Lavaux () is a region in the canton of Vaud in Switzerland, in the district of Lavaux-Oron. Lavaux consists of 830 hectares of terraced vineyards that stretch for about 30 km along the south-facing northern shores of Lake Geneva.

Although there is some evidence that vines were grown in the area in Roman times, the actual vine terraces can be traced back to the 11th century, when Benedictine and Cistercian monasteries controlled the area. It benefits from a temperate climate, but the southern aspect of the terraces with the reflection of the sun in the lake and the stone walls gives a mediterranean character to the region. The main wine grape variety grown here is the Chasselas.

World Heritage Site

Under cantonal law, the vineyards of Lavaux are protected from development. Since July 2007, Lavaux is a UNESCO World Heritage Sites.

Since 2016, the vineyards of Lavaux are not treated with synthetic pesticides any more.

Hiking trail

There are many hikes possible through the vineyards of Lavaux. There is a hiking trail ("Terrasses de Lavaux"), going from Saint-Saphorin to Lutry, recommended by the Tourism Office of Switzerland.

Legal protection

In 1977, the voters of the Canton of Vaud accepted (55%) the cantonal popular initiative "Save Lavaux" Consequently, in 1979, a law was made to protect Lavaux (Loi sur le plan de protection de Lavaux).

In 2003, the new constitution of the Canton of Vaud came into force but did not contain the article about the protection of Lavaux. A second popular initiative "Save Lavaux" was launched to re-introduce it and was accepted in 2005 by 81% of voters.

In 2009, Franz Weber launched a third initiative "Save Lavaux" to reduce the possibilities for new construction in Lavaux, which was rejected on 19 May 2014 by 68% of voters. The counter-initiative of the regional government (Council of State of Vaud) was accepted by 68% of voters (strengthening the protection but less strictly than the initiative of Franz Weber).

Influences and tributes

 Lavaux is the name of a song by Prince, on his album 20Ten (2010).
 In 2011, the Swiss Post issued three special stamps celebrating the region of Lavaux.

Gallery

Notes and references

External links

 Lavaux Vineyard Terraces hiking trail
 Lavaux Vinorama

Wine regions of Switzerland
Geography of the canton of Vaud
World Heritage Sites in Switzerland

Lavaux


Makaton is a communication tool with speech, signs, and symbols to enable people with disabilities or learning disabilities to communicate. Makaton supports the development of essential communication skills such as attention, listening, comprehension, memory and expressive speech and language. The Makaton language programme has been used with individuals who have cognitive impairments, autism, Down syndrome, specific language impairment, multisensory impairment and acquired neurological disorders that have negatively affected the ability to communicate, including stroke and dementia patients.

The name "Makaton" is derived from the names of three members of the original teaching team at Botleys Park Hospital: Margaret Walker (the designer of the programme and speech therapist at Botleys Park), Katherine Johnston and Tony Cornforth (psychiatric hospital visitors from the Royal Association for Deaf People).

Makaton is a registered trademark of the Makaton Charity, which was established in 2007 to replace the original charitable trust, the Makaton Vocabulary Development Project, established in 1983. The original trademark application for Makaton was filed in Britain on 28 August 1979, with registration approved as from that date under trademark registration no. 1119745.

In 2004 the Oxford University Press included Makaton as a common usage word in the Oxford English Dictionary. The entry states: "Makaton, n. Brit. A proprietary name for: a language programme integrating speech, manual signs, and graphic symbols, developed to help people for whom communication is very difficult, esp. those with learning disabilities."

Programme
The Makaton Language Programme uses a multimodal approach to teach communication, language and, where appropriate literacy skills, through a combination of speech, signs, and graphic symbols used concurrently, or, only with speech with signs, or, only with speech with graphic symbols as appropriate for the student's needs. It consists of a Core Vocabulary of roughly 450 concepts that are taught in a specific order (there are eight different stages). For example, stage one involves teaching vocabulary for immediate needs, like "eat" and "drink".  Later stages contain more complex and abstract vocabulary such as time and emotions.  Once basic communication has been established, the student can progress in their language use, using whatever modes are most appropriate. Also, although the programme is organised in stages, it can be modified and tailored to the individual's needs. In addition to the Core Vocabulary, there is a Makaton Resource Vocabulary of over 11,000 concepts which are illustrated with signs and graphic symbols.

Development
Original research was conducted by  Margaret Walker in 1972/73, and resulted in the design of the Makaton Core Vocabulary based on functional need. This research was conducted with institutionalised deaf cognitively impaired adults resident at Botleys Park Hospital in Chertsey, Surrey (which closed in 2008). The aim was to enable them to communicate using signs from British Sign Language. Fourteen deaf and cognitively impaired adults participated in the pilot study, and all were able to learn to use manual signs; improved behaviour was also noted. Shortly after, the Core Vocabulary was revised to include both children and adults with severe communication difficulties (including individuals who could hear), and was used in many schools throughout Britain in order to stimulate communication and language.

In the early stages of development, Makaton used only speech and manual signs (without symbols). By 1985, work had begun to include graphic symbols in the Makaton Language Programme and a version including graphic symbols was published in 1986. The Core Vocabulary was revised in 1986 to include additional cultural concepts.

The Makaton Vocabulary Development Project was founded in 1976 by Margaret Walker, who worked in a voluntary capacity as director until her retirement in October 2008. The first Makaton training workshop was held in 1976 and supporting resources and further training courses were, and continue, to be developed. In 1983 the Makaton Vocabulary Development Project became a charitable trust, and in 2007 it changed its status to become the Makaton Charity.

Use
The Makaton Language Programme is used extensively across Britain and has been adapted for use in different countries; signs from each country's deaf community are used, along with culturally relevant Makaton symbols. For example, within Britain, Makaton uses signs from British Sign Language; the signs are mainly from the London and South East England regional dialect.  Makaton has also been adapted for use in over 40 countries, including France, Greece, Japan, Kuwait and the Gulf, Russia, South Africa and Switzerland. Using signs from each country's own existing sign language ensures that they reflect each country's unique culture and also provide a bank of further signs if required for use with the Makaton Language Programme.

In 1991 the Makaton Charity produced a video/DVD of children's familiar nursery rhymes, signed, spoken and sung by a well-known children's TV presenter, Dave Benson Phillips, who had previously used Makaton with poems and rhymes in the Children's BBC show Playdays. The aim was for it to be enjoyed by children with developmental disabilities and their peers and siblings. Following this major success, in 2003 it became a significant part of the BBC's Something Special programmes on the CBeebies programme thread, presented by Justin Fletcher, which has won numerous awards and is now into its thirteenth series.

On 16 November 2018, comedian Rob Delaney read a book on the BBC's children's channel CBeebies entirely in Makaton and English; he had used Makaton to communicate with his late son Henry, who was rendered unable to talk after a tracheotomy.

References

Further reading

 Harrison, D: Virden, F (2011). "Assistant practitioners lead way". British Journal of Healthcare Assistants, 5(8),409.
 Hooper,

External links
 The Makaton Charity website
 Something Special CBeebies programme to teach all ages Makaton

1970s establishments in the United Kingdom
Augmentative and alternative communication
Deaf culture in the United Kingdom
Sign language
Sign systems
Speech and language pathology

Makaton


Claudio Slon (November 12, 1943 - April 16, 2002) was a notable Brazilian jazz drummer born in Buenos Aires, Argentina. He performed in a variety of Latin music genres, including Latin pop, Latin jazz, Brazilian pop and easy pop.

The son of a classical violinist and a ballet instructor, Slon was raised in São Paulo and began recording professionally at an early age, taking first place in a national poll of jazz critics while still a teenager. He performed alongside his father in the São Paulo Philharmonic, before appearing with the Walter Wanderley Trio, as well as Sérgio Mendes' Brasil '66 and Brasil '77 during the 1960s and 1970s.

He also appeared on many Brazilian sessions overseen by Creed Taylor for the Verve label, including A Certain Smile, A Certain Sadness by Astrud Gilberto and The Walter Wanderley Trio, Wave by Antônio Carlos Jobim, and Samba '68 by Marcos Valle.  Although a total of three drummers are generally credited on the Jobim Wave release and reissues, it is Slon who is playing the drum set; Bobby Rosengarden and Dom Um Romao play only percussion on the record.

The success of the Wanderley Trio's Top Five single "Summer Samba" and platinum debut album Rain Forest brought recording work of all kinds for Slon during the period, including a high-profile gig with Jobim and Frank Sinatra on the album Sinatra & Company and its accompanying television special A Man and His Music + Ella + Jobim. He joined Sérgio Mendes & Brasil '66 by the end of the decade. Slon appeared with the group for a total of nine years, and has also played and recorded albums with Dori Caymmi, Paulinho da Costa, John PisanoOscar Feldman and Joe Pass, among others. Slon also co-led (with Milcho Leviev) the Leviev-Slon Quartet, releasing albums for Vartan Jazz (Jive Sambas, among others) and then for Elephant Records ("When I'm 64"), the latter recorded with Herbie Mann. The last Trio of which he was the drummer was the newly formed Joao Donato Trio in 1999, where that group recorded three albums on Elephant.  In addition to being a top-notch drummer, Claudio was also an excellent Brazilian percussionist and recorded as such on several albums.

Slon was based in Los Angeles for many years before relocating in the mid-1990s to Colorado where he continued to work as a drummer, percussionist and producer until his death from lung cancer in Denver, Colorado, in April, 2002.

See also
 Mário Negrão

References

External links
 The Official Claudio Slon Website

Latin jazz drummers
Latin pop drummers
Brazilian jazz drummers
Easy pop drummers
Argentine emigrants to Brazil
1943 births
2002 deaths

Claudio Slon


John Rawdon, 1st Earl of Moira (17 March 1720 – 20 June 1793), known as Sir John Rawdon, Bt, between 1724 and 1750 and as The Lord Rawdon between 1750 and 1762, was an Irish peer.

Background
Rawdon was the only son of Sir John Rawdon, 3rd Baronet and Dorothy (daughter of Sir Richard Levinge, 1st Baronet,  Chief  Justice  of the Irish Common Pleas and his first wife, Mary Corbin).

Career
Rawdon succeeded his father in the baronetcy in February 1724, aged three. His mother remarried Charles Cobbe, Archbishop of Dublin, and died in childbirth in 1733.

In 1750 he was elevated to the Peerage of Ireland as Baron Rawdon, of Moira in the County of Down. In 1761 he was further honoured when he was made Earl of Moira in the Irish peerage.

