The Petrified Forest is a 1936 American crime drama film directed by Archie Mayo and based on Robert E. Sherwood's 1934 drama of the same name. The motion picture stars Leslie Howard, Bette Davis and Humphrey Bogart. The screenplay was written by Delmer Daves and Charles Kenyon, and adaptations were later performed on radio and television. The film is set in Petrified Forest National Park in Arizona.

According to Variety, Warner Bros. filmed two endings. Howard's character dies in one and survives in the other.

In May 1945, Warner Bros. released another film based on Sherwood's play, Escape in the Desert. It pitches a Dutch flyer walking across country to San Francisco and others against a bunch of escaped Nazi POWs.

Plot

In the midst of the Great Depression, Alan Squier, a failed British writer, now a disillusioned, penniless drifter, wanders into a roadside diner in the remote town of Black Mesa, Arizona, at the edge of the Petrified Forest. The diner is run by Jason Maple, his daughter Gabrielle, and Gramp, Jason's father, who regales anyone who will listen with stories of his adventures in the Old West with such characters as Billy the Kid.

Gabrielle's mother, a French war bride who fell in love with Jason when he was a young, handsome American serviceman, left her "dull defeated man" after World War I and moved back to France when Gabrielle was a baby. She now sends poetry to Gabrielle, who dreams of moving to Bourges, where her parents first met, to become an artist. Alan tells his story—how he wrote one novel, then lived in France for eight years with his publisher's wife, trying to write another—and Gabrielle is instantly smitten with him.

Gabrielle shows Alan her paintings—the first time she has shown them to anyone—and reads him a favorite François Villon poem.  Boze Hertzlinger, a beefy diner employee who has wooed Gabrielle in vain, grows jealous of Alan, who decides to leave forthwith.  He mooches a ride from wealthy tourists Mr. and Mrs. Chisholm; but after only a few minutes on the road they encounter Duke Mantee, a notorious gangster fleeing a massive police pursuit, whose car has broken down.  Duke and his gang seize the Chisholms' car and drive to the diner, where Duke has arranged to rendezvous with his girlfriend, Doris, on their way to Mexico.  Alan, the Chisholms, and their chauffeur soon make their way back to the diner as well.

Alan, indifferent to the hostage situation, engages Duke in lively conversation and toasts him as "the last great apostle of rugged individualism."  Boze snatches a rifle and gets the drop on Duke, but during a momentary distraction Duke draws his pistol and shoots Boze in the hand, regaining control.  Duke learns that Doris has been captured, and has revealed their rendezvous location to the police.  As police and federal agents converge on the diner, Duke prepares to flee, announcing that he will take Mr. and Mrs. Chisholm with him.

Inspired by Boze's act of courage, Alan responds to an impulse: While Gabrielle is in the back room bandaging Boze's hand, he produces a life insurance policy from his bag and amends it, making Gabrielle the beneficiary. Then he asks Duke to kill him ("It couldn't make any difference to you, Duke ... they can hang you only once ..."), so that Gabrielle can use the insurance money to realize her dream of moving to France. Duke obliges, after Alan blocks him from leaving with his human shields; then Duke leaves, only to be caught by the police.  Alan dies in Gabrielle's arms, secure in the knowledge that she, unlike the rest, will escape her dead-end existence to pursue her dreams.

Cast

 Leslie Howard as Alan Squier
 Bette Davis as Gabrielle Maple
 Humphrey Bogart as Duke Mantee
 Genevieve Tobin as Mrs. Chisholm
 Dick Foran as Boze Hertzlinger
 Joseph Sawyer as Jackie
 Porter Hall as Jason Maple
 Charley Grapewin as Gramp Maple
 Paul Harvey as Mr. Chisholm
 Adrian Morris as Ruby
 Slim Thompson as Slim
 Eddie Acuff as First Lineman
 Francis J. Scheid as Second Lineman
 John Alexander as Joseph, the chauffeur
 Nina Campana as Paula, the cook
 Arthur Aylesworth as Commander (uncredited)
 Jim Farley as Sheriff (uncredited)
 Gus Leonard as Jim, the Mailman (uncredited)

History

The 1935 Broadway production of The Petrified Forest starred Howard, an established star, and Bogart, an actor in his first leading theatrical role. Sherwood based the Duke Mantee character on John Dillinger, the notorious criminal who in 1933 was named the FBI's first "Public Enemy #1" by J. Edgar Hoover, and in 1934 was ambushed and gunned down in spectacular fashion by FBI agents. Bogart, who won the stage role in part because of his physical resemblance to Dillinger, studied film footage of the gangster and mimicked some of his mannerisms in his portrayal.

For the film, Warner Brothers intended to cast the more bankable Edward G. Robinson as Duke; but Howard, whose contract gave him final script control, informed the studio that he would not appear in the movie version without Bogart as his co-star. The film made Bogart a star, and he remained grateful to Howard for the rest of his life. In 1952, Bogart and Lauren Bacall named their daughter Leslie Howard Bogart in honor of Howard, who had been killed in a plane crash when the German air force shot down his BOAC flight from Lisbon to Bristol during World War II.

In 1948, Robinson portrayed a character similar to Duke Mantee—a gangster holding a disparate group of people hostage in a Florida hotel—in Key Largo. That film's hero was played by Bogart. In his penultimate film, The Desperate Hours (1955), Bogart played another gangster holding a suburban family hostage. He described that character as "Duke Mantee grown up."

Radio and television adaptations

The Petrified Forest was performed in a one-hour radio adaptation on CBS's Lux Radio Theatre on November 22, 1937, with Herbert Marshall, Margaret Sullavan, and Donald Meek in the principal roles; and again on Lux Radio on April 23, 1945, with Ronald Colman, Susan Hayward, and Lawrence Tierney.

A half-hour radio adaptation starring Joan Bennett, Tyrone Power, and Bogart also aired on The Screen Guild Theater on January 7, 1940.

On September 20, 1953, the radio series Best Plays aired a one-hour adaptation, starring Cyril Ritchard.

In 1955, a live television version was performed in color as an installment of Producers' Showcase, a weekly dramatic anthology, featuring Bogart (now top-billed) as Mantee, Henry Fonda as Alan, and Lauren Bacall as Gabrielle. Jack Klugman, Richard Jaeckel, and Jack Warden played supporting roles. The television version differs from the film in that it opens with Bogart and his men shown briefly in a getaway car driving through the desert and conversing for a moment. In the late 1990s, Bacall donated the only known kinescope of the 1955 performance (albeit in black and white) to the Museum of Television & Radio (now the Paley Center for Media), where it remains archived for viewing in New York City and Los Angeles. It is now in the public domain.

Reception and legacy
Rotten Tomatoes rates the film 100% fresh based on 14 contemporary and modern reviews.

The film is recognized by the American Film Institute in the 2003 AFI's 100 Years...100 Heroes & Villains in which Duke Mantee appears as a Nominated Villain.

In January 1936, Variety wrote: "The picture sticks closely to the legit script... Playing the roles they created in the stage version are Leslie Howard and Humphrey Bogart – the former a soul-broken, disillusioned author, seeking, by wayfaring, to find some new significance in living, and the latter a killer, harried and surrounded by pursuers, revealing in his last moments a bewildered desperation which is not far removed from that of the writer. The scenes in which the desperado holds court, as he awaits his own doom, …are packed with skillfully etched drama and embroidered with appropriate touches of comedy. Impressively enacted is the romance between Howard and Bette Davis... Davis gives a characterization that fetches both sympathy and admiration. Bogart's menace leaves nothing wanting."

Writing for The Spectator in 1936, Graham Greene gave the film a mildly poor review. Exploring the transition between Mayo's film and the original stage play from Sherwood, Greene found that Sherwood's lofty philosophy suffered from the adaptation and that the film's "drama slackens under the weight" of the playwright's themes which he characterized as "rather half-baked". Greene praises Davis and Howard for their performances but suggests that "life itself, which crept in during the opening scene [...] crept out again, leaving us only with the symbols."

Writing for Maclean's magazine at the time of the film's release, Ann Ross observed: "Very young people won't find The Petrified Forest much fun, but adults, who like wise and witty talk, with or without gunplay, should find it rewarding."

Writing for Sur in September 1936, Jorge Luis Borges says the film was "one of the most intense that I have seen". He praises the "extraordinarily distinct characters", observing that "Once the allegorical motive is dismissed or relegated to a secondary level the plot of The Petrified Forest—the magical influence of approaching death on a random group of men and women—seems admirable to me. In this film, death works like hypnosis or alcohol: it brings the recesses of the soul into the light of day."

After the film's release, Friz Freleng made the short-length Merrie Melodies cartoon parody, She Was an Acrobat's Daughter (1937), which portrays a cinema audience watching The Petrified Florist, starring Bette Savis and Lester Coward.

In 1972, a take-off of the film titled "The Putrified Forest" was a sketch on The Carol Burnett Show, featuring Steve Lawrence and Paul Sand.

The Warner Brothers sound stage on which the movie was filmed later became the home of Conan O'Brien's TBS television program.

The 2017 album The Petrified Forest by ambient musician Biosphere uses many clips of dialog from the film.

References

External links

 {{IMDb title | id=0394853 | title=Producers' Showcase: "The Petrified Forest"}}
 Producers' Showcase: "The Petrified Forest" at the Paley Center for Media
 Producers' Showcase: "The Petrified Forest" at the Internet Archive
 The Petrified Forest at Virtual History
Streaming audio
 The Petrified Forest on Lux Radio Theater: November 22, 1937
 The Petrified Forest on Screen Guild Theater: January 7, 1940
 The Petrified Forest on Lux Radio Theater: April 23, 1945
 The Petrified Forest at Best Plays'' September 20, 1953

1936 films
1936 crime drama films
American crime drama films
American black-and-white films
Film noir
American films based on plays
Films directed by Archie Mayo
Films produced by Hal B. Wallis
Films set in Mohave County, Arizona
Films set in restaurants
Films about hostage takings
Plays by Robert E. Sherwood
Warner Bros. films
1930s English-language films
1930s American films
Films scored by Bernhard Kaun
Great Depression films
Films about writers

The Petrified Forest


Bettie Cilliers-Barnard, DMS (18 November 1914 – 15 September 2010) was a South African abstract artist, generally known for her large canvases of birds in flight. She was also the mother of well-known South African actress, Jana Cilliers.

She was a recipient of the Decoration for Meritorious Services.

Biography

Cilliers-Barnard was born in Rustenburg, Transvaal on 18 November 1914. She started painting in the late 1930s and over the years kept experimenting with colour, lines, abstraction and figurative abstractions. In the 1970s, birds unexpectedly started appearing in her work – which could be described as part of her earthy symbolism. She referred to this work as her "flights of the spirit". Since 1946, Cilliers-Barnard's works have been shown in seventy solo exhibitions in South Africa as well as in Paris (paintings 1956), London (graphic art 1971), and at the Prestiges Invitation Exhibition at the Taipei Fine Arts museum in Taiwan (paintings and graphic art 1987).

