The Calgary Zoo is located in Bridgeland, Calgary, Alberta, Canada, just east of the city's downtown and adjacent to the Inglewood and East Village neighborhoods.  It is accessible via Calgary's C-Train light rail system, by car via Memorial Drive, and by bicycle and footpath via the Bow River pathway. A large portion of the zoo is located on St. George's Island in the Bow River.

The zoo is operated by the Calgary Zoological Society, an independent not-for-profit organization that is Alberta's oldest registered charity. The AZA, WAZA, and CAZA accredited zoo was among the first in Canada to be accredited by all three associations. It is home to over 1,000 animals, excluding individual fish and insects, and 272 different species. The 120-acre zoo is organized by seven distinct zones: Destination Africa, Canadian Wilds, Penguin Plunge, Dorothy Harvie Botanical Gardens and ENMAX Conservatory, TransAlta Rainforest, Eurasia, and Prehistoric Park. The zoo is open every day except for Christmas Day.

As Canada's most visited zoo, Calgary Zoo was in 2015 recognized by TripAdvisor with its Travellers' Choice Award. The zoo has also received international recognition as one of the top zoos in the world for conservation research. In 2013, the Association of Zoos and Aquariums said "the Calgary Zoo sets itself apart as one of the top zoos in the world." In 2015 the zoo was named one of the top three most respected organizations in Alberta and one of Alberta's 10 most beloved brands.

History
St. George's Island was Calgary's first park, used by the community for picnics, relaxing, and socializing. The first collection of animals appeared on the island in 1917. The Calgary Zoological Society was established on 9 January 1929.

Several animals died during floods in June 1929 when St. George's Island was swamped.

Destination Africa opened in 2003 to include two new facilities The TransAlta Rain Forest and the African Savannah. The zoo opened Penguin Plunge, an Arctic/Antarctic penguin addition in 2012.

In April 2013, the Calgary Zoo announced a master plan for rebuilding the zoo over 20 years. The initial focus on the master plan was preparing for the arrival of two giant pandas in 2018 for a five-year stay.

2013 flooding
The Calgary area suffered extensive flooding in June 2013 resulting in over $50 million in damage to the island section of the Calgary Zoo and parts of its Canadian Wild zone (see 2013 Alberta floods). In a 12-hour period, with flood waters rising, zoo staff managed to move 140 animals to higher ground. In the end, the only animals lost were a number of fish, two peacocks, and a pot-bellied pig. The zoo was closed for most of July 2013; the northern 60 acres of the zoo reopened to the public for August through November. The zoo fully reopened in November 2013 with new animals, exhibits, and features unveiled in 2014, including mandrills and Komodo dragons.

Conservation

One third of the zoo's 130 species are cared for within Species Survival Plans, a global initiative to protect at-risk genetic diversity. Twenty-nine species at the zoo are in danger of extinction. Other species are considered "ambassadors" for endangered species. The Calgary Zoo uses a team of educators including animal keepers, interpreters, teachers, and volunteers to increase awareness among visitors about the beauty of nature and threats to wildlife. Each year the zoo's formal programs connect directly with more than 575,000 adults and children.

The Calgary Zoo is home to a team of biologists who have earned international recognition as North America's leaders in the science of species recovery and reintroduction. The science journal Nature rates the Calgary Zoo as one of the top five zoos in the world for conservation research, alongside New York, San Diego, Frankfurt, and London. In June 2012, the head of the Calgary Zoo's Centre for Conservation Research, Dr. Axel Moehrenschlager, was awarded the Canadian Wildlife Federation's Roland Michener Conservation Award which recognizes individuals who have shown a commitment to "promote, enhance, and further the conservation of Canada's natural resources". Dr. Moehrenschlager is chair of the Reintroduction Specialist Group within the International Union for the Conservation of Nature, the world's largest conservation network. He is the first North American to hold this position.

The zoo focused on saving eight highly endangered Western Canada species: whooping crane, Vancouver Island marmot, swift fox, black-footed ferret, black-tailed prairie dog, burrowing owl, northern leopard frog and greater sage grouse. It also works on conservation projects around the world, including:
 Wechiau Community Hippo Sanctuary, Ghana
 Snow leopards in Central Asia, and
 Gorillas in the Democratic Republic of Congo

In 2008, the zoo's Wechiau Community Hippo Sanctuary project, a collaboration involving 17 Ghana villages, was awarded the United Nations Equator Prize as one of the world's top 25 conservation initiatives. It has become a model for community-based conservation throughout Africa.

Destinations

Overview
The Calgary Zoo has many different exhibits in its 92 acres of land.

Destination Africa

Opened in 2003, the Destination Africa project was among the zoo's most ambitious expansions.  The complex of four buildings includes the TransAlta Rainforest and the African Savannah. The TransAlta Rainforest occupies 2,900 square metres (31,000 square feet) and features a collection of African rainforest flora and fauna. The African Savannah building is home to hippos, Masai giraffes, red river hogs, and a baobab tree. A 340,000-litre (80,000-gallon) indoor pool for hippos offers view of the creatures underwater. In the warmer months, the doors lift to connect the building with the rest of the Savannah exhibit, home to Hartmann's mountain zebras, grey crowned cranes and ostriches. Many other animals of the grasslands, including African lions, also reside in the Savannah exhibit. In the TransAlta Rainforest, there are primates such as western lowland gorillas, eastern black-and-white colobus, and mandrills, and a number of reptiles including leopard tortoises,   Malagasy tree boas, a panther chameleon and a pair of dwarf crocodiles, as well as an aviary containing various species of African birds.

Land Of Lemurs
In 2017, the Land of Lemurs was opened to the public, with 3 different species of lemurs residing within; the black-and-white ruffed lemur, the ring-tailed lemur, and the red-fronted lemur.

Canadian Wilds

The Canadian Wilds were built in the 1990s to house the majority of zoo's collection of North American birds and mammals. The area includes outdoor enclosures in three zones: the Aspen Woodlands, the Northern Forest, and the Rocky Mountains. Animals in the enclosures include dall sheep, river otters, caribou, bighorn sheep, mountain goats, grizzly bears, muskoxen, whooping cranes, black bears, cougars, wood bison, and grey wolves.

Rocky Mountain Bird Aviary
This aviary includes a barred owl, golden eagle, great grey owl, bald eagle, snowy owl, and rough-legged hawk.