Family
Lord Moira married, firstly, Helena Perceval (1718-1746), daughter of John Perceval, 1st Earl of Egmont and Lady Catherine Parker, on 10 November 1741. They had three children:

Lady Helena Rawdon, married Stephen Moore, 1st Earl Mountcashell and had issue.
Lady Catherine Rawdon (b. 27 May 1744), married Joseph Henry.
Lady Dorothea Rawdon (b. 17 October 1745)

Helena "died at the Hotwell, near Bristol, of the consumption" in June 1746. Lord Moira married, secondly, Anne Hill, daughter of Trevor Hill, 1st Viscount Hillsborough and Mary Rowe, on 23 December 1746. They had no children. After her death in August 1751, he married, thirdly, Elizabeth Hastings, 16th Baroness Botreaux, daughter of Theophilus Hastings, 9th Earl of Huntingdon and Lady Selina Shirley, on 26 February 1752. They were cousins, her grandmother Mary Levinge being his aunt. They had five children:

Lady Selina Frances Rawdon (d. 1827), married George Forbes, 6th Earl of Granard and had issue.
Lady Charlotte Adelaide Constantia Rawdon (d. 1834), married Hamilton Fitzgerald. In 1800, the royal House of Bourbon being in exile from France, Lady Charlotte's hand was sought in marriage by one of that dynasty's cadet princes, Antoine Philippe d'Orléans, Duc de Montpensier, but he was refused authorisation by Louis, Count of Provence (the future King Louis XVIII), and the marriage did not occur.
Lady Anne Elizabeth Rawdon (1753–1813), married Thomas Brudenell-Bruce, 1st Earl of Ailesbury without issue.

Francis Rawdon-Hastings, 1st Marquess of Hastings (1754–1826)
Hon. John Theophilus Rawdon (1756–1808), father of Elizabeth, Lady William Russell

Lord Moira died in June 1793, aged 73, and was succeeded by his eldest son by his third marriage, Francis, who had already been created Baron Rawdon in his own right in 1783 and was created Marquess of Hastings in 1816. The Countess of Moira died in April 1808.

References

|-

1720 births
1793 deaths
Earls in the Peerage of Ireland
Rawdon, John
Peers of Ireland created by George II

John Rawdon, 1st Earl of Moira


Godfrey Faussett (c.1781–1853) was an English clergyman and academic, Lady Margaret Professor of Divinity at Oxford from 1827. He was known as a controversialist. As a churchman he exemplified the high-and-dry tradition.

Life
He was the son of Henry Godfrey Faussett of Kent (son of Bryan Faussett) and Susan Sandys. He graduated B.A. at Corpus Christi College, Oxford in 1801, and M.A. in 1804 as a Fellow of Magdalen College. He became B.D. in 1822 and D.D. in 1827, the year in which he was elected Lady Margaret Professor.

Faussett was Bampton Lecturer, publishing The Claims of the Established Church to exclusive attachment and support, and the Dangers which menace her from Schism and Indifference, considered (1820). He took the conservative side of the religious issues in the university, opposing the 1834 bill of George William Wood to allow dissenters to enter (on a committee with Edward Burton, John Henry Newman, Edward Pusey and William Sewell), and defending subscription to the Thirty Nine Articles in 1835 with Vaughan Thomas and Newman.

Faussett's 1838 sermon The Revival of Popery was provoked by the Tractarian publication of the Remains of Hurrell Froude, who had died in 1836; in it Faussett denounced Newman and John Keble. It echoed an 1831 sermon of Burton preached against Henry Bellenden Bulteel. It also proved a turning point as far as traditional High Church support for the Oxford Movement went within the university, since Faussett's alienation reflected the views of others in the camp. Newman replied in a "Letter to Faussett" in June of that year, significant in its abandonment of his previous views on the Antichrist. In 1843 Faussett complained to the vice-chancellor Philip Wynter about a sermon by Pusey. The outcome was that Pusey was banned from preaching for two years.

Works
In 1830, Faussett attacked Henry Hart Milman's History of the Jews (1829) in a sermon Jewish History Vindicated from the Unscriptural View of it Displayed in the History of the Jews. The Alliance of Church and State Explained and Vindicated (1834) protested against the power of non-Anglicans to legislate for the Church of England.

Family
Faussett married first Marianne-Elizabeth Bridges of Thanet; they had two sons and two daughters. Thomas Godfrey Faussett was his son by his second wife Sarah Wethered of Great Marlow.

Notes

1781 births
1853 deaths
19th-century English Anglican priests
Lady Margaret Professors of Divinity

Godfrey Faussett


The EMC-TA was a model of diesel locomotive produced for the Chicago, Rock Island and Pacific Railroad by the Electro-Motive Corporation in 1937. The original six Rock Island Rockets streamliners were three- or four-car stainless-steel semi-articulated trainsets built by Budd Company, powered by six identical locomotives, #601-606. The locomotives were classified as model TA—the T indicating Twelve hundred hp (890 kW), the A indicating an A unit (cab-equipped lead locomotive). The Rock Island Line was EMC's only customer for the TA locomotive model.

The styling of the TAs resembled the A units of the contemporary EA and E1 built in 1937, but the single 1,200 hp Winton 201-A motor provided only two thirds the power of the E-units' 1,800 hp twin motor arrangement, the TAs were shorter and lighter, and they rode two-axle rather than three-axle trucks. Future locomotives for high speed and long distance passenger service would follow the direction taken by the EA/EB, E1 and E2; EMC's FT locomotives introduced in 1939 would adapt the single-engine two-axle truck layout of the TA and the cab/booster format of the E units to freight service.  With the introduction of the E-series and the TA units EMC undertook regular production of locomotives of their own design, opening the standardized mass production phase in marketing Diesel power for passenger service.

Like the E-series and F-series locomotives, the TA was constructed as a carbody truss rather than having a separate chassis, a weight-saving innovation of early streamliners adapted to full-sized locomotives.  The single Winton 201-A V16 engine was placed centrally, centered on the side door and twin flanking windows. The generator was attached behind it, with a cooling fan and air compressor after that. The rear of the unit was taken up with two steam generators for train heating and reservoirs for the air brakes. The cab sat two crew, engineer on the right and fireman on the left. The sloped nose contained air brake and train control equipment; beneath them sat the batteries, and beneath the cab was the water reservoir for the train heating boilers. Fuel was carried beneath the locomotive between the bogie. The trucks were 2-axle, both axles powered, giving the locomotive a B-B wheel arrangement.

The original paint scheme was maroon, red and silver; the bright red was a band at window height and another lower down, linking up at the nose. The rest of the nose end of the locomotive was maroon, and this color continued back at the base of the locomotive beneath the bright red stripe. The rear body of the locomotive was silver to match the train's stainless steel finish. Liberal amounts of stainless steel trim were applied, including "THE ROCKET" behind the cab doors, while "ROCK ISLAND" was painted in maroon against the silver locomotive sides.

As delivered, the TAs had a single headlight, but within a few years the Rock Island added a second, gyrating headlight for additional warning at grade crossings. In the 1950s the railroad added new, larger numberboards and removed the side skirting and the rear diaphragms from most of the locomotives. Other additions included MU receptacles next to the upper headlight and replacing the retractable front couplers with fixed ones.

When the original Rocket trainsets were withdrawn from service, the TAs, unlike the power units of many early streamliners, were able to continue in service, as they were fully separate locomotives capable of hauling ordinary railroad cars. They served long second careers hauling local and suburban trains. The TAs were finally retired between 1957–1958; all were scrapped.

References

External links

B-B locomotives
TA
Chicago, Rock Island and Pacific Railroad
North American streamliner trains
Passenger locomotives
Railway locomotives introduced in 1937
Scrapped locomotives
Standard gauge locomotives of the United States

EMC TA


Triana was a rock band hailing from Andalusia, Spain. Formed in 1974, the band were known for blending elements of progressive rock and flamenco music to make a style known as Andalusian rock or flamenco rock.

History

First lineup (1974-83)
Triana was formed in 1974 as a trio consisting of vocalist and organist Jesús de la Rosa Luque, guitarist Eduardo Rodríguez Rodway, and drummer Juan José Palacios, better known as Tele. The band released its untitled debut album (nick-named El patio) the next year, presenting a sound that blended elements of Andalusian flamenco music with progressive and psychedelic rock. Although a commercial failure, the album earned the band a cult following among the Spanish youth who, following the belated fall of fascism in the country, were interested in the subversive themes of rock (especially psychedelic rock) presented in Triana's music. In 1977, Triana released their second album, Hijos del agobio. This album was a bigger commercial success than their debut  and was notable for its politically-involved lyrics which reflected the tense and unstable nature of Spain's political climate at the time. Their third album, Sombra y luz, was released in 1979. Their most experimental album to date, Sombra y luz contained elements of jazz and was certified platinum by the AFYVE.

In 1980, Triana released their fourth album, Un encuentro. A commercial success, the album demonstrated a much more commercial and pop rock-influenced sound. Its follow-up, 1981's Un mal sueño, featured a similar sound, as did their sixth album, 1983's Llegó el día. Shortly after the release of Llegó el día, de la Rosa Luque was killed in a car accident, and the band subsequently announced their break-up.

Interim (1984-93)
In 1985, Rodway and Tele returned to the studio to create a final Triana album, taking vocal passages de la Rosa Luque recorded before his death and adding instrumentation. The resulting album, Tengo que marchar, was released in 1986.

Second lineup (1994-2002)
In 1994, Tele announced his reformation of Triana without Rodway. The new line-up featured vocalist and guitarist Juan Reina, guitarists Andrés Herrera (better known as Pájaro) and Raúl Fernández, keyboardist Emilio Grueso, and bassist Santi Camps. The decision to name this band Triana proved controversial among fans, as it included only one of the original members. Triana released their eighth album, Un jardín eléctrico in 1997, followed the next year by En libertad. Both of these albums received poor reviews. In 2002, Tele died of a heart attack and the band subsequently disbanded again.

Third lineup (2007-present)
In 2007, the other five members of the 1994-2002 lineup of Triana announced they were reforming the band with drummer Marcos Gamero taking Tele's place. This move proved extremely controversial among fans as only one of the original trio was alive and he did not take part in the reunion. Rodway released a statement disowning the new Triana, claiming they were merely trying to profit from the band's legacy. Triana released their tenth album, Un camino por andar, in 2008.

