"Negative capability" is the capacity of artists to pursue ideals of beauty, perfection and sublimity even when it leads them into intellectual confusion and uncertainty, as opposed to a preference for philosophical certainty over artistic beauty. The term, first used by John Keats in 1817, has been subsequently used by poets, philosophers and literary theorists to describe the ability to perceive and recognize truths beyond the reach of what Keats called "consecutive reasoning".

Keats
Keats used the phrase only briefly in a private letter to his brothers George and Thomas on 22 December 1817, and it became known only after his correspondence was collected and published. Keats described a conversation he had been engaged in a few days previously:

I had not a dispute but a disquisition with Dilke, upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously—I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason—Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half-knowledge. This pursued through volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.

Samuel Taylor Coleridge was, by 1817, a frequent target of criticism by the younger poets of Keats's generation, often ridiculed for his infatuation with German idealistic philosophy.  Against Coleridge's obsession with philosophical truth, Keats sets up the model of Shakespeare, whose poetry articulated various points of view and never advocated a particular vision of truth.

Keats' ideas here, as was usually the case in his letters, were expressed tersely with no effort to fully expound what he meant, but passages from other letters enlarge on the same theme. In a letter to J.H. Reynolds in February 1818, he wrote:

We hate poetry that has a palpable design upon us—and if we do not agree, seems to put its hand in its breeches pocket. Poetry should be great & unobtrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself but with its subject.

In another letter to Reynolds the following May, he contrived the metaphor of 'the chamber of maiden thought' and the notion of the 'burden of mystery', which together express much the same idea as that of negative capability:

I compare human life to a large Mansion of Many Apartments, two of which I can only describe, the doors of the rest being as yet shut upon me—The first we step into we call the infant or thoughtless Chamber, in which we remain as long as we do not think—We remain there a long while, and notwithstanding the doors of the second Chamber remain wide open, showing a bright appearance, we care not to hasten to it; but are at length imperceptibly impelled by the awakening of the thinking principle—within us—we no sooner get into the second Chamber, which I shall call the Chamber of Maiden-Thought, than we become intoxicated with the light and the atmosphere, we see nothing but pleasant wonders, and think of delaying there for ever in delight: However among the effects [which] this breathing is father of is that tremendous one of sharpening one's vision into the heart and nature of Man—of convincing ones nerves that the World is full of Misery and Heartbreak, Pain, Sickness, and oppression—whereby This Chamber of Maiden Thought becomes gradually darken'd and at the same time on all sides of it many doors are set open—but all dark—all leading to dark passages—We see not the balance of good and evil.  We are in a Mist—We are now in that state—We feel the 'burden of the Mystery,' To this point was Wordsworth come, as far as I can conceive when he wrote 'Tintern Abbey' and it seems to me that his Genius is explorative of those dark Passages.  Now if we live, and go on thinking, we too shall explore them.  he is a Genius and superior to us, in so far as he can, more than we, make discoveries, and shed a light in them—Here I must think Wordsworth is deeper than Milton[.]

Keats understood Coleridge as searching for a single, higher-order truth or solution to the mysteries of the natural world. He went on to find the same fault in Dilke and Wordsworth. All these poets, he claimed, lacked objectivity and universality in their view of the human condition and the natural world. In each case, Keats found a mind which was a narrow private path, not a "thoroughfare for all thoughts". Lacking for Keats were the central and indispensable qualities requisite for flexibility and openness to the world, or what he referred to as negative capability.

This concept of negative capability is precisely a rejection of set philosophies and preconceived systems of nature. He demanded that the poet be receptive rather than searching for fact or reason, and to not seek absolute knowledge of every truth, mystery, or doubt.

Keat's concept of negative capability can be understood as an author's ability to remain objective and emotionally detached in his or her representation of characters, objects, and actions. In his essay "Tradition and the Individual Talent," T. S. Eliot wrote, "the progress of an artist is a continual self-sacrifice, a continual extinction of personality." According to this line of interpretation, the author negates himself, his own desires and passions, in order to present a fully independent character, one with all the uncertainty and mutability of a real person. Brian Vickers comments, "By 'negative capability', Keats probably meant Shakespeare's ability to imagine himself in each dramatic scene, to efface himself, and to enter with complete sympathy into the passions and moods of his characters"

Use of the word 'negative'
Negative capability can be difficult to grasp, as it is not a name for a thing but rather a way of feeling or of knowing. The word "negative" is defined in opposition to the positivism prevalent at the time. In the same way that chameleons are 'negative' for colour, poets are negative for self and identity: they change their identity with each subject they inhabit. This intuitive knowing of the inner life of, for example, a nightingale or a Grecian urn, cannot be grasped as a concept, and it is known through actual living experience of one's everyday changeable being.

Another explanation of the word negative relies on hypothesising that Keats was influenced in his studies of medicine and chemistry, and that it refers to the negative pole of an electric current which is passive and receptive. In the same way that the negative pole receives the current from the positive pole, the poet receives impulses from a world that is full of mystery and doubt, which cannot be explained but which the poet can translate into art.

Contrasted with positive capability
When humans are presented with external stress, the autonomic nervous system provides them with a 'fight or flight' response. This seems like a binary choice, but Keats provides a third option. Fight or flight has been called positive capability, and teachers of mindfulness stress the importance of cultivating negative capability in order to overcome and provide an alternative to our routine reactions to stress. They point out that this teaches tolerance of uncertainty, and enriches decision making. It may not be productive to discuss whether negative or positive capability is more important, as they are analogous to the poles of a battery: a battery is only a battery if it has both positive and negative terminals.

Importance
The sections below show that negative capability is not the exclusive preserve of poets, but can describe the pre-creative mood of any artist, scientist, or religious person. Negative capability is important as an explanation of how periods of indolence give rise to periods of creativity.

Competition (varieties of prepoetry)
Negative capability needs to be understood as just one of a number of moods that may compete in the poet's mind before the poem arrives—i.e. during the phase that may be called prepoetry, after the musical form of the same name which delights in 'uncertainties, mysteries, [and] doubts'. The only valid way to approach this subject is through the words of poets themselves, e.g.:

Emotion recollected in tranquility and wise passivity (e.g. Wordswoth)The systematic derangement of the senses (e.g. Rimbaud).Automatic writing and thought transference (e.g. Yeats).Frenzy (e.g. Shakespeare).
The poet's eye, in fine frenzy rolling,Doth glance from heaven to earth, from earth to heaven;And as imagination bodies forth  forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing  A local habitation and a name.
<p align=right>(A Midsummer Night's Dream, Act V scene 1, from line 1841) At one point Coleridge thought of the poet as Truth's Ventriloquist.

Unger: The thesis of negative capability
Roberto Mangabeira Unger appropriated Keats' term in order to explain resistance to rigid social divisions and hierarchies. For Unger, negative capability is the "denial of whatever in our contexts delivers us over to a fixed scheme of division and hierarchy and to an enforced choice between routine and rebellion." It is thus through negative capability that we can further empower ourselves against social and institutional constraints, and loosen the bonds that entrap us in a certain social station.

An example of negative capability can be seen at work in industrial innovation. In order to create an innovator's advantage and develop new forms of economic enterprise, the modern industrialist could not just become more efficient with surplus extraction based on pre-existing work roles, but rather needed to invent new styles of flexible labor, expertise, and capital management. The industrialist needed to bring people together in new and innovative ways and redefine work roles and workplace organization. The modern factory had to, at once, stabilize its productive environment by inventing new restraints upon labor, such as length of the work day and division of tasks, but at the same time could not be too severe or risk being at a disadvantage to competitors, e.g. not being able to shift production tasks or capacity. Those industrialists and managers who were able to break old forms of organizational arrangements exercised negative capability.

This thesis of negative capability is a key component in Unger's theory of false necessity and formative context. The theory of false necessity claims that our social worlds are the artifact of our own human endeavors. There is no pre-set institutional arrangement that our societies adhere to, and there is no necessary historical mold of development that they will follow. Rather we are free to choose and develop the forms and the paths that our societies will take through a process of conflicts and resolutions. However, there are groups of institutional arrangements that work together to bring out certain institutional forms, liberal democracy, for example. These forms are the basis of a social structure, and which Unger calls formative contexts. In order to explain how we move from one formative context to another without the conventional social theory constraints of historical necessity (e.g. feudalism to capitalism), and to do so while remaining true to the key insight of individual human empowerment and anti-necessitarian social thought, Unger recognized that there are an infinite number of ways of resisting social and institutional constraints, which can lead to an infinite number of outcomes. This variety of forms of resistance and empowerment (i.e. negative capability) make change possible.

This thesis of negative capability addresses the problem of agency in relation to structure. It recognizes the constraints of structure and its molding influence upon the individual, but at the same time finds the individual able to resist, deny, and transcend their context. Unlike other theories of structure and agency, negative capability does not reduce the individual to a simple actor possessing only the dual capacity of compliance or rebellion, but rather sees him as able to partake in a variety of activities of self empowerment.

Bion
The twentieth-century British psychoanalyst Wilfred Bion elaborated on Keats's term to illustrate an attitude of openness of mind which he considered of central importance, not only in the psychoanalytic session, but in life itself. For Bion, negative capability was the ability to tolerate the pain and confusion of not knowing, rather than imposing ready-made or omnipotent certainties upon an ambiguous situation or emotional challenge. His idea has been taken up more widely in the British Independent School, as well as elsewhere in psychoanalysis and psychotherapy.

Lyacos: Negative capability and the social outcasts
Greek author Dimitris Lyacos considers people living "in the margins" as possessing the negative capability that permits them to cross boundaries and, by accepting "the burden of the mystery", explore uncertainty and the flux of life against western norms and structures. In an interview in Berfrois Magazine Lyacos notes: "We carry with us a backpack of ideas, theories, insecurities and the detailed scenarios we project onto the future. Unlike us, outcasts, fugitives and people in the margins are the ones possessing the negative capability, the power to bear the "burden of the mystery"; immigrants cross seas that might engulf them. Their fear is overcome not only by the hope of a better life but also by their acceptance of those darker alleys, where time and space are created at the moment in which they are experienced."

In the context of Zen
The notion of negative capability has been associated with Zen philosophy.  Keats' man of negative capability had qualities that enabled him to "lose his self-identity, his 'imaginative identification' with and submission to things, and his power to achieve a unity with life". The Zen concept of satori is the outcome of passivity and receptivity, culminating in "sudden insight into the character of the real".  Satori is reached without deliberate striving. The antecedent stages to satori: quest, search, ripening and explosion. The "quest" stage is accompanied by a strong feeling of uneasiness, resembling the capacity to practice negative capability while the mind is in a state of "uncertainties, mysteries and doubts". In the explosive stage (akin to Keats' 'chief intensity'), a man of negative capability effects a "fellowship with essence".