Dorothy Harvie Botanical Gardens and ENMAX Conservatory
The outdoor gardens are among the zoo's most popular attractions and include the Dorothy Harvie Gardens. The zoo's sheltered location supports many marginally hardy plant species. The conservatory comprises the indoor component of the zoo's gardens. It includes a number of "themed" areas such as the tropical garden, the rainforest, the arid garden, and the butterfly garden. A number of animals including birds and invertebrates are housed in the conservatory. The ENMAX Conservatory was completely renovated in 2009 and features an increased emphasis on teaching visitors the importance of plants and improving energy efficiency. The Calgary Zoo achieved LEED (Leadership in Energy and Environmental Design) Gold in energy conservation and responsible building practices, the first facility of its kind to achieve this level of certification.

Exploration Asia (Formerly Eurasia)

The western portion of St. George's Island is dedicated to Eurasian animals. Animals in this area include Amur tigers, snow leopards, Pallas's cats, Japanese macaques, red pandas, Japanese serows, Bactrian camels, and Komodo dragons. This section was also home to four giant pandas which debuted in early May 2018. The giant pandas were on loan from the Chengdu Research Base in Chengdu, Sichaun, China. Panda Passage featured adult male Da Mao, cubs Jia Yueyue and Jia Panpan as well as their mother Er Shun. Since then, the pandas have been returned to China because of bamboo supply chain issues arising from CoVID-19.  Formerly residing in the Panda's habitat area was a herd of Asian elephants (relocated to the Smithsonian National Zoo) and later a male Indian rhinoceros named Sabari (now residing in Safari Niagara, Ontario). The area known as Panda Passage has since been renamed to Gateway to Asia and has seen the addition of a Malayan tapir and 2 white-handed gibbons.

Prehistoric Park

The Calgary Zoo's six-acre Prehistoric Park features life-sized dinosaurs in their re-created geographical environment, including replicas of an inland sea and volcanic mountain, and more than 100 species of living plants. Dinosaurs include Albertosaurus, Allosaurus, Ankylosaurus, Apatosaurus, Baryonyx, Centrosaurus, Corythosaurus, Deinonychus, Dilophosaurus, Edmontosaurus, Elasmosaurus, Euoplocephalus, Iguanodon, Metriacanthosaurus, Nothosaurus, Omeisaurus, Pachyrhinosaurus, Parasaurolophus, Protoceratops, Pteranodon, Pterosaur, Stegosaurus, Struthiomimus, Styracosaurus, Tanystropheus, Triceratops, Tylosaurus, Tyrannosaurus rex, and Yangchuanosaurus.

Penguin Plunge
Penguin Plunge and a renovated gift shop were opened in the spring of 2012 and is located at the entrance of the Calgary Zoo. The exhibit includes king penguins, Humboldt penguins, gentoo penguins, and rockhopper penguins . Penguin Plunge consists of two main areas, an indoor climate-controlled habitat and an outdoor open-air habitat. In summer, the outdoor exhibit holds the warm-weather South American Humboldt penguins which are housed inside during the winter. On winter days when the temperature is between +5 °C and -25 °C without wind above 20 km/h, the king penguins go on scheduled walks for exercise and enrichment.

Other/Former Animals
The zoo contains a flock of Chilean flamingos next to the enclosure containing both a herd of alpacas and greater rheas. Prior to the 2013 flooding, the zoo also had an area section dedicated to South American animals such as giant anteaters, red-bellied piranhas and various New World monkeys, as well as a number of birds including several species of macaw and two Andean condors.

There also used to be an Australian animal portion, notorious for the Creatures of the Night exhibit, mostly consisting of various nocturnal animals such as bats. Also present were a number of kangaroos, emus, monitor lizards, and for a brief temporary time, koalas.

Indian peafowl are allowed to venture around openly and freely across the zoo grounds, and are taken to an off-site facility for the winter months.

Events
Zoolights
Zoolights is a Christmas lights festival held annually at the Calgary Zoo. It closes only on Christmas Day. The month-long, animal-themed show features more than one million lights and is the largest seasonal light show in western Canada.

Recent controversy
Following a series of high-profile incidents in 2008 and 2009, some commentators criticized the zoo's conduct and operations.

Past incidents cited included:
 In January 2009, a two-year-old male Turkmenian markhor died after becoming entangled in an exhibit's play toy.
 In 2009, a knife was accidentally left in the western lowland gorilla enclosure.
 In September 2010, Calgary Zoo staff announced the overnight death of a second tiger cub born earlier in the week to a Siberian tiger. Zookeepers were not aware that Katja, the 10-year-old mother, was expecting, saying it is hard to detect pregnancy in tigers.  Katja did not nurse her young. Zoo staff noticed her carrying the first kitten in her mouth, which is likely how it died. The zoo's veterinary team says both Siberian tiger cubs suffered similar head trauma.
 On 5 December 2009, an 18-month-old female capybara died after being crushed by a hydraulic door. A worker did not follow a long-standing procedure in operating the door.

The zoo's director said all the incidents are unrelated. An independent review was solicited by the zoo in December 2009 and was conducted by the Canadian Association of Zoos and Aquariums.  The report, released in 2010, spotlighted systemic problems. In response, the zoo developed a 36-point plan that included improving animal care procedures and collection planning, addressing staffing issues like training and structure, enhancing security systems and safety drills, and upgrading aging zoo infrastructure. Later that year, the zoo hired noted animal welfare specialist, Dr. Jake Veasey, who has since instituted major changes and spearheaded new investment in animal facilities.

Additional incidents and animal deaths also include:

 In October 2011, a zookeeper resigns following the death of a corn snake, as the keeper had left it unattended near a heat source.
 In September 2014, a problem with an ozone sensor in the hippopotamus pool is blamed for the deaths of 85 tilapia.
 In February 2016, an otter drowned after becoming tangled in pants given to it by a zookeeper.
 In December 2016, seven Humboldt penguins died, drowning in a holding pool.
 In May 2023, a Masai Giraffe has died of a broken neck after getting its ossicone caught in a cable around their enclosure.

Recent notable animal births
In March 2012, Amur tiger Katja gave birth to three Amur tiger cubs at the zoo. The species is so highly endangered (there are an estimated 350 individuals worldwide), the births represented a 1% jump in the global population. In 2014, it became necessary to separate Vasili and Samkha, the two male tiger cubs, now almost full grown, from sister Kira and mom Katja (12 years old). Based on the Species Survival Plan recommendation, which manages genetics for future breeding, they were moved to Assiniboine Park Zoo in Winnipeg. In May 2018 Vasili was moved to Toronto Zoo in Toronto.

In early 2016, a western lowland gorilla infant was born to Kioja. Named Kimani, she was underweight at birth, but quickly recovered and is currently in perfect health.