Members

Current members
Juan Reina (vocals, guitar) (1994–present)
Andrés "Pájaro" Herrera (guitar) (1994–present)
Raúl Fernández (guitar) (1994–present)
Emilio Grueso (keyboard) (1994–present)
Santi Camps (bass guitar) (1994–present)
Marcos Gamero (drums) (2007–present)

Original members
Juan José "Tele" Palacios (drums) (1974-2002)
Jesús de la Rosa Luque (vocals, keyboards) (1974-1983)
Eduardo Rodríguez Rodway (guitar, vocals) (1974-1985)

Timeline

Discography

Studio albums
El Patio (1975)
Hijos del agobio (1977)
Sombra y luz (1979)
Un encuentro (1980)
Un mal sueño (1981)
Llegó el día (1983)
Tengo que marchar (1986)
Un jardín eléctrico (1997)
En libertad (1998)
Un camino por andar (2008)

Live albums
En directo (1989)

External links

Profile on Allmusic

Flamenco-rock
Spanish progressive rock groups
Spanish musical groups
Rock en Español music groups

Triana (band)


The Espace Pierres Folles is a museum with geological exhibit and botanical garden located at 116 chemin du Pinay, St Jean des Vignes, Rhône, Auvergne-Rhône-Alpes, France. It is open daily in the warmer months; an admission fee is charged.

The museum was established in 1987 on the 2-hectare former site of a cement works. Its ground floor presents the Earth's formation, emergence of life and its evolution over time, and fossils of the region; it also contains several aquariums. The second floor presents the relationship between soil and vegetation, including viticulture with the origin of the diversity of Beaujolais wine, as well as the regional use of stone for construction and cement manufacture. The top floor contains temporary exhibits.

The geological trail was established in 1988, and consists of four sites reflecting the region's geology, particularly of fossils and strata from 195 to 245 million years ago. The trail contains informative displays designed by students of the College des Quatre Vents.

The botanical garden was inaugurated in April 1995 and is a member of Jardins Botaniques de France et des Pays Francophones. It covers 8400 m2 and as of 2007 contained 529 plant species, including 567 taxa of herbaceous plants and 8 taxa of conifers, focusing on local flora, particularly those of the clay and limestone soil of southern Beaujolais, but also including Mediterranean plants and a few non-native trees such as Atlas cedar and walnut. The garden consists of three flowerbeds, landscaped plantings, a sandy area for heathers, and a rock garden. Each species is labeled with its botanical family, scientific name, and common name.

See also
 List of botanical gardens in France

External links
 Espace Pierres Folles
 BGCI entry
 Espace Pierres Folles species list
 Parcs et Jardins de France entry (French)
 Gralon.net entry (French)

Gardens in Rhône (department)
Botanical gardens in France
Museums in Rhône (department)

Espace Pierres Folles


The Manifesto on the Establishment of Ministries was the first act of the ministerial reform of 1802–11, regulating the activities of sectoral management bodies in the Russian Empire. Published on September 8, 1802 by Emperor Alexander I.

Overview
The manifesto instituted eight ministries:
Ministry of War;
Maritime Ministry;
Ministry of Foreign Affairs;
Ministry of Justice;
Ministry of the Interior;
Ministry of Finance;
Ministry of Commerce;
Ministry of National Education.

The new executive bodies were the Ministry of the Interior and the Ministry of National Education.

It was proclaimed that each minister will have an instruction that will precisely determine the scope of his authority. All questions exceeding the ministerial power were resolved by the emperor, on the basis of a ministerial report on this issue.

Reasons for the adoption of the manifesto
The work of sectoral authorities – collegiums created under Peter the Great, did not satisfy the urgent needs of the new century. First, over the course of the 18th century, the number of collegiums increased significantly as compared with the era of Peter's reign: these bodies often replaced each other, since the same function was assigned to several collegiums at once. Sometimes the opposite — any function remained outside the jurisdiction of the collegium. 9 collegiums, 2 institutions that had the status of collegiums, the office of the procurator-general, which concentrated management of internal affairs, justice and finance, and about 14 other collegiate institutions, as well as 10 central institutions of the court administration, directly subordinate to the emperor, were cumbersome and poorly managed array.

These institutions, which had arisen throughout the 18th century and still continued to operate by 1801, according to the apt remark of the Soviet historian Anatoly Chernov, "... did not develop into centralized branches of government. Their internal structure was distinguished by uncertainty and non-uniformity". The legal status of many institutions was also controversial, which gave rise to the uncertainty of the very type of these institutions (that is, the impossibility of their legal identification).

Secondly, the collegiums lacked the personal responsibility of specific individuals – all decisions were taken collectively.

The Manifesto on the Establishment of Ministries reflected the new requirements for government:
Personal responsibility of managers and performers;
The formation of new sectoral bodies — the ministries, which number was eight. This numerical reduction, as compared with the "proliferated" institutions, allowed to increase the efficiency of the institutions.

Significance of the manifesto
The manifesto was an important stage in overcoming the crisis of public administration, in reforming the system of central government in Russia. It was the basis for the most important document – the "General Institution of Ministries", which more clearly defined the ministerial powers.

Sources

Government ministries of the Russian Empire
Manifestos of Russian emperors
September 1802 events


Cumston Hall is a historic community building at 796 Main Street in downtown Monmouth, Maine.  Built in 1900, it is one of the most flamboyant examples of wooden Romanesque Revival architecture to be found in a small-town setting in the entire state.  It was a gift to the town of Dr. Charles M. Cumston, and presently houses the local public library and local theatrical companies.  It was listed on the National Register of Historic Places in 1973.

Description
Cumston Hall stands prominently in the village of Monmouth, on the east side of Main Street (Maine State Route 132), opposite its junction with Blue Road.  It is a large two-story wood frame structure, with a hip roof, clapboard siding, and granite foundation.  A square tower, about  in height, projects from the front right corner, rising to a pyramidal roof with small corner turrets.  The exterior is festooned with applied woodwork, with grouped round columns supporting an arcaded ground floor.  Upper floor windows consists of paired round-arch windows, with a Palladian-style three part window in a gabled projecting section above the main entrance.

History
Cumston Hall was completed in 1900 and is named in honor of Dr. Charles M. Cumston, a former headmaster at the English High School in Boston, who gave the Romanesque Revival and Queen Anne style building to Monmouth equipped with a library and auditorium. Cumston chose Harry Hayman Cochrane (1860–1946), a muralist who went to school in Monmouth, to design and decorate it. Cochrane's work is most noted in the cherubic portraits that adorn the ceiling and the intricate hand-molded plaster work that frames the walls, boxes, and proscenium arch of the stage.

Today, Cumston Hall is the home of the Cumston Public library, the Theater at Monmouth, Monmouth Community Players, and many local activities. The theatrical productions staged here are a draw for people living outside of Monmouth to come and see this landmark.

See also
 Monmouth Academy (Maine)
 National Register of Historic Places listings in Kennebec County, Maine

References

External links

 About Cumston Hall
 History of Cumston Hall
 Theater at Monmouth

Libraries on the National Register of Historic Places in Maine
Libraries in Kennebec County, Maine
Public libraries in Maine
Theatres in Maine
Library buildings completed in 1900
National Register of Historic Places in Kennebec County, Maine

Cumston Hall


Livetune (stylized as livetune) is a Japanese electro band which formed in 2007 as a dōjin music circle signed to Toy's Factory. The band originally consisted of two members, Kz and Kajuki P, but Kajuki P left the band in March 2009. Livetune started out by making use of the Hatsune Miku singing synthesizer to produce vocals for songs submitted to the Nico Nico Douga video sharing website. The popularity of the songs led the band to release the independent album Re:package at Comiket 73 in December 2007. Livetune made its major debut with Victor Entertainment with the professional release of their Re:package album in August 2008, which was updated with more songs. Livetune began collaborating with other artists in 2009, and has since composed music for such artists as Kotoko, ClariS, Maon Kurosaki, and fellow dōjin musician Ryo of Supercell.

Members
Kz (pronounced "K-Zet") (music, lyrics)

Former member
Kajuki P (music, lyrics) (2007-2009)

History

2007–2011
Following the release of the Vocaloid 2 singing synthesizer software Hatsune Miku on August 31, 2007, Kz submitted a short version of the song "Packaged" to the Nico Nico Douga video sharing website on September 21, 2007 using Miku for the vocals. The full version was submitted on September 24, 2007 and has since been viewed over one million times. The song was also posted on the Muzie music sharing website. Kajuki P released the song  on September 23, 2007. Kz and Kajuki P continued to release songs online, leading to the release of their album Re:package at Comiket 73 in December 2007. Re:package contained their previously released songs in addition to several previously unreleased songs. The album was so popular that it was reported to sell out in a flash.

Livetune made their major debut with Victor Entertainment with the professional release of their Re:package album on August 27, 2008. The updated release contained three more songs than the original, as well as the full version of "Over16bit!" and an updated version of "Packaged (piano ver.)". The album obtained a No. 5 ranking on Oricon's weekly albums chart after selling over 20,000 copies in its first week. Livetune released the remix album Re:Mikus on March 25, 2009 under Victor Entertainment, which contained remixed song from R:package, as well as four additional songs. Kajuki P left Livetune in March 2009. Kz collaborated with manga artist Masami Yuki to produce the concept album Crosslight released on August 26, 2009 containing tracks sung by Hatsune Miku and Vocaloid 2 Gumi.

Livetune's first single  is a split single with fellow dōjin musician Ryo of Supercell; both songs are theme songs to the video game Hatsune Miku: Project Diva 2nd. The single was released by Sony Music Direct on July 14, 2010 in Japan. Kz composed the song "Irony" sung by ClariS, which was used as the opening theme song to the anime series Ore no Imōto ga Konna ni Kawaii Wake ga Nai; the single for "Irony" was released on October 20, 2010.

In late 2010, Shibuya-based company INCS toenter established the major record label TamStar Records for musicians and artists who originally made their debut as dōjin music artists online. Livetune joined the label as one of the inaugural members, including others such as Supercell, Gom, Rapbit, and Nagi Yanagi. Livetune collaborated on a compilation album titled TamStar Records Collection Vol. 0 released as a limited edition at Comiket 79 in December 2010. Kz again collaborated with ClariS by composing their third single "Nexus", which was released on September 14, 2011. Kz composed the song  for Kotoko, which appeared on her 2011 album Hiraku Uchuu Pocket. Kz later collaborated with Kotoko on the song "Love 0 Jetcoaster" on Maon Kurosaki's 2011 album Butterfly Effect; Kz composed the song, and Kotoko wrote the lyrics. Kz composed the songs "New World" and "Stand Up" sung by Twill; both songs are used as opening themes to the anime Digimon Xros Wars.