In film, poems, songs, and popular culture
Keats's concept of negative capability was little known except to scholars, poets, and other careful readers, until 2 November 2018 when the British singer-songwriter Marianne Faithfull released her album entitled Negative Capability. Then, on 15 November 2020, the BBC aired the second installment of the second series of His Dark Materials based on the trilogy by Philip Pullman, of the same name. Here the idea of negative capability is given great prominence, in what for the BBC was its most lavish production to date. It is presented not as an idea or a theory or a concept or a thesis, but as a mood which the heroine Lyra is able to sink into, and which enables her especial ability to read the rare and beautiful and truth-telling alethiometer.  This device, like a nightingale, issues a code that cannot be understood by purely reductive means. Its beauty is part of its truth. Lyra visits the Dark Materials Research Laboratory where she meets the chief researcher, Mary Malone, who, has the uncanny ability to see particles of dark matter, if she puts herself in the right mood. She tells Lyra "you can't see them unless you put your mind in a certain state. Do you know the poet John Keats? He has a phrase for it: negative capability. You have to hold your mind in a state of expectation without impatience..." The implication is that Keats's nightingale is his alethiometer, whose truth, like the truth of poetry itself, is not amenable to any amount of vivisection. Philip Pullman has written that 'many poems are interrogated until they confess, and what they confess is usually worthless, as the results of torture always are: broken little scraps of information, platitudes, banalities'. But if we can follow Lyra and Mary Malone, and put ourselves in the right mood, the dark materials between the lines may become visible or audible. This is the nightingale's code referred to in popular songs such as in one alternate-take version of Bob Dylan's Visions of Johanna and also in the song of the woodthrush in TS Eliot's poem Marina. In the latter's case 'where all the waters meet' is a neat confirmation of the negative polarity view of negative capability alluded to above. It is as if the poet's mind is the negative terminal or the sinkhole in which everything meets and is reconciled. The negativity here depends on the self abnegation of the poet, and its that which allows the current to flow.

In 2013 jazz guitarist Bern Nix released an album titled Negative Capability, containing liner notes explaining Keats definition.

Criticism
Stanley Fish has expressed strong reservations about the attempt to apply the concept of negative capability to social contexts. He criticized Unger's early work as being unable to chart a route for the idea to pass into reality, which leaves history closed and the individual holding onto the concept while kicking against air. Fish finds the capability Unger invokes in his early works unimaginable and unmanufacturable that can only be expressed outright in blatant speech, or obliquely in concept. More generally, Fish finds the idea of radical culture as an oppositional ideal in which context is continuously refined or rejected impracticable at best, and impossible at worst. Unger has addressed these criticisms by developing a full theory of historical process in which negative capability is employed.

In The Life in the Sonnets, David Fuller makes use of negative capability in addressing the qualities and potential of writing literary criticism. A critic's experience and feelings altogether form a strong framework to expand one's ability in critical thinking, while negative capability replaces the notion of correctness in analyzing literary texts.

See also

Notes

Further reading
 A. C. Bradley, 'The Letters of Keats' in Oxford Lectures on Poetry (1965[1909])
 W.J. Bate, Negative Capability: The Intuitive Approach in Keats. Intro by Maura Del Serra (New York: Contra Mundum Press, 2012).
 S. Fish, "Unger and Milton", in Doing What Comes Naturally (1989): 339–435.
 Li Ou, Keats and Negative Capability (2009)

 Wigod, Jacob D. 1952. "Negative Capability and Wise Passiveness". Publications of the Modern Language Association of America. 67 (4): 383–390.

Social concepts
Skills
Concepts in metaphysics
Literary concepts

Negative capability


"Dancing Crazy" is a popular single sung by singer Miranda Cosgrove. The song is about being involved in parties and having a lovely time. Avril Lavigne was the co-writer of this song.

The music critics didn't accept "Dancing Crazy". It was, however, moderately strong in certain music charts. It was released in December 2010.

2010 songs
Pop songs
Miranda Cosgrove songs

Dancing Crazy


Bully Hill Vineyards is a vineyard and winery located in Hammondsport, New York, United States, in the Finger Lakes American Viticultural Area.

History

Background and Prohibition

In 1920, the Taylor Wine Company needed room to expand as well as consistent sources of electricity and water.  The winery was moved to a location two miles outside of Hammondsport and the original property, where Bully Hill sits today, was sold to a Lloyd Sprague. During Prohibition, the winery sold grape juice in small wooden barrels. A label was placed on the barrel giving explicit instructions on how the juice would turn into wine if precautions weren't taken.

Becoming Bully Hill

In 1958, Greyton H. Taylor and Walter S. Taylor bought back the property from Sprague and established Bully Hill Farms.  Greyton and Walter began converting the native American grapes on the land to French-American hybrid grapes, pioneering those varieties in New York State. Over the next 12 years, Walter and Greyton slowly built a winery on location. Walter represented the third generation of his family to be involved in grape growing and wine making, a family endeavor since 1878. Bully Hill was one of the first small estate wineries in the Keuka Lake area since Prohibition.

In May 1970, Walter Taylor was fired from the Taylor Wine Company. He and Greyton Taylor founded Bully Hill that same year. When Greyton passed in 1971, Taylor inherited his shares of ownership in Bully Hill. Walter founded the first wine museum in America and began to criticize other New York State wine makers for using out-of-state grapes in their products. This enraged other wine makers and rumors began to circulate that Taylor had 'gone off the deep end'. Walter then went on a tour to defend his product and against the rumors that he had gone insane. He called it the tour of "Johnny Grapeseed".

In July 1977, after a merger with Coca-Cola Co., the Taylor Wine Co. sued Taylor to stop him from using his last name. U.S. District Court Judge Harold P. Burke agreed with the complaint. His instructions were that Bully Hill was enjoined from "using the word Taylor or any colorable imitation thereof in connection with any labeling, packaging materials, advertising, or promotional material for any of defendant's products." The Taylor name was then blotted out wherever it appeared on Bully Hill products. During the court battle, sales at Bully Hill Vineyards climbed from $650,000 in 1977 to more than $2 million in 1980. Visitors at Bully Hill Vineyards increased 25% after Taylor went on a media campaign to spread the word of the case. Taylor's appeal argued that the injunction was "too broad." The court said Taylor could use his signature "on a Bully Hill label or advertisement if he chooses, but only with the appropriate disclaimer that he is not connected with, or a successor to, the Taylor Wine Co." However, because of the attention, Taylor had received, Taylor Wine Company's lawyers argued that Taylor was violating the spirit of the injunction itself. Judge Burke, on October 5, 1979, made the injunction permanent. "Judge Burke then ordered Bully Hill to adhere to a list of 11 stipulations detailing what Taylor could say, and how and when he could use his name. For example, the judge said that the lettering and size of Walter's signature could be "no larger than one-fourth the size of the lettering of the Bully Hill Vineyards Inc. trademark on the same label, advertisement, side, surface, or page." He also ordered that within 30 days of his decision, Bully Hill had to deliver to Taylor Wine all prohibited labeling and advertising "for destruction." November 8, 1979, Taylor drove four miles from Bully Hill to Taylor Wine Company to return the labels and other marketing products amid several spectators who were cheering him on. He threw a parade, despite not having a permit, and then threw a party at Bully Hill.

Taylor was upset: "I remembered when all those farmers demonstrated in Washington, they let loose a bunch of goats, and all the guards were running around after them. So I got a goat and it saved my life. That's when I decided to laugh at the whole thing, to laugh at life." He then famously stated that "They took my name and heritage, but they didn't get my goat." Until his death Taylor would often say things like, "Just call me Walter S. Blank," or "Yes, I'm the owner of Bully Hill, but I can't tell you where I came from." Many of his own drawings are still used as labels.

In 1982, the vineyard filed the trademark 'Space Shuttle Rose'. This was contested by NASA whose action was denied by the Trademark Trials and Appeals Board in 1987.

Facilities and distribution
Growing from a small winery with a limited number of employees, Bully Hill Vineyards offers over 40 different selections of wine and now produces over 200,000 cases of wine each year.  They are the second-largest producer of wine in New York State.  Bully Hill features an on-site restaurant, wine shop, two gift shops, and the New York State Wine Museum of Greyton H. Taylor and Walter S. Taylor Art Gallery.  Visitors are offered tours and wine tastings throughout the year, weather permitting.  Bully Hill wine is distributed in some 30 states.

Sponsorships
As of 2022, Bully Hill sponsors five professional and nine minor league sports teams.

Bully Hill is the official wine of:
The Buffalo Bills
The Buffalo Sabres
The Nashville Predators
The Carolina Hurricanes
The Boston Red Sox

Bully Hill also has an extensive history in NASCAR, mainly involving sponsorship of cars and the actual race sponsors themselves at Watkins Glen International, which is close to Bully Hill. Most of its history in the national touring series is with NEMCO Motorsports and driver Ron Fellows, though it has been very active in what is now the ARCA Menards Series East sponsoring at different times, Eric Bodine, Bryan Wall, and Dale Quarterley. They have been featured on other racing machines since 1997.

References

External links

Wineries in New York (state)
Hammondsport, New York
Tourist attractions in Steuben County, New York
Museums in Steuben County, New York
Drinks museums in the United States

Bully Hill Vineyards


The Alberta Reform Movement was a provincial political party in Alberta, Canada founded in 1981 by Tom Sindlinger. Sindlinger had been a Progressive Conservative Party member of the legislative assembly for Calgary-Buffalo. He left the Progressive Conservatives after disagreeing with the party on the issue of transparency with the Heritage Trust Fund. The provincial government kept the names of the persons managing the trust funds, as they claimed it would compromise the investment strategy of the fund.

The Alberta Reform Movement advocated reforming and modernizing the democratic process in Alberta and increasing the transparency of government.

In the words of Tom Sindlinger "The Alberta Reform Movement was a moderate and practical alternative to ideological advocates and the old way of doing things."

In the 1982 Alberta election, the party nominated 14 candidates, winning 6,258 votes and 0.66% of the popular vote. The best showing was by Tom Sindlinger himself, who came second in Calgary-Buffalo, losing his seat.

Provincial political parties in Alberta
Political parties established in 1981
Political parties disestablished in 1982
Defunct political parties in Canada

Alberta Reform Movement


Norwegian Computing Center (NR, in Norwegian: Norsk Regnesentral) is a private, independent, non-profit research foundation. NR carries out contract research and development in the areas of computing and quantitative methods for a broad range of industrial, commercial and public service organizations in Norway and internationally. NR is one of Europe's largest research environments in applied statistics and its projects cover a large variety of applied and academic problems. NR's offices are located near the university campus Blindern in Oslo, and adjacent to Oslo Science Park (Forskningsparken).

History
NR was established in 1952. Until 1970 an important part of the activity was to perform mathematical computations for other organizations. NR has worked with data communication since 1963. The Simula programming language was designed and built by Ole-Johan Dahl and Kristen Nygaard and their research group at the Norwegian Computing Center in Oslo between 1962 and 1967.

After 1970 NR has been a methodological research institute. In 1985, NR became an independent institute and moved to its present location in 1988. It has worked with the Internet since 1973, ICT security since 1988, multimedia since 1994, e-Inclusion since 2005. It started working with remote sensing in 1982, geostatistics and petroleum in 1983, marine resources in 1988 and electricity prices and finance in 1994.

NR employees Ole-Johan Dahl and Kristen Nygaard received the Turing Award in 2001 and the 2002 IEEE John von Neumann Medal for the introduction of the concepts underlying object-oriented programming through the design and implementation of Simula 67.