In August 2016 a king penguin chick named Edward hatched, born to mother Grace. The following year another king penguin chick hatched and was named Cleopatra to follow a theme of royal names.

In May 2017 a Przewalski's horse foal was born at the Calgary Zoo's Wildlife Conservation Centre. While not visible to the public, this is an important addition to the genetic diversity of the endangered wild horse.

In June 2018 a bactrian camel calf was born to Eva. He was later named Gobi.

References

External links

 Calgary Zoo

Culture of Calgary
Zoos in Alberta
Tourist attractions in Calgary
Zoos established in 1929
1929 establishments in Alberta

this is the end

Calgary Zoo


Ian Harland (19 December 1932 – 27 December 2008) was a Church of England cleric, serving as Anglican Bishop of Lancaster then Bishop of Carlisle.

Life
From a clerical family (Samuel Harland, general secretary of the Commonwealth and Continental Church Society, was his father), Harland was educated at The Dragon School in Oxford and Haileybury. He then went to university at Peterhouse, Cambridge, taking a law degree. After two years as a schoolmaster at Sunningdale School he studied for the priesthood at Wycliffe Hall, Oxford and began his ministry as a curate in Melton Mowbray in 1960.

He was subsequently Vicar of three parishes in the diocese of Sheffield - Oughtibridge (1963–72), St Cuthbert at Fir Vale and Brightside (1972–75), then Rotherham (1975–79). In the last two posts he also served as Rural Dean of Ecclesfield and Archdeacon of Doncaster, and in 1967 he married Susan Hinman, with whom he had one son and three daughters. From 1979 to 1982 he served as Archdeacon of Doncaster (working closely with the bishop Stewart Cross) and chairman of that diocese's Youth Committee, arranging a youth pilgrimage to Iona.

He was elevated to the episcopate as Bishop Suffragan of Lancaster in 1985, again under Cross (appointed Bishop of Blackburn from 1982). Translated to Carlisle  four years later  and entering the House of Lords in 1996 (where he was part of the pro-fox hunting Middle Way Group), he retired in 2000 to live in Gargrave (near Skipton, North Yorkshire). In retirement he continued working as an honorary assistant bishop within the Diocese of Bradford and in chaplaincy work in the Diocese of Europe, alongside being an active trustee of the Settle and Carlisle Railway Trust, until his death late in December 2008. His memorial service, conducted by the Dean of Carlisle took place on 8 February 2009 in Carlisle Cathedral.

References

1919 births
People educated at The Dragon School
People educated at Haileybury and Imperial Service College
Alumni of Peterhouse, Cambridge
Archdeacons of Doncaster
20th-century Church of England bishops
Anglican bishops of Lancaster
2008 deaths

Ian Harland


Troy Creek catchment is a small area of land to the north-east of the city of Dubbo (pop 38,000), central western New South Wales, Australia. The catchment is noted for its significant record levels of past salinity. An ephemeral stream originating from the remnant vegetation Beni forest to the east flowing approximately 10 kilometres via Troy Gully north-west through grazing land, heavy residential, industrial and terminating into the Macquarie River system.

History
Various land uses such as significant clearing of the catchment has resulted in significant salinity, an issue where it soil and water table below becomes salt laden. Troy Creek has suffered significant scalding and vegetation loss as a direct result of salinity. Sections within the catchment have recorded soil salt levels twice that of sea water and over ten times tolerable to native grass and tree species.

Local land care volunteers, businesses, and school students have planted thousands of trees in Troy Gully (upstream of Yarrandale Rd.) and Troy Creek to lower the water table.  Salinity has significantly declined in recent years. Salt scalds are being grown over by salt tolerant grass species, and measurable levels in the ground water have lowered markedly.

References

Central West (New South Wales)
Rivers of New South Wales
Murray-Darling basin

Troy Creek


Benjamin Auerbach (March 1, 1919 June 18, 1993) was an early American professional basketball player in the American Basketball League. He had a standout college career for New York University. Despite the shared surname, Ben Auerbach is not related to the Hall of Fame coach Red Auerbach.

College
Auerbach grew up in New York City, attended DeWitt Clinton High School, and enrolled at NYU in the fall of 1937. Playing the guard, he was forced to abstain from playing on the school's varsity team as a freshman because it was not permitted during that era of college basketball. When he became eligible in 1938–39 as a sophomore, it was the first of three seasons he was a full-time starter. He scored 147 points in his first year, one in which the NYU Violets finished with an 11–11 record. This scoring total placed him ninth in the New York City metropolitan area. As the premier player on the team, Auerbach specialized in defending the opponents' top scorers, and once he even had to play center in a game against Notre Dame.

As a junior in 1939–40, Auerbach helped guide NYU to an 18–0 season record before losing their final game to rival City College of New York (CCNY). He had a personally successful season as well and was named First Team All-Met. Auerbach was honored with the coveted Haggerty Award, given annually since 1935–36 to the best male collegiate basketball player in the greater New York City area. The Violets did not participate in any postseason tournaments despite their record. The school, citing exhaustion on behalf of the players, declined all invitations. The following year, the team finished with a 13–6 record with Auerbach being the captain. He was declared ineligible for the final two games of the year (and consequently, his collegiate career), but still finished in the top 25 for scoring in the metropolitan area.

He has since been inducted into the NYU Athletics Hall of Fame.

Professional
After college, Auerbach played in the American Basketball League, which was semi-professional and considered the top league in the East. His first team was the Brooklyn Celtics, but he only played in three games for them toward the end of the 1941 season. He then missed all of the 1941–42 season before joining the Harrisburg Senators the following year. Due to World War II, the league only had five total teams. Auerbach only played in one game for the Senators.

He joined the Wilmington Bombers the next season (1943–44) as they won the ABL championship, four games to three in a best-of-seven finals, over the Philadelphia Sphas. He played in 20 games and averaged 3.3 points per contest. Wilmington would only finish with a 14–14 record the next year, but Auerbach played in all 28 of their games.

He spent two more seasons in the league playing for Paterson Crescents, but in neither season did the Crescents qualify for the playoffs. By the time he retired professional basketball, Auerbach had played for four teams: the Brooklyn Celtics (1941), Harrisburg Senators (1943), Wilmington Bombers (1943–45) and Paterson Crescents (1945–47).