2012–present
In 2012, Livetune left Victor Entertainment and transferred to the record label Toy's Factory. Livetune released the single "Tell Your World" on January 18, 2012 as a digital release online in the iTunes Store available in 217 countries. An EP titled Tell Your World EP was released on March 14, 2012; it reached No. 4 on Oricon's weekly albums chart. On June 21, Kodansha began streaming a 12-minute animated short adaptation of Sai Sumimori's fantasy light novel series Mahō Tsukai Nara Miso o Kue! for which Livetune composed the music. Livetune released the split single "Weekender Girl / Fake Doll" with dōjin musician Hachiōji P on August 29, 2012. Kz and Hachiōji P composed "Weekender Girl", and HachiōjiP composed "Fake Doll"; both songs are sung by Hatsune Miku. "Weekender Girl" is featured in Hatsune Miku: Project DIVA F.

Livetune released the single "Transfer" on September 26, 2012. "Transfer" is sung by Megumi Nakajima, and the single's B-side "Sign" is sung by Yun*chi, which was the ending theme to Mahō Tsukai Nara Miso o Kue!. Livetune contributed a new arrangement of the song "Invoke" on T.M.Revolution's second self-cover album Under:Cover 2 (2013). Livetune released a compilation album titled Re:Dial on March 20, 2013, along with a music video directed by Takashi Murakami. A remix of Zedd's single "Spectrum" by Livetune was featured on the Japanese release of Zedd's album Clarity. Livetune had originally remixed the song as a fan of Zedd's music and Zedd was impressed with the result of the remix, which features English vocals by Hatsune Miku, tuned by CircusP. Kz again collaborated with ClariS by composing their seventh single "Reunion", which is used as the opening theme to the 2013 anime television series Ore no Imōto ga Konna ni Kawaii Wake ga Nai., the series' second season. Livetune's single "Take Your Way" was released on June 5, 2013; the title song is used as the opening theme to the 2013 anime Devil Survivor 2: The Animation. The single "Pink or Black" was released on November 6, 2013 and was used for the promotion of the 6▼Princess by Takashi Murakami for Shu Uemura cosmetics line.

Discography

Albums

Singles

Various artist compilation albums

References

External links
Official website
Livetune's personal website

Ableton Live users
Doujin music
Japanese pop music groups
Musical groups established in 2007
Vocaloid musicians

Livetune


Smethwick Junction is a junction on the Birmingham to Worcester via Kidderminster Line. With Galton Junction, northbound trains on the West Coast Main Line's Rugby-Birmingham-Stafford Line can join the Birmingham to Worcester via Kidderminster Line in a westbound direction.

Until the re-opening of Birmingham Snow Hill for stations to Kidderminster in 1995, all passenger services routed via Smethwick and Galton Junctions to reach Birmingham New Street. With this re-opening, use of the link between the two junctions has sharply decreased. This was compounded with the removal/re-routing of the Worcester to New Street service in 2004, and now only selected freight services and charter trains use the link. It has also been used as a way to divert trains to Cheltenham Spa via Stourbridge Junction and Worcester Shrub Hill. In addition, the first and last Cardiff Central CrossCountry services of the day, which start and terminate at New Street, use this junction for operational reasons.

On 12 November 2011, London Midland operated a service from Birmingham New Street to Kidderminster as part of a farewell to its Class 150 fleet.

References
http://www.railaroundbirmingham.co.uk/Stations/smethwick_galton_bridge.php

External links

 Junction diagram, circa 1950

Rail junctions in England
Rail transport in Sandwell
Smethwick

Smethwick Junction


The Decree Against Communism was a 1949 Catholic Church document issued by the Supreme Sacred Congregation of the Holy Office, and approved by Pope Pius XII, which declared Catholics who professed communist doctrine to be excommunicated as apostates from the Christian faith.

Background
Opposition to socialism and communism in Catholic social teaching had already been expressed in the teachings of popes since the encyclicals Nostis et nobiscum (1849), Quanta cura (1864), and Rerum novarum (1891).

In the earlier social encyclicals, the criticism of communism described it as a system violating human rights: e.g., the right to own property.  After revolutions in Russia, China, and Mexico had been followed by religious persecution, a new theme of criticism was added, beginning with Quadragesimo anno (1931) by Pope Pius XI.  This encyclical objected to what it considered to be communism's professed opposition to religion, and its threat to the freedom and the very existence of the Church. In 1937, Pius XI rejected atheistic communism in an encyclical entitled Divini Redemptoris as "a system full of errors and sophisms", with a "pseudo-ideal of justice, equality, and fraternity" and "a certain false mysticism", and contrasted it with a humane society (civitas humana).

After the Italian parliamentary election of April 1948, in which the communist-socialist coalition won 31% of the vote, the Holy Office began to study the issue of communism in order to give guidance to Catholic lay people and clergy with questions about support for communist parties.

An additional impulse for Vatican action against communism arose in Czechoslovakia, where the communist government, installed by a coup d'état in February 1948, undertook a campaign to take control of the Catholic Church by several means. Among other measures, it created an organization of priests favorable to the regime, took control of church finances, and demanded that pastoral letters to the faithful or the clergy be approved by government ministries.

On July 15, 1948, L'Osservatore Romano published a decree which excommunicated those who propagate "the materialistic and anti-Christian teachings of Communism". The document, however, did not mention the Italian Communist Party, which had changed its statutes in 1946, removing an explicit profession of Marxism-Leninism, and opening to participation by citizens, "independent of race, religious faith or philosophical convictions".

In the spring of 1949, pressure on the Church in Czechoslovakia was increasing, and, according to Cardinal Giovanni Battista Montini, then papal Secretary of State, Pope Pius XII, had come to feel that there would be no effective diplomatic opposition from the West. Thus, the Church had to use what means it had to confront communism, not only in the immediate situation, but for a long-term opposition.

Form of the document
The document, as published in the Acta Apostolicae Sedis, bears the date July 1, 1949 and the heading Decretum (Decree), and is presented in the form of a dubium: that is, in question-and-answer format. It presents four questions, together with the Holy Office's replies: (1) Is it licit to join or show favor to Communist parties? (2) Is it licit to publish, distribute, or read publications that support Communist doctrine or activity, or to write for them? (3) May Christians who knowingly and freely commit the acts in parts 1 and 2 be given the sacraments? (4) Do Christians who profess, defend, or promote materialistic Communist doctrine incur the penalty of excommunication as apostates from the Christian faith, with the penalty reserved so that it may only be lifted by the Holy See?

The answers in the decree were negative to the first three questions and affirmative to the fourth.

Publication and reception
After the document was approved by Pius XII on June 30, the text of the document was delivered to printers to prepare its release. Shortly thereafter, it was leaked to the press, and so appeared in public early, with no advance notice to the clergy and no commentary to explain the document.

The decree was published in the Vatican newspaper L'Osservatore Romano on July 16, 1949. A commentary followed on July 27, 1949, explaining reasons for its condemnation of communist activity and doctrine. It also made clear the scope of the excommunication stated in the decree: it did not apply to all people who voted for communists or supported the party, but only to people who held the materialistic and atheistic doctrines of communism.

The Decree met with some surprising public support despite the disorder around its publication: from Protestant countries, there was favorable commentary which recognized the decree as a response to communist pressure on the Church in Eastern Europe. The United States urged the Patriarch of Constantinople Athenagoras, who supported the decree, to issue a similar document for the Eastern Orthodox world.

Response from pro-communist newspapers in Italy was sharply critical, but the Soviet press was silent.  Italian Communist Party General Secretary Palmiro Togliatti was restrained in his criticism, inasmuch as many party supporters were practicing Catholics.

Repercussions
In the wake of the Decree, Pope Pius XII encouraged efforts to develop Catholic social teaching and thus counteract the appeal of communist social doctrine. The Decree marked the beginning of a long institutional conflict between Catholicism and communism. The Holy Office issued later documents condemning communism:
 Excommunication of Bishop Dechet, February 18, 1950,
 Membership in communist youth organizations, September 28, 1950,
 Usurpation of Church functions by the State, June 29, 1950,
 Illegitimate state ordered ordinations of bishops, April 9, 1951,
 Publications favouring totalitarian Communism, June 28 and July 22, 1955,

A further dubium dated April 4, 1959 from the Holy Office and ratified by Pope John XXIII made the provisions of the 1949 Decree more specific, stating that it implied a prohibition on voting for parties that were helping communists, even if such parties themselves had inoffensive doctrines or even called themselves Christian.

Validity
The decree was amended in 1966 when Pope Paul VI abrogated Canon 1399 of the 1917 Code of Canon Law. While some have argued that such Decree has been tacitly abrogated by the implementation of the Second Council of the Vatican, this has never been confirmed by the Holy See and the pastoral constitution Gaudium et spes has explicitly condemned materialistic and atheistic ideologies.

References

External links
 Text of the Decree on the Montfort website
 Official publication in Acta Apostolicae Sedis, n. 41 (page 334)

Anti-communism
Disengagement from religion
Pope Pius XII foreign relations
Holy See–Soviet Union relations
Documents of Pope Pius XII
1949 documents
1949 in Christianity
Against Communism

Decree against Communism


Bolton Priory is a historic home built in 1838 for the Reverend Robert Bolton and his family, in the Village of Pelham Manor in Westchester County, New York. The home stands upon a wooded tract of land overlooking Pelham Bay; the once large estate surrounding it has now diminished to 3.7 acres. Influenced by the Romantic Movement in England, Bolton chose to design the house in the Romantic idiom. The building was designed to appear as if it had been constructed over a period of time; stone was used in one section and brick in another, to give the impression of various additions.

Bolton Priory serves as a good reflection of both the lifestyle and tastes of a cultivated, influential family in mid-19th century rural Pelham as well as a great example of the romantic theories of architectural design emerging in America at that time. The Priory was illustrated in the first edition of Andrew Jackson Downing's influential Theory and Practice of Landscape Gardening published in 1841, in which he described it as a "highly unique residence in the old English style".

The home was added to the National Register of Historic Places in 1974.

Overview
Purchased from the Siwanoy Indians by Thomas Pell in 1654 the tract of land known as Pelham had become by 1790 a largely agrarian settlement with a population of 199, of which 38 were slaves. Its relative proximity to New York City resulted for much of the succeeding century in the use of rural Pelham both as working farmland and as country estates for men associated with the economic and cultural life of the City to the south.

Born in the United States in 1778, Robert Bolton traveled as a young man to England where he received an education as a
minister and married Ann Jay, daughter of an English clergyman. Returning to America with his family of 13 children,
Bolton in 1836 was given St. Paul's Parish in the Town of Eastchester, Westchester County, and settled on a farm on
the site of the present village of Bronxville. The following year Bolton purchased 38 acres on Shore Road in the settlement of Pelham on which he completed the Priory residence in 1838.

It is believed that Washington Irving, a friend of Bolton's, was closely associated with the design of both the house and the surrounding gardens. Bolton's sons executed much of the interior finishing themselves, including the richly carved woodwork. and the stained glass made by William Jay Bolton, a pioneer in the manufacture of stained glass in America.