A book about the history of NR, Norsk Regnesentrals historie 1952 - 2002 was published in 2002.

Scientific departments

The Department of Applied Research in Information Technology (DART) works with project-oriented applied research within multimedia, information security, information privacy and risks, universal design, and e-inclusion. In addition to research, DART's work covers concept studies, analysis, consultancy, prototyping, training, development, and evaluation.

The Department of Statistical Analysis, Image Analysis, and Pattern Recognition (SAMBA) works with project-oriented applied research in all areas of mathematical statistics. The main application areas are Statistics for Climate, Environment, Marine Resources and Health, Statistics for Finance, Insurance and Commodity Markets,  Statistics for Technology, Industry and Administration, Earth Observation, and Image Analysis and Pattern Recognition.

The Department of Statistical Analysis of Natural Resource Data (SAND) works with project-oriented applied research statistics related
to the petroleum industry. The group is a significant international contributor to research and services within reservoir description, stochastic modeling and geostatistics for the petroleum industry. The primary goal is to use statistical methods to reduce and quantify risk and uncertainty. The main area is stochastic modeling of the geology in petroleum reservoirs including upscaling and history matching. There is also a significant activity on all kinds of risk quantification, primarily within the energy sector.

Centres for Research-based Innovation
NR was host to Statistics for Innovation in 2007-2014, and is host to BigInsight for the period 2015-2024.

Statistics for Innovation and BigInsight are both Centres for Research-based Innovation and funded by the Research Council of Norway.

NR's Master's Prize
NR's Master's Prize is awarded annually to master's theses submitted at the Department of Mathematics and the Department of Informatics at the University of Oslo and at the Department of Mathematical Sciences and the Department of Computer Science at the Norwegian University of Science and Technology. The award was first issued in 2009.

Previous winners

 2022:     Johannes Voll Kolstø, NTNU; Emil Haugen, UiO; Sarek Skotåm, UiO
 2021:     Magnus Christie Ørke, NTNU; Ingrid Dæhlen, UiO
 2020:     Maren Parnas Gulset, UiO; Simen Westby Moe, UiO; Amund Tenstad, NTNU; Henrik Syversveen-Lie, NTNU
 2019:     Camilla Lingjærde, UiO; Camilla Tran, NTNU; Silius Mortensønn Vandeskog, NTNU
 2018:     Bjørn Skauli, UiO; Joakim Skjelbred Misund, UiO; Yngvild Hamre, NTNU; Ulrich Johan Isachsen, NTNU
 2017:     Martine Birketvedt Eklund, UiO; Seline Tomt, UiO; Jonas André Dalseth, NTNU; Erik Skrettingland, NTNU
 2016:     Solveig Engebretsen, UiO; Aslak Wigdahl Bergersen, UiO; Bart Iver van Blokland, NTNU; Sondre Galtung, NTNU
 2015:     Claus Børnich, UiO; Jonas Irgens Kylling, UiO; Benjamin Andreassen Bjørnseth, NTNU
 2014:     Lars Simon, UiO; Kristoffer Varholm, NTNU
 2013:     Martin Jullum, UiO; Stein-Olav Hagen Davidsen, NTNU
 2012:     Kristina Rognlien Dahl, UiO; Eivind Stordal, UiO; Anne-Cecilie Haugstvedt, NTNU
 2011:     Kristian Jonsson Moi, UiO; Geir-Arne Fuglstad, NTNU
 2010:     Maren Feragen, UiO; Nina Øystad-Larsen; UiO, Lester Solbakken, NTNU
 2009:     John Christian Ottem, UiO; Evgenij Thorstensen, UiO; Eivind Fonn, NTNU; Rune E. Jensen, NTNU

References

External links
 BigInsight
 Norsk Regnesentral / Norwegian Computing Center (homepage)
 Norwegian Computing Center's annual public reports
 Tribute to Kristen Nygaard Department of Informatics, UiO
 Tribute to Ole Johan Dahl  Department of Informatics, UiO

Foundations based in Norway
Computer science institutes in Norway
Information technology research institutes

Norwegian Computing Center


The Dropmore Press was a British private press founded in 1945 by the newspaper-owner Gomer Berry, 1st Viscount Kemsley.

Kemsley acquired the type, paper-stock, printing equipment and press-man of the Corvinus Press, which closed in 1945, following the death of its owner Viscount Carlow in the previous year. He named it after his home, Dropmore Park, near Taplow. The Press was run by a committee of directors, who selected texts and oversaw the work of the press-man, A. H. Cardew. Kemsley and his fellow directors, among whom Edward Shanks was perhaps the most active, attempted to run the Press on commercial grounds (Carlow's Corvinus Press had been a hobby), with limited success. Most of the books were printed in editions of between 300 and 1000 copies, and their style was generally formal and similar to the better 'trade' publications of the period. The books appear staid, both in design and literary terms, when compared with the publications of the Corvinus Press. Some Dropmore Press books were printed by commercial printing-firms, rather than by Cardew at the Press itself.

Around 1950 the journalist Ian Fleming joined the board of directors, though his influence was at first relatively minor. In 1954 the Press was in severe financial difficulties and was offered to Fleming, who apparently agreed to buy it although the deal was never finalised. The press closed in 1955, having published more than forty books, some under the parallel imprint of the Queen Anne Press.

Dropmore issued minor works by Evelyn Waugh (who complained about the inaccuracy of the text), by  T. S. Eliot, and by the historian Sir Arthur Bryant. It also published an important catalogue of The Royal Philatelic Collection by Sir John Wilson and Clarence Winchester in 1952. Dropmore also produced a relatively large quantity of printed ephemera in the form of catalogues and prospectuses for its publications, and published Book Handbook, a bibliophile magazine which developed into The Book Collector (a project with which Fleming was heavily involved at this period).

References

 Paul W. Nash. 'The Dropmore and Queen Anne Presses' in The Private Library, 5th series, 5:3, Autumn 1992, pp. 108–134. 'Addenda', 5th series, 6:4, Winter 1993, pp. 181–183.
 Paul W. Nash and A. J. Flavell. The Corvinus Press: a history and bibliography. Aldershot: Scolar, 1994.

Book publishing companies of the United Kingdom
Publishing companies established in 1945
Small press publishing companies

Dropmore Press


Gregory Edward Jacobs (August 25, 1963 – April 22, 2021), known professionally as  Shock G and by his alter ego Humpty Hump, was an American rapper and musician who was best known as the lead vocalist of the hip hop group Digital Underground. He was responsible for Digital Underground's "The Humpty Dance", 2Pac's breakthrough single "I Get Around", and co-producer of 2Pac's debut album 2Pacalypse Now.

Early life

Gregory Edward Jacobs was born on August 25, 1963, in New York City. He spent most of his childhood moving around the East Coast with his family, eventually settling in Tampa, Florida. As a drummer he won the 1978 "Most Talented" trophy at Greco Junior High School, but after relocating to Queens, New York (as a result of his parents' divorce), he traded his drums in for a set of turntables upon discovering and marvelling over hip hop while the art form was still in an underground developmental stage. He was mentored in the craft by his cousin Rene Negron (a.k.a. DJ-Stretch), and their close friend Shawn Trone (a.k.a. MC Shah-T of the parody-rap group No Face) who suggested Greg use the name "Shah-G". Jacobs liked the idea, but mistakenly thought his friend said "Shock-G", and began using that name instead.

After returning to Tampa less than two years later, he dropped out of Chamberlain High School to form the Master Blasters, a mobile DJ crew which featured three DJs and four emcees at its height. They performed at parties, and also for the crowds at Riverfront Park's outdoor Sunday gatherings, eventually capturing the interest of Tony Stone, a program director at WTMP radio, which was the city's primary R&B station. Tony offered Jacobs, who was sixteen at the time, a job DJing on the air, and for a short while, as "Gregory Racker", he was the youngest radio personality in central Florida with a regular time slot.
After being fired for playing the fifteen-minute-long album version of "(Not Just) Knee Deep" by Funkadelic in a five-minute time slot, and also after tensions with his father escalated, Jacobs found himself backpacking the United States for a few years, drifting through odd jobs and petty criminal adventures. It was during this excursion that his focus switched from DJing to keyboard playing, and while utilizing piano practice-rooms at music stores and colleges around the country, he effectively taught himself to play the piano.

Deciding to pursue music seriously, he returned home, quickly obtained a diploma, and began attending Hillsborough Community College, where he studied music theory under Jim Burge and piano under Patricia J. Trice. It was there at HCC that he met and formed a bond with Kenneth Waters, and the two began performing together under various names including The Chill Factor, and also The Four Horsemen, which included MC Skoobie-D, and the MD Dazzlin Doc-P who had recently moved to Tampa from the Bronx, hip hop's birthplace. Then in 1985, after two years of producing local artists for hire, playing solo piano gigs around town, performing with Kenny, and being a keyboardist in Warren Allen Brooks' band, Greg and his aspiring-actress girlfriend (Davita Watts) set their sights beyond Tampa, and eloped to Los Angeles in search of greater opportunity. There he played keyboards in Kenny McCloud's pop-funk band Onyx before leaving Los Angeles and finally arriving in the San Francisco Bay Area where he found work in an Oakland music store, and where his group Digital Underground would form a few years later.

Career

Digital Underground
Soon after relocating to Oakland, California, Shock G formed Digital Underground along with Chopmaster J, and the late Kenneth Waters (a.k.a. Kenny-K). After around 15 months of unsuccessful negotiations with various small record companies, in 1988 the trio finally released a 12-inch single on Macola Records. It featured "Your Life's a Cartoon" as the A-side and "Underwater Rimes" as the B-side. Both songs were penned, produced, and performed by Jacobs, who also sketched the cartoonish cover illustrations. The record included the logo for Digital Underground's startup label, TNT, as well as Macola's logo. TNT was also founded by Tupac Shakur's management CEO Atron Gregory. In 1989, the group signed with Tommy Boy Records and released "Doowutchyalike", receiving minimal radio airplay but became an underground hit. Its video was more successful, reaching number 40 on the MTV's top 100 videos of the year. "Doowutchyalike" paved the way for Digital Underground's debut album Sex Packets and the highest-charting song of their career "The Humpty Dance" both released in early 1990, and both achieving platinum sales certifications by the RIAA. The latter was rapped by "Humpty Hump," the most flamboyant of Shock G's several alter egos. By that time, Digital Underground had expanded significantly, with DJ Fuze, Money-B, and Schmoovy-Schmoov joining the group, and with Ramone "Pee Wee" Gooden and Tupac Shakur joining by 1991.

Other identities
Jacobs performed under many aliases he developed over his career, resulting in characters that were maintained with such reality that they were believed to be separate people by both fans and industry insiders. While he rapped in his normal voice as Shock G, as "Humpty Hump" he adopted a more nasal sound as part of this character's exaggerated buffoon persona that included garish clothes and Groucho glasses. A fictional biography was included in Digital Underground's press kit stating that Humpty Hump's real name was Edward Ellington Humphrey III and he wore the Groucho glasses after burning his nose in a deep-fryer accident. Jacobs made public appearances as one person or the other, but at live shows and video shoots he would use a stand-in or camera tricks to maintain the illusion. Jacobs also sometimes performed as other characters including MC Blowfish, Icey-Mike, The Computer Woman, ButtaFly, and Peanut Hakeem.