Her South African graphic art exhibitions abroad have included Austria, Germany, Spain, Greece and Israel, to name a few. Her tapestries, paintings, and murals in oils have been commissioned both for public collections and for museum and private collections in South Africa and abroad. Most recently in 1992, she painted "Vision" for the Pretoria Eye Institute and some of her other commissions include the painting "Flight" for South African Airways 1983, the tapestry "Guardian Angel of the Arts" for the State Theatre of Pretoria 1981, and her mural in oils "Mens sana corpore sano" for the Department of Health in Pretoria 1980.

Cilliers-Barnard worked especially at night – "because the night doesn't have shadows", she maintained.

Two retrospective exhibitions of her work followed: Pretoria Art Museum 1995 and the SASOL Art Museum 1996.

Critical reception

A book on the life and work of Bettie Cilliers-Barnard, by the art historian Prof Muller Ballot, was launched in 1996. In 2004, she exhibited new work for the last time at Colour as Language, an exhibition which also included older work (1937 to 1961) from her family's private collection.

Ballot says the following about her work:
'The artist's current period of consolidated themes stems from the principle of joining and linking all kinds of existing and new motifs. In this way new contexts and new content are created. There is at least one central message which appears in the works of this period. This is certainly related to the artist's serious search for a reconciliation of earthly and transcendental perspectives on human existence. Her reaching out to esoteric horizons, to the boundaries of time and space, which have fascinated her from an early stage, still seeks fulfillment in the symbolic values of the human figure. Sometimes these occur with, for example, strange alien beings, primeval animal forms, arrows and sharp triangular shapes.'

Stephan Welz, art expert and executive director of Strauss & Co, believes Cilliers-Barnard's work doesn't fetch very high prices currently "because she is part of the forgotten generation who experienced the worst of the cultural isolation during apartheid."

Education

Cilliers-Barnard matriculated at Hoërskool Rustenburg.
Cilliers-Barnard studied art at the University of Pretoria.

Death

Cilliers-Barnard died at her home in Menlo Park, Pretoria in the early hours of 15 September 2010.

References

1914 births
2010 deaths
20th-century South African women artists
21st-century South African women artists
People from Rustenburg
University of Pretoria alumni
Academic staff of the University of Pretoria
South African artists

Bettie Cilliers-Barnard


Winnie Couture is a California-based fashion clothing and apparel brand, established in 2001. Winnie Couture designs a broad range of luxury attires and is internationally distributed through its portfolio of retail stores. This brand is said to be one of the fastest growing bridal collections across the USA.

History
Winnie Couture was established in 2001 by husband and wife, Chris Lee and Winnie Chlomin Lee. With its headquarters in Beverly Hills, Winnie Couture has subsidiaries in Dallas(Texas), Atlanta(Georgia), and Charlotte(North Carolina) in the USA. In 2016, this luxury bridal brand opened its first Asian flagship store at Staunton Street, Hong Kong.

Overview
Wedding gowns from Winnie Couture, are known for their exquisite beadwork and embroidery details and matching veils. The designs are largely said to be a blend of the modern translation of vintage fashion and royal embellishments.

In 2006, Winnie Couture introduced its Destination Collection, and in 2008, Winnie Chlomin Diamond Label Collection was introduced. Avant Mariée Collection was introduced on 2009.

Recognition
Winnie Couture is featured in publications such as, Modern Brides, The Knot, InStyle Weddings, Brides, and Modern Luxury.

The brand is said to be well-known in Hollywood, having dressed the celebrities like Jennifer Aniston, Lea Michele, Kelly Clarkson, Scarlett Johansson, Giuliana Rancic and Helen Hunt.

References

Clothing companies
Companies based in California

Winnie Couture


Irene Tsu (born April 5, 1943, Shanghai, China) is an actress who started in the film Flower Drum Song in 1961. She was featured in an advertising campaign (Wiki wiki dollar) in the 1960s. She speaks English and three varieties of Chinese.

Early life and career
Tsu was born in Shanghai, China to Z.M. and Dulcie Lynn Tsu. Her father was a banker and her mother a painter. After political changes in China in the 1940s, the family left for Taiwan, then Hong Kong. Her father remained behind in Taiwan while in 1957 she and the rest of her immediate family (sister and mother) emigrated to Larchmont, New York, a suburb of New York City, where her aunt lived. Irene attended Mamaroneck Elementary School in Mamaroneck, New York and studied ballet.

In the late 1950s. she auditioned for a dancing job in Broadway's Flower Drum Song. A staff member of the producer David Merrick's office saw the performance and auditioned her for the Broadway musical The World of Suzie Wong and Tsu got a part. Later Irene auditioned for choreographer Hermes Pan  in the upcoming film adaptation of the musical Flower Drum Song. The choreographer brought Irene to Hollywood and she was a teenage dancer in the film Flower Drum Song (1961), directed by Henry Koster. He gave her her first speaking role as a teenage prostitute in his next film, Take Her, She's Mine (1963) starring James Stewart and Sandra Dee, which started her acting career.

She studied acting with Ned Maderino, Lee Strasberg and Peggy Feury and attended Los Angeles City College, UCLA Film School, and California State University, Los Angeles.

In 1961, Tsu entered the Miss Chinatown USA beauty pageant on behalf of New York and won first place.

On November 21, 1963, the evening before President John F. Kennedy was assassinated, Tsu's only appearance on Perry Mason was aired on CBS, as she played the role of defendant Juli Eng in "The Case of the Floating Stones." She made guest appearances on most of the other popular '60s-70s television shows such as I Spy, The Man from U.N.C.L.E., Voyage to the Bottom of the Sea, Family Affair, Mission: Impossible, Wonder Woman, and The Wild Wild West. She was tested for, but didn't get the female lead of The Sand Pebbles.
In the 1960s, Tsu met Frank Sinatra in Miami, Florida where she was filming the "Chevron Island" commercials and Sinatra was filming Tony Rome. They dated for over two years.

Tsu married director Ivan Nagy in 1971, although they later separated.

Later career
From 1978 until 1989, Tsu was Chief Operating Officer and head designer for her own leisure apparel company, The IT Company/Irene Tsu Designs.

Since 1990 Tsu has been a realtor for Coldwell Banker in Beverly Hills, California.

A long-time yoga practitioner, Tsu studied with yoga master Bikram Choudhury and is featured in both of his books Bikram's Beginning Yoga Class.  She taught at Bikram Yoga College in Encinitas, California. She teaches weekly yoga classes at the Bikram HQ in Los Angeles and for the Beverly Hills Department of Parks.

She is a single mother to her daughter, an adopted niece from China.

Selected filmography

Film

Flower Drum Song (1961) as Dancer (uncredited)
The Horizontal Lieutenant (1962) as Oriental Spy (uncredited)
Under the Yum Yum Tree (1963) as Suzy (uncredited)
Take Her, She's Mine (1963) as Miss Wu
John Goldfarb, Please Come Home! (1965) as Harem Girl (uncredited)
The Sword of Ali Baba (1965) as Nalu
How to Stuff a Wild Bikini (1965) as Native Girl
Seven Women (1966) as Chinese Girl
Women of the Prehistoric Planet (1966) as Linda
Paradise, Hawaiian Style (1966) as Pua
Caprice (1967) as Su Ling
Island of the Lost (1967) as Judy Hawllani
The Green Berets (1968) as Lin
The Yin and the Yang of Mr. Go (1970) as Tah-Ling
Stand Up and Be Counted (1972) (uncredited)
Three the Hard Way (1974) as Empress
Airport 1975 (1974) as Carol
Judge Dee and the Monastery Murders (1974, TV Movie) as Celestial Image
Paper Tiger (1975) as Talah
Deadly Hero (1975)
Hot Potato (1976) as Detective Sgt. Pam Varaje
Damien's Island (1976) as Momi
Down and Out in Beverly Hills (1986) as Sheila Waltzberg
Steele Justice (1987) as Xua Chan
A Girl to Kill For (1990) as The Counselor
Unbecoming Age (1992) as R.J
Mr. Jones (1993) as Mrs. Chang
Snapdragon (1993) as Hua
Comrades: Almost a Love Story (1996) as Aunt Rosie
Golden Chicken (2002) as Kam's Aunt
The Heart Specialist (2006) as Mrs. Olson
Alibi (2007) as Chu Fan

Television

Perry Mason TV series, episode: The Case of the Floating Stones (21 November 1963) as Juli Eng
My Favorite Martian TV series, Season 2 Episode 9 - Double Trouble (1964) as Leilani
The Man from U.N.C.L.E. TV series, episode: The Hong Kong Shilling Affair (15 March 1965) as Jasmine
I Spy TV series, episode: A Cup of Kindness (22 September 1965)
Voyage to the Bottom of the Sea TV series, episode: The Peacemaker (November 21, 1965) as Su Yin
My Three Sons, TV series, episode: Robbie and the Slave Girl (20 January 1966) as Terry
The Man from U.N.C.L.E., episode: The Five Daughters Affair: Part II (7 April 1967) - Reikko
The Wild Wild West TV series, episode: The Night of the Samurai (13 October 1967) - Reiko O'Hara
Family Affair TV series, episode: Eastward Ho (1970) - Ming Lee
Mission: Impossible TV series, episode: Double Dead (12 February 1972) as Penyo
Hawaii Five-O TV series, episode: Engaged to Be Buried (27 February 1973) as Alia
Future Cop TV series (1977) as Doctor Tingley
The Rockford Files, TV series, episode: Irving the Explainer (18 November 1977) as Daphne Ishawaharda
Wonder Woman, TV series, episode: The Man Who Made Volcanoes (18 November 1977) as Mei Ling
Trapper John, M.D., TV series, episode: Heart and Seoul (28 January 1986) as Dr. Julie Lok
Noble House (1988) all four episodes
Tell Me No Secrets, (1997) TV movie
Star Trek: Voyager, TV series, episode: Author, Author (April 18, 2001) as Mary Kim
Cold Case, TV series, episode: Chinatown (22 November 2009) as Da Chun Lu
Law & Order: LA TV series, episode: Angel's Knoll (25 May 2011) as Christina Yu

Notes

References

Sources
 Lisanti, Tom, Fantasy femmes of sixties cinema: interviews with 20 actresses from biker, beach, and Elvis movies, McFarland Publishing, 2001. Cf. pp.158-169 for entry on Irene Tsu.
 Lisanti, Tom; Paul, Louis, Film fatales: women in espionage films and television, 1962-1973, McFarland Publishing, 2002. See pp.293-295 for the entry on Irene Tsu.

Further reading
 "My life: Irene Tsu", Post magazine, South China Morning Post, interview with Kate Whitehead, January 26, 2014

External links

1944 births
Living people
Chinese emigrants to the United States
Actresses from San Francisco
American television actresses
Los Angeles City College alumni
American film actresses
20th-century American actresses
People from Mamaroneck, New York
Actresses from New York (state)
Actresses from Shanghai
Chinese Civil War refugees
Chinese film actresses
Chinese television actresses
20th-century Chinese actresses
21st-century American women

Irene Tsu


Operation Site Down is the umbrella name for a law enforcement initiative conducted by the United States' FBI and law enforcement agents from ten other countries which resulted in a raid on targets on June 29, 2005. Three separate undercover investigations were involved, based in Chicago, Charlotte and San Jose. The raid consisted of approximately 70 searches in the U.S. and approximately 20 others in ten other countries in an effort to disrupt and dismantle many of the leading Warez groups which distribute and trade in copyrighted software, movies, music and games on the Internet.

