentary TV series)

Notes and references

Bibliography
 Briggs, Clarence E., (ed.), translated by Oliver L. Spaulding, Roots of Strategy: 3 Military Classics : Von Leeb's Defense, Von Freytag-Loringhoven's the Power of Personality in War, Erfurth's Surprise, Stackpole Books, 1991
 Department of Defense (US); ''Dictionary of Military and Associated Terms. Published by: United States Government Printing Office, Washington, DC. Retrieved: 13 October 2008.

Further reading

Military tactics
Military terminology

Counterattack


The umbraculum (, "big umbrella", in basilicas also conopaeum) is a historic piece of the papal regalia and insignia, once used on a daily basis to provide shade for the pope (Galbreath, 27). Also known as the pavilion, in modern usage the umbraculum is a symbol of the Catholic Church and the authority of the pope over it. It is found in the contemporary Church at all the basilicas throughout the world, placed prominently at the right of their main altars. Whenever the pope visits a basilica, its umbraculum is opened.

Translated from the Latin language into the Italian language, it is known as an ombrellino, or in the English language as an umbrella. It is shaped as a Baldachin-type canopy with broad alternating gold and red stripes, the traditional colors of the pontificate (white did not begin to be used as the papal color until after the Napoleonic wars).

A fresco cycle from 1248 in the oratory of San Silvestro in the Roman church of Santi Quattro Coronati shows that the umbraculum was already in use as a papal insignia at public events in the traditional colours of gold and red.

The umbraculum is part of the coat of arms of the Holy See sede vacante, i.e., between the reigns of two popes. It was first used as an interregnal emblem in this way on coins minted in 1521 (Galbreath, 34). The coat of arms of the camerlengo of the Holy Roman Church, who exercises the temporal sovereignty of the Holy See during a sede vacante, is also ornamented with a pair of gold and silver keys in saltire surmounted by an umbraculum.

The umbraculum is one of the symbols bestowed by the pope when he elevates a church to the rank of a minor basilica; the umbraculum of a major basilica is made of cloth of gold and red velvet, while that of a minor basilica is made of yellow and red silk. The umbraculum is also represented behind the shield in the coat of arms of a basilica. But these symbols are not mentioned in the 1989 Vatican directives.

See also
Baldachin
Royal Nine-Tiered Umbrella

References

External links

Procession with umbraculum by the collegiate chapter of the Basilica of Sts Peter and Paul in Gozo, Malta
Vacancy of the Apostolic See, 2005 (Umbraculum used in context at Vatican website)

Basilicas (Catholic Church)
Vatican heraldry
Catholic heraldry
Christian symbols
Heraldic charges
Holy See
Regalia
Umbrellas
Religion and politics

Umbraculum


Antonio Carmona Amaya (born 21 May 1965) is a Spanish gypsy singer of flamenco. He also has French nationality. From the early 1980s, he was a member of the Spanish flamenco-fusion group Ketama. that he joined after main vocalist Ray Heredia left. The band also included José Soto also known as "Sorderita". Ketama in its latest set-up included Antonio Carmona as main vocalist along with his brother, Juan José Carmona Amaya known as "El Camborio", and his cousin, José Miguel Carmona Niño known as "Josemi".

After break-up of the band in 2004, Carmona developed his own solo career and a series of solo albums including the debut album Vengo Venenoso published in 2006 by UNiversal Records and had collaborations with La Mala Rodriguez, Juanes and Alejandro Sanz. This was followed by the album De Noche in 2011 which included the single "El Camino De Los Sueños" featuring Nelly Furtado. It also had collaborations with Spanish singer Concha Buika.

He appeared in 1988 in Berlín Blues directed by Ricardo Franco. He had a lead role with Portuguese actress Maria de Medeiros in the 1997 film Go for Gold! directed by Lucien Segura. In 2000, he appeared in a role in the film Gitano starring Joaquin Cortés, Pilar Bardem and Laetitia Casta.

In 1996, he wrote the song "¡Ay, qué deseo! that represented Spain in the Eurovision Song Contest 1996. The song was interpreted by Antonio Carbonell during the contest.

In 2017, he appeared in a collaboration with Alejandro Sanz that included also the Spanish singers Pablo Alborán, David Bisbal and Manuel Carrasco with additional participation of Jesse & Joy, Juanes, Pablo López, Malú, Vanesa Martín, India Martínez, Antonio Orozco, Niña Pastori, Laura Pausini, Abel Pintos, Rozalen, Shakira, Tommy Torresin in the song "Y, ¿Si Fuera Ella?". The song topped the Spanish Singles Chart at number one.