Television and film work
Shock G's TV appearances include Showtime at the Apollo in 1992, several The Arsenio Hall Show performances between 1990 and 1994, and several live MTV performances, including MTV Spring Break 1990 in Daytona Beach, Yo MTV Raps (performing live with Ed Lover and Doctor Dré) in 1991, Club MTV Live (with Downtown Julie Brown) in 1992, and MTV Jams in 1994. Most of these consisted of music performances with either Digital Underground or 2Pac; however, on an episode of the 1991 sitcom Drexell's Class, Jacobs played a small acting role as a furnace repairman. Within the show's story, the title character, Otis Drexell, insists that the furnace repairman looks exactly like Humpty Hump, but neither he nor his coworker (Jason Priestley) have heard of any such hip-hop artist, especially not one with such a ridiculous name. The episode ends with a live performance of Digital Underground's "No Nose Job" on a cruise ship full of Sports Illustrated swimsuit models, which is presented as a scene from one of Mr. Drexell's dreams.

With his Digital Underground band members, Jacobs appeared in the Dan Aykroyd-directed comedy film Nothing but Trouble (1991) appearing as both Shock G and Humpty Hump. The group (including Tupac Shakur) makes a cameo music performance, as well as play a small character role in the film as themselves. Since then, Jacobs has appeared in a handful of music documentaries, including Thug Angel: Life of an Outlaw (2000) about Tupac Shakur, and Parliament Funkadelic: One Nation Under a Groove (1996) about George Clinton & P-Funk, both of which received heavy TV rotation, and both of which relied heavily on Jacobs' commentary.

On June 24, 2011, Shock G was featured on an episode of the podcast "You Had To Be There" with comedians Nikki Glaser and Sara Schaefer.

Albums
 Fear of a Mixed Planet (2004 33rd Street Records)
 Fear of a Mixed Planet; Bonus Edition (2008 Jake Records)
 with Digital Underground:

Production, solo work, and miscellaneous
In addition to his work with Digital Underground, Shock G found moderate success as a solo artist and music producer. In 1993, Shock G produced Tupac Shakur's breakthrough platinum single "I Get Around" as well as guest starred on the single and music video, and went on to produce Tupac's "So Many Tears" from his multi-platinum 1995 album Me Against the World. Tupac's first published work was while still a member of Digital Underground when he appeared on the 1991 song and video "Same Song", which also appeared in the Chevy Chase, Dan Aykroyd and Demi Moore film Nothing but Trouble. Shock co-produced Tupac's debut album 2Pacalypse Now. Shock G appeared as a producer and guest artist on fellow Oakland-based rap group The Luniz platinum debut release Operation Stackola in 1995, also appearing as a guest emcee in the "I Got 5 on It (Bay Ballas Remix)" and video.

In 1996 the Wayans brothers' film Don't Be a Menace to South Central While Drinking Your Juice in the Hood featured the Shock G song "We Got More". The song, which featured Oakland rappers Luniz was used for three different scenes in the film, and is featured in two different places on the soundtrack, making it the only song to appear twice on one soundtrack. In 1998, Prince included the Shock G produced "Love Sign" on his triple-CD Crystal Ball album. Shock G has toured and performed on stage with George Clinton and P-Funk including a guest performance with Clinton at Woodstock 1999.

In 2003, Shock G produced the single "Risky Business" for Los Angeles underground artist Murs, and also appeared in the video, as himself and as Humpty Hump. Murs performed this song live with Shock G at the Paid Dues festival, and also featured him as his stage DJ/music conductor on a 2-month extensive Definitive Jux label U.S. and Canada tour.  On January 20, 2009, Shock G's single "Cherry Flava'd Email" was renamed and released as a special edition called "Cherry Flava'd Election" to commemorate the inauguration of President Barack Obama.

Death
On April 22, 2021, Jacobs was found dead in a motel room in Tampa, Florida, at age 57. On June 10, 2021, the Hillsborough County Medical Examiner announced that Shock G's death was caused by an accidental overdose of fentanyl, methamphetamine and ethanol (alcohol).

Jacobs was interred at Parklawn Memorial Cemetery in Dunedin, Florida.

Discography

Studio albums
Fear of a Mixed Planet (2004)

Production discography

Albums
1990 Sex Packets, Digital Underground
1991 This Is an EP Release, Digital Underground (EP)
1991 Sons of the P, Digital Underground
1993 The Body Hat Syndrome, Digital Underground
1996 Future Rhythm, Digital Underground
1998 Who Got the Gravy, Digital Underground
1999 The Lost Files, Digital Underground
2008 ..Cuz a D.U. Party Don't Stop!, Digital Underground
2010 The Greenlight EP, Digital Underground

Songs
1987 "Your Life's a Cartoon", Digital Underground
1988 "Underwater Rimes", Digital Underground
1989 "Doowutchyalike", Digital Underground
1990 "Don't Funk wid the Mo" (remix), Monie Love
1990 "What I Won't Do for Love", 2Pac,  Schmoovy-Schmoov
1990 "What I Won't Do for Love (Shock G Remix)", 2Pac, Digital Underground
1991 "Rockin to the PM", Raw Fusion
1991 "Rebel of the Underground", 2Pac
1991 "Words of Wisdom", 2Pac
1991 "Revenge of the Lunatic", 2Pac, Money-B
1991 "Tellin' Time (Mike's Rap)", Dr. Dre, Michael Concepcion
1993 "I Get Around", 2Pac, Digital Underground
1993 "Get Away (remix)", Bobby Brown
1993 "Top of the World", Kenya Gruv (co-producer)
1994 "Dirty Drawls", Raw Fusion
1994 "Do Your Homework", Raw Fusion
1995 "Fuck the World", 2Pac, Shock G
1995 "So Many Tears", 2Pac
1995 "Broke Hos", Luniz
1995 "5150", Luniz
1995 "No Brothas Allowed", No Face
1995 "Smashin' Fruit", No Face
1995 "Nothing Has Changed", No Face feat. Digital Underground
1996 "We Got More", Shock G feat Luniz
1995 "Don't Ring My Bell", Luniz
1996 "People Over the Stairs", Shock G
1996 "Gloomy Sunday", Mystic
1997 "True Playas", Whoridas
1997 "Come N' Bounce", Shay
1997 "Cause I Had To", 2Pac & P-90
1998 "Broad Minded", Saafir
1998 "Sendin' U a Signal", Saafir
1998 "Love Sign", Prince
1999 "Crawl Before You Ball", Saafir
1999 "Liquid Ho Magnet", Saafir
1999 "Running Man", Saafir
2000 "Do What Ya Want", Rhythm & Green
2000 "Let the Beat Breathe", Esinchill
2001 "Chassy", Mac Mall
2001 "Intro", Mystic (album intro)
2002 "Risky Business", Murs
2004 "Smilin' Faces", KRS-One

Guest appearances
1990 "We're All in the Same Gang", Westcoast Allstars, (song & video)
1990 "Time for Peace", Davey-D feat D.U., Paris, Tech & Sway, (song)
1991 "Trapped", 2Pac, (song & video)
1991 "Throw Your Hands in the Air", Raw Fusion, (video)
1991 "Funkintoyoear", Raw Fusion, (song)
1992 "Money", Gold Money, (song & video)
1993 "I Get Around", 2Pac feat. Digital Underground, (song & video)
1993 "Rhythm & Rhyme", George Clinton, (song)
1993 "Paint the White House Black", George Clinton, Ice Cube, Kam, Yo-Yo, Dr. Dre, Public Enemy, Pupa Curly, (song & video)
1994 "Freaky Note", Raw Fusion, (song & video)
1995 "I Got 5 on It (Remix)", Luniz, (song & video)
1995 "Funk Session", Too Short, (song)
1995 "So Many Tears", ""2Pac, (song)
1995 "Fuck the World", 2Pac, (song)
1996 "Knee Deep (Midnight Mix)", George Clinton, (song)
1999 "Glayz Donutt Face", C-Funk, (song)
1999 "Miss Bartender", Money-B, (song)
1999 "Do What You Want to Do", Vitamin C, (song)
2000 "No DNA", Clee & Drank-a-Lot, (song)
2002 "Wuz Crackulatin'," 2wice, (song)
2002 "Risky Business", Murs, (song & video)
2003 "Way of Life", Stylophonic, (song)
2004 "Hurry Up Run", Shock G, (song)
2004 "Snake and the Apple", Stucky, (song)
2004 "At the Next Show", Sir Mix-a-lot, (song)
2005 "Career Finders", Perceptionists, (song)
2005 "Say What You Say", Soma Rasa, (song)
2005 "And 2morrow", various artists, (song)
2005 "California Girls Dipped in Chocolate", Slapbak, (song)
2005 "Freaky Pumps", Fat Lip, (song)
2005 "City to City", Straw, (song)
2005 "Love Letters", 2Pac, Rappin' 4-Tay, Assassin, (song)
2006 "The Wizard", Mr. Rakafela, (song)
2006 "If You're True", InershA, (song)
2006 "Pain and Misery (remix)", InershA, (song)
2006 "Shock G Interlude", 2Pac (song)
2007 "Shock G's Outro/Hidden Track", Ássassin, Ray Luv, 2Pac
2007 "California Dreamin", San Quinn, Assassin, (song)
2007 "Plainfield", Bernie Worrell, (song)
2007 "Smack Dat Ass", Ditch, (song)
2008 ..Cuz a D.U. Party Don't Stop!, Digital Underground, (album)
2008 "Crazy", Maddie Lauer, (song & video)
2008 "Light of Love feat. Lady Alma", Yameen (song, as keyboardist)
2009 "Cherry Flava'd Election", Shock G, (song)
2010 The Greenlight EP, Digital Underground, (album)
2012 Cuttynclean JC – "Above the Tip Tops" (album- Shade of Purp) CO cuttyncleanrecords type on SoundCloud
2014 Cuttynclean JC – "Shock G interlude" (album – Shade of Purp) co cuttyncleanrecords
2015 "The Mini", Angelo Knox (song)
2017 Cuttynclean JC – "Diamonds" feat. Asap Lotto (unreleased)
2018 "Heem", Undaflow feat. Shock G and Big Sharp
2019 Cuttynclean JC – "Keep It PI" feat Mistah fab and Moe Green

Digital Underground videos
"Doowutchyalike" (1989)
"The Humpty Dance" (1989)
"Doowutchyalike" (video remix) (1990)
"Same Song" (1991)
"Kiss You Back" (1991)
"No Nose Job" (1992)
"Return of the Crazy One" (1993)
"Wussup Wit the Luv" (1994)
"Oregano Flow" (1996)
"Walk Real Kool" (1996)
"Wind Me Up" (1998)

Featured guest video appearances
 "We're All in the Same Gang" (1990) Westcoast All-Stars
 "Throw Your Hands in the Air" (1991) Raw Fusion
 "Trapped" (1991) 2Pac
 "Money" (1992) Gold Money
 "Close the Crackhouse" (1992) X-Clan
 "I Get Around" (1993) 2Pac featuring Digital Underground
 "No Brothas Allowed" (1994) No Face
 "I Got 5 on It (Bay Ballas Remix)" (1995) Luniz
 "Temptations" (1995) 2Pac
 "Risky Business" (2003) Murs
 "Hit the Streets" (2003) Element
 "City to City" (2005) Straw the Vegas Don
 "Crazy" (2008) Maddie Lauer

DVDs
 Nothing But Trouble (1991)
 Thug Angel: The Life of an Outlaw (2000)
 Tupac: Resurrection (2003)
 Digital Underground: Raw and Uncut (2004)
 Parliament/Funkadelic; One Nation Under a Groove (2005)

References

External links

1963 births
2021 deaths
Drug-related deaths in Florida
20th-century American musicians
20th-century American rappers
Rappers from New York City
Songwriters from New York (state)
African-American male rappers
American male rappers
African-American record producers
African-American songwriters
American hip hop musicians
American hip hop singers
American hip hop record producers
East Coast hip hop musicians
Psychedelic rap musicians
African-American comics creators
American comics creators
21st-century American rappers
Record producers from New York (state)
20th-century American male musicians
21st-century American male musicians
American cartoonists
Tommy Boy Records artists
20th-century African-American musicians
21st-century African-American musicians
American male songwriters

Shock G


Elizabeth Jeffries (1727, Bridgnorth, Shropshire – 28 March 1752 in Leytonstone, England) was an English woman executed for murder.