On February 1, 2006, the U.S. Attorney's Office under Patrick Fitzgerald announced that it was indicting nineteen members of Risciso, a software and movie infringement ring, in U.S. District Court in Chicago. The lead prosecutor for the government in this case was Assistant U.S. Attorney Pravin Rao.

Up to May 6, 2008, there had been over 40 convictions as a result of the ongoing investigation. As part of each plea agreement, each defendant has agreed to forfeit the equipment that was seized during the federal search warrants executed on June 29, 2005.

Sentences

Mark G. Carter II (a.k.a. Burner), 29, of Upland, California, was sentenced to 30 months' imprisonment, and ordered to pay $34,964 in restitution. Judge Whyte also sentenced the defendant to a three-year period of supervised release. On December 12, 2005, Carter pleaded guilty to one count of violating the NET Act and to one count of conspiracy to commit criminal copyright infringement. The defendant began serving the sentence on October 26, 2006.

Ryan Zeman, 23, of Rohnert Park, California, was sentenced to three years' probation, four months' home confinement, four months' community confinement, and required to pay $120,000 in restitution. On October 3, 2005, Zeman pleaded guilty to violating the NET Act, 17 U.S.C. § 506(a)(1)(B) and 18 U.S.C. § 2319(c)(1), and aiding and abetting.

Gregory Dickman, 25, of Wilmington, North Carolina, was sentenced to 8 months' home confinement, three years of probation and ordered to pay $31,515 in restitution. On April 10, 2006, Dickman pleaded guilty to conspiring to commit criminal copyright infringement in violation of 18 U.S.C. § 371 and to violating the NET Act, 17 U.S.C. § 506(a)(1)(B) and 18 U.S.C. § 2319(c)(1), and aiding and abetting.

Johnny Russell, 34, of Spring, Texas, was sentenced to 8 months in a community confinement facility, three years of probation, and ordered to pay a $11,508 in restitution. On April 10, 2006, Russell pleaded guilty to conspiring to commit criminal copyright infringement in violation of 18 U.S.C. § 371 and to violating the NET Act, 17 U.S.C. § 506(a)(1)(B) and 18 U.S.C. § 2319(c)(1), and aiding and abetting.

Similarities to The Scene miniseries

An online film series titled The Scene is a fictional take on the actual bootlegging scene. Some claims have been made that there are coincidences between the series and actual events.

The main character is Brian Sandro, an NYU student, who also infringes Hollywood movies in his spare time. Sandro heads the movie release group, CPX.

In episode nine, released in the beginning of June 2005, Sandro, whose IRC alias is Drosan, is messaged by a member named Gryffin. Gryffin was earlier looking for members of CPX in a different IRC channel. Gryffin's friend's father apparently works at a film studio and Gryffin is asking to be a supplier to CPX. The Gryffin character in the scene comes off as a little mysterious, but otherwise harmless.

However, it was pointed out that his name is similar to the nickname of the actual lead FBI agent, Griffen, responsible for the busts in Operation Site Down. Also, in the messaging session between Drosan and Gryffin, the music playing in the background periodically says "he works for the FBI" in a trancelike fashion.

Jun Productions, the creators of The Scene, deny all accounts that they had insider information about the arrests and that the similarities are only coincidences.

However, according to a Slyck posting, Gryffin the character and Griffen the FBI agent shared the same BNC the.yankees-suck.net. The vhost resolves to Hurricane Electric, which is the location of the two Fed topsites: CHUD and LAD.

Furthermore, Bruce Forrest, who was quoted in a Wired article as a self-proclaimed "double agent", was an active correspondent for The Scene series. While Jun Productions claim that Forrest had no involvement in the ninth episode (he supposedly left on his own terms after the eighth episode), some speculate that it could have been an elaborate warning by Forrest about the impending Federal arrests.

See also
 Operation Buccaneer
 Operation Fastlink
 Operation D-Elite

References

External links

 'Operation Site Down' Attacks Organized Piracy Networks in 10 Countries, press release by the US Department of Justice (June 30, 2005)
 First "Operation Site Down" Indictment Charges Four Defendants with Copyright Violations Following Undercover "Warez" Investigation, press release by the US Department of Justice (July 14, 2005).
 Justice Department Announces Eight Charged in Internet Piracy Crackdown, press release by the US Department of Justice (July 28, 2005)
 Defendant Indicted for Camcording Films in Movie Theaters and for Distributing the Films on Computer Networks, press release by the US Department of Justice on Salisbury charge (August 4, 2005)
 First Guilty Plea to New Federal Law Prohibiting Camcording Films in Movie Theaters Missouri Theater Employee First Conviction in "Operation Copycat", press release by the US Department of Justice on Salisbury plea (September 26, 2005)
 Second Guilty Plea in Connection with Operation Copycat, press release by the US Department of Justice on Zeman plea (October 3, 2005)
 Five New Defendants Charged with Internet-based Movie Piracy, Plus Software and Games Piracy, press release by the US Department of Justice (November 17, 2005)
 10 Convictions to Date for Internet-based Piracy of Movies, Software and Games in Operation Copycat, press release by the US Department of Justice (January 9, 2006)
 Ten Additional Defendants Charged with Violating Copyright Laws as Part of Operation Copycat, press release by the US Department of Justice (January 26, 2006)
 19 Indicted in $6.5 Million "RiSCISO" Software Piracy Conspiracy, press release by the US Department of Justice (February 1, 2006)
 Five Additional Defendants Charged with Violating Copyright Laws, press release by the US Department of Justice (April 6, 2006)
 Press Release - Thirtieth copyright conviction as part of Operation Copycat - Includes Film Critic Who Admitted to Selling Over 100 Movies For Illegal Distribution.
 Third Conviction for Camcording Movies in a Theater

Copyright enforcement
Federal Bureau of Investigation operations

Operation Site Down


The emancipation reform of 1861 in Russia, also known as the Edict of Emancipation of Russia, ( – "peasants' reform of 1861") was the first and most important of the liberal reforms enacted during the reign (1855–1881) of Emperor Alexander II of Russia. The reform effectively abolished serfdom throughout the Russian Empire.

The 1861 Emancipation Manifesto proclaimed the emancipation of the serfs on private estates and of the domestic (household) serfs. By this edict more than 23 million people received their liberty. Serfs gained the full rights of free citizens, including rights to marry without having to gain consent, to own property and to own a business. The Manifesto prescribed that peasants would be able to buy the land from the landlords. Household serfs were the least affected: they gained only their freedom and no land.

The serfs were emancipated in 1861, a process which took place following a speech given by Tsar Alexander II on 30 March 1856. In Georgia, the emancipation took place later, in 1864, and on much better terms for the nobles than in Russia. State-owned serfs (those living on and working Imperial lands) were emancipated in 1866.

Background

Prior to 1861 Russia had two main categories of peasants:
 Those who lived on state lands, under control of the Ministry of State Property
 Those who lived on private land

Only those who were owned privately were considered serfs. They comprised an estimated 38% of the population. As well as having obligations to the state, they also were obliged to the landowner, who had great power over their lives.

The rural population lived in households (dvory, singular dvor), gathered as villages (derevni; a derevnya with a church became a selo), run by a mir ('commune', or obshchina)—isolated, conservative, largely self-sufficient and self-governing units scattered across the land every  or so. Imperial Russia had around 20 million dvory, forty percent of them containing six to ten people.

Intensely insular, the mir assembly, the skhod (sel'skii skhod), appointed an elder (starosta) and a 'clerk' (pisar) to deal with any external issues. Peasants within a mir shared land and resources. The fields were divided among the families as nadel ("allotment")—a complex of strip plots, distributed according to the quality of the soil. The strips were periodically redistributed within the villages to produce level economic conditions. The land however, was not owned by the mir; the land was the legal property of the 100,000 or so landowners (pomeshchiks, an equivalent of "landed gentry") and the inhabitants, as serfs, were not allowed to leave the property where they were born. The peasants were duty-bound to make regular payments in labor and goods. It has been estimated that landowners took at least one third of income and production by the first half of the nineteenth century.

Earlier reform moves
The need for urgent reform was well understood in 19th-century Russia. Much support for it emanated from universities, authors and other intellectual circles. Various projects of emancipation reforms were prepared by Mikhail Speransky, Nikolay Mordvinov, and Pavel Kiselyov. However, conservative or reactionary nobility thwarted their efforts. In Western guberniyas serfdom was abolished early in the century. In Congress Poland, serfdom had been abolished before it became Russian (by Napoleon in 1807), but it was largely restored once Russia took over in 1815. Serfdom was abolished in governorates of Estonia in 1816, in Courland in 1817, and in Livonia in 1819.

In 1797, Paul I of Russia decreed that corvee labor was limited to 3 days a week, and never on Sunday, but this law was not enforced. Beginning in 1801, Alexander I of Russia appointed a committee to study possible emancipation, but its only effect was to prohibit the sale of serfs without their families. Beginning in 1825, Nicholas I of Russia expressed his desire for emancipation on many occasions, and even improved the lives of serfs on state properties, but did not change the condition of serfs on private estates.

Shaping of the manifesto

The liberal politicians who stood behind the 1861 manifesto—Nikolay Milyutin, Alexei Strol'man and Yakov Rostovtsev—also recognized that their country was one of a few remaining feudal states in Europe. The pitiful display by Russian forces in the Crimean War left the government acutely aware of the empire's weaknesses. Eager to grow and develop industrial and therefore military and political strength, they introduced a number of economic reforms. It was optimistically hoped that after the abolition the mir would dissolve into individual peasant land owners and the beginnings of a market economy.

Alexander II, unlike his father, was willing to deal with this problem. Moving on from a petition from the Lithuanian provinces, a committee "for ameliorating the condition of the peasants" was founded and the principles of the abolition considered.

The main point at issue was whether the serfs should remain dependent on the landlords, or whether they should be transformed into a class of independent communal proprietors.

The land-owners initially pushed for granting the peasants freedom but not any land. The tsar and his advisers, mindful of 1848 events in Western Europe, were opposed to creating a proletariat and the instability this could bring. But giving the peasants freedom and land seemed to leave the existing land-owners without the large and cheap labour-force they needed to maintain their estates and lifestyles. By 1859 however, a third of their estates and two-thirds of their serfs were mortgaged to the state or noble banks. This was why they had to accept the emancipation.