Design

The main structure is composed of a long two-story block intersected by a gabled two-story wing, with a crenelated four-story octagonal tower at the northern angle of that junction and a crenelated three-story square brick tower at the southwestern end of the main block. Washington Irving gave yellow bricks from the Old Dutch Church of Sleepy Hollow to outline the construction date on the wall above the door.

The interior, also essentially little altered from the 19th-century scheme, contains a number of well-proportioned areas on the first floor. On the second floor, eight rooms are accessible from the main hall which extends the full length of the house. The craftsmanship attributed to Robert Bolton's sons is exhibited in the richly detailed woodwork such as mantels and built-in bookcases.

Situated in the vicinity of the Priory are several structures associated with the property: Christ Church (1843), Christ Church Parish House (1845, 1876), Bolton Memorial Building (ca. 1848), Bolton Cottage (1810), and the Stables (1895).

See also
National Register of Historic Places listings in southern Westchester County, New York

References

External links
Historic Pelham blog

Houses on the National Register of Historic Places in New York (state)
Houses completed in 1838
Pelham, New York
Houses in Westchester County, New York
National Register of Historic Places in Westchester County, New York

Bolton Priory (Pelham Manor, New York)


in Latin literally means  or . In common law, it refers to a promise that is not legally enforceable for want of consideration. An example of a nudum pactum would be an offer to sell something without a corresponding offer of value in exchange. While the offer may bind a person morally, since the offer has not been created with any consideration, it is gratuitous and treated as a unilateral contract. The offer is therefore revocable at any time by the offeror before acceptance by the offeree.

In the US, the Uniform Commercial Code has invalidated the doctrine of  as it applies to offers made by "merchants" under the firm offer rule under certain circumstances. It holds that those offers are legally enforceable in a manner similar to option contracts.

See also
Contract
Option contract

Contract law
Latin legal terminology

Nudum pactum


The Wild is a fantasy novel by American ufologist and horror fiction writer Whitley Strieber that was first published in 1991.

It tells the story of Bob Duke, a failed poet-turned-worker at Sculley-era Apple Computer's New York City branch who can barely pay the bills for his wife and 12-year-old son. However, as his grasp on his family's finances slips by the day, he begins to lose his very physical composition, gradually metamorphosing into a wolf. Soon, his wife, son, and therapist all are drawn into his predicament as he seeks to come to terms with what he has metamorphosed
into without losing his still-human mind, or his very family.

External links
 Fansite for The Wild

Novels by Whitley Strieber
1991 American novels
American fantasy novels
Werewolf novels
Novels set in New York City
Tor Books books

The Wild (novel)


"You Know I'm No Good" is a song written and performed by English singer Amy Winehouse from her second and final studio album, Back to Black (2006). "You Know I'm No Good" was released as the second single from Back to Black on 8 January 2007. Originally recorded as a solo track, it was remixed with guest vocals from the Wu-Tang Clan member Ghostface Killah. The original appeared on Winehouse's album, while the version with Ghostface Killah appears on his album More Fish.

Arctic Monkeys performed this song on Jo Whiley's Live Lounge on BBC Radio 1 in their second appearance there, along with their single at the time, "Brianstorm". In summer 2007, "You Know I'm No Good" was used in advertisements and in the first season opening for AMC's TV drama Mad Men, although it was replaced with the current theme song for DVD release. It was also used for the opening to ITV's Secret Diary of a Call Girl. On the recap of The Best Songs of 2007 by Entertainment Weekly magazine, this song ranked at number two.

Music video
The music video, directed by Phil Griffin (who also directed the video for her previous hit "Rehab"), was released to music channels in late November 2006. The video features Winehouse in numerous settings including a bar, a bedroom, and a bathtub. The plot is based around Winehouse's fictional character's relationship with the male character in the video. Video was shot by director of photography Adam Frisch and the sets were built at 3 Mills Studios in East London.

The video premiered on VH1 during the weekend of 3 March 2007. Following its VH1 premiere, it was placed on MTV's Big 10 rotation as of 5 March 2007 and was premiered on TRL the same day. The song was heard on a sneak preview of AMC's original series Mad Men.

Release
The single was released in the UK on 8 January 2007. The track made it onto BBC Radio 1's A-list playlist. A UK edit of the remix featuring Ghostface Killah was also sent to radio, and to download services, and the original full-length US version, featuring Ghostface Killah name-checking Kelly Clarkson amongst others, also received airplay in the United States, where it was added to numerous Rhythmic radio stations.

Following Winehouse's success at the 50th Grammy Awards, the song was re-released in the US in mid-February 2008.

A documentary film based on the life and death of Winehouse was released, Amy (2015) and a performance of Winehouse performing You Know I'm No Good at 45th at Night, in 2007 was featured.

Reception
Critical response to the single was positive. For the week of 16 January 2007, the track was chosen as the Single of the Week on the US iTunes Store as a free download. Newsweek also chose the song as its Pick of the Week for 15 January of the same year. Billboard found that the track—"in original form—could be no better"; however, it acknowledged that the Ghostface Killah remix added a "ferocious discordant sputter at the midsection."  People magazine called the track "instantly memorable."
Prior to this, Winehouse had not seen any success in the US, as her debut album Frank was not released there until November 2007. On the Billboard Hot 100, "You Know I'm No Good" debuted at number 91 spot ahead of "Rehab", which also debuted on the chart the same week. The single peaked on the UK Singles Chart at number 18 for the week ending 14 January 2007 in an excellent week for Winehouse that saw Back to Black achieve a new UK peak of number one, previous single "Rehab" return to the UK top 20, and Frank re-enter the UK chart at number 62 more than three years after its first release. To date, the single, which spent a total of 11 consecutive weeks on the UK Singles Chart, has sold 53,272 copies in the UK.

Winehouse performed the song at the 50th Annual Grammy Awards ceremony while in London, along with her hit single "Rehab". The performance was broadcast internationally via satellite. The song's performance on the awards ceremony subsequently led to an increase in digital downloads, notably on iTunes, where the song re-entered the Top Songs chart at number 55 in the United States. This resulted in a new peak for the song on the Billboard Hot 100, of number 77, one spot ahead of its previous peak.
Arctic Monkeys performed a cover of the song on their 2007 tour.

A remix by Ghostface Killah appears on the reissue of Back to Black, featuring one verse by Ghostface, and a second remix, featuring more Ghostface verses, appears on his album More Fish.

English actor Roger Moore jokingly said he had no idea why Winehouse chose to include him in the lyrics, unless she wanted a word that rhymed with "door", or could not find a word that rhymed with "Connery".

Following her death, the song re-entered the UK Singles Chart at number 37.

Track listings
UK CD 1
"You Know I'm No Good" (radio edit) – 3:36
"To Know Him Is to Love Him" (NapsterLive Session)

UK CD 2
"You Know I'm No Good" – 4:16
"Monkey Man"
"You Know I'm No Good" (Skeewiff Mix)

European CD single
"You Know I'm No Good" – 4:16
"You Know I'm No Good" (radio edit) – 3:36
"You Know I'm No Good" (featuring Ghostface Killah)
"You Know I'm No Good" (Skeewiff Mix)

German 12-inch promotional single
A1. "You Know I'm No Good" (Skeewiff Mix)
A2. "You Know I'm No Good" – 4:16
A3. "You Know I'm No Good" (Instrumental) – 4:16
B1. "You Know I'm No Good" (Ghostface Killah Version)
B2. "You Know I'm No Good" (Fettes Brot Remix)
B3. "You Know I'm No Good" (A Cappella)

US 12-inch single (Universal Republic B0008491-11)
A1. "You Know I'm No Good" – (radio edit) – 3:36
A2. "You Know I'm No Good" (featuring Ghostface Killah) – 3:22
B1. "Rehab" – 3:32
B2. "Rehab" (Hot Chip Remix) – 6:58

Digital download – Remixes & B-Sides EP (2015)
"You Know I'm No Good" (featuring Ghostface Killah) (Ghostface UK Version) – 3:23
"You Know I'm No Good" (Skeewiff Mix) – 5:45
"You Know I'm No Good" – 4:16
"You Know I'm No Good" (Vodafone Live at TBA) – 4:21
"You Know I'm No Good" (Fettes Brot Remix) – 3:52

Charts

Weekly charts

Year-end charts

Certifications

Release history

References

2006 songs
2007 singles
Amy Winehouse songs
British hip hop songs
Island Records singles
Song recordings produced by Mark Ronson
Songs about infidelity
Songs written by Amy Winehouse
Wanda Jackson songs
Television drama theme songs

You Know I'm No Good


Kevin Cyril Davies (born 26 March 1977) is an English former professional footballer who played as a striker for Chesterfield, Southampton, Blackburn Rovers, Millwall, Bolton Wanderers and Preston North End. He managed Southport in the  2017–18 season, before his contract was terminated on 30 April 2018.

Davies originally made his name as a vital part of the Chesterfield team which reached the semi-finals of the FA Cup in 1997. He left Chesterfield at the end of that season, having made 148 appearances for the club and joined Premier League club Southampton in May 1997. He only spent one season at Southampton, making 30 appearances, before he joined Premier League club Blackburn Rovers in a club-record £7.5 million deal. Once again, he spent a single season at the club, making 29 appearances, before rejoining Southampton in 1999. In his second spell at the club, he made 95 appearances, also spending part of 2002 on loan to First Division club Millwall, where he made nine appearances. Released by Southampton at the end of the 2002–03 season, he joined Premier League club Bolton Wanderers on a free transfer. He was made Bolton team captain in January 2009, but began to fall out of favour at Bolton towards the end of the 2012–13 season, and the club decided against renewing his contract. Davies made 407 appearances for Bolton, scoring 85 goals, then played two seasons at Preston North End before retiring.

He made three appearances for the England under-21 team between 1997 and 2000. At the age of 33, Davies made his international debut, and only appearance, for England against Montenegro in a 0–0 draw on 12 October 2010, coming on as a second-half substitute.

Club career

Chesterfield
Born in Sheffield, South Yorkshire, Davies played as a schoolboy with his boyhood club Sheffield United, but was released at the age of 15. He was taken on trial at Chesterfield and served his traineeship with the club. Davies broke into the club's first team after several months. He became Chesterfield's second youngest ever first-team player when he appeared against West Ham United in a League Cup tie, aged only 16, on 22 September 1993. He signed his first professional contract with the club in April 1994.