When she was five years old, Elizabeth was adopted by her wealthy and childless uncle Joseph Jeffries, who had made his fortune as a butcher in Central London. Jeffries sexually violated his niece when she was fifteen. He had willed her everything he owned but hypocritically continually threatened to write her out of the will because of her immoral behaviour.

Murder
Elizabeth started an affair with her uncle's man-servant, John Swan. When it seemed increasingly likely that her uncle would carry out his threat regarding the will, she and Swan plotted to kill her uncle. They paid a man named Matthews to get them a brace of pistols. Matthews saw Elizabeth and John in the house on the night of the murder on 3 July 1751, and learned what they intended to do, but John made him swear not to tell anyone. She and John then went upstairs and killed her uncle. They made it seem as though her uncle had been the victim of a botched robbery and raised the alarm. Elizabeth was arrested; however, she was released when no evidence could be found. The police then began a search for Matthews, whom she had implicated. He was located and told the police everything he knew. She and John were imprisoned to await trial.

Trial and execution
The trial of Jeffries and Swan began eight months later, on 10 March 1752. She and John were swiftly convicted and sentenced to hang. On 28 March she was taken to the gallows in a cart and riding on her own coffin, while John was dragged on a sledge for committing alleged petty treason. When they reached the gallows, Swan was forced to stand on the cart while Jeffries, being  tall, had to stand on a chair on the cart. Their legs were not tied and they were not blindfolded. A crowd of 7,000 people gathered to watch them hang. Neither Elizabeth nor John acknowledged one another, while the hangman cracked his whip and drove the cart out from under them. John died in less than five minutes. Elizabeth, however, being lighter than Swan, took over fifteen minutes to die, struggling to the end.

References

1727 births
People executed by the Kingdom of Great Britain
People executed for murder
Executed people from Shropshire
British female murderers
Executed English women
People executed by England and Wales by hanging
People convicted of murder by England and Wales
English people convicted of murder
1751 crimes
People from Bridgnorth
1752 deaths

Elizabeth Jeffries


The suffix -ly in English is usually a contraction of -like, similar to the Anglo-Saxon -lice and German -lich.  It is commonly added to an adjective to form an adverb, but in some cases it is used to form an adjective, such as ugly or manly.  When "-ly" is used to form an adjective, it is attached to a noun instead of an adjective (i.e., friendly, lovely). The adjective to which the suffix is added may have been lost from the language, as  in the case of early, in which the Anglo-Saxon word aer only survives in the poetic usage ere. This morpheme tends to mean "to act in a way that is?".

Though the origin of the suffix is Germanic, it may now be added to adjectives of Latin origin, as in publicly.

When the suffix is added to a word ending in the letter y, the y before the suffix is replaced with the letter i, as in happily (from happy). This does not always apply in the case of monosyllabic words; for example, shy becomes shyly (but dry can become dryly or drily, and gay becomes gaily). Other examples are heavily (from heavy), luckily (from lucky), temporarily (from temporary), easily (from easy), emptily (from empty), and funnily (from funny).

When the suffix is added to a word ending in double l, only y is added with no additional l; for example, full becomes fully. Note also wholly (from whole), which may be pronounced either with a single l sound (like holy) or with a doubled (geminate) l.

When the suffix is added to an adjective ending in a vowel letter followed by the letter l, it results in an adverb spelled with -lly, for example, the adverb centrally from the adjective central, but without a geminated l sound in pronunciation. Other examples are actually, historically, really, carefully, especially, and usually. When the suffix is added to a word ending in a consonant followed by le (pronounced as a syllabic l), generally the mute e is dropped, the l loses its syllabic nature, and no additional l is added; this category is mostly composed of adverbs that end in -ably or -ibly (and correspond to adjectives ending in -able or -ible), such as probably, presumably, visibly, terribly, horribly and possibly, but it also includes other words such as nobly, feebly, simply, doubly, triply, quadriply and idly. However, there are a few words where this contraction is not always applied, such as brittlely.

When -ly is added to an adjective ending -ic, the adjective is usually first expanded by the addition of -al. For example, there are adjectives historic and historical, but the only adverb is historically. Other examples are basically, alphabetically, scientifically, chemically, classically, and astronomically. There are a few exceptions such as publicly.

Adjectives in -ly can form inflected comparative and superlative forms (such as friendlier, friendliest, lovelier, loveliest), but most adverbs with this ending do not (a word such as sweetly uses the periphrastic forms more sweetly, most sweetly). For more details see Adverbs and Comparison in the English grammar article.

The Libyan domain, .ly was used for domain hacks for this suffix.

There are some words that are neither adverbs nor adjectives, and yet end with -ly, such as apply, family, supply. There are also adverbs in English that do not end with -ly, such as now, then, tomorrow, today, upstairs, downstairs, yesterday, overseas, behind, already.

See also
 -ing – the suffix used to form gerunds and present tense
 -ed
 -logy
 -ism

References

Further reading

ly
English grammar

-ly


Dimitrije Popović (born 4 March 1951) is an eminent Montenegrin and Croatian painter, sculptor, art critic and philosopher born in Cetinje, Montenegro.  He attended elementary and high school in his hometown and graduated from the Academy of Fine Arts in Zagreb in 1976 in the class of professor Šime Perić.

Popović's works (drawings, prints, paintings, and sculptures) evolved thematically and technically through different phases, mostly inspired by Leonardo's drawings, surrealism, Ivan Meštrović's sculptures etc.

The artist lives and works in Croatia, but he made first public appearance in Cetinje in 1969 at the Art Salon of Youth. During the 1970s he exhibited in Podgorica, Bari (Italy), Dubrovnik and Zagreb.

During his residence in Paris in 1974 Popović met French art collector M. Davrier. In 1978 Davrier exhibited Popović's works at the Alexander Braumüller gallery with the paintings of Salvador Dalí, Ernst Fuchs, Leonor Fini, Mati Klarwein, Victor Brauner, and Miodrag Djuric - Dado (painter), another distinguished artist from Montenegro.

The Liberty Gallery and Universal Fine Arts of Washington prepared in 1982 a combined exhibition of prints and other graphic works of Dalí and Popović in Pforzheim. During the celebration of the 400th anniversary of Leonardo da Vinci (1982), Dimitrije Popović exhibited in Palazzo Sormani in Milan a cycle of drawings entitled "Omaggio a Leonardo". His crucifixions entitled "Corpus mysticum" were exhibited in Rome in Sant Andrea al Quirinale, Santa Maria del Popolo, and the Pantheon on the occasion of the celebration of two thousand years of Christianity. Croatian art critic Tonko Maroević wrote: "Popović's achievement in his interpretation of the Biblical motif is first and foremost to be found in the universality of meaning, the transfer of temporally and spatially limited event into the general idiom of visual signs of the body. Of course, the meaning achieved is not restricted to the basic but rich in forebodings and motives, all leading into the disturbing sphere of the erotic" (From the preface to the art monograph "Dimtrije Popović – Judita, crteži", author: Tonko Maroević, published in Zagreb in 1986 by Grafički zavod Zagreb and Umjetnički muzej Cetinje).

Dimitrije Popović had about 60 solo exhibitions and participated in over 150 group exhibitions and art manifestations of other kind.

He also published several books and wrote for Slobodna Dalmacija, Vjesnik, Večernji list, and Montenegrin newspaper Vijesti.

Museums and collections holding Popović's works
 Belgrade: Muzej savremene umetnosti (Museum of the Contemporary Art); Narodni muzej (National Museum); Univerzitetska biblioteka Svetozar Marković (Belgrade University Library)
 Brussels: Royal Library of Belgium
 Cetinje: Umjetnički muzej Crne Gore (Art Museum of Montenegro)
 Düsseldorf: Heine-Museum
 Dubrovnik: Umjetnička zbirka samostana "Mala braća" (Art collection of the convent "Little Brothers»)
 Đakovo: Spomen zbirka "Josip Juraj Strossmayer" (Memorial collection "Josip Juraj Strossmayer")
 Milan: Palazzo Sarmani
 Paris: Collection Davrier
 Padova: Museo civico
 Pau: Musee des Beaux Arts
 Petrinja: Muzej "Krsto Hegedušić" (Krsto Hegedusic Museum)
 Podgorica: Centar savremene umjetnosti (Contemporary Art Center); Moderna Galerija (Modern Art Gallery); Galerija Most (Gallery "The Bridge")
 Rijeka: Moderna Galerija (Modern Gallery)
 Rome: Studio S – arte contemporanea
 Ravenna: Centro Dantesco
 Spoleto: Palazzo Comunale
 Savona: Museo d'arte Sandro Pertini
 Tuzla: Galerija jugoslovenskog portreta
 Vukovar: Muzej Vukovara (Civic Museum of Vukovar)
 Vatican City: Vatican Museums
 Zagreb: Zbirka nacionalne biblioteke (Collection of the National Library); Hrvatska akademija znanosti i umjetnosti (Croatian Academy of Arts and Sciences); Metropolitana
 Zbirka Biškupić (Biškupić Collection)
 Washington: Library of Congress

Written works
 Veronikin rubac, published in 1996 by Matica hrvatska
 Smrt u slikarstvu, published in 2001 by Matica hrvatska
 Priče iz Arkadije, published in 2005 by Ex libris

Documentary films about Dimitrije Popović
 Dimitrije Popović; author: Olga Perović, RTV Titograd 1981.
 Dimitrije Popović; author: Elsa de Giorgi, Teleroma 56, Rome, 1985.
 Dimitrije Popović; author: Miroslav Mahečić, HTV (Croatian Television), Zagreb 1987.
  Requiem; author: Silvije Hum, HTV (Croatian Television), Zagreb 1991.
 Dimitrije Popović; author: Eduard Galić, HTV (Croatian Television), Zagreb 1992.
 Dimitrije Popović; author: Bogdan Žižić, HTV (Croatian Television), Zagreb 1992.
 Dimitrije Popović; author: Eduard Galić, HTV (Croatian Television), Zagreb 1995.