Discography

Solo albums
Vengo Venenoso (2006)
De Noche (2011)
Obras Son Amores (2017)

Filmography
1988: Berlín Blues
1997: Go for Gold! as Quillo
2000: Gitano (English title Gipsy) as Romero

References

External links

Spanish male singers
1965 births
Living people
People from Granada
Spanish Romani people
Romani singers

Antonio Carmona


A Barber-Colman knotter is a piece of textile machinery used in a weaving shed. When all the warp carried on the weavers beam has been used, a new beam replaces it. Each end has to pass through the eyes on the existing heddles, and through the existing reed. The knotter takes each new thread and knots it the existing end, which will pull it through the correct healds and reed, saving much time. A good man could do 32 or 33 warps a day.

See also
 Barber-Colman Company

References

Textile machinery
Weaving equipment

Barber-Colman knotter


New Extreme Films (New Extremity or, also often, New French Extremity) describes a range of transgressive films made at the turn of the 21st century that sparked exploitation, scandal and controversy, and provoked significant debate and discussion. They were notable for including graphic images of violence, especially sexual violence and rape, as well as explicit sexual imagery.

The films cannot be described as part of a movement or a wave, and the term 'new extreme' was never assumed by filmmakers. The term 'extreme' tends moreover to apply to individual films rather than filmmakers, with many directors only making a single film that might be considered new extreme. Rather, the term 'new extreme' was adopted by critics, scholars, and viewers to describe a cinematic trend for graphic sexual and violent imagery, especially in France but across Europe more generally beginning in the late 1990s.

Notable Films

 A Hole in My Heart (2004). Lukas Moodysson
 A New Life. 2002. Philippe Grandrieux.
 A Serbian Film. 2010. Srđan Spasojević.
 Anatomy of Hell. 2004. Catherine Breillat.
 Antichrist. 2009. Lars von Trier.
 Baise-moi. 2000. Virginie Despentes and Coralie Trinh-Thi.
 Battle in Heaven. 2005. Carlos Reygadas.
 Climax. 2018. Gaspar Noé.
 Clip. 2012. Maja Miloš.
 Enter The Void. 2009. Gaspar Noé.
 Fat Girl. 2001. Catherine Breillat.
 Free Will. 2006. Matthias Glasner.
 Frontier(s). 2007. Xavier Gens.
 Holiday. 2018. Isabella Eklöf.
 The Human Centipede (First Sequence). 2009. Tom Six
 The Human Centipede 2 (Full Sequence). 2011. Tom Six
 I Stand Alone. 1998. Gaspar Noé.
 Import/Export. 2007. Ulrich Seidl.
 In My Skin. 2002. Marina de Van.
 Intimacy. 2001. Patrice Chéreau.
 Irréversible. 2002. Gaspar Noé.
 My Mother. 2004. Christophe Honoré.
 Nymphomaniac. 2013. Lars von Trier.
 Pola X. 1999. Leos Carax.
 Raw. 2016. Julia Ducournau.
 Romance. 1999. Catherine Breillat.
 See the Sea. 1997. François Ozon.
 Sombre. 1999. Philippe Grandrieux.
 Taxidermia. 2006. György Pálfi.
 The Brown Bunny. 2003. Vincent Gallo.
 The Great Ecstasy of Robert Carmichael. 2005. Thomas Clay.
 The Idiots. 1998. Lars von Trier.
 The Piano Teacher. 2001. Michael Haneke.
 The Tribe. 2014. Myroslav Slaboshpytskiy.
 Titane. 2021. Julia Ducournau.
 Trouble Every Day. 2001. Claire Denis.
 Twentynine Palms. 2003. Bruno Dumont.
 We Fuck Alone. 2006. Gaspar Noé.

Terminology
The term 'new French extremity' was first coined by critic James Quandt in 2004 in a deeply critical piece complaining about the violent turn that French filmmaking appeared to have take in the late 1990s and early 2000s. While few people have taken Quandt's hyperbolic pronouncements about new extreme films seriously, his bombastic eminently-quotable article has become the first reference for talking about these films: "Bava as much as Bataille, Salò no less than Sade seem the determinants of a cinema suddenly determined to break every taboo, to wade in rivers of viscera and spumes of sperm, to fill each frame with flesh, nubile or gnarled, and subject it to all manner of penetration, mutilation, and defilement." Today, most critics and scholars use Quandt's claims as a starting point for how not to talk about new extreme films, with his work having assumed something of a 'straw man' status. He is criticised for his dismissive tone, his reductive amalgamation of a wide variety of quite different films, his reactionary nostalgia for the old transgressive films, and his unhelpful conflation of films marked by an arthouse style with new French horror, a series of generically-marked horror films. Given Quandt's influence on subsequent framings of new extreme films, the dismissive reductiveness of his original article is a disappointment.