To 'balance' this, the legislation contained three measures to reduce the potential economic self-sufficiency of the peasants. Firstly a transition period of two years was introduced, during which the peasant was obligated as before to the old land-owner. Secondly large parts of common land were passed to the major land-owners as otrezki ("cut off lands"), making many forests, roads and rivers accessible only for a fee. The third measure was that the serfs must pay the land-owner for their allocation of land in a series of redemption payments, which in turn, were used to compensate the landowners with bonds. The government would advance 75% of the total sum to the land-owner, and then the peasants would repay the government, plus interest, over forty-nine years. The government finally cancelled these redemption payments in 1907.

Emancipation Manifesto

The legal basis of the reform was the Tsar's Emancipation Manifesto of , accompanied by the set of legislative acts under the general name Regulations Concerning Peasants Leaving Serf Dependence ( Polozheniya o krestyanakh, vykhodyashchikh iz krepostnoi zavisimosti).

This Manifesto proclaimed the emancipation of the serfs on private estates and of the domestic (household) serfs. Serfs were granted the full rights of free citizens, gaining the rights to marry without having to gain consent, to own property and to own a business. The Manifesto also permitted peasants to buy the land from the landlords.

Implementation
Mir communities had the power to distribute the land given to newly freed serfs by the Russian government amongst individuals within the community. Due to the community's ownership of the land, as opposed to the individual's, an individual peasant could not sell his portion of the land to go work in a factory in the city. A peasant was required to pay off long term loans received by the government. The money from these loans was given to the primary landowner. The land allotted to the recently freed serfs did not include the best land in the country, which remained in the hands of the nobility.

The implementation of land settlement varied over the vast and diverse territory of the Russian Empire, but typically a peasant had rights to buy out about half of the land he cultivated for himself. If he could not afford to pay it off, he would receive a half of the half, i.e., a quarter of the land, free. It was called pauper's allotment (bednyatskiy nadel).

Though well planned in the legislation, the reform did not work smoothly. Many reform-minded peasants believed the manifesto's conditions were unacceptable: "In many localities the peasants refused to believe that the manifesto was genuine. There were troubles, and troops had to be called in to disperse the angry crowds." The land-owners and nobility were paid in government bonds, with their debts deducted. The bonds soon fell in value. The management skills of the land-owners were generally poor.

Some Mir's did not enter the land redemption process at all, remaining as temporarily obligated peasants under their former owners until an 1881 decree made redemption compulsory. In 1883, concerned by rising levels of tax arrears, the government made a 13% cut (varying by commune, as a national average) to payment rates to combat the problem.

Outcomes

Despite newly acquired freedom, the life of a serf remained grim in many aspects. Household serfs benefited the least, gaining their freedom, but no land. Many bureaucrats believed that these reforms would bring about drastic changes that would only affect the "lower stories" of society, strengthening the autocracy. In reality, the reforms forced the monarch to coexist with an independent court, free press, and local governments—all operating differently and more freely than they had in the past. This new form of local government involved in each area an assembly called a zemstvo. In regards to new localized government, the reforms put in place a system where the landowners were now able to have more of a say within their newly formed "provinces". While this was not the direct intent of the reforms, it was evident that this significantly weakened the idea of the autocracy. Now, the "well-to-do" serfs, along with previously free peoples, were able to purchase land as private property. While early in the reforms the creation of local government had not changed many things about Russian society, the rise in capitalism drastically affected not only the social structure of Russia, but the behaviors and activities of the self-government institutions. With new, capitalistic ideals, local government was not responsible for the rules and regulations dictating how the new market would operate. If there was a positive of this movement towards localized government, from the autocracy's point of view; it was (as Petr Valuev put it): the zemstvo would "provide activity for the considerable portion of the press as well as those malcontents who currently stir up trouble because they have nothing to do".

Effects on the serfs
The serfs of private estates received less land than they needed to survive, which led to civil unrest. The redemption tax was so high that the serfs had to sell all the grain they produced to pay the tax, which left nothing for their survival. Landowners also suffered because many of them were deeply in debt, and the forced selling of their land left them struggling to maintain their lavish lifestyle. In many cases, the newly freed serfs were forced to "rent" their land from wealthy landowners. Furthermore, when the peasants had to work for the same landowners to pay their "labor payments", they often neglected their own fields. Over the next few years, the yields from the peasants' crops remained low, and soon famine struck a large portion of Russia. With little food, and finding themselves in a similar condition as when they were serfs, many peasants started to voice their disdain for the new social system. On one occasion, on 12 April 1861, a local leader murdered a large number of uprising peasants in the village of Bezdna. When the incident was over, the official report counted 70 peasants dead and another 100 wounded. After further investigation, and trial of some members of the uprising, five peasants were found guilty of "agitation" and not uprising. That said, several different instances did take the form of an uprising.

Aftermath
In Congress Poland and in northern Russia peasants became both free and landless (batraks), with only their labour to sell, while in other areas peasants became the majority land-owners in their province(s). The 1861 Emancipation Manifesto affected only the privately owned serfs. The state-owned serfs were emancipated in 1866 and were given better and larger plots of land.

Lastly, the reforms transformed the Russian economy. The individuals who led the reform favored an economic system similar to that in other European countries, which promoted the ideas of capitalism and free trade. The reformers aimed to promote development and to encourage the ownership of private property, free competition, entrepreneurship, and hired labor. This they hoped would bring about an economic system with minimal regulations and tariffs, thus a more "laissez-faire" economy. Soon after the reforms there was a substantial rise in the amount of production of grain for sale. Because of this there was also a rise in the number of hired laborers and in farm machinery. Furthermore, a significant measuring stick in the growth of the Russian economy post-reform was the huge growth in non-gentry private landownership. Although the gentry land-holdings fell from 80% to 50%, the peasant holdings grew from 5% all the way to 20%.

See also
 Serfdom in Russia
 Government reforms of Alexander II of Russia
 Reform movement#Russia 1860s
 Stolypin reform
 Judicial reform of Alexander II
 Bezdna Unrest
 Slave Trade Acts
 Thirteenth Amendment to the United States Constitution
The economy of the Russian Empire after the abolition of serfdom
 Lord and Peasant in Russia from the Ninth to the Nineteenth Century

References

Further reading

External links
 Emancipation Manifesto, in Russian

1861 in the Russian Empire
1861 in law
Politics of the Russian Empire
Law of the Russian Empire

Serfdom
Reform in Russia
1861 disestablishments in the Russian Empire
19th century in the Russian Empire
March 1861 events
Alexander II of Russia
Emancipation

Emancipation reform of 1861


Fulflej was an alternative rock band from Richmond, Virginia, United States, formed in 1992 by guitarist/vocalist Jae Senji, bassist Awn Drapey, and drummer Spock Jenkins. In 1995, they were signed to Scratchie Records whose releases came to be distributed by Mercury Records beginning in 1996.

Biography

The band evolved from two previous incarnations, the first being The Un-Ones with Senji, Drapey, and drummer Malcom Vaughn, hailing from Hampton, VA and formed in 1986. The Un-Ones was followed by the band Rhithm Lyd, formed in 1990 with Senji, Katie Power on bass, and Phil Searcy on drums. In the summer of 1990, Senji moved to Richmond, VA to attend Virginia Commonwealth University. During breaks, he would return to Hampton where Rhithm Lyd continued with Katie and Phil. Drapey moved back to Hampton after a temporary move to Italy, and replaced Katie as bass player in 1991. Drapey joined Senji in Richmond soon after, and Rhithm Lyd became Fulflej in 1992 with the addition of drummer Spock Jenkins, the Cinnamon Lover. In late 1997, Spock left Earth and was replaced with drummer Ron O'Dell.

Their musical style blends early 1990s alternative rock, math rock, punk, heavy metal, dream pop, and shoegaze.

Soon after being discovered in Richmond by D'arcy Wetsky of the Smashing Pumpkins, they were signed to James Iha (also of the Pumpkins) and D'arcy's newly formed independent record label, Scratchie Records, in 1995. Fulflej's Scratchie releases include the 7-inch "Work In This Universe" b/w "Parallel To Gravity", the EP "The Microwave EP", and the LP "Wack-Ass Tuba Riff".

Mercury Records, who were to distribute the soundtrack for the Power Rangers movie sequel, Turbo: A Power Rangers Movie, invited Fulflej to write and record the theme song for the movie. The result was the track "Shift Into Turbo" which was featured in the movie and on the soundtrack, both released in 1997. The members of Fulflej were also featured performing the song in the TV trailers for the film.

In 1999, Fulflej recorded an additional Scratchie LP, "To Keep A Long Story Long...", though it was never released other than by the band members themselves over the internet after Fulflej had disbanded in 2000.

Discography
Funny Things Shine (cassette demo) (1993)
How to Turn Household Pets Into Easter Bunnies (cassette demo) (1994)
"Work In This Universe" b/w "Parallel To Gravity" (7-inch vinyl single) (1995)
The Microwave EP (5-track EP, CD only) (1995)
Wack-Ass Tuba Riff (12-track LP, CD & cassette) (1996)
Shift Into Turbo (soundtrack single) (1997)
To Keep a Long Story Long... (12-track LP, internet release only) (1999)

Trivia

The instrumental for "Shift Into Turbo" was taken largely from the song "Not A Dream 2" from the "Funny Things Shine" demo.

James Iha and D'arcy Wretzky co-produced and performed on "Wack-Ass Tuba Riff".

A video produced for the single "Work In This Universe" aired several times on MTV during their program, 120 Minutes. Excerpts of the single also appeared on various other MTV programs such as The Real World and Making the Video.

References

Musical groups established in 1986
Musical groups from Virginia
American shoegaze musical groups
Alternative rock groups from Virginia
1986 establishments in Virginia

Fulflej


The Mughals (also spelled Moghul or Mogul) are a number of culturally related clans of Indo-Turkic people in modern-day North India, Pakistan and Bangladesh. It is claimed they are descended from the various Central Asian Mongolic and Turkic tribes and Persians that settled in Mughal India. The term Mughal (or Moghul in Persian) literally means Mongol.

History and origin
During the time of the Mongol Empire in the 13–14th century, the army of Genghis Khan swept across Central Asia and into Persia. Over subsequent centuries, descendants of these soldiers inter-married with Persian and Turkic Muslims, converted to Islam and adopted the Persian language and culture. The conflict between India and the Mongols has been recorded from the time of Genghis Khan to Timur to Babur. The Delhi Sultanate (1206–1526) faced nearly annual Mongol onslaughts from 1297 to 1303 when the Doab was sacked and what is now Pakistan was under continual Mongol occupation. Indian and Indo-Persian sources referred to the invaders as Mughal, derived from Mongol. During the 16th century, the Turko-Mongol conqueror Babur brought most of northern India under Mughal rule, establishing an empire that would endure until the mid-19th century. As the ruling class, the Mughals lived mainly in cities along with other Muslims. They were traditionally known for their skill at horsemanship, archery, wrestling and a meat-heavy diet.

The court itself does not now consist, as originally of real Mongols, but a medley of Turks, Turkman/Uzbeks, and Persians or descendants of all these classes; known, as said before by the general appellation Mughal by the Muslims of native origin.