Bibliography

1. Josip Depolo - Tonko Maroević - Veselko Tenžera, Dimitrije, edition: Mladi umjetnici (Young Artists), Nacionalna i sveučilišna biblioteka, Zagreb 1980, page 140.

2. O.P (Olga Perović), Crna Gora, Likovna enciklopedija jugoslavije (Yugoslav Encyclopedia of Visual Arts), JLZ, Zagreb 1984, page 135, 235.

3. Tonko Maroević, Dante i slavenski svijet / Dante e il mondo slavo, Hrvatska akademija znanosti i umjetnosti, Zagreb 1984.

4. Božo Biškupić – Ivan Lacković Croata, Crteži, Nacionalna i sveučilišna biblioteka, GZH, Zagreb 1985.

5. Mario Penelope – Sergio Guarino – Elsa de Giorgi, Corpus Mysticum, Biblioteca Segni, vol. XIII, Rome 1985.

6. Tonko Maroević, Dimitrije - Judita, Grafički zavod Hrvatske – Umjetnički muzej Cetinje, Zagreb 1986.

7. Igor Zidić, Likovna enciklopedija Jugoslavije (Yugoslav Encyclopedia of Visual Arts), vol. II, Zagreb 1986.

8. Momo Kapor – Josip Depolo, Dimitrije, Književne novine, Beograd 1987.

9. Grgo Gamulin, Na Itaci svijet otajni, Društvo povjesničara umjetnosti, vol. VI, Zagreb 1990.

10. Božo Biškupić, Dimitrije – skulptura, Belus, Zagreb, 1994.

11. Tonko Maroević - Goran Blagus, Dimitrije, 25 godina nadrealizma, Galerija Studio D, Zagreb 1995.

12. Milan Marović, Dimitrije nepoznato-poznati, catalogue, Galerija Most, Podgorica 1998.

External links
 Popović's gallery

1951 births
Living people
Montenegrin painters
Writers from Cetinje
20th-century Croatian painters
Croatian male painters
21st-century Croatian painters
21st-century male artists
20th-century Croatian sculptors
21st-century Croatian sculptors
Croatian writers
Academy of Fine Arts, University of Zagreb alumni
Artists from Cetinje
Montenegrin expatriates in Croatia
Croatian people of Montenegrin descent
20th-century Croatian male artists

Dimitrije Popović


In November 1554, the Revival of the Heresy Acts (1 & 2 Ph. & M. c. 6) revived three former Acts against heresy; the letters patent of 1382 of King Richard II, an Act of 1401 of King Henry IV, and an Act of 1414 of King Henry V. All three of these laws had been repealed under King Henry VIII and King Edward VI.

This Act reflects Queen Mary I's concern for increased heresy and the lack of authority to deal with it. Edward and his father had sponsored the Reformation in stages, but Mary had always been Roman Catholic and considered Protestants to be heretics, and needed this law to pursue her religious policies.

The Act stated its purpose:
For the eschewing and avoiding of errors and heresies, which of late have risen, grown, and much increased within this realm, for that the ordinaries have wanted authority to proceed against those that were infected therewith: be it therefore ordained and enacted by authority of this present Parliament, that the statute made in the fifth year of the reign of King Richard II, concerning the arresting and apprehension of erroneous and heretical preachers, and one other statute made in the second year of the reign of King Henry IV, concerning the repressing of heresies and punishment of heretics, and also one other statute made in the second year of the reign of King Henry V, concerning the suppression of heresy and Lollardy, and every article, branch, and sentence contained in the same three several Acts, and every of them, shall from the twentieth day of January next coming be revived, and be in full force, strength, and effect to all intents, constructions, and purposes for ever.

This Act was repealed in 1559 by section 6 of the second Act of Supremacy.

See also
 First Statute of Repeal

References

External links
 Apparent partial text of the Second Statute of Repeal

Heresy in Christianity
1554 in law
Acts of the Parliament of England concerning religion
16th-century anti-Protestantism
Christianity and law in the 16th century
1554 in England
Repealed English legislation
1554 in Christianity

Revival of the Heresy Acts


Audrey Lynn Kobayashi  (born 1951 in British Columbia) is a Canadian professor and author, specializing in geography, geopolitics, and racial and gender studies. She was the vice-president of the Canadian Association of Geographers from 1999 to 2000, and the president from 2000 to 2002. Kobayashi was also the vice-president of the American Association of Geographers in 2010, and president in 2011.

Kobayashi is currently a professor in the Department of Geography, and a Queen's Research Chair, at Queen's University.

Education
Kobayashi earned her Bachelor of Arts in Geography at the University of British Columbia in 1976. Two years later, she received her Master of Arts at the same university.

In 1983, after assisting in research at the Department of Geography at Kyoto University, she earned her Ph. D in Geography at the University of California at Los Angeles.

Works
From 2002 to 2010, Kobayashi edited the People, Place, and Region section of the Annals of the American Association of Geographers, a bimonthly collection of journals from the association.

In 2012, Kobayashi wrote "Neoclassical urban theory and the study of racism in geography", which was published in Urban Geography in 2014.

In 2014, Kobayashi co-wrote "Colonizing Colonized: Sartre and Fanon" with Mark Boyle.

From 2013 to 2016, Kobayashi was a general editor for the human geography section of The International Encyclopedia of Human Geography.

She co-wrote two major books in 2017. The first being The Equity Myth: Racialization and Indigeneity at Canadian Universities with Carl James, Dua Enakshi, Frances Henry, Howard Ramos, Malinda Sharon Smith, and Peter Li. The second is Continuity and Innovation: Canadian Families in the New Millennium with Amber Gazso.

Awards
In 1995, Koyabashi won the national award of merit from the National Association of Japanese Canadians.

In 1997, Kobayashi won the W.J. Barnes Award for Teaching Excellence for the Arts and Science Undergraduate Society at Queen's University.

She has earned numerous awards from the American Association of Geographers including, the James Blaut Award in 2008, the Lifetime Achievement Award in 2009, and the Presidential Award in 2016.

In September 2011, Kobayashi was inducted into the Royal Society of Canada.

References

1951 births
Academic staff of Queen's University at Kingston
Presidents of the American Association of Geographers
Canadian geographers
Canadian people of Japanese descent
Women geographers
Fellows of the Royal Society of Canada
Living people

Audrey Kobayashi


Renzo Piano,  (; born 14 September 1937) is an Italian airchitect an ingineer. His notable biggins include the Centre Georges Pompidou in Paris (wi Richard Rogers, 1977), The Shard in Lunnon (2012), an the Whitney Museum of American Art in New York Ceety (2015). He wan the Pritzker Airchitectur Prize in 1998.

1937 births
Livin fowk
Fowk frae Genoa
Italian ingineers an airchitects
Italian Life Senators
Modrenist architects
Pritzker Airchitectur Prize winners
Erasmus Prize winners
Members o the European Academy o Sciences an Airts
Members o the Academy o the Airts, Berlin
Polytechnic Varsity o Milan alumni
Polytechnic Varsity o Milan faculty
Fowk associatit wi the Los Angeles Coonty Museum o Airt
Recipients o the Ryal Gowd Medal
Recipients o the Praemium Imperiale
20t-century Italian airchitects
21st-century Italian airchitects

Renzo Piano


Axure RP Pro / Team is a software for creating prototypes and specifications for websites and applications. It offers drag and drop placement, resizing, and formatting of widgets.

Features
Axure RP supports prototyping rich web applications by mapping desired interface behaviors (such as displaying or hiding an element) in response to actions like mouse clicks or touch gestures. Axure RP generates HTML web sites for preview and team collaboration as well as Microsoft Word documents as output for production documentation.

Axure RP can also connect to other tools and services such as Slack and Microsoft Teams to collaborate.
Axure RP is also able to auto adjust and move smoothly from macOS to Windows.
For security, prototypes can be sent with password protections to ensure full disclosure.

Users create custom controls by combining existing widgets and assigning actions in response to events such as OnClick, OnMouseOver and OnMouseOut or touch gestures like pinch and swipe. For example, interface panels can have a number of states, each being activated by clicking on an element such as a tab button, list-box item, or action button

Commercialization
The current version of the software "Axure RP 10" is available as a subscription. Perpetual licenses are supported, but no longer offered. There are three versions: Pro, Team and Enterprise.  The Pro product is available for free to students and teachers, and with discounts to educational institutions. The Team version adds documentation features, including layout control, output to Microsoft Word and Excel, and support for team projects.

Competitors
 Figma
 Framer

References

External links

Integrated development environments

Axure RP


Esprit Jouffret (15 March 1837 – 6 November 1904) was a French artillery officer, insurance actuary and mathematician, author of Traité élémentaire de géométrie à quatre dimensions (Elementary Treatise on the Geometry of Four Dimensions, 1903), a popularization of Henri Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional page.

Maurice Princet brought Traite to artist Pablo Picasso's attention. Picasso's sketchbooks for his 1907 painting Les Demoiselles d'Avignon illustrate Jouffret's influence on the artist's work.<ref>

See also
Maurice Princet

References

1837 births
1904 deaths
French mathematicians
French actuaries
Cubist artists

Esprit Jouffret


The Cavill family of Australia is known for its significant contributions to the development of the sport of swimming.

Prominent family members in the sport include Frederick Cavill (1839-1927), sons Ernest Cavill (1868-1935), Charles Claude Cavill (1870 - 1897), Percy Frederick Cavill (1875-1940), Arthur Rowland Channel (Tums) Cavill (1877 - 1914), who is credited by sports journalist W.F. Corbett with originating the Australian crawl stroke, which now predominates in "freestyle" swimming races; and Sydney St. Leonards Cavill ("Sid") (1881 - 1945), was the originator of the butterfly stroke.  Youngest son Richmond (Dick) Theophilus Cavill (1884-1938) was the first to use the crawl in a competition, winning 100 yards State championship in 1899; and in England, in 1902, he was the first to swim 100 yards in under a minute.

Six members of the family were jointly inducted into the International Swimming Hall of Fame in 1970.

The three daughters, Madeline Cavill, Fredda Cavill and Alice Cavill  were all accomplished swimmers and swimming instructors.

See also
 List of members of the International Swimming Hall of Fame

References

Swimming in Australia
Sports families of Australia

Cavill family


Till The Clouds Roll By is a 1946 American Technicolor musical film produced by Metro-Goldwyn-Mayer and a fictionalized biopic of composer Jerome Kern, portrayed by Robert Walker. Kern was involved with the production, but died before its completion. It was the first in a series of MGM biopics about Broadway composers.

The film is one of the MGM musicals that entered the public domain when MGM failed to renew its copyrights.

Plot
Kern attends the opening night of Show Boat in 1927, the landmark musical that secured his popularity. Following several of the show's most notable songs, Kern departs to reminisce about his early days as a young songwriter.

Kern recounts meeting Jim Hessler, a musical mentor, and Hessler's young daughter Sally. Kern and the Hesslers grow close, and he later visits them in London. Taking Sally to the fair inspires Kern to conceive a stage production for one of his songs. At the London Gaieties revue, Kern's song garners the attention of theatrical producer Charles Frohman.