Since then, substantial work done on these films has produced a variety of overlapping terms to describe the films mentioned above and others like them: 'New European Extremism', 'extreme cinema', 'extreme art cinema', 'new extremism', as well as a '', the 'unwatchable', and 'transgressive art films'. Importantly, the trend is acknowledged to extend beyond the borders of France to Europe, and in some cases further afield, even as French filmmakers dominate any list of new extreme films.

In general, 'extreme' refers both to the kinds of acts depicted in the films, and the manner in which they are depicted. Acts that frequently occur in new extreme films, which are considered extreme, include visible sex (sometimes called unsimulated sex), sexual and sexualised violence, and graphic images of violence. (Torture is not a feature of new extreme films, being more common in horror films, especially spectacle horror.) According to Oliver Kenny, visibility, proximity, and duration are the key defining stylistic aspects to the presentation of these acts: they are shown in proximate and visible detail, often in lengthy scenes or in long take. Certain scholars, such as Frey and Kenny, have also explored the contemporary use of the word 'extreme' in much greater detail.

The 'new' in 'new extreme' suggests that these films constitute a new wave, that develops upon a series of 'old' extreme films. While films were rarely described as 'extreme' prior to the 2000s, the 'old' films in question here are mostly violent, politically engaged, films from the 1960s and 1970s. The most commonly cited films as 'older' comparisons to 'new' extreme cinema are Weekend and Salò.

Filmmakers asked about their thoughts on the term 'new extreme' often try to distance themselves from it. In particular the conflation of arthouse films with generically-marked horror films leads to suspicion: as director Julia Ducournau remarked, "the only reason they link us together is because we are all French". This is another reason why Quandt's original article has attracted so much criticism: aside from what one might think about new extreme films, they should not be lumped together with horror films like Martyrs and High Tension, which function in a fundamentally different way. Indeed Quandt acknowledged his overly simplistic categorisation of all recent violent French films in a later chapter reflecting on his initial intervention: "'Flesh and Blood' became a lesson in the dangers of online apprehension, with the distressing effect of relegating complex artists to a false or constricting taxonomy [...] Critical distance allowed by half a decade – an eternity in contemporary culture – reveals some of the article's obvious faults, including its confusion of the specific genre of French horror, which quickly established its own distinctive sanguinary terroir, with its art-house confraternity."

History

Sex and violence have long been a part of art and literary history so there is a wealth of writing that may or may not have had an influence on contemporary cinema. Some of the most commonly discussed literary and artistic reference points for scholars and critics looking at extreme cinema include Marquis de Sade and his many sexual, violent, and sexually violent novels, Gustave Courbet and his painting , Antonin Artaud's writing about the Theatre of Cruelty, and Georges Bataille's work on erotism and transgression. More recently, a trend towards graphic depictions of sex and violence in literature, sometimes under the moniker contemporary extreme has been associated with writers such as Henry Miller, Bret Easton Ellis, Michel Houellebecq, Marie Darrieussecq, Richard Morgiève, Alina Reyes, and others.

In a cinematic context, it is an established practice to mix supposedly 'low-brow' forms of popular expression with 'high-brow' filmmaking, notably by including sexual and violent imagery in arthouse films. Art cinema has long been seen as drawing its aesthetics and narrative tropes from forms of eroticism and depictions of the body that transgress mainstream rules such as those of Hollywood. Indeed many now-canonic French and Italian art films of the 1960s and 1970s were marketed together with exploitation films in the USA because their graphic depiction of nudity was considered to exclude them from the status of art film.

There is a huge range of experimental filmmaking from Europe and elsewhere that has influenced new extreme films (most notably explored by Tim Palmer). Specifically in terms of sexual and violent imagery, 20th-century films that are often considered as precursors to contemporary extreme cinema include Un Chien Andalou (Buñuel & Dalí 1929), Salò, Or the 120 Days of Sodom (Pasolini 1975), The Virgin Spring (Bergman 1960), Belle de Jour (Buñuel 1967), Weekend (Godard, 1967), Straw Dogs (Peckinpah, 1971), The Mother and the Whore (Eustache, 1973), Cannibal Holocaust (Deodato, 1980), Possession (Żuławski, 1981), and A Nos Amours (Pialat, 1983). Tim Palmer also suggests other precursors such as Window Water Baby Moving (Brakhage 1959), Christmas on Earth (Rubin 1963), Flaming Creatures (Smith 1963), and Fuses (Schneeman 1967).