See also
List of select Jewish basketball players

Notes

1919 births
1993 deaths
American men's basketball players
Basketball players from New York City
DeWitt Clinton High School alumni
Guards (basketball)
Jewish American sportspeople
Jewish men's basketball players
NYU Violets men's basketball players
Paterson Crescents players
20th-century American Jews

Ben Auerbach


The Gordon Riots of 1780 were several days of rioting in London motivated by anti-Catholic sentiment. They began with a large and orderly protest against the Papists Act 1778, which was intended to reduce official discrimination against British Catholics enacted by the Popery Act 1698. Lord George Gordon, head of the Protestant Association, argued that the law would enable Catholics to join the British Army and plot treason. The protest led to widespread rioting and looting, including attacks on Newgate Prison and the Bank of England and was the most destructive in the history of London.

Violence started later on 2 June 1780, with the looting and burning of Catholic chapels in foreign embassies. Local magistrates, afraid of drawing the mob's anger, did not invoke the Riot Act. There was no repression until the government finally sent in the army, resulting in an estimated 300–700 deaths. The main violence lasted until 9 June 1780.

The riots occurred near the height of the American War of Independence, when Britain, with no major allies, was fighting American rebels, France, and Spain. Public opinion, especially in middle-class and elite circles, repudiated anti-Catholicism and lower-class violence, and rallied behind Lord North's government. Demands were made for a London police force. There appeared painted on the wall of Newgate prison a proclamation that the inmates had been freed by the authority of  "His Majesty, King Mob". The term "" afterwards denoted an unruly and fearsome proletariat.

Edmund Burke later recalled the riots as a dangerous foretaste of the 1789 French Revolution:

Background

The stated intention of the Papists Act 1778 was, as its preamble notes, to mitigate some of the official discrimination against Roman Catholics in Great Britain. It absolved Catholics from taking the religious oath when joining the British Armed Forces as well as granting a few and limited liberties. There were strong expedient reasons for this change. British military forces at the time were stretched very thinly in what had become a global American War of Independence, with conflicts ongoing with France, Spain, and the new United States. The recruitment of Catholic people would be a significant help to address this shortfall of manpower.

The 1698 anti-Catholic laws had largely been ignored for many years and were rarely enforced. Because of this, many leading Catholics were opposed to the repeal of these laws, fearing it would stir up anti-Catholic sentiment for little practical return. It was also pointed out that large numbers of Catholics, recruited in Ireland and the Scottish Highlands, were already serving in the military. In spite of this, the government decided to press ahead with the Bill, and had it introduced in Parliament by Sir George Savile.

Protestant Association
The Protestant Association of London had the support of leading Calvinist religious figures, including Rowland Hill, Erasmus Middleton, and John Rippon. Lord George Gordon became its President in 1779, in an effort to force the repeal of the Papists Act. An articulate propagandist, though eccentric, Gordon inflamed the mob with fears of Papism and a return to absolute monarchical rule. He implied that Catholics in the military would, given a chance, join forces with their co-religionists on the Continent and attack Britain. He enjoyed popularity in Scotland where he took part in a successful campaign to prevent the same legislation from being introduced into Scots law, although the Act continued in force in England and Wales and in Ireland. The success in obstructing the law in Scotland led Gordon to believe he could enjoy similar success in the rest of Britain and Ireland. Early in 1780 Gordon had several audiences with King George III but was unable to convince him of what he saw as the dangers of the act. George III initially humoured Gordon, but grew increasingly irritated with him and eventually refused any future audiences.

The political climate deteriorated rapidly. On 29 May 1780, Gordon called a meeting of the Protestant Association, and his followers subsequently marched on the House of Commons to deliver a petition demanding the repeal of the Act.

Other causes
After the first march to Parliament, further riots occurred involving groups whose grievances were nationalist, economic, or political, rather than religious. Aside from the issue of Catholic emancipation, it has also been suggested that the driving force of the riots was Britain's poor economic situation: the loss of trade during the war had led to falling wages, rising prices, and periodic unemployment. As Rudé noted, there was no general attack on the Catholic community, "the victims of the riots" being distinguished by the fact they were "on the whole, persons of substance". Voting in parliamentary elections was restricted by a property threshold, so most Londoners were unable to vote and many hoped for reforms to make Parliament more representative of the people. However, Paul Monod has argued that "no matter how much one would like to interpret the Gordon Riots ... as economically motivated, they remain fundamentally anti-Catholic in character".

Shortly after the riots had broken out, the Duke of Richmond suggested that they were directly attributable to the passing of the Quebec Act six years before, a view that was ridiculed by many of his colleagues. Another suggested cause was Britain's weakened international position, which had arisen from the country's isolation in Europe and the disappointing news coming from the ongoing war. Some rioters were against the continuation of the war, and many strongly supported American independence, while others were angry that Britain's war effort was being mishandled by Lord North. In many cases a mix of issues blended together and drove people to take part in the rioting.

Riots

March on Parliament
On 2 June 1780 a huge crowd, estimated at 40,000 to 60,000 strong, assembled and marched on the Houses of Parliament. Many carried flags and banners proclaiming "No Popery", and most wore blue cockades which had become the symbol of their movement. As they marched, their numbers swelled. They attempted to force their way into the House of Commons, but without success. Gordon, petition in hand, and wearing in his hat the blue cockade of the Protestant Association, entered the Commons and presented the petition. Outside, the situation quickly got out of hand and a riot erupted. Members of the House of Lords were attacked as they arrived, and a number of carriages were vandalised and destroyed.

Despite being aware of the possibility of trouble, the authorities had failed to take steps to prevent violence breaking out. The Prime Minister, Lord North, had forgotten to issue an order mobilising the small number of Constables in the area. Those that were present in the House of Commons were not strong enough to take on the angry mob. Eventually a detachment of soldiers was summoned, and they dispersed the crowd without violence. Inside the House of Commons, the petition was overwhelmingly dismissed by a vote of 192 to 6.

Embassies attacked
Once the mob around Parliament had dispersed, it seemed to the government that the worst of the disorder was over. However, the same night a crowd gathered and attacked the Roman Catholic Sardinian Embassy Chapel in Lincoln's Inn Fields. Bow Street Runners and soldiers were called out and made thirteen arrests, although most of the ringleaders had managed to escape. The same night the chapel of the Bavarian Embassy in Warwick Street, Soho, was destroyed and crowds caused random violence in streets known to house rich Catholics.

Moorfields

The area of Moorfields, one of the poorest parts of the city, was the home of many Irish immigrant workers and had a large area of open ground where crowds could assemble. Despite the appeal of a prominent Irish merchant, James Malo, to the Lord Mayor, Brackley Kennett, no additional protection was offered to the area. During 3 June a crowd had gathered in Moorfields, and by nightfall it began to go on the rampage. Malo's house was amongst the many to be sacked and burned.