When Kern happens to meet Eva Leale, it's love at first sight, but the courtship is cut short. He must abruptly sail back to New York to adapt The Girl from Utah for its Broadway debut. Following the show's success, Kern narrowly misses sailing back to London on the RMS Lusitania.

The 1917 opening night of Oh, Boy! includes the musical number "Till the Clouds Roll By". The composer proposes to Eva and returns to New York to continue his string of theatrical successes, including Leave It to Jane. His 1920 musical Sally, starring Marilyn Miller, popularized the song "Look for the Silver Lining".

Now grown up, Sally Hessler asks her Uncle Jerry to help her get a stage role. He writes the song "Who?" for her to have a part in the 1925 musical Sunny. After the show's producers  give the song to star Marilyn Miller, Sally leaves in protest. At the opening night of Sunny, Kern learns that Sally has run off, leaving her father despondent.

All attempts to locate Sally fail, and Jim Hessler dies, leaving a mourning Kern unable to work. Oscar Hammerstein visits the Kerns to share a copy of the 1926 novel Show Boat. The same night, Kern learns that Sally will be performing at a club in Memphis, Tennessee]. He leaves to find her in Tennessee, where the two make amends, and he spends the night listening to the sounds of the Mississippi River.

Having recounted his life story so far, Kern feels his career has likely come to an end with Show Boat. On the contrary, he continued to write hit shows, including The Cat and the Fiddle (1931) and Roberta (1933). While visiting a sound stage at MGM, Kern is delighted to discover the studio has cast Sally to perform in a new film featuring his songs.

Highlights of Kern's Hollywood career include songs from Swing Time (1936), Cover Girl (1944), and Broadway Rhythm (1944); the montage concludes with songs from Sweet Adeline and Show Boat.

Cast

 Robert Walker as Jerome Kern
 June Allyson as herself/Jane in Leave It to Jane
 Lucille Bremer as Sally Hessler
 Judy Garland as Marilyn Miller
 Kathryn Grayson as Magnolia Hawks in Show Boat/Herself
 Van Heflin as James I. Hessler
 Lena Horne as Julie LaVerne in Show Boat/Herself
 Dorothy Patrick as Eva Kern
 Van Johnson as bandleader in Elite Club
 Tony Martin as Gaylord Ravenal in Show Boat/Himself
 Dinah Shore as Julia Sanderson
 Frank Sinatra as himself
 Gower Champion as specialty dancer in Roberta
 Cyd Charisse as specialty dancer in Roberta
 Angela Lansbury as London specialty
 Ray McDonald as dance specialty in Oh, Boy! and Leave It to Jane
 Virginia O'Brien as Ellie Mae in Show Boat/Herself
 Mary Nash as Mrs. Muller
 Joan Wells as Young Sally Hessler
 Harry Hayden as Charles Frohman
 Paul Langton as Oscar Hammerstein II
 Paul Maxey as Victor Herbert

Cast notes
 Esther Williams makes a cameo.
 Sally Forrest and Mary Hatcher make appearances as "chorus girls".
 Kathryn Grayson reprised the role of Magnolia Hawks in MGM's film adaptation of Show Boat, released in 1951.

Production

The working title for the film was "As the Clouds Roll By". Gene Kelly was intended to play Kern, with Gloria DeHaven, Jacqueline White, Imogen Carpenter, and Jeanette MacDonald in major parts. None appeared in the film.

The first 15 minutes of the film consist of a condensed adaptation of Act I of Show Boat, with the order of some of the songs shifted - "Can't Help Lovin' Dat Man" is sung after "Life upon the Wicked Stage", and "Ol' Man River" was used as an Act I Finale, dissimilar to the show. "Can't Help Lovin' Dat Man" as sung by Lena Horne was filmed, like many of her other musical numbers in MGM films, so that it could be removed from the print by sensitive Southern distributors.

When the film started production in the fall of 1945, Judy Garland was signed as Broadway singer-dancer Marilyn Miller, having just returned to California after a long New York honeymoon with her new husband, director Vincente Minnelli.  Soon after, Kern returned to New York toward the end of October and died in November 1945.

During the six months that it took to shoot the film, producer Arthur Freed had to find one director after another. Lemuel Ayers, a set designer, was scheduled to make his directorial debut on the film, but was replaced by Busby Berkeley late in August 1945. Meanwhile, Minnelli – who, it was rumored at the time, would be taking over the direction of the film – was shooting Garland's sequences even before the beginning of principal photography as she was pregnant and expected to give birth in March 1946; her shooting was completed on November 8, 1945. By the time full shooting began in the middle of December, Berkeley had been replaced by Henry Koster, who then was replaced after a short period by Richard Whorf. Whorf received the onscreen directorial credit. There was a break in production from some time in January 1946 to the middle of March of the same year.

The film includes two versions of "Ol' Man River": the first sung by Caleb Peterson and an African-American chorus as part of the Show Boat medley, and the second, a "crooner version" by Frank Sinatra, featured as the grand finale.

Barbette consulted on the creation of the film's circus sequence.

Songs

 "Cotton Blossom" - MGM Studio Orchestra and Chorus
 "Where's the Mate for Me" - Tony Martin
 "Make Believe" - Kathryn Grayson/Tony Martin
 "Life Upon the Wicked Stage" - Virginia O'Brien/MGM Studio Orchestra and Chorus Girls
 "Can't Help Lovin' Dat Man" - Lena Horne
 "Ol' Man River" - Caleb Peterson/MGM Studio Orchestra and Chorus
 "Ka-Lu-a" - MGM Studio Orchestra
 "How'd You Like to Spoon with Me" - Angela Lansbury/MGM Studio Orchestra and Chorus
 "They Didn't Believe Me" - Dinah Shore
 "Till the Clouds Roll By" - June Allyson/Ray McDonald/MGM Studio Orchestra and Chorus
 "Leave It to Jane" - MGM Studio Orchestra and Chorus/June Allyson/Ray McDonald
 "Cleopatterer" - June Allyson/Ray McDonald/MGM Studio Orchestra and Chorus
 "Leave It to Jane" (Reprise) - MGM Studio Orchestra and Chorus/June Allyson/Ray McDonald
 "Look for the Silver Lining" - Judy Garland
 "Sunny" - Judy Garland/MGM Studio Orchestra and Chorus
 "Who?" - Judy Garland/MGM Studio Orchestra and Chorus
 "One More Dance" - Lucille Bremer (Dubbed by Trudy Erwin)
 "I Won't Dance" - Van Johnson/Lucille Bremer (dubbed by Trudy Erwin)
 "She Didn't Say Yes" - Lee and Lyn Wilde, aka "The Wilde Twins"
 "Smoke Gets in Your Eyes" - Cyd Charisse/Gower Champion
 "The Last Time I Saw Paris" - Dinah Shore
 "The Land Where the Good Songs Go" - Lucille Bremer (dubbed by Trudy Erwin)
 "Yesterdays" - MGM Studio Orchestra and Chorus
 "Long Ago (and Far Away)" - Kathryn Grayson
 "A Fine Romance" - Virginia O'Brien
 "All the Things You Are" - Tony Martin
 "Why Was I Born?" - Lena Horne
 "Ol' Man River" (Reprise/Finale) - Frank Sinatra/MGM Studio Orchestra and Chorus

Surviving Judy Garland outtake
A video of an excised musical number survives from this film, but part of the soundtrack has been lost. Judy Garland, as Marilyn Miller, sings "D'Ya Love Me?" to two clowns in a circus setting, representing a scene from the Broadway musical Sunny. The clowns are played by Swedish clowns Jean and Rene Arnaut, known as the Arnaut Brothers. Although uncredited, they appear in the edited movie oin the walk-around at the start of the Sunny circus.

Soundtrack album

The film was one of the early movies to have a soundtrack album released concurrently with it arriving in theaters. The soundtrack was produced by MGM Records, originally released as four 78-rpm records featuring various artists and songs from the film and cover artwork by Lennie Hayton. The album was released on LP. No official authorized version has yet been released on CD, but several unauthorized versions have appeared on the market. Rhino Entertainment currently owns the rights to issue an authorized CD of the soundtrack under license from Turner Entertainment; in the past, MCA Records and Sony Music Entertainment held such rights.

Reception

Critical response
Bosley Crowther, reviewing the film for The New York Times, wrote:
"Why did Metro...have to cook up a thoroughly phoney yarn about the struggles of a chirpy young composer to carry the lovely songs of Jerry Kern? And why did it have to do it in such a hackneyed and sentimental way as to grate on the sensibilities of even the most affectionately disposed?"

Variety began its review with a similar sentiment: "Why quibble about the story?" In a retrospective review, American film critic Pauline Kael wrote "This monster thing, spawned at M-G-M, was meant to be the life of Jerome Kern."

Box office
The film earned $4,748,000 in the U.S. and Canada box offices and $1,976,000 in other markets, but because of its high cost, the profit was $732,000.

Accolades
The film is recognized by American Film Institute in these lists:
 2006: AFI's Greatest Movie Musicals – Nominated

Home media
The film is one of several MGM musicals – another being Royal Wedding – that entered the public domain 28 years after production because the studio did not renew the copyright registration. As such, it is one of the more widely circulated MGM musicals on home video. Warner Home Video gave it its first fully restored DVD release on April 25, 2006.

Related films
Till The Clouds Roll By was the first in a series of MGM biopics about Broadway composers: It was followed by Words and Music about Rodgers and Hart in 1948, Three Little Words about Kalmar and Ruby in 1950, and Deep in My Heart about Sigmund Romberg in 1954.

References

External links

 "Till The Clouds Roll By" Full movie at BuggZugg YouTube

  (100%)

 "Till The Clouds Roll By" at TheJudyRoom.com

1946 films
1940s biographical films
1946 musical films
American biographical films
American musical films
1940s English-language films
Films about composers
Films about musical theatre
Films directed by Richard Whorf
Films produced by Arthur Freed
Films scored by Lennie Hayton
Jukebox musical films
Metro-Goldwyn-Mayer films
1940s American films

Till the Clouds Roll By


Daniel James Bell-Drummond (born 4 August 1993) is an English professional cricketer, who plays for Kent County Cricket Club. He has represented England at youth level and has played for the England Lions cricket team at senior level.

Primarily a batsman, Bell-Drummond, made his senior cricket debut in 2011. In October 2023 he was appointed as Kent's club captain, replacing Sam Billings who had resigned the role at the end of the 2023 season.

Early life
Bell-Drummond was born in Lewisham in south-east London in 1993. His parents are of Jamaican descent and he has described how watching both West Indian and English cricket home was a major influence on his development. He was spotted by Kent County Cricket Club playing for Catford Wanderers as a seven-year-old and progressed through the county system, scoring his first century for the under-10 side aged just seven. He played for Kent age group teams, scoring centuries at every level, before joining the Cricket Academy at Kent where he was awarded the John Aitken Gary Trophy as the Academy Scholar of the Year in 2010. He signed a three-year professional contract with Kent in September 2010 at age 17.