The most direct and influential presence looming over contemporary European extremity are the films of Michael Haneke, who may be considered as something of a godfather of new extremity. Haneke's films have become very well known for their self-reflective approach to violence – especially The Seventh Continent, 71 Fragments of a Chronology of Chance, Benny's Video, Funny Games, Hidden, and The Piano Teacher. Scholars often read these films as explorations of violence and spectatorship: the films' "aesthetic reflexivity is conducive to the spectator's moral reflexivity", and they also present cultural-political critiques of society, "it is not just the violence depicted in or by cinematic and other audiovisual images but the violence of conventional cinematic representation that Haneke's films diagnose and criticise". Similar analyses will later be made of new extreme films, however, with a few key exceptions, Haneke tends to avoid the direct depiction of violence – whilst his films can be considered extremely violent, there is relatively little on-screen violence, because the ear is "a more direct route to the imagination". In their didactic approach to the spectator, their repeated emphasis on spectacles of violence, and the possibility of reading them as aesthetic, ethical, social, and political critiques, Haneke's 1990s and early 2000s films constitute an important backdrop to new extreme films, and their more graphic imagery.

Themes and characteristics

The body
New extreme films are especially known for their intimate and challenging images of bodies, what Tim Palmer has called a 'brutal intimacy' and a 'cinema of the body', films "that deal frankly and graphically with the body, and corporeal transgressions, [...] whose basic agenda is an on-screen interrogation of physicality in brutally intimate terms". This attention to discomfiting images of corporeality goes beyond films that might be considered extreme, but it does aptly describe the approach to sex and violence in new extreme films: This  consists of arthouse dramas and thrillers with deliberately discomfiting features: dispassionate physical encounters involving filmed sex that is sometimes unsimulated; physical desire embodied by the performances of actors or nonprofessionals as harshly insular; intimacy itself depicted as fundamentally aggressive, devoid of romance, lacking a nurturing instinct or empathy of any kind; and social relationships that disintegrate in the face of such violent compulsions.

Rape and sexual assault
One of the defining characteristics of new extreme films is the spectacular depiction of sexual violence, especially rape. Emblematic of this is the 10-minute rape scene in the middle of Irreversible, when the camera remains static for most of the scene while Alex (Monica Bellucci) is anally raped and then almost beaten to death by her assailant. Lengthy scenes of rape are also a key feature of A Serbian Film, Baise-moi, Fat Girl, Free Will, Holiday, Romance, The Tribe, and Twentynine Palms. As Dominique Russell notes, "these directors' engagement with rape and its on-screen representation is part of their engagement with art cinema itself", or more polemically, Olivier Joyard contends that "it's unbelievable but it's like this: rape is a trashy, chic experience, a trendy aesthetic loop-the-loop, the dark horizon of modernity'.

New extreme films have been very controversial for their sexually violent imagery. As well as issues with censorship and audience walk-outs, scholars have noted many concerning elements with how rape and sexual assault are presented in these films. Most notably, how rape is used as an aesthetic element – in order to create shock and exhilaration in the spectator – and subordinated to political or philosophical purposes, rather than being considered as a physical, literal violation. Indeed, as an act often lacking externally verifiable evidence, and one of the few crimes where the thoughts and desires of both perpetrator and victim are relevant (in distinguishing rape from consensual sex), rape is a "'perfect crime for film', dramatiz[ing] questions of subjectivity, storytelling, testimony and interpretation". New extreme films exploit the affect and legal ambiguity of rape to the fullest extent, creating challenging scenes of sexual violence that are commonly read in terms of their impact on the viewer, rather than in relation to what they have to say about rape in society.

Women and feminism
Many of the key filmmakers associated with new extreme films are women and have been discussed in terms of their depiction of women: Catherine Breillat, Claire Denis, Virginie Despentes and Coralie Trinh-Thi, Marina de Van and more recently, Julia Ducournau, Maja Miloš, and Isabella Eklöf. Claire Denis is considered one of the great filmmakers of her generation (Beau Travail was voted #7 on Sight and Sound's Greatest Film Poll 2022).
Although some of these female filmmakers have tried to downplay their interest in feminism (notably de Van) Breillat and Despentes are important figures in contemporary French discussions around feminism. Much early work in French studies explored how films such as Romance, Fat Girl and Anatomy of Hell depicted female sexuality, the construction of femininity, gender identity, and sexual violence. Baise-moi has been examined in terms of sexual violence – most notably because of its graphic early rape scene which created significant controversy – female sexuality, and the female gaze. In My Skin, Raw, Clip, and Holiday have also all been explored in terms of their depiction of female sexual awakening, gendered power relations, sexual violence, and the construction of gender.  Key issues for feminist film studies including sexuality, sexual violence, the gaze, and gender are repeated concerns for new extreme films, especially those directed by women.