As early as the 17th century, the term Mughal covered a large number of groups. Generally, all Central Asian immigrants to India, whether Uzbek, Chughtai or Gürkani Türks, further Timurids, Barlas, Kipchak, Kazakhs, Turkman, Kyrgyz, Uyghurs or Mongol, were referred to as Mughal. The term was also used for later immigrants from Iran and Turkey, such as the famous Qizilbash community.

In North India, the term Mughal refers to one of the four social groups that are referred to as the Ashraaf in Pakistan, a number of tribal groupings such as the Tanoli in North West Frontier Province and the Gheba and Kassar in Punjab claim Barlas Mughal ancestry. Sir Denzil Ibbetson, the eminent British student of Punjabi tribal structures, noted a tendency among many tribes of the Pothohar and Upper Hazara regions of Northern Pakistan to claim Barlas Mughal ancestry.

In North India
In North India, the term Mughal refers Gürkani Türk or Timurids. They are also sometimes referred to as Chughtais or Chagatai Türks named after Chagatai Turkic language spoken by the Barlas and other Central Asian tribes. But one of the social groups that are claim to as the Ashraaf.

In Uttar Pradesh

In Uttar Pradesh (UP), their main clans are the Chagatai Turks, Gurkānī or Timurids, Barlas, Qazilbash, Turkmen, Turk, Uzbek, Kayı. The Mughals of Uttar Pradesh belong to the Sunni  sects, with the majority belonging to the Sunni Hanafi sect. Sunni Mughals are usually orthodox in their religious outlook. The Mughal of Awadh trace their entry into the region to the year 1750. The Mughal of UP are an endogamous community, marrying within their own community, or in communities of a similar status such as the Syeds, Shaikh (Siddiqui, Farooqui, Usmani, and Nomani etc.), Pathan, Shamsi, Kidwai and Muslim Rajput. Some of these group immigrated to Uttar Pradesh, India as early as 1200 AD during the Delhi Sultanate. The rural Mughals are farmers, and many own orchards, especially mango orchards, while in towns they are engaged in trade and handicrafts. Carpet weaving is an activity particularly associated with the UP Mughals.

The Turk community of Sambhal identify as a Biradari, literally translating to "brotherhood", which is the word used for a social unit based on kinship such as tribe or clan. The chief of the Biradari is the "Sardar", who is usually an elder man annually elected as the greatest man in the Biradari. Decisions on important matters are taken only after consulting the Biradari, and once taken binding on every member.

Present circumstances

North India
The Turks or Gurkanis or Mughals live in northern India, mainly in Delhi, Ghaziabad, Amroha, Moradabad, Rampur, Sambal, Bijnor, Muzzafer Nagar and Meerut in UP. They also are in Udhamsingh Nagar, Nainital, Haldwani and Dehradun in Uttarakhand, Bhopal, Junagarh in Gujarat.

The community had traditionally served as soldiers in the armies of the various Turkic dynasties which ruled the Indian subcontinent. They were and still are a community of small to medium-sized farmers. A good many are also traders. Like other Gujarati Muslims, they have a caste association known as the Jamat, which acts both as a welfare organization and an instrument of social control.

Bangladesh
The people of Mughal descent in Bangladesh often use Khan or Mirza as a family title, their ancestors who originate in Turkestan or Mongolia came as Soldiers, peoples, nobles or royal members of the Mughal empire.

See also
 Khan Mughal

 Turco-Mongol tradition

References

Mongol peoples
Turkic peoples
Surnames
Punjabi tribes

Tribes of India
Tribes of Pakistan
India–Mongolia relations
Ethnic groups in India
Mongolia–Pakistan relations

Mughal people


Terry Domburg (born 11 July 1960) is a former Australian rules footballer who played with Collingwood in the Victorian Football League (VFL).

Domburg was recruited from South Warrnambool and played seven games for Collingwood in 1980. The last of those was an elimination final, which he started from the bench. Collingwood won that match and went on to play in the grand final, but Domburg wasn't selected for the rest of the finals series.

He also didn't play senior football at Collingwood in 1981 but made six appearances in the 1982 VFL season.

References

1960 births
Australian rules footballers from Victoria (state)
Collingwood Football Club players
South Warrnambool Football Club players
Living people

Terry Domburg


Worry stones are smooth, polished gemstones, usually in the shape of an oval with a thumb-sized indentation, used for relaxation or anxiety relief.  Worry stones are typically around 3 centimetres in size. They are used by holding the stone between the index finger and thumb and gently moving one's thumb back and forth across the stone. This action of moving one's thumb back and forth across the stone is thought to reduce stress, but there is no scientific evidence that it does anything.

Worry stones may also be called palm stones, thumb stones, fidget stones, soothing stones, or sensory stones.

History
As a folk practice implement, worry stones have many origins. Variations on the concept originate in ancient Greece, Tibet, Ireland, and multiple Native American tribes. The concept of a  worry stone began by the simple action of picking a smooth stone and fiddling with the stone. Worry stones made by sea water were generally used by Ancient Greeks. The smoothness of the stone was most often created naturally by running water.

Usage

From the perspective of cognitive behavior therapy, the use of worry stones is one of many folk practices that can function as psychologically healthy self-soothing exercises. Such techniques are imparted at an early stage of treatment, displacing any familiar but destructive coping methods (nail-biting, scratching, lip-biting, etc.) that the patient may have developed. This helps ready the patient to safely confront anxiety or trauma. Worry stones are simple and intuitive enough to be useful in therapeutic contexts where complexity and unfamiliarity are paramount concerns, such as when offering short-term treatment to refugees.  After a patient has mastered a more sophisticated relaxation script for anxiety management, the worry stone itself can serve as a physical 'relaxation script reminder'; the patient may notice an impulse to use the object, and thereby become aware of their own anxiety.

See also
 Fidget Cube
 Fidget spinner
 Kombolói – Greek worry beads
 Mood ring
 Stress ball

References

Ancient Greek culture
Gemstones
Stress (biological and psychological)

Worry stone


Faxinalipterus is a genus of ornithodiran archosaur, originally described as a pterosaur, from the Late Triassic Caturrita Formation of southern Brazil. A study from 2022 reinterpreted the fossil remains and instead suggests them to belong to a member of the Lagerpetidae, another clade of pterosauromorphs.

Description

The type species, Faxinalipterus minima was named and described in 2010 by José Fernando Bonaparte, Marina Bento Soares and César Leandro Schultz. The generic name is derived from Faxinal do Soturno and a Latinised Greek pteron, "wing". The specific name, from Latin minima, means "smallest". The name was later amended and changed to minimus in accordance with the rules of the International Commission on Zoological Nomenclature (ICZN).

Fossils of the species were found in 2002 and 2005 at a site 1.5 kilometres northeast of Faxinal do Soturno, Rio Grande do Sul, from the Caturrita Formation dating from the Carnian-Norian, 220–215 million years old. The holotype, UFRGS PV0927T, is part of the collection of the Universidade Federal do Rio Grande do Sul and consists of several, partially fragmentary, limb elements, perhaps of a single individual. These do not include bones from the hand. An upper jaw fragment, a left maxilla with three teeth, has been referred to the species, but later determined to represent an animal distinct from Faxinalipterus, which was named Maehary.

Faxinalipterus is a rather small animal, with an estimated total humerus length of eighteen millimetres. The size has been compared to that of a sparrow. The hind limbs, much better conserved than the front limbs, are relatively long.

Taxonomy
The describers assigned Faxinalipterus to the Pterosauria, based on its long hollow limbs and saddle-shaped upper joint of the relatively short and robust humerus, suitable to perform a wing stroke. They saw it as perhaps the oldest pterosaur known, as it possibly predates European finds from the Norian. they see that the possible age difference between pterosaurs cannot be large as an indication of rapid evolution in early pterosaurs. Because the Caturrita Formation consists of terrestrial sandstones, that evolution would have had its origins in a terrestrial, not coastal, habitat. They also concluded Faxinalipterus is the most basal known pterosaur, basal features including a lack of fusion between tibia and fibula, a thin radius and a coracoid that has not fused to the scapula. However, Alexander Kellner has suggested Faxinalipterus might be not be a pterosaur but a basal member of the Pterosauromorpha instead or, if the lack of fusion between tibia and fibula is plesiomorphic, even a sister taxon of the Ornithodira. Fabio Marco Dalla Vecchia (2013) stated that he was "unable to find any unequivocal pterosaur features" in the known fossils of F. minima; in fact, according to the author, "the purported humerus is quite unlike the humeri of the Triassic pterosaurs". Dalla Vecchia did not consider Faxinalipterus to be a pterosaur, but did not state what group of vertebrates it belonged to.

Faxinalipterus was reinterpreted as an early member of Lagerpetidae by Kellner and colleagues in 2022, who also removed the maxilla from the referred specimens and assigned it to the newly named basal pterosauromorph Maehary.

See also

 2010 in paleontology

References

External links
 Pterosaur Database entry for Faxinalipterus

Lagerpetidae
Late Triassic reptiles
Late Triassic reptiles of South America
Triassic Brazil
Fossils of Brazil
Paraná Basin
Fossil taxa described in 2010
Taxa named by José Bonaparte

Faxinalipterus


Captain Charles Barrington Balfour JP, DL, CB (20 February 1862 – 31 August 1921) was a British Army officer who became a Conservative Party politician. He sat in the House of Commons from 1900 to 1907.

He was a first cousin of Arthur Balfour, who served as Prime Minister from 1902 to 1905.

Early life
Balfour was the son of Charles Balfour, son of James Balfour, and his wife Adelaide (died 1862), daughter and 8th child of the 6th Viscount Barrington. His father died when he was 10 years old, and Charles succeeded to his estates: Balgonie Castle in Fife and "Newton Don" a country house near Kelso in Roxburghshire.

He was educated at Eton College and then at the Royal Military College, Sandhurst, afterwards being commissioned as a lieutenant in the Scots Guards in 1881. He served in the Anglo-Egyptian War of 1882, and was present at the battle of Tel-El-Kebir, for which received a medal with a clasp. In 1890 he was promoted to captain and joined the 2nd Volunteer Battalion of the King's Own Scottish Borderers from 1891 to 1895, and later served as a captain in the Royal Guards Reserve Regiment. He was appointed to the Reserve on 17 January 1900, and attached to the 25th Regimental district at Berwick-upon-Tweed.

Later life
Balfour was a councillor on Berwickshire County Council, a Justice of the Peace for Berwickshire, and a Deputy Lieutenant of Berwickshire.

He stood for Parliament five times before he won a seat.  He was unsuccessful in Roxburghshire at the 1885 general election, in Berwickshire at the 1892 and 1895 general elections, and the Southport by-election in 1899.

At the 1900 general election he was elected unopposed as the Member of Parliament (MP) for the Hornsey division of Middlesex. He was re-elected in 1906, but resigned his seat on 28 May 1907 by becoming Steward of the Manor of Northstead.

Balfour was appointed as Lord Lieutenant of Berwickshire on 31 May 1917. In the King's Birthday Honours in June 1919, he was made a Companion of the Order of the Bath for services in connection with the First World War in his capacity as president and chairman of the Berwickshire Territorial Force Association.