Newgate Prison, where rioters arrested on 2 June were being held, was attacked and largely destroyed, as was The Clink. This allowed large numbers of prisoners to escape, many of whom were never recaptured. Severe destruction was inflicted on Catholic churches and homes and chapels on the grounds of several embassies, as well as on New Prison, Fleet Prison, and the house of the Lord Chief Justice, William Murray, 1st Earl of Mansfield. On 7 June, called "Black Wednesday" by Horace Walpole, the riot reached its climax. An attempt on the Bank of England was narrowly averted when a combination of the London Military Association and regular troops repulsed rioters, resulting in heavy casualties.

Army repression

The army was called out on 7 June and given orders to fire upon groups of four or more who refused to disperse. About 285 people were shot dead, with another 200 wounded. Around 450 of the rioters were arrested. Of those arrested, about twenty or thirty were later tried and executed. Gordon was arrested and charged with high treason but was acquitted. Brackley Kennett, the Lord Mayor, was convicted of criminal negligence for not reading out the Riot Act and was given a £1,000 fine. The military units which dealt with the rioters included the Horse Guards, Foot Guards, Inns of Court Yeomanry, the Honourable Artillery Company, line infantry including the 2nd (Queen's Royal) Regiment, and militia from the City and neighbouring counties. The defence of the Bank of England was conducted by the 9th Regiment of Foot under the command of Thomas Twisleton, 13th Baron Saye and Sele.

Aftermath
The riots damaged the reputation of Britain across Europe, where many saw British constitutional monarchy as an inherently unstable form of government. This came at a time when Britain was searching for allies, particularly Catholic Austria, in the American War of Independence to challenge the strong coalition the French had built. Britain had also initiated secret negotiations with Catholic Spain to end Spanish support of the United States. After learning of the riots, the Spanish government pulled back from peace negotiations with Britain, concerned that the disorder would lead to a widespread collapse of the current British administration.

The riots highlighted the problems Britain faced by not having a professional police force, a notion which was opposed as foreign and absolutist. The day after the riots broke out, the Earl of Shelburne shocked many by proposing in parliament that Britain should consider forming a force modelled on the French police.

The riots destroyed the popularity of the radical politician John Wilkes, who led citizen militia against the rioters. Many of his followers saw this as a betrayal; some of them may have been among the rioters. A pamphlet and a book of poems defending the role of Gordon were written and published by the polemicist and hymn-writer Maria De Fleury.

The events at the Bank of England started a tradition where a detachment of soldiers, usually from the Brigade of Guards, would march to the bank to perform security duties. Until 1963 the duty was performed by the Guards in Home Service Dress with bearskin, though tennis shoes were worn inside the bank. From that date until 31 March 1973 the detachment became more functional than ceremonial, doing their duties in service dress with automatic weapons.

In fiction and film

George Walker's anti-Jacobin novel The Vagabond (1799) anachronistically resituates the Gordon Riots amidst the political events of the 1790s. Its narrator unwittingly becomes a prominent figure in the riots, which Walker depicts as solely destructive and acquisitive.

Maria Edgeworth's 1817 novel Harrington contains a vivid evocation of the Gordon Riots, with two unsympathetic characters taken for Papists and finding refuge in the home of the rich Spanish Jew, the father of the young Jewish woman at the centre of the love story.

Charles Dickens' 1841 novel Barnaby Rudge depicts the Gordon Riots and features Lord George in a prominent role.

John Creasey's 1974 novel The Masters of Bow Street depicts the Gordon Riots and the recalcitrance of Lord North to the establishment of a police force.

In Bernard Cornwell's Sharpe novels (1981–2007), the protagonist Richard Sharpe's mother was killed during the riots while he was still a child.

Miranda Hearn's 2003 historical novel A Life Everlasting depicts the main protagonists caught up in the riots as innocent Londoners.

In the film The Great Rock'n'Roll Swindle, a scene set in 1780 refers to the Gordon Riots, showing the Sex Pistols hung in effigy.

BABYLONdon, a novel by English SF/Fantasy author John Whitbourn (2020), blends a detailed depiction of the Gordon Riots with supernatural plot elements and an apocalyptic denouement.

The Invisibles, a comic series by Grant Morrison features a principal character mostly known as King Mob.

Mentioned by Peter O'Toole's character to Aldo Ray in The Day They Robbed The Bank of England, referencing that he and his men had been guarding the titular bank in a certain fashion since "the Gordon Riots in 1780."

See also
 Anti-Catholicism in the United Kingdom
 Philadelphia Nativist Riots

References

Notes

Sources

External links
 Contemporary illustrations: burning of the Newgate Prison and proclamation of George III. of June 5, 1780 (Corporation of London)
 Barnaby Rudge A Tale of the Riots of 'Eighty, Charles Dickens, from Project Gutenberg

1780 in England
1780 riots
1780s in London
Battles and military actions in London
18th-century riots in London
Massacres committed by Great Britain
History of Christianity in England
Religiously motivated violence in England
Religion and politics
Religious riots
Political violence in England
Anti-Catholicism in England
Sectarian violence
Anti-Catholic riots
Attacks on churches in Europe
Pogroms
1780 in Christianity
Newgate Prison
Anti-Christian sentiment in the United Kingdom

Gordon Riots


Boy Meets Boy is a 2008 South Korean short film directed by Kim Jho Kwang-soo.

It premiered at the 13th Pusan International Film Festival in 2008. It was theatrically released in South Korea on November 20, 2008.

Plot
A short film with no spoken dialogue, Boy Meets Boy depicts the relationship between Minsu (Kim Hye Sung) and Seok-i (Lee Hyun-jin). The two come face-to-face on a bus after Minsu drops a roll of film after putting away his schoolwork into his, and to his luck it rolls to Seok-i's foot. Seok-i then picks it up and Minsu sets out to retrieve it. There is an instant spark through their silent gazes and then electric chemistry is visible when Seok-i silently returns Minsu's film. Minsu shyly walks back to discover his seat is taken by a woman who politely returns his bag, so he opts for standing until he reaches his stop. Minsu gets off the bus after it arrives at a stop, expecting Seok-i to have followed behind. However he is disappointed to discover that he was not being followed by anyone. Disappointed, he walks aimlessly and looks back once more, only to crash into Seok-i. A fairy (Ye Ji-won) appears and gives Minsu advice on love through a song. Seok-i takes off his hat and approaches Minsu, returning the latter's camera. It is revealed through flashbacks that Seok-i has in fact been following Minsu with the intention of giving him back his camera, which was stolen when Seok-i and his friends mugged him. As Seok-i walks away, Minsu runs after him and they embrace, with the fairy returning to reveal a few flashbacks of Seok-i waiting around for Minsu to return the camera, the last flashback occurring right before they both board that same bus.