National politics
Several new extreme films explore contemporary and historical issues relating to the politics of the countries in which they are made: most notably Battle in Heaven, A Serbian Film, and Taxidermia.

Much analysis of Battle in Heaven reads it in the context of Mexican history and society (Lahr-Vivaz 2016; Ordóñez 2017). The characters are often understood as representative of a two-class system divided between a lighter-skinned dominant class and a darker-skinned lower class: 'Batalla en el cielo's opening scene juxtaposes the corporeal rigidity and moral deficiency of Marcos's brown male figure, with a sensuous and emotionally layered image of Ana, a phenotypically white Mexican woman'. In this reading, the violent and sexual imagery in the film is a cinematic way of making a socio-political critique of Mexican society.

In publicity interviews for A Serbian Film, director Srđan Spasojević, argued that his film "is a diary of our own molestation by the Serbian government. [...] You have to feel the violence to know what it's about". Although this argument was frequently ridiculed in the press, and audience research has shown that viewers rarely saw the film as a national allegory unless specifically directed to this reading, it is common to read A Serbian Film as a loose allegory of 21st-century Serbian history. Aida Vidan argues that it "does not directly address war themes, but is a statement on a traumatized society that has lost its voice and identity" and Featherstone & Johnson argue that it "exposes the real of Serbian ethno-nationalism to the harsh light of day and makes it entirely dominant over normal symbolic reality".

Taxidermia can be read as an allegory of Hungarian history, with its three sections corresponding loosely to fascist, socialist, and capitalist periods in the country's past, and how different members of a family come to terms with this political context. György Kalmár argues that the visceral and affectively challenging imagery in the film is about exploring the specifically local character of Hungarian history: Taxidermia evokes a "culturally specific, local sensorium in order to undermine the ideologically laden grand narratives of a homogenized, official History". Similarly Steven Shaviro connects the film's depiction of bodies with broader ideas of history: "these body-images are immediately visceral, and indeed disgusting; and yet they are also abstract and allegorical".

Although the relation to politics is quite different, this is perhaps one element of crossover between certain new extreme films and new French horror, which has variously been dubbed 'border horror' and 'Sarkozy horror' by critics. As Alice Haylett Bryan has noted, images of riots in several French horror films are "representative of a much wider political seam that runs through French horror cinema of this period. Initial scholarly writing on these films was quick to position them in relation to French society, providing readings of the films as expressing fears surrounding immigration and the loss of French cultural identity due to the influx of foreign Others".

Spectatorship
Many writers who are broadly positive about new extreme films and see a particular ethical or political value in them, identify in the films an engaged mode of spectatorship. In other words, they suggest that new extreme films are ethically/politically engaged because they aggressively destabilise dominant interpretations of sex and violence, and because they challenge spectators to look at the world differently. The disturbing and uncomfortable experience of watching new extreme films is seen as the means by which the films transform ways of seeing – spectatorship is ethical.

The depiction of sex in Twentynine Palms has been read as revealing 'alternative, non-pornographic ways of being sexual' and thereby creates a 'productive estrangement' from mainstream and pornographic modes of spectatorship. Baise-moi has been read as presenting "a desire that operates subversively alongside rather than outside of the (masculine) imaginary", while the films of Catherine Breillat are seen as disrupting "the relations of distance and control, on which viewing has been seen to depend, by her emphasis on the tactile". Films such as Irreversible, Fat Girl, Trouble Every Day, A New Life, Antichrist, The Idiots have all been read in this way by scholars, suggesting that spectatorship itself can be seen as a central thematic concern for new extreme films.

Unclear and problematic political positions
New extreme films do not appear to reflect a unified social or political platform. It is not even clear whether one can consider them politically progressive or reactionary, with many arguments put forward by critics and scholars to support both sides. Joan Hawkins summarises audience responses to new extreme films, suggesting that, like many critics,

"Quandt cannot decide whether they have more in common with the "épater les bourgeois" spirit of the French Surrealists or with the work of the right-wing anarchist hussards of the 1950s. That is, he cannot determine whether the films of these new cinematic provocateurs align politically with the Left or with the Right, whether they are culturally progressive or reactionary. In a sense, like many of the horror films Robin Wood discusses, they are both and it is perhaps this imbrication — or perhaps dialectic — of liberal and conservative tendencies which makes the films so deeply troubling".