Balfour was also a director of Barclays Bank and of the Scottish Widows fund. He was elected a Fellow of the Royal Botanic Society in November 1902.

He died on 31 August 1921. A memorial to his memory was erected in Kelso in 1925 to a design by Sir Robert Lorimer.

Family
In 1888, Balfour married Lady Helena McDonnell, known as "Nina", daughter of Alexander MacDonnell, 5th Earl of Antrim. They had four sons, the eldest being Charles James Balfour (b.1889), who became a captain in the Scots Guards, and (in 1917) married the Hon. Aurea Vera Baring, daughter of Francis Baring, 5th Baron Ashburton.  Another son, John, was imprisoned in Germany at Ruhleben, a racecourse on the outskirts of Berlin, for the duration of the First World War. He had been studying at a university in Germany at the outbreak of the war and was immediately interned there. On repatriation, he joined the Foreign Office and became a career diplomat, and was knighted in 1954. He was posted in Moscow, Madrid, Buenos Aires and Washington, as well as serving in other countries. He died in 1983. His memoir, Not Too Correct an Aureole: the Recollections of a Diplomat, was published posthumously.

References

External links

1862 births
1921 deaths
Companions of the Order of the Bath
Lord-Lieutenants of Berwickshire
Conservative Party (UK) MPs for English constituencies
UK MPs 1900–1906
UK MPs 1906–1910
Scots Guards officers
British Army personnel of the Anglo-Egyptian War
People educated at Eton College
Graduates of the Royal Military College, Sandhurst
Councillors in Scotland
Charles

Charles Balfour


Maggie Lindsy Haberman (born October 30, 1973) is an American journalist, a White House correspondent for The New York Times, and a political analyst for CNN. She previously worked as a political reporter for the New York Post, the New York Daily News, and Politico. She wrote about Donald Trump for those publications and rose to prominence covering his campaign, presidency, and post-presidency for the Times. In 2022, she published the best-selling book Confidence Man: The Making of Donald Trump and the Breaking of America.

Early life
Haberman was born on October 30, 1973, in New York City, the daughter of Clyde Haberman, who became a longtime journalist for The New York Times, and Nancy Haberman (née Spies), a media communications executive at Rubenstein Associates. At that firm, a "publicity powerhouse" whose eponymous founder has been called "the dean of damage control" by Rudy Giuliani, Haberman's mother worked for a client list of influential New Yorkers including Donald Trump.

Haberman is a 1991 graduate of Ethical Culture Fieldston School, followed by Sarah Lawrence College where she earned a bachelor's degree in 1995.

Career
Haberman's career began in 1996 when she was hired by the New York Post. In 1999, the Post assigned her to cover City Hall, where she became "hooked" on political reporting. Haberman worked for the Posts rival newspaper, the New York Daily News, for three and a half years in the early 2000s, where she continued to cover City Hall. Haberman returned to the Post to cover the 2008 U.S. presidential campaign and other political races. In 2010, Haberman was hired by Politico as a senior reporter. She became a political analyst for CNN in 2014.

Haberman was hired by The New York Times in early 2015 as a political correspondent for the 2016 U.S. presidential campaign. According to one commentator, Haberman "formed a potent journalistic tag team with Glenn Thrush".

Her reporting style as a member of the White House staff of the Times features in the Liz Garbus documentary series The Fourth Estate.

According to an analysis by British digital strategist Rob Blackie, Haberman was one of the most commonly followed political writers among Biden administration staff on Twitter.

Reporting on Trump
Haberman frequently broke news about the Trump campaign and administration. In March 2016 Haberman, along with New York Times reporter David E. Sanger, questioned Trump in an interview, "Donald Trump Expounds on His Foreign Policy Views," during which he "agreed with a suggestion that his ideas might be summed up as 'America First,"  a term first used in association with Trump in an Op-Ed by the former U.S. diplomat Armand Cucciniello.

In October 2016, one month before Donald Trump defeated Hillary Clinton in the US presidential election, a stolen document released by WikiLeaks outlined how Clinton's campaign could induce Haberman to place sympathetic stories in Politico. However, contrary to the hopes of her campaign, subsequent stories by Haberman about Clinton were much more critical of her than they had hoped for. Haberman was criticized for applying a double standard in her reporting about the scandals involving the two presidential candidates of the 2016 election. Haberman and The New York Times supposedly disproportionately covered Hillary Clinton's email controversy with many more articles critical of her than of the numerous scandals involving her competitor Donald Trump, including his sexual misconduct allegations, with Taylor Link writing: "The NYT's White House reporter calls the Clinton campaign liars, but was hesitant to use that word with Trump."

She has been credited with becoming "the highest-profile reporter" to cover Trump's campaign and presidency, as well as "the most-cited journalist in the Mueller report". She has also been accused "from certain corners of the left as a supposed water carrier for the 45th president".

In 2022, Haberman published a book on the Trump presidency called Confidence Man: The Making of Donald Trump and the Breaking of America. In advance of its release, CNN published an excerpt that revealed that Trump planned to simply remain in the White House after his November 2020 election loss. A Guardian review of the book describes her as "the New York Times' Trump whisperer", and describes the book as "much more than 600 pages of context, scoop and drama....it gives Trump and those close to him plenty of voice – and rope." The book debuted at number one on The New York Times nonfiction best-seller list for the week ending October 8, 2022.

Awards and honors
In 2018, Haberman's reporting on the Trump administration earned the Pulitzer Prize for National Reporting (shared with colleagues at the Times and The Washington Post), the individual Aldo Beckman Award for Journalistic Excellence award from the White House Correspondents' Association, and the Front Page Award for Journalist of the Year from the Newswomen's Club of New York.

Criticism
In January 2020, attorneys representing Nick Sandmann announced that Haberman was one of many media personalities they were suing for defamation for her coverage of the 2019 Lincoln Memorial Confrontation.

Journalists and authors criticized Haberman for allegedly choosing to withhold information about Donald Trump for the sake of her book, despite being aware of it ahead of the January 6 United States Capitol attack, although they presented no evidence of when she had learned of Trump's statements. Haberman was also criticized for withholding her knowledge of Trump's unlawful possession of classified documents for over a year. Her reporting has also been criticized for a passive slant favorable to the Trump White House.

Personal life
Haberman married Dareh Ardashes Gregorian, a reporter for the New York Daily News, formerly of the New York Post, and son of Vartan Gregorian, in a November 2003 ceremony at the Tribeca Rooftop in Manhattan. They have three children and live in Brooklyn.

Bibliography

See also
 New Yorkers in journalism

References

External links

1973 births
20th-century American journalists
20th-century American women journalists
21st-century American journalists
21st-century American women journalists
American political journalists
CNN people
Ethical Culture Fieldston School alumni
Jewish American journalists
Living people
New York Daily News people
New York Post people
The New York Times Pulitzer Prize winners
The New York Times writers
Pulitzer Prize for National Reporting winners
Sarah Lawrence College alumni
Journalists from Brooklyn
20th-century American women writers
21st-century American women writers

Maggie Haberman


Daren Maxwell Kagasoff (KA-guh-sawf; born September 16, 1987) is an American actor. He is best known for starring as Ricky Underwood on the ABC Family teen drama series The Secret Life of the American Teenager from 2008 to 2013.

Early life
Kagasoff was born in Encino, California, to Elise Kagasoff (née Levy) and Barry Kagasoff, a diamond merchant. He is the middle of three children; he has an older brother, Justin, and a younger sister, Natalie. Kagasoff is Jewish.

Kagasoff graduated from Montclair Preparatory High School in 2005 where he played on his school's baseball team. While attending school at San Francisco State University, Kagasoff decided to become an actor.

Career
After deciding to return to Los Angeles, Kagasoff landed the lead role in a local theater production of Suburbia, a play that the eponymous 1996 film was based upon. After studying acting, he began auditioning for television and film roles. During one of his first auditions, he impressed producer Brenda Hampton so much that she hand-picked him to star as Ricky Underwood in the ABC Family series The Secret Life of the American Teenager. The show ran for five  seasons.

It was announced on February 24, 2013, that Kagasoff had been cast as Alex in the Fox pilot Delirium, based on the novel by Lauren Oliver. However, the pilot was not picked up to series.

Kagasoff co-starred as Trevor in the supernatural horror film Ouija, directed by Stiles White and co-written by Juliet Snowden and White. The film was released in October 2014.

In September 2014, Kagasoff joined the cast of the Red Band Society, a comedy-drama series on Fox for the 2014–15 American television season developed by Margaret Nagle. He had a recurring role playing Kara's love interest, Hunter Cole. The series premiered on September 17, 2014, and was canceled after one season.

Filmography

Awards and nominations

References

External links

1987 births
21st-century American male actors
Actors from the San Fernando Valley
American male film actors
American male television actors
Jewish American male actors
Living people
Male actors from California
People from Encino, Los Angeles
San Francisco State University alumni
21st-century American Jews
Montclair College Preparatory School alumni

Daren Kagasoff


Quentin Crisp (born Denis Charles Pratt;  – ) was an English raconteur, whose work in the public eye included a memoir of his life and various media appearances. Before becoming well known, he was an artist's model, hence the title of his most famous work, The Naked Civil Servant. He afterwards became a gay icon due to his flamboyant personality, fashion sense and wit. His iconic status was occasionally controversial due to his remarks about subjects like the AIDS crisis, inviting censure from gay activists including human-rights campaigner Peter Tatchell.

During his teen years, he worked briefly as a rent boy. He then spent thirty years as a professional model for life classes in art colleges. The interviews he gave about his unusual life attracted great curiosity, and he was soon sought after for his personal views on social manners and the cultivation of style.

His one-man stage show was a long-running hit both in Britain and America, and he also appeared in films and on television. Crisp defied convention by criticising both gay liberation and Diana, Princess of Wales.

Biography

Early life
Denis Charles Pratt was born in Sutton, Surrey, on 25 December 1908, the fourth child of solicitor Spencer Charles Pratt (1871–1931) and former governess Frances Marion Pratt (née Phillips; 1873–1960). His elder siblings were Katherine (1901–1976), Gerald (1902–1983) and Lewis (1907–1968). He changed his name to Quentin Crisp in his twenties after leaving home, and expressed a feminine appearance to a degree that shocked contemporary Londoners and provoked gay-bashing assaults.

By his own account, Crisp was "effeminate" from an early age, resulting in his being teased while at Kingswood House School in Epsom, Surrey, from which he won a scholarship to Denstone College, Uttoxeter, Staffordshire, in 1922. After leaving school in 1926, Crisp studied journalism at King's College London, but failed to graduate in 1928, going on to take art classes at the Regent Street Polytechnic.

Around this time, Crisp began visiting the cafés of Soho, his favourite being The Black Cat in Old Compton Street, meeting other young gay men and rent boys, and experimenting with make-up and women's clothes. For six months, he worked as a prostitute; in a 1998 interview, he said he was looking for love, but found only degradation, a reflection he had previously expressed in the 1968 World in Action interview, which aired on television in 1971.