Cast
 Kim Hye-sung as Minsu
 Lee Hyun-jin as Seok-i
 Ye Ji-won as the fairy

See also
 Just Friends?

References

External links

2008 films
South Korean short films
South Korean romantic drama films
South Korean LGBT-related films
LGBT-related drama films
LGBT-related short films
2008 LGBT-related films
Films directed by Kim-Jho Gwangsoo
Gay-related films
2000s South Korean films

Boy Meets Boy (film)


In linear algebra, a Vandermonde matrix, named after Alexandre-Théophile Vandermonde, is a matrix with the terms of a geometric progression in each row: an  matrix

with entries , the jth power of the number , for all zero-based indices  and . Most authors define the Vandermonde matrix as the transpose of the above matrix.

The determinant of a square Vandermonde matrix (when ) is called a Vandermonde determinant or Vandermonde polynomial. Its value is:

This is non-zero if and only if all  are distinct (no two are equal), making the Vandermonde matrix invertible.

Applications
The polynomial interpolation problem is to find a polynomial  which satisfies  for given data points . This problem can be reformulated in terms of linear algebra by means of the Vandermonde matrix, as follows.  computes the values of  at the points   via a matrix multiplication , where  is the vector of coefficients and  is the vector of values (both written as column vectors):

If  and  are distinct, then V is a square matrix with non-zero determinant, i.e. an invertible matrix. Thus, given V and y, one can find the required  by solving for its coefficients  in the equation : . That is, the map from coefficients to values of polynomials is a bijective linear mapping with matrix V, and the interpolation problem has a unique solution. This result is called the unisolvence theorem, and is a special case of the Chinese remainder theorem for polynomials.

In statistics, the equation  means that the Vandermonde matrix is the design matrix of polynomial regression.

In numerical analysis, solving the equation  naïvely by Gaussian elimination results in an algorithm with time complexity O(n3). Exploiting the structure of the Vandermonde matrix, one can use Newton's divided differences method (or the Lagrange interpolation formula) to solve the equation in O(n2) time, which also gives the UL factorization of . The resulting algorithm produces extremely accurate solutions, even if  is ill-conditioned. (See polynomial interpolation.)

The Vandermonde determinant is used in the representation theory of the symmetric group.

When the values  belong to a finite field, the Vandermonde determinant is also called the Moore determinant, and has properties which are important in the theory of BCH codes and Reed–Solomon error correction codes.

The discrete Fourier transform is defined by a specific Vandermonde matrix, the DFT matrix, where the  are chosen to be nth roots of unity. The Fast Fourier transform computes the product of this matrix with a vector in O(n log2n) time.

In the physical theory of the quantum Hall effect, the Vandermonde determinant shows that the Laughlin wavefunction with filling factor 1 is equal to a Slater determinant. This is no longer true for filling factors different from 1 in the fractional quantum Hall effect.

In the geometry of polyhedra, the Vandermonde matrix gives the normalized volume of arbitrary -faces of cyclic polytopes. Specifically, if  is a -face of the cyclic polytope   corresponding to  , then

Determinant
The determinant of a square Vandermonde matrix is called a Vandermonde polynomial or Vandermonde determinant. Its value is the polynomial

which is non-zero if and only if all  are distinct.

The Vandermonde determinant was formerly sometimes called the discriminant, but in current terminology the discriminant of a polynomial  is the square of the Vandermonde determinant of the roots . The Vandermonde determinant is an alternating form in the , meaning that exchanging two  changes the sign, and  thus depends on order for the . By contrast, the discriminant  does not depend on any order, so that Galois theory implies that the discriminant is a polynomial function of the coefficients of .

The determinant formula is proved below in three ways. The first uses polynomial properties, especially the unique factorization property of multivariate polynomials. Although conceptually simple, it involves non-elementary concepts of abstract algebra. The second proof is based on the linear algebra concepts of change of basis in a vector space and the determinant of a linear map. In the process, it computes the LU decomposition of the Vandermonde matrix. The third proof is more elementary but more complicated, using only elementary row and column operations.

First proof: Polynomial properties

The first proof relies on properties of polynomials.

By the Leibniz formula,  is a polynomial in the , with integer coefficients. All entries of the -th column have total degree . Thus, again by the Leibniz formula, all terms of the determinant have total degree

(that is, the determinant is a homogeneous polynomial of this degree).

If, for , one substitutes  for , one gets a matrix with two equal rows, which has thus a zero determinant. Thus, considering the determinant as univariate in  the factor theorem implies that  is a divisor of  It thus follows that for all  and ,  is a divisor of

This will now be strengthened to show that the product of all those divisors of  is a divisor of  Indeed, let  be a polynomial with  as a factor, then  for some polynomial  If  is another factor of   then  becomes zero after the substitution of  for  If  the factor  becomes zero after this substitution, since the factor  remains nonzero. So, by the factor theorem,  divides  and  divides

Iterating this process by starting from  one gets that  is divisible by the product of all  with  that is

where  is a polynomial. As the product of all  and  have the same degree , the polynomial  is, in fact, a constant. This constant is one, because the product of the diagonal entries of  is , which is also the monomial that is obtained by taking the first term of all factors in  This proves that  and finishes the proof.

Second proof: linear maps
Let  be a field containing all  and  the  vector space of the polynomials of degree less than or equal to  with coefficients in . Let

be the linear map defined by
.

The Vandermonde matrix is the matrix of  with respect to the canonical bases of  and

Changing the basis of  amounts to multiplying the Vandermonde matrix by a change-of-basis matrix  (from the right). This does not change the determinant, if the determinant of  is .

The polynomials , , , …,  are monic of respective degrees 0, 1, …, . Their matrix on the monomial basis is an upper-triangular matrix  (if the monomials are ordered in increasing degrees), with all diagonal entries equal to one. This matrix is thus a change-of-basis matrix of determinant one. The matrix of  on this new basis is
.
Thus Vandermonde determinant equals the determinant of this matrix, which is the product of its diagonal entries.

This proves the desired equality. Moreover, one gets the LU decomposition of  as .

Third proof: row and column operations

The third proof is based on the fact that if one adds to a column of a matrix the product by a scalar of another column then the determinant remains unchanged.

So, by subtracting to each column – except the first one – the preceding column multiplied by , the determinant is not changed. (These subtractions must be done by starting from last columns, for subtracting a column that has not yet been changed). This gives the matrix

Applying the Laplace expansion formula along the first row, we obtain , with

As all the entries in the -th row of  have a factor of , one can take these factors out and obtain
,
where  is a Vandermonde matrix in . Iterating this process on this smaller Vandermonde matrix, one eventually gets the desired expression of  as the product of all  such that .