Bell-Drummond attended Dulwich Prep and won a scholarship to Millfield School and played cricket for the school team as well as for England at under-15, under-17 and under-19 levels, captaining the under-17 side against Sri Lanka in 2010. He completed his sixth form studies at the school in 2012 after signing his professional contract with Kent and was named the Young Wisden Schools Cricketer of the Year in the 2012 edition of Wisden after scoring over 800 runs for Millfield in 2011.

England youth cricket
Having represented England at under-15 and under-17 levels, Bell-Drummond played for the England under-19 cricket team against Sri Lanka in 2010. He made his youth Test debut on 21 July 2010 at the County Ground, Northampton before scoring unbeaten 88 in the second youth Test later in the same month, aged only 16. He played in both under-19 Test matches and in four youth one-day international matches during England's return tour of Sri Lanka in January and February 2011.

In July 2011 Bell-Drummond played in a one-day series against South Africa under-19s. He top-scored for England in three of the seven matches in the series and was the leading run scorer for the team in the series, scoring 329 runs in seven innings at an average of 47.00.

After touring Bangladesh with the England under-19 side during January and February 2012 and again leading the team in run scoring, playing in all seven youth ODIs, Bell-Drummond played in a four-way 50-over competition against the Australia, India and New Zealand under-19s in North Queensland in April 2012. He was the leading run-scorer in the competition with 287 runs at an average of 95.66, including a match-winning 103 not out against Australia in an innings when the next highest score for the England team was 28. Later the same month he was described as "perhaps the most exciting young batsman in the country" and was named in the England team for the 2012 Under-19 World Cup, held in Queensland in August 2012. By his standards he had a disappointing tournament after being tipped as "one of the batsmen to watch".

Senior cricket career
Bell-Drummond made his first-class cricket debut for Kent at the age of 17 in a university match against Loughborough MCCU in May 2011, scoring 80 runs from 103 balls. In July the same year he made his senior List A cricket debut in a Clydesdale Bank 40 match against Worcestershire before going on to play in three County Championship matches for Kent towards the end of the 2011 season. He spent most of the 2012 season playing for Kent's Second XI, making only two first-class appearances during the season, including against the touring South Africans at Canterbury

He made his maiden first-class century in April 2013 against a Cardiff University side and used the innings to become a regular in the Kent side during the 2013 season.
After cementing his place in the Kent side in all forms of cricket and scoring a century against the touring Australian side in June 2015, Bell-Drummond was awarded his county cap in August 2015. In August 2015 he deputised as an emergency wicket-keeper in Kent's County Championship match at Derby when Sam Billings suffered a finger injury, keeping wicket until Ryan Davies arrived from Second XI duty to act as a substitute. He deputised again in May 2017 when Adam Rouse injured a thumb, taking one catch behind the stumps.

In December 2015 Bell-Drummond made his first appearance for England Lions against the United Arab Emirates in a T20 match in Dubai. He scored 5 runs from 5 deliveries opening the batting. Later the same month he played in the final game of the five match T20 series against Pakistan A scoring 17 runs.

Bell-Drummond made an excellent start to the 2016 domestic season, hitting his maiden first-class double-hundred against Loughborough MCCU followed by a century in his first innings of the County Championship season against Leicestershire. He and Tom Latham then combined for two first-wicket century partnerships in Kent's opening home match of the Championship against Glamorgan, only the third time this had been achieved in the same championship match in the county's history. Bell-Drummond was selected for England Lions again during the 2016 summer, playing limited overs matches against both Pakistan A and Sri Lanka A. He scored his highest List A cricket score of 171 not out against Sri Lanka A at Canterbury during the series of matches as he combined with Ben Duckett to post the second highest List A partnership on record.

During the 2016–17 English off-season Bell-Drummond was again selected for the Lions, playing against the UAE in Dubai during December and in the List A matches against Sri Lanka A in March, scoring a century in the 4th match of the series. He was also chosen to play in the North v South pre-season series in the United Arab Emirates.

Bell-Drummond was signed as injury cover by the Rajshahi Kings during the 2017–18 Bangladesh Premier League season. He made his debut in the competition on 21 November 2017, although only played once for the team. After playing for Kent in the Caribbean 2017–18 Regional Super50 competition, he played in the North v South pre-season series in Barbados and captained the MCC side in the Champion County match.

Good form in one-day cricket during the 2018 promotion season was followed by Bell-Drummond signing a new, long-term contract with Kent during the 2018/19 off-season.  During the off-season he played Sydney Grade Cricket for Randwick Petersham Cricket Club, making a century on his debut in the first grade competition before being signed to play in the later stages of the 2018–19 Super Smash T20 competition in New Zealand for Auckland.

The 2019 season saw Bell-Drummond lead Kent's batting, scoring a club best 987 runs in first-class cricket. He broke his run of seasons without a first-class hundred, scoring a century against Warwickshire, registering his highest County Championship score of 166 runs. He scored six half-centuries in first-class cricket, was Kent's leading T20 run scorer and scored a century in the Royal London Cup competition, averaging more than 60 runs per innings in four matches in the competition. The shortened 2020 season saw Bell-Drummond once again as Kent's leading T20 run scorer, although he failed to score a first-class half-century, playing in all of Kent's five matches and captaining the side in the absence of both club captain Sam Billings and Joe Denly, both of whom were on England duty. During the 2020/21 off-season he played for Colombo Kings in the inaugural season of the Lanka Premier League.

In February 2021, he was drafted by Birmingham Phoenix for the inaugural season of The Hundred. He featured in the side's first three group stage matches but failed to score more than 12 runs in an innings.

In April 2022, he was bought by the London Spirit for the 2022 season of The Hundred.

Platform cricket project
During 2017 Bell-Drummond set up Platform, a cricket project aiming to increase participation in the sport by young people based in the London Borough of Lewisham, the area in which he grew up. The project involves reintroducing the sport into local primary schools and includes after-school and winter coaching. It ran a cricket festival for school children at Deptford during 2018 and was initially funded by Bell-Drummond and a business partner. Lewisham is a relatively low-income London borough with a significant Afro-Caribbean population and the initiative was partly influences by a decline in participation in cricket in the Afro-Caribbean population. In 2018 it was revealed that Bell-Drummond was one of only eight black or mixed-race cricketers playing in the County Championship, with only three, including Bell-Drummond, aged 25 or under. A 2020 study revealed that Bell-Drummond was one of only nine black players who featured in the County Championship during the 2019 season, down from a figure of 33 in 1995.

Career best performances
As of October 2024, Bell-Drummond has scored 16 first-class centuries, including one double-century and one triple-century. His highest score of 300 not out was made against Northants at Northampton during the 2023 season, surpassing the 206 not out he made against Loughborough MCC University at the start of the 2016 season at the St Lawrence Ground in Canterbury. His maiden first-class century was scored against Cardiff MCC University at the start of the 2013 season. In July 2022 he scored two centuries in a match for the first time, batting for nine hours in a match against Surrey at The Oval and making scores of 102 and 107 not out to help save the game for Kent.

He has scored seven List A centuries, with a highest score of 171 not out made for England Lions in 2016, and two Twenty20 centuries, scores of 112 not out against Surrey at Tunbridge Wells in 2016 and of 111 against Middlesex at Canterbury in 2023. In 2017 he and Joe Denly set Kent's record partnership for any wicket in T20 cricket, adding 207 runs for the first wicket against Essex at Chelmsford. At the time this was a world record opening partnership in Twenty20 cricket, and the third highest in the world for any wicket in the format. Earlier in the same season he and Denly had scored 163 runs against Surrey for the first-wicket at The Oval, setting the previous highest partnership for any wicket for Kent.

Despite having bowled regularly whilst playing age-group cricket, Bell-Drummond began his career bowling infrequently in senior cricket, citing a number of injury concerns as the main reason for not doing so. He took his first professional wicket in 2018 and began to bowl rather more frequently during the start of the 2019 season, taking five wickets during Kent's 2019 Royal London One-Day Cup campaign with his "slippery right-arm seamers" and contributing wickets in the County Championship. His best first-class bowling figures of three wickets for 47 runs were taken against Middlesex at the end of the 2021 season. He took took 2/22 against Surrey during the 2019 season's One-Day Cup, his best List A bowling figures, and 2/19 against Somerset in the 2019 t20 Blast, his first T20 wickets.

Updated 27 June 2023

References

External links

 Kent County Cricket Club profile

English cricketers
1993 births
Kent cricketers
Living people
English cricketers of the 21st century
Auckland cricketers
Marylebone Cricket Club cricketers
North v South cricketers
Colombo Stars cricketers
Sportspeople from the London Borough of Lewisham
Birmingham Phoenix cricketers
London Spirit cricketers
People educated at Millfield
Cricketers from Greater London
British people of Jamaican descent

Daniel Bell-Drummond


Hindus believe that Lord Vishnu has many important Avatars. Parashurama, also known as Parashuram Avatar, was the sixth important avatar of Lord Vishnu.  In this avatar, Lord Vishnu was in the form of a human.  He came to Earth to stop Chakravarti Samrat Karthaveerya Arjuna for he had become evil due to his ego and non humility, and as he was very powerful and had the boon of being the embodiment of the Sudarshan Chakra, the gods weren't able to defeat him and all the kshatriyas had become evil under him. Parashurama was the son of sage Jamadagni, one of the Saptarishis (or Saptarshis) and a sage who was known for his temper. It is believed that Parashurama was Chiranjeevi, meaning he was immortal. He was a great devotee of Lord Shiva. Parshurama's mother, Renuka Devi was born of a Kshatriya but she became a Brahmin afterwards (this was before the castes or varna were decided by birth).

Parashurama was born as Ramabhadra of the Bhargava Clan (headed by Bhrigu, one of the Manvantaras of Lord Brahma). He later gained the name of Parashurama when he obtained Mahakaal's Parashu (axe weapon) and lead the Devas to victory against the Asuras in a war in which the Devas were losing.

Parashurama was the first Brahmakshatriya (both a Brahmin sage and a Kshatriya warrior) and probably the only one. He could cleave his mind into two parts, one who would fight in battle and other would conduct a yagna in the shared mind.

He also played a vital role in Mahabharata, teaching Bheeshma, Dronacharya and Karna the art of war and weaponry and fought against Bheeshma to fulfil Amba's request to kill Bheeshma, though he failed to do so.

Parashuram also had a disciple, Akritavrana (literally meaning "no injuries"). He also contained an amsha (part) of Mahavishnu in the form of a Agya Chakra on his forehead between his eyebrows.

One of the interesting things about Parashurama was that, unlike the other Avatars of Lord Mahavishnu, he was not born an Avatar but instead, became an Avatar after he was born. This happened when he sparked the Amsha of Lord Mahavishnu inside him. He also had the blessings of the gods after he helped them win the Deva-Asura war, the blessings of Devi Chinnamasta, Bhadrakali, Shiva, Vishnu, Avadhuta Dattatreya and so on.

He was a master of weapons and especially the Parashu and the bow he wields. His conch's name is Amritajit. Since he is immortal, he is believed to teach the art of weaponry and war to Kalki, the last Avatar of Lord Mahavishnu in this cycle who will end this cycle, ushering in a new era.

Hinduism
Hindu mythology

Parashurama