Scholars have also frequently pointed to the difficulty of pinning down the political viewpoints because within the films themselves, the different political or philosophical perspectives are not coherent and clearly linked. Writing about Twentynine Palms, Nikolaj Lübecker suggests that "instead of being a rich and multi-layered film, Twentynine Palms is a raw and edgy one. Instead of watching a work in which the three strands [political, physical, metaphysical] organically combine, we experience an implosion of meaning". In this sense, Lübecker suggests that new extreme films are 'doubly transgressive', because they are first transgressive in terms of their challenging sexual and violent imagery, and then subsequently transgressive because this challenge to the spectator does not appear to serve a straightforwardly 'emancipatory agenda'. This double transgression is one reason why viewers are so uncomfortable with new extreme films – they appear to challenge the spectator, but it is unclear to what political end.

Indeed while many scholars have sought to praise new extreme films for their innovative aesthetics, their affective depictions of bodies, and their direct challenge to spectators, their political views have often been questioned as reactionary, if not outright troubling. As well as the criticisms of the depiction of sexual violence mentioned above, Irreversible has been criticised as "the most homophobic movie ever made", Fat Girl and A Serbian Film were cut in the UK for problematic images of child sexual abuse , and A New Life was roundly criticised for its aestheticisation of sexual violence and human trafficking. Catherine Breillat is also well-known for making essentialist claims about gender such as with the voiceover in Romance saying that "women are capable of much more love than men", while in interviews, Breillat has claimed that "women, they truly love men. I'm not sure that men ever love women".

Controversy
Several films associated with the New Extremity have generated significant controversy upon their premieres. Trouble Every Day, Irreversible, and Twentynine Palms were noteworthy for prompting widespread walkouts among audience members.

Baise-moi was protested against in France by religious groups, leading to a de facto ban on it by the Culture Minister, a decision that itself was then protested by filmmakers resulting in the introduction of a new '18' certificate to cater just for the film. Baise-moi was also subject to controversy in many countries because of its inclusion of visible penetration in an early rape scene – in the UK, this scene would be cut by the BBFC until the decision was overturned in 2013.

One important aspect of new extreme films is the critical controversy that they attract. While individual films are liked more or less by audiences, a huge amount of attention is given to them – in the press, in university settings, in cinephile forums, and on discussion boards. As Mattias Frey notes about extreme cinema in general, it is less important to look at exactly what reviewers say, "much more decisive is the sheer amount of coverage: the more exposure, whether positive or negative, the more value a film accrues". Moreover, this attention is often quite polarised with praise and attacks of the films being vociferous and strong. Irreversible is a good example of this, and provoked substantial critical debate at the time, with many both praising and criticising the film sometimes even within the same publication: "in journals as diverse as Sight and Sound, in England, and Positif, in France, critics such as Mark Kermode, Nick James, Philippe Rouyer, and Gregory Valens literally sparred in print, damning or acclaiming the qualities of Noe's feature. One faction demanded censure for an amoral treatment of sexual violence; the opposing group called for artistic freedom for an uncompromising portrait of social and sexual dysfunction. Compromise was neither asked for nor given". While this may sound slightly banal in the grand scheme of things, most films, especially those containing graphic sex and violence, are never discussed by mainstream or cinephile outlets at all, and so such a substantial, and divided, critical interest in what would otherwise be very niche specialist films is very unusual.

Censorship
As a result of their inclusion of violent and sexual imagery, many new extreme films have been censored around the world, and there have been significant debates around those that were not. Baise-moi was cut in many countries to remove images of penetration during a rape scene, and a gun being inserted into a man's anus, and was banned elsewhere for its overall pornographic nature. A Serbian Film was banned and cut in many countries for its inclusion of (fictionalised) child sexual abuse imagery. Fat Girl was cut in some jurisdictions because of its final rape scene that appears to show a child accepting and condoning their own rape.

There was also significant debate around many of the films, with critics calling for the films to be banned, calling them immoral, or decrying them as lacking artistry. This was particularly notable in the case of Baise-moi, where critical attacks on the film were substantial and unrelenting, with a particular focus on the supposed poor quality of the film. Irreversible was also subject to criticism as 'pornographic' and 'snuff' with the implication that they should not be passed by classification boards. Graphic sexual imagery, especially those from Breillat in Romance, Anatomy of Hell, and Fat Girl, as well as the mixing of sex and violence in Twentynine Palms and Trouble Every Day was also heavily criticised by critics at the time. In the case of the latter two films, many critics, following Quandt, appeared disappointed at the shift in style and content from well-liked directors Bruno Dumont and Claire Denis, rather than necessarily engaging seriously with the films themselves.