Crisp left home to move to the centre of London at the end of 1930, and after dwelling in a succession of flats, found a bed-sitting room in Denbigh Street, Pimlico, where he "held court with London's brightest and roughest characters." His 'outlandish' appearance—he wore bright make-up, dyed his long hair crimson, painted his fingernails and wore sandals to display his painted toe-nails—brought admiration and curiosity from some quarters, but generally attracted hostility and violence from strangers passing him in the streets.

Middle years
Crisp attempted to join the British army at the outbreak of the Second World War, but was rejected and declared exempt by the medical board on the grounds that he was "suffering from sexual perversion". He remained in London during the 1941 Blitz, stocked up on cosmetics, purchased five pounds of henna and later paraded through the streets during the black-out, picking up G.I.s. In 1940, he moved into a first-floor flat at 129 Beaufort Street, Chelsea, a bed-sitting room that he occupied until he emigrated to the United States in 1981. In the intervening years, he never attempted any housework, writing famously in his memoir The Naked Civil Servant: "After the first four years the dirt doesn't get any worse."

Crisp left his job as an engineer's tracer in 1942 to become a model in life classes in London and the Home Counties. Crisp wanted to call his book I Reign in Hell, a reference to Milton's Paradise Lost ("Better to reign in Hell, than serve in Heaven"), but his agent insisted on The Naked Civil Servant, an insistence that later gave him pause when he offered the manuscript to Tom Maschler of Jonathan Cape on the same day that Desmond Morris delivered The Naked Ape. The Naked Civil Servant was published in 1968 to generally good reviews, although it initially only sold 3,500 copies. Crisp was then approached by the documentary film maker Denis Mitchell to be the subject of a 1968 short film in which he discussed his life and lifestyle. The documentary aired on British television in 1971.

Fame

In 1975, the television version of The Naked Civil Servant was broadcast on British and US television, making actor John Hurt, and Crisp, into stars. This success launched Crisp in a new direction: that of performer and tutor. He devised a one-man show and began touring the country with it. The first half of the show was an entertaining monologue loosely based on his memoirs, while the second half was a question-and-answer session with Crisp picking the audience's written questions at random and answering them in an amusing manner.

After the success of the film, his autobiography was reprinted; Gay News commented that it should have been published posthumously (Crisp said that this was their polite way of telling him to drop dead). Gay rights campaigner Peter Tatchell said he had met Crisp in 1974, and alleged that he was not sympathetic to the Gay Liberation movement of the time. Tatchell said Crisp asked him: "What do you want liberation from? What is there to be proud of? I don't believe in rights for homosexuals."

By now Crisp was a theatre-filling humorist; in 1978, his one-man show sold out London's Duke of York's Theatre. He then took the show to New York. His first stay in the Hotel Chelsea coincided with a fire, a robbery, and the death of Nancy Spungen. Crisp decided to move to New York permanently and, in 1981, found a small apartment at 46 East 3rd Street in Manhattan's East Village.

As he had done in London, Crisp allowed his telephone number to be listed in the telephone directory. He saw it as his duty to converse with anyone who called him, saying "If you don't have your name in the phone book, you're stuck with your friends. How will you ever enlarge your horizons?" He answered the phone with the phrase: "Yes, Lord?", or "Oh yes?", in a querulous tone of voice. His openness to strangers extended to accepting dinner invitations from almost anyone. Whilst he expected that the host would pay for dinner, Crisp did his best to "sing for his supper" by regaling his host with wonderful stories and yarns, much as he did in his theatrical performances.

Crisp continued to perform his one-man show, published books on the importance of contemporary manners as a means of social inclusion (as opposed to etiquette, which he claimed is socially exclusive), and supported himself by accepting social invitations and writing film reviews and columns for UK and US magazines and newspapers. He said that provided one could exist on peanuts and champagne, one could quite easily live by going to every cocktail party, premiere and first night to which one was invited.

Crisp also acted on television and in films. He made his debut as a film actor in the Royal College of Art's low-budget production of Hamlet (1976). Crisp played Polonius in the 65-minute adaptation of Shakespeare's play, alongside Helen Mirren, who played both Ophelia and Gertrude. He appeared in the 1985 film The Bride, which brought him into contact with Sting, who played the lead role of Baron Frankenstein, and who in 1987 wrote the song "Englishman in New York" for and about Crisp. Crisp also appeared on the television show The Equalizer in the 1987 episode "First Light", and as the narrator of director Richard Kwietniowski's short film Ballad of Reading Gaol (1988), based on the poem by Oscar Wilde. Four years later, he was cast in a lead role, and got top billing, in the low-budget independent film Topsy and Bunker: The Cat Killers, playing the door-man of a flea-bag hotel in a run-down neighbourhood, quite like the one he lived in. Director Thomas Massengale reportedly said that Crisp was a delight to work with.

The 1990s were his most prolific decade as an actor, as more and more directors offered him roles. In 1992 he was persuaded by Sally Potter to play Elizabeth I in the film Orlando. Although he found the role taxing, he won acclaim for a dignified and touching performance. Crisp next had an uncredited cameo in the 1993 AIDS drama Philadelphia. He accepted some other small bit parts and cameos, such as a pageant judge in 1995's To Wong Foo, Thanks for Everything! Julie Newmar. Crisp's last role was in an independent film, American Mod (1999), while his last full-feature film was HomoHeights (also released as Happy Heights, 1996). He was chosen by Channel 4 to deliver the first Alternative Christmas Speech, a counterpoint to the Queen's Christmas speech, in 1993.

Last years
Crisp remained fiercely independent and unpredictable into old age. He caused controversy and confusion in the gay community by jokingly calling AIDS "a fad", and homosexuality "a terrible disease". He was continually in demand from journalists requiring a sound-bite, and throughout the 1990s his commentary was sought on any number of topics.

Crisp was a stern critic of Diana, Princess of Wales, and her attempts to gain public sympathy following her divorce from Prince Charles. He stated: "I always thought Diana was such trash and got what she deserved. She was Lady Diana before she was Princess Diana so she knew the racket. She knew that royal marriages have nothing to do with love. You marry a man and you stand beside him on public occasions and you wave and for that you never have a financial worry until the day you die." Following her death in 1997, he commented that it was perhaps her "fast and shallow" lifestyle that led to her demise: "She could have been  - and she was swanning about Paris with Arabs. What disgraceful behaviour! Going about saying she wanted to be the queen of hearts. The vulgarity of it is so overpowering."

In 1995 he was among the many people interviewed for The Celluloid Closet, a historical documentary addressing how Hollywood films have depicted homosexuality. In his third volume of memoirs, Resident Alien, published in the same year, Crisp stated that he was close to the end of his life, though he continued to make public appearances, and in June of that year he was one of the guest entertainers at the second Pride Scotland festival in Glasgow.

In 1997 Crisp was crowned king of the Beaux-Arts Ball run by the Beaux Arts Society. He presided alongside Queen Audrey Kargere, Prince George Bettinger and Princess Annette Hunt.

In December 1998 he celebrated his ninetieth birthday, performing the opening night of his one-man show, An Evening with Quentin Crisp, at The Intar Theatre on Forty-Second Street in New York City (produced by John Glines of The Glines organisation).

Gender identity

In an interview with CBC in 1977, upon being queried about whether he desired to be a woman, Crisp stated: "Well, I suppose when I was a child, when I lived almost entirely in a dreamworld, I suppose I thought of myself as a woman. But, later on, you realize that you have to live in the real world, and that you are not a woman. You are only in some senses 'effeminate,' or 'feminine,' and you must learn to make this compromise - to live in a world where, statistically, you are a man, whatever you may think about yourself."

At the age of 90 Crisp wrote that he had 'accepted' that he was transgender. In The Last Word, published posthumously on the basis of transcriptions recorded by his friend, Phillip Ward, Crisp related, "Having labelled myself homosexual and having been labelled as such by the wider world, I have effectively lived a 'gay' life for most of my years. Consequently, I can relate to gay men because I have more or less been one for so long in spite of my actual fate being that of a woman trapped in a man's body. I refer to myself as homosexual without thinking because of how I have lived my life. If you are reading this and are gay, think of me as one of your own even though you now know the truth. If it's confusing for you, think how confusing it has been for me these past ninety years."

Death
Crisp died of a heart attack on 21 November 1999, nearly one month before his 91st birthday, while staying at the home of a friend in Chorlton-cum-Hardy, Manchester, on the eve of a nationwide revival of his one-man show. A humorous pact he had made with Penny Arcade to live to be a century old, with a decade off for good behaviour, proved prophetic. He was cremated with a minimum of ceremony as he had requested, and his ashes were flown back to his personal assistant and travel companion Phillip Ward in New York.

He bequeathed his rights in three books to his respective collaborators: Phillip Ward for Crisp's final book The Last Word and the book And One More Thing (formerly titled Dusty Answers); Guy Kettelhack for The Wit and Wisdom of Quentin Crisp and John Hofsess for Manners from Heaven. From his remaining literary estate (including The Naked Civil Servant), he bequeathed all future UK-only income (but not the copyrights, which are managed by Ward, and belong to Ward, literary agent Stedman Mays, and writer Mary Tahan) to the two men he considered to have had the greatest influence on his career: his long-time agent Richard Gollner, and his first agent Donald Carroll.

Posthumously published works
In the two years before his death (1997–1999), Crisp had been compiling a work that was initially to be titled The Dusty Answers with Phillip Ward. Crisp and Ward developed material for this book through many hours of recorded interviews, which was necessary because Crisp had lost the use of his left hand and was unable to use a typewriter or computer. The resulting manuscript remained unpublished for eighteen years after Crisp's death, because Ward found it emotionally difficult to transcribe Crisp's words. A chance meeting with Laurence Watts, who interviewed Ward for Pink News, led them to co-edit Crisp's remaining work.

On 21 November 2017, MB Books published The Last Word: An Autobiography, written by Crisp's friend, Phillip Ward, on the basis of tape recordings made of Crisp's dictations, and edited by Ward and Watts. Whereas The Naked Civil Servant made Crisp famous, and How To Become A Virgin detailed that fame and his life in New York, The Last Word was written as a goodbye to the world, with Crisp knowing the end was near. In it he recounts several previously untold stories from his life, walks the reader through his journey from obscurity, and reflects on his philosophy. He also describes his realization that could he live his life again, he might have been a trans woman.

In January 2019, MB Books published And One More Thing, a companion book to The Last Word: An Autobiography, again edited by Ward and Watts. This book contains material that the editors believed did not fit into The Last Word. In And One More Thing, Crisp primarily shares his views on other people, their lives and their opinions, from flapper girls to Monica Lewinsky, and from the British Royal Family to Walt Disney. Also included are his collected poems, the script for his Alternative Christmas Message broadcast on Britain's Channel 4 in 1993, and the script of his one-man show An Evening With Quentin Crisp.