Rank of the Vandermonde matrix

 An  rectangular Vandermonde matrix such that  has rank  if and only if all  are distinct.
 An  rectangular Vandermonde matrix such that  has rank  if and only if there are  of the  that are distinct.
 A square Vandermonde matrix is invertible if and only if the  are distinct. An explicit formula for the inverse is known (see below).

Inverse Vandermonde matrix
As explained above in Applications, the polynomial interpolation problem for satisfying  is equivalent to the matrix equation , which has the unique solution . There are other known formulas which solve the interpolation problem, which must be equivalent to the unique  , so they must give explicit formulas for the inverse matrix . In particular, Lagrange interpolation shows that the columns of the inverse matrix

are the coefficients of the Lagrange polynomials where . This is easily demonstrated: the polynomials clearly satisfy  for  while , so we may compute the product , the identity matrix.

Confluent Vandermonde matrices
As described before, a Vandermonde matrix describes the linear algebra interpolation problem of finding the coefficients of a polynomial  of degree  based on the values , where  are distinct points. If  are not distinct, then this problem does not have a unique solution (and the corresponding Vandermonde matrix is singular). However, if we specify the values of the derivatives at the repeated points, then the problem can have a unique solution. For example, the problem

where , has a unique solution for all  with . In general, suppose that  are (not necessarily distinct) numbers, and suppose for simplicity that equal values are adjacent:

where   and  are distinct. Then the corresponding interpolation problem is

The corresponding matrix for this problem is called a confluent Vandermonde matrix, given as follows. If , then  for a unique  (denoting ). We let

This generalization of the Vandermonde matrix makes it non-singular, so that there exists a unique solution to the system of equations, and it possesses most of the other properties of the Vandermonde matrix. Its rows are derivatives (of some order) of the original Vandermonde rows.

Another way to derive this formula is by taking a limit of the Vandermonde matrix as the 's approach each other. For example, to get the case of , take subtract the first row from second in the original Vandermonde matrix, and let : this yields the corresponding row in the confluent Vandermonde matrix. This derives the generalized interpolation problem with given values and derivatives as a limit of the original case with distinct points: giving  is similar to giving  for small . Geometers have studied the problem of tracking confluent points along their tangent lines, known as compacitification of configuration space.

See also

 Schur polynomial – a generalization
 Alternant matrix
 Lagrange polynomial
 Wronskian
 List of matrices
 Moore determinant over a finite field
 Vieta's formulas

References

Further reading
.

External links

Matrices
Determinants
Numerical linear algebra

Vandermonde matrix


Muhammad Arie Irawan Ahmad Fauzi (21 August 1990 – 7 April 2019) was a Malaysian professional golfer who played on the Asian Tour, the Asian Development Tour and the PGA Tour China. He won two events on the Asian Development Tour in early 2015.

Amateur career
Irawan won the 2008 Malaysian Amateur Stroke Play Championship. He attended the University of Tulsa from 2008 to 2012. In 2012 he won the Negeri Sembilan Amateur Open.

Professional career

Irawan turned professional in April 2013. For the 2014 season he played on the Asian Development Tour and earned his tour card for the 2015 Asian Tour after a 6th-place finish on the Asian Development Tour's Order of Merit. Another player within the top five also placed within the top 60 on the Asian Tour Order of Merit, allowing Irawan to earn his Tour card.

In January 2015 Irawan won his first Official World Golf Ranking points event at the PGM Sime Darby Harvard Championship on the Asian Development Tour, becoming the highest ranked Malaysian golfer in the world rankings. In April 2015 he won his second Asian Development Tour event, the ICTSI Eagle Ridge Invitational, in the Philippines, a result that lifted him into the top 300 in the world rankings. He was 7th in the 2015 Asian Development Tour Order of Merit.

Irawan was involved in a moped accident in early 2016 and missed much of the season. In 2018 and 2019 Irawan also played on the PGA Tour China.

After his successes in early 2015 his best finishes in world ranking events were to be twice tied for fourth place, in the 2018 PGM Johor Championship on the Asian Development Tour and in the 2018 Guilin Championship on the PGA Tour China.

In addition to his two Asian Development tour wins, Irawan won two tournaments on the domestic Professional Golf of Malaysia Tour, winning the season-ending PGM Maybank Players Championship in 2014 and 2017.

Death
On 7 April 2019 Irawan was found dead at his hotel in Sanya, China. He was taking part in the Sanya Championship, the second event of the 2019 PGA Tour China season. Early indications were that his death was from natural causes, but the tour added that "the coroner has not completed his report." There were attempts to revive him with CPR, but after 45 minutes of revival efforts, he was pronounced dead.

Professional wins (4)

Asian Development Tour wins (2)

1Co-sanctioned by the Professional Golf of Malaysia Tour
2Co-sanctioned by the Philippine Golf Tour

Professional Golf of Malaysia Tour wins (3)

1Co-sanctioned by the Asian Development Tour

References

External links

Malaysian male golfers
Asian Tour golfers
Tulsa Golden Hurricane men's golfers
Sportspeople from Selangor
Malaysian people of Malay descent
1990 births
2019 deaths

Arie Irawan


Gouverneur Morris (January 31, 1752 – November 6, 1816)  was an American politician and diplomat from New York City.  Morris was born and died in Morrisiana, which is now part of The Bronx.  He went to college at King's College, New York.  He was a delegate to the Continental Congress from New York in the 1770s.  In the 1780s, he moved to Philadelphia and was the assistant superintendent of finance.  He was also a delegate to the Constitutional Convention from Pennsylvania.  He was very active there, giving 173 speeches.  This was more speeches than any other person gave.  Morris wrote the Preamble and many of the sections of the Constitution.  Later, he served as ambassador to France from 1792 to 1794.  He was a U.S. Senator from 1800 to 1803.

Late in life, Morris was head of the group building the Erie Canal.  He wanted a strong central government, and wanted people to think of themselves mostly as Americans rather than people of the state they lived in.  Morris also spoke out against slavery.  He had a wooden leg. Morris lost his leg in a carriage accident in 1780.  He is also noted for keeping a diary of his life.

References

1752 births
1816 deaths
politicians from New York City
American deists
People from the Bronx

Gouverneur Morris


Warren Benson (January 26, 1924 – October 6, 2005) was an American composer. His compositions consist mostly of music for wind instruments and percussion. His most notable piece is titled The Leaves Are Falling (1964).