Relation to new French horror
Contemporary French horror films that have sometimes been associated with the idea of extremity include, Sheitan, Them, High Tension, Frontier(s), Inside, and Martyrs. The Belgian film Calvaire has also been associated with this trend.

Unlike new extreme films, new French horror emphasises gory violence, torture, and monstrous others. There is often an individual or a group who constitutes the violent monster against which the protagonists must struggle, with death and injury following the main characters until the end of the film when they either escape or are defeated by the evil enemy. These films include many horror tropes such as the monstrous or charactered other, the final girl, home invasions, isolated locales, and torture. In this sense they have much in common with 'torture porn' or 'spectacle horror' films such as like the Saw series and director Eli Roth's Hostel, with Steve Jones identifying Martrys and Frontier(s) as a form of 'European torture porn', that functions as a kind of response to American depictions of torture.

Legacy and influence
Many critics and scholars have prophesied the end of extreme cinema. In one sense, there was certainly a high point of production of new extreme films between 1999 and 2010, with waning interest from funding bodies, especially in France for this type of graphic content in the 2010s. Later films such as The Tribe, Raw, Climax and Holiday have suggested that there is still interest in such depictions of violence and sexual violence. The significant interest in Julia Ducournau in France on the release of Raw and her propulsion to the pinnacle of arthouse filmmaking a few years later with her Palme d'Or-winning Titane demonstrate the value that is attached to the innovative storytelling and filmic style associated with new extreme films.

Nonetheless, there remains significant critical and scholarly interest in extreme cinema with many books and articles still being written about the phenomenon, and it looks as though these films will remain an important reference point in 21st-century cinema.

As in opposite of extreme films, it can be seen in media that influenced by or as varied that are related to the term due to similar nature and controversy such as Japanese works (e.g. Berserk, Goblin Slayer, Redo of Healer, School Days), television series (e.g. Game of Thrones), and video games (e.g. 2007's Manhunt 2, and 2018's Agony).

See also
Art horror
Theatre of Cruelty
Extreme cinema
Cinema of Transgression

References
Notes

Further reading

 Barker, Martin. et al. (2007) Audiences And Receptions Of Sexual Violence In Contemporary Cinema. Aberystwyth: University of Wales.
 Barker, Martin. (2010) '"Typically French"?: Mediating Screened Rape to British Audiences', in Dominique Russell (ed.) Rape in art cinema. New York, NY: Continuum, pp. 147–158.
 Batori, Anna. (2023) The Extreme Cinema of Eastern Europe Rape, Art, (S)Exploitation. Edinburgh: Edinburgh University Press.
 Beugnet, Martine. (2007) Cinema and sensation: French film and the art of transgression. Edinburgh: Edinburgh University Press.
 Downing, Lisa. (2004) 'French Cinema's New "Sexual Revolution": Postmodern Porn and Troubled Genre', French Cultural Studies, 15(3), pp. 265–280. Available at: https://doi.org/10.1177/009715580401500305.
 Frey, Mattias. (2016) Extreme Cinema: The Transgressive Rhetoric of Today's Art Film Culture. London: Rutgers University Press.
 Grønstad, Asbjørn. (2012) Screening the unwatchable: spaces of negation in post-millennial art cinema. New York, NY: Palgrave Macmillan.
 Hobbs, Simon. (2018) Cultivating Extreme Art Cinema: Text, Paratext and Home Video Culture. Edinburgh: Edinburgh University Press.
 Horeck, Tanya. and Kendall, Tina. (eds) (2011) The New Extremism in Cinema: From France to Europe. Edinburgh: Edinburgh University Press.
 Kenny, Oliver. (2023) Transgressive Art Films: Extremity, Ethics, and Controversial Images of Sex and Violence. Edinburgh: Edinburgh University Press.
 Kerner, Aaaron. and Knapp, Jonathan. (2016) Extreme Cinema: Affective Strategies in Transnational Media. Edinburgh: Edinburgh University Press.
 Palmer, Tim. (2011) Brutal intimacy: analyzing contemporary French cinema. Middletown, CT: Wesleyan University Press (Wesleyan film).
 Pett, Emma. (2015) 'A new media landscape? The BBFC, extreme cinema as cult, and technological change', New Review of Film and Television Studies, 13(1), pp. 83–99. Available at: https://doi.org/10.1080/17400309.2014.982910.
 Sacco, Daniel. (2023) Film Regulation in a Cultural Context. Edinburgh: Edinburgh University Press.
 Selfe, Melanie. (2010) '"Incredibly French"?: Nation as an Interpretative Context for Extreme Cinema', in Lucy Mazdon and Catherine Wheatley (eds) Je t'aime... moi non plus: Franco-British cinematic relations. New York: Berghahn Books, pp. 153–167.
 Tarr, Carrie. (2010) 'Mutilating and Mutilated Bodies: Women's Takes on "Extreme" French Cinema', in Flavia Laviosa (ed.) Visions of struggle in women's filmmaking in the Mediterranean. 1st ed. New York, NY: Palgrave Macmillan, pp. 63–80.