Generally, Davies' goalscoring form at Chesterfield was unspectacular, playing mostly wide in midfield and scoring his best total of 11 goals in the 1994–95 promotion season from the Third Division via the play-offs. In his final season at Saltergate he managed a mere three goals from 34 Second Division matches but made a major contribution to the Spireites' best-ever FA Cup run, including a hat-trick at Burnden Park in a fourth round tie against Bolton Wanderers and an earlier strike against Scarborough in the 2nd round. Despite his relative lack of goals, his skilful play was still attracting attention from Premier League and First Division clubs during his contribution to Chesterfield's FA Cup exploits, which culminated in a semi-final replay defeat against Middlesbrough.

As a youngster, Davies was far from the aggressive centre-forward he subsequently became at Bolton. At Chesterfield, although very well-built and strong for a teenager, he was known for his skill and intelligence, and it was these qualities that attracted the attention of Southampton manager Graeme Souness.

Southampton
Davies moved to Southampton in May 1997 and, in his first spell with them, scored nine league goals, one of which was a notable solo goal in a 2–0 win against Everton at Goodison Park. He also scored the lone goals in historic 1–0 wins against Manchester United and Chelsea, and the equaliser in a 1–1 draw with Liverpool.

Blackburn Rovers
Blackburn Rovers signed him for £7.5 million in July 1998, ten times what Southampton had paid for him a year earlier and also a club record. Chesterfield received no more money from the switch, having failed to negotiate a sell-on clause. As part of the deal, James Beattie went the other way. However, Davies scored just one league goal, the winner in a victory over Charlton Athletic, in 21 appearances for the club. He scored a further goal in the FA Cup, also against Charlton Athletic, and played a UEFA Cup match that season. At the end of the campaign, Blackburn were relegated a year after finishing sixth in the league and a mere four years after winning the league.

Return to Southampton
Southampton re-signed their former striker in exchange for Egil Østenstad in August 1999. However, just two league matches into his return at Southampton, Davies found himself sent off in a defeat against Liverpool after coming on as a substitute for Mark Hughes. He struggled to gain a first-team place throughout the next four years, and was more often than not a substitute. For the 2002–03 season Davies went on loan to Millwall in the First Division, where he played nine times, scoring three goals.

Bolton Wanderers

In summer 2003, he joined Bolton having been released by Southampton. In a season where he rediscovered his best form, he scored ten times and started every league match. He ended the season by winning the club's Player of the Year award and scored a consolation goal for his team in the 2004 League Cup Final against Middlesbrough at the Millennium Stadium.

Davies is frequently cited as being the player in the Premier League that commits the most fouls, committing more offences than any other Premier League player in for three consecutive seasons from 2004 to 2007. In the 2003–04 and 2007–08 seasons, Davies was slightly better behaved, committing the second highest number of fouls per season. In his Bolton career Davies has committed over 1,000 fouls, more than any other Premier League player in the competition's history. At the same time Davies has also featured near the top of the list of most fouled players.

During a post-match interview with the BBC after a match against Arsenal in January 2009, during which he had been accused of deliberately trying to injure Gaël Clichy in a challenge, he replied that some Arsenal players tried to "con the referee". He added "A few of them let out a big scream, which is a bit embarrassing because it is a man's game ... in my eyes that is cheating the referee ... you just have to get on with the game." On 10 September 2011. he received his 100th yellow card in the Premier League for a foul on Manchester United's Patrice Evra and when he received another booking against Wigan Athletic on 11 February 2012, he became the joint holder of the record for most yellow cards in Premier League history, alongside Lee Bowyer. Paul Scholes has equaled his Premier League yellow card record and Gareth Barry has surpassed this record.

On 8 November 2007, Davies scored a goal away to Bayern Munich at the Allianz Arena. Davies's late effort earned Bolton a crucial away point from the 2–2 draw in the UEFA Cup group stage.

On 12 April 2008, Davies scored his 100th career goal in a 1–0 win over West Ham at the Reebok Stadium, despite dislocating a finger during the match and having it placed back into its socket allowing him to play on.

On Saturday 3 May 2008, he made his return from a broken hand to help Bolton retain their Premier League status.

Over the summer of 2008, Hull City tried to sign Kevin Davies from Bolton, but the club turned down their offer. Davies then signed a new contract with Bolton would keep him at the club until 2011.

On 31 January 2009, Davies became captain of Bolton following the sale of Kevin Nolan to Newcastle United. The same day, Davies' first match as captain saw him score two goals in Bolton's 3–2 victory over Tottenham Hotspur as well as equalling his record for goals in a Premier League season. In the following match, at home against West Ham, he scored his 50th goal for Bolton, and his 10th of the season.

In August 2009, Davies stated that he would like to stay at Bolton for the rest of his career. On 13 March 2010, Davies scored the first penalty of his career, netting the second from the spot in a 4–0 home win over Wigan.

Davies set a Premier League records for the most fouls in a season in 2009–10, committing 120 such offences. In the 2010–11 season he went on to break his own record with 121 fouls.

Davies was relegated with Bolton at the end of the 2011–12 season, but shortly after, he signed a new one-year deal with the club and assured the fans he would stay to get Bolton back to the Premier League. He made his 400th appearance for the club at Watford on 2 February 2013.

On 26 March 2013, Bolton announced that they would not be offering Davies a new contract, which would make that season his final for the club. Following this announcement, Davies played no further matches that season, being initially dropped to the bench before eventually being left out of match day squads completely, with reserve-team strikers being preferred instead.

Preston North End
On 10 July 2013, Davies signed a two-year contract with League One club Preston North End. He made his league debut for Preston on 3 August in a 0–0 draw against Wolverhampton Wanderers, and drew praise from his manager for his performance. His first goal for Preston was a penalty in a 2–1 win over Oldham Athletic on 9 September 2013. He went on to score the only goal in a 1–0 win over Wycombe Wanderers in the FA Cup on 9 December 2013.

On 7 February 2015, he scored his 150th career goal and his first of the season, heading in Paul Gallagher's cross to win a home match against Coventry City. He played 22 minutes as a substitute for hat-trick scorer Jermaine Beckford on 24 May as Preston won 4–0 in the play-off final against Swindon Town at Wembley Stadium.

On 4 September 2015, Davies announced his retirement from football after 22 years in the game.

International career
Davies was asked near the end of the 2009–10 season if he was eligible to play for Scotland. Davies is, to his own knowledge, ineligible to represent Scotland, but further explained he would reject any call-up to the Scottish or Welsh teams even if it was possible.

At the age of 33, Davies was called up to the England squad for the first time in his career for the UEFA Euro 2012 qualifying match against Montenegro on 12 October 2010. He made his debut as a 69th-minute substitute for Peter Crouch and received a yellow card. At 33 years and 200 days, he became the oldest England debutant since the 38-year-old Leslie Compton in 1950.

Style of play
Davies was known for his bustling, physical playing style; he has committed more fouls than any other player in the history of the Premier League, although conversely he is also one of the most fouled. He was more of a "goal architect" than a goalscorer.

Managerial career
Davies was appointed manager of National League North club Southport on 18 October 2017 on a two-and-a-half-year contract.

On 30 April 2018 Southport announced that Davies had been released from his managerial duties.

Personal life
He is the half brother of fellow footballer Jamie Jackson.

In July 2020 Davies set up KCD Management, a Football Agency.

He is married to Emma Davies.

Career statistics

Club

International

Managerial statistics

Honours
Chesterfield
Football League Third Division play-offs: 1995

Southampton
FA Cup runner-up: 2002–03

Bolton Wanderers
Football League Cup runner-up: 2003–04

Preston North End
Football League One play-offs: 2015

Individual
Bolton Wanderers Player of the Year: 2003–04, 2007–08, 2008–09
Premier League Player of the Month: November 1997

References

External links

1977 births
Living people
Footballers from Sheffield
English men's footballers
England men's under-21 international footballers
England men's international footballers
Men's association football forwards
Sheffield United F.C. players
Chesterfield F.C. players
Southampton F.C. players
Blackburn Rovers F.C. players
Millwall F.C. players
Bolton Wanderers F.C. players
Preston North End F.C. players
English Football League players
Premier League players
English football managers
Southport F.C. managers
National League (English football) managers
Association football agents
British sports agents

Kevin Davies


Anatoly Mikhailovich Litvak  (; 10 May 1902 – 15 December 1974), better known as Anatole Litvak, was a Ukrainian-born American filmmaker who wrote, directed, and produced films in various countries and languages. He began his theatrical training at age 13 in Petrograd, Russia (now again known as St. Petersburg).

Litvak was notable for directing little-known foreign actors to early fame and is believed to have contributed to several actors winning Academy Awards. In 1936 he directed Mayerling, a film which made French actors Charles Boyer and Danielle Darrieux international stars. He returned Swedish star Ingrid Bergman to popularity with American audiences in 1956 with Anastasia, in which she won her second Oscar. He directed Olivia de Havilland to an Academy Award nomination for The Snake Pit (1948). He directed Jean Gabin in his screen debut and directed Elia Kazan in his earliest acting role, City for Conquest.

Litvak directed Confessions of a Nazi Spy in 1939, starring Edward G. Robinson, which used actual newsreel footage from U.S. Nazi rallies. As a refugee from Nazi Germany, Litvak was among the few directors who tried to open Hollywood's eyes to the threat Germany posed to Europe and the world.

During World War II, he enlisted and co-directed documentaries with Frank Capra, including Why We Fight films. His solo-directed, The Battle of Russia (1943), won numerous awards and was nominated for an Oscar. Because of Litvak's ability to speak Russian, German, and French, he supervised the filming of the D-Day Normandy landings. He also filmed aerial warfare with the U.S. Eighth Air Force. He was promoted to full colonel by the end of the war for his volunteer wartime efforts. He received special awards from the governments of France, Britain, and the United States.

Early years
Anatoly Mikhailovich Litvak was born in Kyiv, Kiev Governorate, Russian Empire, and grew up in a Lithuanian Jewish family. ("Litvak" means "Lithuanian" in Yiddish). The family moved to St. Petersburg, the capital of the Russian Empire. As a teenager, he worked at a theater and took acting lessons at the state drama school.

Litvak began work in film at Leningrad's Nordkino Studios, where he was assistant director for nine silent films in the 1920s. For political and ideological reasons, and especially because Russian theaters were nationalized by the Soviet government in the 1920s, he left Russia for Berlin, Germany in 1925. There he would have more artistic possibilities.

Director in Europe

Germany
Litvak's first film as director was the musical Dolly Gets Ahead (1930) with Dolly Haas. He followed it with two Lilian Harvey films, No More Love (1931) and Calais-Dover (1931).