Influence and legacy

Sting dedicated his song "Englishman in New York" (1987) to Crisp, who had jokingly remarked "that he looked forward to receiving his naturalisation papers so that he could commit a crime and not be deported." In late 1986 Sting visited Crisp in his apartment and was told over dinner, and over the next three days, what life had been like for a homosexual man in the largely homophobic Great Britain of the 1920s to the 1960s. Sting was both shocked and fascinated and decided to write the song. It includes the lines:

Sting says, "Well, it's partly about me and partly about Quentin. Again, I was looking for a metaphor. Quentin is a hero of mine, someone I know very well. He is gay and he was gay at a time in history when it was dangerous to be so. He had people beating up on him on a daily basis, largely with the consent of the public."

Crisp was the subject of a photographic portrait by Herb Ritts and was also chronicled in Andy Warhol's diaries.

In his 1995 autobiography Take It Like a Man, singer Boy George discusses how he had felt an affinity towards Crisp during his childhood, as they faced similar problems as young homosexual people living in homophobic surroundings.

In 1991, a documentary about Crisp, Resident Alien, was released by Greycat Films. Crisp was then the subject of the play Resident Alien, by Tim Fountain, which starred his friend Bette Bourne. The play opened in 1999 at the Bush Theatre in London; in 2001, it transferred to the New York Theatre Workshop where it won two Obies (for performance and design). In 2002, it won a Herald Angel (Best Actor) at the Edinburgh Festival; subsequent productions have been seen across the US and Australia.

The 1981 synthpop song No G.D.M by German electro band Gina X Performance is dedicated to Crisp. The song The Ballad of Jack Eric Williams (and Other Three-Named Composers) from William Finn's 2003 song-cycle Elegies refers to him.

In 2009 a television sequel to The Naked Civil Servant was broadcast. Entitled An Englishman in New York, the production documented Crisp's later years in Manhattan. Thirty-four years after his first award-winning performance as Crisp, John Hurt returned to play him again. Other co-stars included Denis O'Hare as Phillip Steele (an amalgam character based on Crisp's friends Phillip Ward and Tom Steele), Jonathan Tucker as artist Patrick Angus, Cynthia Nixon as Penny Arcade, and Swoosie Kurtz as Connie Clausen. The production was filmed in New York in August 2008 and completed in London in October 2008. The film was directed by British director Richard Laxton, written by Brian Fillis, produced by Amanda Jenks and made its premiere at the Berlinale (the Berlin International Film Festival) in early February 2009, before being shown on television later that year.

That same year, Crisp's great-nephew, academic and film-maker Adrian Goycoolea, premiered a short documentary, Uncle Denis?, at the 23rd London Lesbian & Gay Film Festival. The film uses interviews with family and previously unseen home movie footage. In collaboration with Crisperanto (The Quentin Crisp Archives) curator Philip Ward, Goycoolea also created an installation entitled 'Personal Effects'  at the 2010 MIX NYC, New York City, which recreated Crisp's New York apartment using his personal effects and included home video footage.

In 2013, with curator Ward, the Museum of Arts and Design in Manhattan staged a three-month retrospective on Crisp, entitled Ladies and Gentlemen, Mr. Quentin Crisp. The retrospective consisted of free screenings of interviews, one man shows, documentaries and other recorded media.

In 2014 Mark Farrelly's solo performance Quentin Crisp: Naked Hope debuted at the Edinburgh Festival, before transferring to the St. James's Theatre in London and subsequently touring. It depicts Crisp at his Chelsea flat in the 1960s and performing his one-man show thirty years later.

In the 2016 Ghostbusters reboot, Bill Murray explicitly based the dress style of his character (Martin Heiss) on Crisp.

In his 2020 autobiography Confess, Rob Halford of Judas Priest identifies Crisp as having been a hero of his. When the then closeted Halford had first seen The Naked Civil Servant in 1975, he had been impressed by the film and Crisp. Halford came out, in an MTV interview, on 4 February 1998. In 1999, Halford attended San Diego Pride with his partner, Thomas. While there, Halford met Crisp, and got a book signed by him ('To Rob, from Quentin'). According to Halford, he continues to treasure the signed book. Halford views himself as a rock version of Crisp, and refers to himself as the "stately homo of heavy metal".

Works
 Lettering for Brush and Pen (1936), Quentin Crisp and A.F. Stuart, Frederick Warne Ltd. Manual on typefaces for advertising.
 Colour In Display (1938) Quentin Crisp, 131 pp., The Blandford Press. Manual on the use of colour in window displays.
 All This and Bevin Too (1943) Quentin Crisp, illustrated by Mervyn Peake, Mervyn Peake Society . Parable, in verse, about an unemployed kangaroo.
 The Naked Civil Servant (1968) Quentin Crisp, 222 pp., HarperCollins, . Crisp's account of the first half of his life.
 How to Have a Life Style (1975), Quentin Crisp, 159 pp., Cecil Woolf Publ., . Essays on charisma and personality.
 Love Made Easy (1977) Quentin Crisp, 154 pp., Duckworth, . Fantastical, semi-autobiographical novel.
 Chog: A Gothic Fable (1979), Quentin Crisp, Methuen, London. Illustrated by Jo Lynch, Magnum (1981).
 How to Become a Virgin (1981) Quentin Crisp, 192 pp., HarperCollins, . The second instalment of autobiography, describing his experience of the fame that The Naked Civil Servant and its dramatisation brought.
 Doing It With Style (1981) Quentin Crisp, with Donald Carroll, illustrated by Jonathan Hills, 157 pp., Methuen, . A guide to thoughtful and stylish living.
 The Wit and Wisdom of Quentin Crisp (1984) Quentin Crisp, edited by Guy Kettelhack, Harper & Row, 140 pp., . Compilation of Crisp's essays and quotations.
 Manners from Heaven: a divine guide to good behaviour (1984) Quentin Crisp, with John Hofsess, Hutchinson, . Instructions for compassionate living.
 How to Go to the Movies (1988) Quentin Crisp, 224 pp., St. Martin's Press, . Movie reviews and essays on film.
 Quentin Crisp's Book of Quotations, also published as The Gay and Lesbian Quotation Book: a literary companion (1989) edited by Quentin Crisp, Hale, 185 pp. . Anthology of gay-related quotes.
 Resident Alien: The New York Diaries (1996) Quentin Crisp, 232 pp., HarperCollins, . Diaries and recollections from 1990 to 1994.
 The Last Word: An Autobiography, (2017) Quentin Crisp, edited by Phillip Ward and Laurence Watts, MB Books, 232 pp., . Quentin Crisp's final book, the third and last instalment of his autobiography, written during the last two years of his life.
 And One More Thing, (2019) Quentin Crisp, edited by Phillip Ward and Laurence Watts, MB Books, 193 pp., . A companion book to Quentin Crisp's The Last Word: An Autobiography. Crisp shares his views on other people, their lives and their opinions. Included is the script for Quentin's Alternative Christmas Message, broadcast on Britain's Channel 4 in 1993, the script of his one-man show An Evening With Quentin Crisp and his collected poetry.

Filmography
  Captain Busby: the Even Tenour of Her Ways - (1967) - with Martina Mayne, as Marcella
 World in Action (documentary) (Broadcast 1971, filmed in 1968) ...himself. Directed by Denis Mitchell.
 The Naked Civil Servant (1975) (introduction)... himself
 Hamlet (1976) .... Polonius
 The Bride.... Dr. Zalhus
 The Equalizer .... Ernie Frick (episode, "First Light") (1987)
 Ballad of Reading Gaol (short) (1988) .... Narrator
 Resident Alien (1990) (autobiography) .... Himself
 Topsy and Bunker: The Cat Killers (1992) .... Pat the Doorman
 Orlando (1992) .... Queen Elizabeth I
 Philadelphia (1993) (uncredited) .... Guest at Party
 Red Ribbons (1994) (Video) .... Horace Nightingale III
 Aunt Fannie (1994) (Video) .... Aunt Fannie
 Natural Born Crazies (1994) .... Narrator
 To Wong Foo, Thanks for Everything! Julie Newmar (1995) .... New York pageant judge
 Taylor Mead Unleashed, (documentary-1996) Himself. Sebastian Piras director
 Little Red Riding Hood (1997) (voice) .... Narrator
 Barriers (1998)
 Famous Again (1998)

Discography
 "An Evening with Quentin Crisp" (2008) .... Cherry Red Records (U.K.) .... Double C.D. featuring live recordings made at Columbia Recording Studios, New York, on 22 February 1979. Also includes a 35-minute interview with Crisp by Morgan Fisher, recorded in June 1980.
 "Miniatures 1 & 2" (2008) .... Cherry Red Records (U.K.) .... Double C.D. of one-minute tracks by many muses, poets, etc. Produced by Morgan Fisher in 1980 (Pt.1) and 2000 (Pt. 2). Crisp's track is titled "Stop the Music for a Minute".

See also
 LGBT culture in New York City
 List of LGBT people from New York City

References

Notes
 Take It Like A Man, Boy George, Sidgwick & Jackson, 490 pages, . Autobiography of Boy George.
 Coming on Strong, Joan Rhodes, Serendipity Books, 2007. Autobiography of strongwoman Joan Rhodes who was an intimate friend of Crisp's for over half a century.
 The Krays and Bette Davis, Patrick Newley, AuthorsOnline Books, 2005. Memoir by showbiz writer Patrick Newley who acted as Crisp's P.A. for some years.

Biographies
 The Stately Homo: a celebration of the life of Quentin Crisp, (2000) edited by Paul Bailey, Bantam, 251 pages, . Collection of interviews and tributes from those who knew Crisp.
 Quentin Crisp, (2002), Tim Fountain, Absolute Press, 192 pages, . Biography by dramatist who knew Crisp in the last few years of his life.
 Quentin & Philip, (2002), Andrew Barrow, Macmillan, 559 pages, . Dual biography of Crisp and his friend Philip O'Connor.
 Quentin Crisp: The Profession of Being'', (2011), Nigel Kelly, McFarland, . Biography of Mr Crisp by Nigel Kelly who runs the www.quentincrisp.info website.

Further reading
Archival sources
 Robert Patrick. Letters from Quentin Crisp, 1991–1999 (.21 linear feet) are housed at the New York Public Library.
 Donald Carroll letters received from poets, 1959–1969 (.45 cubic feet) are housed Pennsylvania State University Libraries.

External links

 World in Action - YouTube - YouTube
 Official site Crisperanto: The Quentin Crisp Archives ~ All Things Quentin Crisp!
 Obituary in the online magazine Salon.com
 Interview from 1997 in Spike Magazine
 One-hour radio interview from 1989 from Bob Claster's Funny Stuff – KCRW Santa Monica

 Cherry Red Records, who have released recordings by Quentin
 Interview with Donald Carroll in 1981 by Studs Terkel from the Studs Terkel Radio Archive

1908 births
1999 deaths
20th-century English male actors
20th-century English male writers
20th-century English LGBT people
Alumni of King's College London
Alumni of the Regent Street Polytechnic
British socialites
English artists' models
English calligraphers
English designers
English expatriates in the United States
English gay actors
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English male film actors
English male prostitutes
English male stage actors
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English LGBT broadcasters
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English transgender writers
People educated at Denstone College
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Quentin Crisp