Cinema of France
Movements in cinema
Obscenity controversies in film
Body horror
2000s in French cinema
2010s in French cinema
Horror films by genre
French horror films
2000s in film
2010s in film

New Extremity


Christmas Jazz Jam is a Christmas album by Wynton Marsalis that was released in 2009 by Compass Productions. Musicians on the album include Wessell Anderson on alto saxophone, Vincent Gardner and Wycliffe Gordon on trombone, Victor Goines on tenor & soprano saxophone and clarinet, and Herlin Riley on drums.

Background and composition
Christmas Jazz Jam marked Marsalis' first holiday album in twenty years. For the album, Marsalis assembled a group of ten musicians to perform uncredited arrangements of twelve holiday standards. Following "Mary Had a Baby" are traditional New Orleans jazz-style renditions of "Jingle Bells" (James Pierpont) and "Blue Christmas" (Billy Hayes, Jay W. Johnson).

Reception

Kirk Silsbee of the Los Angeles Times awarded the album three of four stars and called the arrangements "smart yet not ostentatious".

In 2009, the album reached peak positions of number six on Billboard Jazz Albums chart, number nine on the Top Holiday Albums chart, and number nineteen on the Top Independent Albums chart. In 2010 the album reached number 125 on the Billboard 200.

Track listing

 "Santa Claus Is Coming to Town" (John Frederick Coots, Haven Gillespie) – 4:50
 "Mary Had a Baby" – 4:03
 "Jingle Bells" (James Pierpont) – 4:43
 "Blue Christmas" (Billy Hayes, Jay W. Johnson) – 5:24
 "Go Tell It on the Mountain" (John Wesley Work Jr.) – 7:08
 "O Christmas Tree" (Ernst Anschutz) – 7:25
 "O Little Town of Bethlehem" (Phillips Brooks) – 7:21
 "Rudolph the Red-Nosed Reindeer" (Johnny Marks) – 6:05
 "The Christmas Song" (Mel Torme, Robert Wells) – 5:30
 "Good King Wenceslas" (Thomas Helmore, John Mason Neale) – 6:49
 "Have Yourself a Merry Little Christmas" (Hugh Martin, Ralph Blane) – 7:08
 "Greensleeves" (traditional) – 2:05

Charts
In 2009 Christmas Jazz Jam reached peak positions of number six on Billboard Jazz Albums chart, number nine on the Top Holiday Albums chart, and number nineteen on the Top Independent Albums chart. In 2010 the album reached number 125 on the Billboard 200.

Personnel

 Wynton Marsalis – trumpet
 Victor Goines – soprano saxophone, tenor saxophone, clarinet
 Walter Blanding – soprano saxophone, tenor saxophone
 Wessell Anderson – alto saxophone
 Paul Nedzela –baritone saxophone, bass clarinet
 Vincent Gardner – trombone
 Wycliffe Gordon – trombone, tuba
 Reginald Veal – double bass
 Herlin Riley – drums
 Dan Nimmer – piano
 Don Vappie – banjo, guitar, vocals
 Roberta Gumbel – vocals
Technical
 Jeff Jones – producer
 Joanne Levey – assistant producer
 Jason Dale – engineer
 Justin Gerrish – assistant engineer
 Fernando Lodeiro – assistant engineer
 Evan Manners – assistant engineer
 Shinobu Mitsuoka – assistant engineer

See also

 Best-selling Christmas/holiday albums in the United States
 Christmas carol
 List of Christmas carols
 Wynton Marsalis discography

References

2009 Christmas albums
Wynton Marsalis albums
Christmas albums by American artists
Jazz Christmas albums

Christmas Jazz Jam