He directed Lilac (1932) in France.  He returned to Germany for The Song of Night (1932), shot at the same time as an English version, released as Tell Me Tonight (1932). He went to England to direct Sleeping Car (1933), starring Ivor Novello.

France
Following Adolf Hitler's rise to power with the Nazi Party in 1933, Litvak moved to France. Paris became his favored locale for shooting films. Thirteen of his thirty-seven films were set there.

He made The Old Devil (1933) and The Crew (1935).

According to film historian Ronald Bowers, Litvak became skilled in using location shooting and realistic documentary effects as early as the 1930s. He also became known in the industry for emphasizing sound effects over dialogue in sound films. He preferred to keep the camera running with tracking shots and pans. Given his preference for achieving motion in camerawork, he often used crane shots, and sat with the cameraman to be sure he was getting what he wanted.

Mayerling
Mayerling (1936), which starred French actors Charles Boyer and Danielle Darrieux, is credited with establishing Litvak's international reputation as a producer and director. The film was widely praised by critics; some reviewers called it "one of the most compelling love stories the cinema has produced," and "a romantic tragedy of the highest order." American writer Lincoln Kirstein claimed the film became "a kind of standard for the romantic film in an historical setting." In describing Litvak's cinematography style in the film, critic Jack Edmund Nolan writes that it is "replete with the camera trackings, pans and swoops, techniques which later became the trademark of Max Ophuls."

Hollywood and World War II

Warner Bros
The worldwide success of Mayerling brought Litvak invitations from Hollywood; he was offered a four-year contract by Warner Brothers. After accepting the contract, Litvak became one of Hollywood's leading directors by the late 1930s. He was lucky to have left France before its fall to the Nazi invasion and occupation.

He directed such films as The Woman I Love (1937); Tovarich (1937) with Boyer, a comedy celebrating "outmoded values of the ruined Russian aristocracy"; The Amazing Dr. Clitterhouse (1938); and The Sisters (1938), starring Bette Davis and Errol Flynn.

Also with Warner Brothers, he directed Confessions of a Nazi Spy, a 1939 film starring Edward G. Robinson as an FBI agent who breaks up a Nazi spy ring. It was released at a time of increasing tensions in Europe as the Nazis promoted their expansion. Among the techniques he used in the film to achieve realism was the inclusion of newsreel footage from U.S. Nazi rallies. While the story was fictional, the espionage methods that it revealed were considered factual. The film was described as the "strongest and most thrilling dramatic movie" that had ever been put on screen. The film was banned in Germany, and by its Fascist allies Italy and Spain. Neutral countries such as Switzerland and Ireland also banned it. The producers hoped to arouse concern in the United States, where many people wanted to pursue isolation and stay out of any "European war."

Biographer Alexander Walker said in his book about Vivien Leigh, that Litvak tried to open Hollywood's eyes to the threat Germany posed to Europe and the world. Leigh, who later starred in Litvak's The Deep Blue Sea (1955), recalls her Sunday morning visits to Litvak and his wife, Miriam Hopkins. She learned from him that the studios were trying to protect their investments in German box office and did not want to produce films that would offend that country. Hollywood's "comfortable isolationism affronted her."

After Castle on the Hudson (1940), Litvak produced and directed All This and Heaven Too, starring Bette Davis and Charles Boyer. The film was nominated for an Academy Award as Best Picture.

That same year he co-produced and directed City for Conquest, starring James Cagney and supporting actor Elia Kazan. This was one of Kazan's few film roles before he became a leading director. The Hollywood Reporter gave Litvak's directing special praise:

He directed two films released the same year: Out of the Fog (1941) and Blues in the Night (1941). 20th Century Fox borrowed him under contract to direct This Above All (1942).

World War II and Why We Fight
Litvak, having by then become an American citizen, enlisted in the United States Army at the beginning of US involvement in World War II. During the war, when he directed training and other films, and documentaries about the war, he was promoted to lieutenant colonel. He joined with fellow director Frank Capra to make the Why We Fight war training film series, most of which included newsreel footage.

Films they co-directed for the series included Prelude to War (1942), The Nazis Strike (1943), Divide and Conquer (1943), The Battle of China (1944) and War Comes to America (1945). Capra was in charge of production for all the films.

Litvak became involved with helping the Soviet Union in August 1941, soon after it was invaded by Nazi Germany. He was treasurer of the Russian War Relief Association, which sponsored international radio benefits with stars such as Edward G. Robinson and Ronald Colman.

Litvak co-produced and alone directed The Battle of Russia in 1943. After the film was released, he was sent to Russia on a special mission, in which he held a private screening for the Russian General Staff. The theme of the film was to show the heroic manner that the Russian people fought against the Nazis. U.S. ambassador to Russia W. Averell Harriman asked Litvak to narrate the English-language film into Russian during the screening.

Litvak recalled:

Litvak was decorated by Soviet leader Joseph Stalin for his work on this film. It was shown in theaters throughout Russia. During his trip to Russia, Litvak briefly reunited with his mother in Leningrad; they had not seen each other for nearly 20 years. After the film's excellent reception in the U.S., it won the New York Film Critics Award as Best Documentary.

He later directed Operation Titanic (1943), and War Comes to America (1945), the final film in the Why We Fight series. The films were scripted by Anthony Veiller and narrated by Walter Huston, with music by Dimitri Tiomkin, another Russian-born émigré to Hollywood. Prelude to War won the Oscar for Best Documentary of 1942. Because of Litvak's ability to speak Russian, German, and French, he subsequently supervised the filming of the D-Day Normandy landings. He also filmed aerial warfare with the U.S. Eighth Air Force.

Because Litvak joined the army to help Capra produce the film series, the director said he was one of the "Hollywood knights" who came to America's "rescue," and without whose help "no one could have made the Why We Fight films."

Ending the war as a full colonel, Litvak received special awards from the governments of France, Britain, and the United States for his work. The French government awarded him the Legion of Honour and the Croix de Guerre. The British government awarded him with a gold medal, ribbon, and citation as an honorary officer of the Order of the British Empire. By an order from Winston Churchill, all the films in the Why We Fight series were to be shown in all public theaters throughout Britain. From the U.S., he received the United States Legion of Merit and a Bronze Star Medal.

Post-war films

Hollywood
At the end of the war, Litvak returned to filmmaking with The Long Night (1947), a flop thriller at RKO.

He directed Barbara Stanwyck and Burt Lancaster in Sorry, Wrong Number, a role which film historian James Robert Parish states is Stanwyck's "greatest screen triumph." Litvak directed using a "variety of surrealistic and expressionistic devices," notes Film Noir magazine. "Litvak isn't afraid to use close-ups either. And his players not only stand up to this relentless probing but offer some of the greatest performances of their lives.". Stanwyck was nominated for the best actress academy award.

Litvak was nominated in 1948 for a Best Director Oscar for The Snake Pit (1948), starring Olivia de Havilland. The film was nominated for Best Actress, Best Screenplay and Best Musical Score. To prepare de Havilland for her role as a mental patient, she and Litvak spent months observing actual patients at mental hospitals. Litvak had purchased the pre-publication rights to the story which is based on a fictionalized autobiography.

Europe
In the 1950s, Litvak began filming in Europe.

In 1951, his war film Decision Before Dawn filmed on location in Germany was nominated for an Academy Award for Best Picture. Thousands of French admirers of the film signed a huge scroll which they sent to AMPAS, insisting that the film be given an Oscar. It was Oskar Werner's first acting role in an American film.

Among his productions there was Act of Love (1953) with Kirk Douglas filmed in Paris, and The Deep Blue Sea (1955) with Vivien Leigh and Kenneth More shot in England.

He directed Anastasia, filmed in Paris in 1956, starring Ingrid Bergman, Yul Brynner and Helen Hayes. The film was Bergman's first U.S. film after a seven-year absence from Hollywood, which she left after her scandalous affair with director Roberto Rossellini became news. Twentieth Century Fox conducted a poll and found that the public still had negative feelings toward Bergman. Litvak, however, felt she would be an excellent actress for the part and insisted on her starring in the film. Bergman won an Oscar for Best Actress for her part, and film critic Michael Barson calls it Litvak's best film of the 1950s.

Litvak directed Mayerling (1957) for television with Audrey Hepburn, then The Journey (1959) with Yul Brynner that was filmed in Austria.

At the 1961 Cannes Film Festival, Litvak's Goodbye Again (also starring Ingrid Bergman) was nominated for the Palme d'Or. It starred Anthony Perkins who was reunited with Litvak in Five Miles to Midnight (1962) with both films shot in Paris. He produced, but did not direct, Jules Dassin's 10:30 P.M. Summer (1966).

Litvak filmed The Night of the Generals (1967) in France, Germany and Poland; a movie about three Nazi Generals suspected of murder, starring Peter O'Toole and Donald Pleasence. Litvak said about the film's subdued tones: "We tried staying away from color as much as we could; color can be bad, particularly with the war; it takes away from reality in the most horrible way."

In parts of France, he later filmed his final film The Lady in the Car with Glasses and a Gun.

Personal life
In 1937, Litvak became the third husband of American actress Miriam Hopkins; their marriage ended in divorce in 1939. His second marriage was in 1955 to the model Sophie Steur. They remained married until his death.

Litvak died in 1974 in the Parisian suburb of Neuilly-sur-Seine.

For his contribution to the motion picture industry, Litvak has a star on the Hollywood Walk of Fame at 6633 Hollywood Blvd.

Filmography

 Dolly Gets Ahead (1930)
 No More Love (1931)
 Calais-Dover (1931)
 Tell Me Tonight (1932)
 The Song of Night (1932)
   (1932)
 The Old Devil (1933)
 Sleeping Car (1933)
 The Crew (1935)
 Mayerling (1936)
 The Woman I Love (1937)
 Tovarich (1937)
 The Sisters (1938)
 The Amazing Dr. Clitterhouse (1938)
 Confessions of a Nazi Spy (1939)
 Castle on the Hudson  (1940)
 City for Conquest (1940)
 All This and Heaven Too (1940)

 Out of the Fog  (1941)
 Blues in the Night  (1941)
 This Above All (1942)
 The Long Night (1947)
 Sorry, Wrong Number (1948)
 The Snake Pit  (1948)
 Decision Before Dawn (1951)
 Act of Love, aka Un acte d'amour (1953)
 The Deep Blue Sea (1955)
 Anastasia  (1956)
 Mayerling (1957)
 The Journey (1959)
 Goodbye Again (1961), aka Aimez-vous Brahms?
 Five Miles to Midnight (1962)
 The Night of the Generals (1967)
 The Lady in the Car with Glasses and a Gun (1970)

References

Other sources
 Michelangelo Capua, Anatole Litvak: His Life and His Films, McFarland & Co., Jefferson, N.C. 2015.

External links

1902 births
1974 deaths
American film directors
American people of Lithuanian-Jewish descent
United States Army personnel of World War II
Soviet emigrants to Germany
Soviet emigrants to France
French emigrants to the United States
Film people from Kyiv
People with acquired American citizenship
Soviet film directors
Soviet film producers
Silent film directors
United States Army colonels
Recipients of the Legion of Honour
Recipients of the Legion of Merit
Recipients of the Croix de Guerre 1939–1945 (France)

Anatole Litvak


Reading Museum (run by the Reading Museum Service) is a museum of the history of the town of Reading, in the English county of Berkshire, and the surrounding area. It is accommodated within Reading Town Hall, and contains galleries describing the history of Reading and its related industries, a gallery of artefacts discovered during the excavations of Calleva Atrebatum (Silchester Roman Town), a copy of the Bayeux Tapestry, finds relating to Reading Abbey and an art collection.

History of the museum
Reading Town Hall was built in several phases between 1786 and 1897, although the principal facade was designed by Alfred Waterhouse in 1875. In 1879, the foundation stone was laid for a new wing containing a library and museum, and the museum duly opened in 1883. The museum displayed a large eclectic collection from the late Horatio Bland. Three art galleries were added in further extension in 1897.

In 1975, the civic offices moved out of the Town Hall to Reading Civic Centre.  They were followed in 1985 by the Reading Central Library which left only the museum and the concert hall in use. After some debate, plans to demolish the Town Hall and replace it with a new cultural centre were abandoned, and in 1986 refurbishment of the building started. The museum was closed for renewal in 1989, reopening in stages from 1993 (the Reading: People & Place gallery) to 2000.

Principal galleries

Story of Reading Gallery

This documents Reading's history, from its origins as a Saxon settlement in the 6th century up to today, with a mixture of oral history presentations, interactive displays and a mix of real objects from the period. There is an emphasis on Reading Abbey.

The Silchester Gallery
The gallery features many archaeological finds from the excavations conducted at the nearby Calleva Atrebatum (Silchester Roman Town) together with explanatory models and other information on life in the Roman town. This includes the bronze Silchester eagle that was immortalised by Rosemary Sutcliff in her children's book The Eagle of the Ninth, first published in 1954.

The Roman town of Calleva Atrebatum was excavated in the 1860s, unearthing a diversity of finds including jewellery, fine glass and pottery, sculpture, mosaics, iron tools and coins. Many items found during the excavation are displayed in the gallery. Items of particular note include the Silchester eagle, the Silchester Horse and the damaged head of Seraphis. A model of the Roman town is also on display.

Atrium
This space provides seating around a Roman pavement mosaic from the Silchester site, where a 4th-century Christian church is thought to have existed. On the wall are displays of two large mosaics from Silchester. The mosaics are juxtaposed with ceramics of Alan Caiger-Smith produced at his Aldermaston Pottery.

The Bayeux Gallery

Reading Museum's Bayeux Tapestry Gallery exhibits an accurate replica of the Bayeux Tapestry, made by 35 women of the Leek Embroidery Society in 1885. The tapestry is the only known full size woven copy of the original tapestry in existence.

The tapestry is 70 metres long and depicts the events of the Norman Conquest of England by William, Duke of Normandy in 1066. This includes the preamble to conflict, followed by the preparations for war and decisive Norman victory in the Battle of Hastings. Information boards around the exhibit offer a translation of the original Medieval Latin, while providing the visitor with a historical description of the conquest. The final section of the Tapestry, which included William's coronation at Winchester cathedral, was lost before the copy was made. The events have a local significance to Reading, for King William's youngest son Henry I founded Reading Abbey in 1121 and was later buried there in 1136.

The exhibit is complemented by information on the history of Saxon migration and Viking raids in the local area.

The Green Space

The Gallery explains the geology and natural history of the Reading area through a large display of specimens. Exploring the history of the Reading area from 400 million years ago to the present day, it explains what was in the area before people existed and how Reading's landscape and environment have developed and been influenced by human activity since the Stone Age.

The Gallery also shows the animals and plants living in the Reading area today. Highlights in the display include a complete Iron Age dog skeleton discovered and excavated at Blewburton hillfort; and a royal red deer stag which was donated to the Museum by George V from the royal herd at Windsor Great Park.

Huntley & Palmers Gallery

This gallery reveals the history of the biscuit-making industry that was once one of the mainstays of the Reading economy, with special emphasis on the Huntley and Palmers company, Reading's world famous biscuit makers. The display charts how Huntley & Palmers pioneered the mass production of biscuits and explains why Reading became known as the 'Biscuit Town'.

The display shows what factory life was like for Huntley & Palmers' thousands of employees explained through oral recordings, photographs and historic film, including the earliest surviving film of a British factory in action. Highlights of the display include about 300 decorative biscuit tins as well as advertising material and other artefacts; an African thumb piano crafted from a Huntley & Palmers biscuit tin; a biscuit supplied to Captain Scott's final Antarctic expedition, and an example of the rude 'Kate Greenaway' biscuit tin that continues to embarrass the company today.

The Windows Gallery
This Gallery is named The Windows Gallery as it is a 'window' on the Museum's wide collection of sculpture and decorative art, ranging from Romanesque stones from the 12th-century from Reading Abbey to modern pieces by Rodin and Epstein.

Originally, this section of the  Museum housed the Reading School of Art and as such was designed to be well-lit by natural daylight from the windows on either side. Highlights of the collection include: 12th century Romanesque capitals from Reading Abbey; sculpture by Rodin, Epstein and Gibbings, and Delftware plates and other ceramics.

The Sir John Madejski Art Gallery
This is a recreation of the museum's original Victorian era art gallery and houses changing exhibitions of artworks. It is named after John Madejski, the chairman of Reading F.C.

The Exhibition Gallery
This space is designed to house changing exhibitions, both from the museum's collection and external sources. As an example, in late 2004, the gallery contained an exhibition on the history of the Reading Festival.

Access
The museum is free to visit. As of February 2020, it is open from 10:00 to 16:00 on Tuesday to Friday, 10.00 to 17.00 on Saturdays, and closed all day Monday and Sunday, with exceptions for holidays.

Charitable
Reading Foundation for Art was set up in 1974 with the ambition of building an art collection to enrich the lives of the local residents and enhance the cultural fabric of Reading and the surrounding areas.  It now has a collection of over 150 works on permanent loan to Reading Museum and is a registered charity.

References

External links

r
Museums established in 1883
Museums in Reading, Berkshire
Art museums and galleries in Berkshire
Museums of ancient Rome in the United Kingdom
Alfred Waterhouse buildings
Reading
1883 establishments in England

Reading Museum


The 1961 Thomas Cup competition is an international team tournament for supremacy in men's badminton (Its female counterpart is the Uber Cup). Beginning in 1948–49 it was held every three years until 1982 and thereafter every two years. Nineteen teams, eighteen of them starting from four regional qualifying zones, Asia, Australasia, Europe, and Pan America, contested for the Thomas Cup during the 1960-1961 seasons. Zone winners then played-off in Jakarta, Indonesia for the right to face defending champion Indonesia (exempt from all earlier ties), in a conclusive challenge round. For a more detailed description of the Thomas Cup format, see Wikipedia's general article on the Thomas Cup.

This was the first ever international multi-sport event hosted by Indonesia, who was only 15 years old at the time. The venue was the Istora Gelora Bung Karno, which was only opened on 11 days before the tournament.

Intra-zone summary
Despite missing its best known singles player, Charoen Wattanasin, Thailand again prevailed in the Asian zone by beating, consecutively, India (6–3), three time former champion Malaya (7–2), and Pakistan (8–1). Of note in these ties, the talented Nandu Natekar had a hand in all of the individual matches which India salvaged, while Malaya's Eddie Choong, well past his prime at a fairly young age, was routinely beaten in both of his singles. No player on Thailand's team was more than twenty-four years old.

For the second straight time Japan defaulted an Australasian zone tie, this time allowing Australia, led by Kenneth Turner, to advance to the inter-zone phase after its 8–1 victory over New Zealand. Star-studded Denmark coasted through three ties in the European zone, shutting out its usual victim England in the zone final. The same two-way American zone race ended as before with the United States beating Canada 7–2. Evergreen Joe Alston and Wynn Rogers still led the way in doubles for the USA which also had a small but competent cadre of international level singles players.

Inter-zone playoffs
Australasia
 Australia
 Indonesia (exempt until challenge round)

Asia
 Thailand

Europe
 Denmark

America
 United States

The inter-zone playoffs in Jakarta began on the first two days of June with Thailand beating Australia without the loss of a match or a game. Denmark then defeated the USA 7–2, but even in victory Danish problems with the heat and humidity were evident as players hailed by some as the best in the world often struggled against less talented opponents who, as Californians, were more accustomed to hot gymnasiums.

The Danes' contest against Thailand fully demonstrated this weakness. A team entirely composed of either past, present, or future All-England champions was decisively beaten by a team composed of players who would never win that individual honor. Erland Kops and Finn Kobbero defeated the Thai number two Somsook Boonyasukhanonda comfortably, but both were beaten by young Channarong Ratanaseangsuang. Most shockingly, the famous doubles team of Kobbero and Hammergaard Hansen was beaten by both Thai pairs who swept all four doubles matches. Thus Thailand completed its run to the challenge round with an impressive 7–2 victory over Denmark.

First round

Final round

Challenge round
The task of beating a strong Indonesian team in Jakarta's Senayan Stadiam was possibly rendered even more difficult for Thailand when "neutral" officials and linesmen failed to arrive from Malaya. As they had done three years earlier in Singapore, the Indonesians swept all five singles matches. Ratanaseangsuang was unable to produce the consistency he had displayed against Kops and Kobbero and lost tamely to Indonesia's Tan Joe Hok and Ferry Sonneville. Boonyasukhanonda was simply not in the class of the two Indonesians, whose careers would be hallmarked by their Thomas Cup brilliance. The Thai doubles pairs played quite well, particularly the team of Narong Bhornchima and Raphi Kanchanaraphi who won both of their matches. Doubles victories were not enough, however, as Indonesia retained the Cup 6–3.

References
 tangkis.tripod.com
 Mike's Badminton Populorum
Herbert Scheele, The International Badminton Federation Handbook for 1967 (Canterbury, Kent, England: J. A. Jennings Ltd., 1967) 82.
Pat Davis, The Guinness Book of Badminton (Enfield, Middlesex, England: Guinness Superlative Ltd., 1983). 122.

Thomas Cup
Thomas & Uber Cup
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T

1961 Thomas Cup