Biography
Benson was born in Detroit in 1924, and was a graduate of Cass Technical High School. He was a professional performer by the age of 14, when he played timpani in the Detroit Symphony Orchestra under Ormandy, Reiner, Goossens, Bernstein, and others while an undergraduate at the University of Michigan. From 1950 to 1952, Benson was awarded two successive Fulbright grants to teach at Anatolia College in Salonika, Greece. There he established a five-year bilingual music curriculum and organized the Anatolia College Chorale, the first scholastic co-educational choral group in that country. After 14 years at Ithaca College (where, in 1953, he organized the first touring percussion ensemble in the eastern United States – and the second worldwide), Benson became professor of composition at the Eastman School of Music. During his tenure there (1967–1993), he was honored with an Alumni Citation for Excellence, the Kilbourn professorship for distinguished teaching, and was named University Mentor. In 1994 he was appointed professor emeritus. He also served as distinguished visiting professor at Southern Methodist University from 1986 to 1988.

Benson composed over 100 musical works.  He is known for his moving song cycles and dynamic works for percussion and winds. The Leaves are Falling, composed following the assassination of John F Kennedy, became a staple of the band repertoire. It was included in Donald Hunsberger's list of essential works for wind ensemble. His music has been performed in more than 40 countries, and frequently recorded. Benson received numerous awards for his music, including a 1981 Guggenheim Composer Fellowship, the Lillian Fairchild Award, a Citation of Excellence from the National Band Association, many ASCAP Serious Music Awards, and three National Endowment for the Arts composer commissions.

He was a founding member of the Percussive Arts Society, and was elected to its Hall of Fame, as well as to the National Band Association Academy of Excellence. In addition to his published music, Benson wrote "Creative Projects in Musicianship", poetry and humorous fiction.  In 1999, he celebrated his 75th birthday with the publication of "…And My Daddy Will Play the Drums: Limericks for Friends of Drummers".

Legacy
Benson's notable students include Kevin Puts, Carter Pann, Michael Glenn Williams, Eric Ewazen, Claude Baker, Robert Paterson, Gordon Stout, John Joseph Davye, Paul Phillips, Roger Briggs, Martin Amlin, Paul Mack Somers, and Michael Udow.

He is the subject of a bio-bibliography by Alan Wagner, published by Edwin Mellen Press.

Works

Solo
Three Macedonian Miniatures, for solo piano
If I Could Be?, for solo piano
Not Without Merritt, for solo piano

Chamber ensemble
Canon, for tuba and hand drum
Capriccio, for violin, viola, cello, and piano
Concertino, for alto saxophone and wind ensemble (1971)
The Dream Net, for alto saxophone and string quartet (1983)
A Gentle Song, for B-flat clarinet and piano (1953)
Invocation and Dance
Largo Tah
Quartet One, for string quartet
Quintet, for oboe and string quartet
Steps
String Quartet No. 1
Wind Rose, for saxophone quartet

Vocal/choral
The Drums of Summer, for small wind ensemble (27 players) and SATB chamber choir (16 singers)
An Englishman with an Atlas or America the Unpronounceable, for a cappella SAB chorus (1976)
Five Lyrics Of Luise Bogan, for mezzo-soprano and flute (1984)
Nara
Psalm 24
Psalm 139: "Whither Can I Go from Your Spirit?", for SATB chorus and keyboard (1981)
Sing and Rejoice, for a cappella SSAATTBB chorus (1997)
The Singers and The Cherry Tree, for a cappella SATB chorus (1999)
Song of the Pop-Bottlers, for three-part treble a cappella chorus (1970)
Songs for the End of the World
Three Solitary Songs, for medium voice and piano

Band
Adagietto
Danzon-Memory
Dawn's Early Light
Divertissement
Ginger Marmalade (1978)
Grainger and Friends
The Leaves Are Falling (1964)
The Mask of Night
Night Song (1959)
Passing Bell (1974)
Polyphonies for Percussion
Remembrance
Shadow Wood
The Solitary Dancer
Symphony No. 2 ("Lost Songs")
Vigor
Wings

Band with soloist(s)
Aeolian Song, for alto saxophone and band
Concertino for Alto Saxophone and Band
Helix, for solo tuba and concert band
Recuerdo, for oboe/English horn (one player) and band
Star Edge, for alto saxophone and wind ensemble

Orchestra
Beyond Winter: Sweet Aftershowers
The Man with the Blue Guitar
Polyphonies

Orchestra with soloist(s)
Aeolian Song, for alto saxophone and small orchestra
Concertino for Alto Saxophone
Concertino for Flute, Strings and Percussion

Archive
A Warren Benson Archive is in the process of being established at the Sibley Music Library, and the Benson family will endow the creation of the Warren and Pat Benson Forum on Creativity.

References

External links
Warren Benson's page at Theodore Presser Company
 The Leaves are Falling, performed by the Dallas Wind Symphony

American male classical composers
American classical composers
20th-century classical composers
1924 births
2005 deaths
Musicians from Detroit
University of Michigan alumni
Timpanists
American percussionists
Ithaca College faculty
20th-century American composers
20th-century American drummers
American male drummers
Classical musicians from Michigan
20th-century American male musicians
Cass Technical High School alumni
Fulbright alumni

Warren Benson


Steve Fitzsimmons (born 7 September 1976) is a former Australian football (soccer) player and coach.

Club career
Steve started his NSL career with Parramatta Power under coach & former Socceroo David Mitchell and his assistant coach Lawrie McKinna. In what was a breakout year for Fitzsimmons he saw moves to Hull City and Leyton Orient break down in 2001 returning to Australia and signing with NSL glamour club Marconi Stallions.

A frustrating year at the Stallions was ended when Fitzsimmons returned home to Queensland and signed a 2-year contract with the Brisbane Strikers under rookie coach Stuart McClaren. The Strikers achieved what many people didn't think they could with a squad of mainly local-based players sprinkled with NSL experience, they made the NSL finals only to lose to Adelaide United on the away goals rule not only to bring down the curtain on their season but also that of the National Soccer League as we knew it.

Fitzsimmons was signed by the foundation A-League club New Zealand Knights for the inaugural year of the A-League in what was a largely unsuccessful year for the club. On 25 January 2006 he agreed to part ways with the New Zealand Knights allowing him to look for a new club before the close of the January transfer window. Fitzsimmons linked up with his former Queensland state coach Miron Bleiberg touring Korea in pre-season with the Queensland Roar. Steve scored the only goal in the opening game of the Tongyeong Cup against Incheon United. He was subsequently signed to a short-term contract with Queensland Roar making a solitary appearance before being released at the conclusion of the season after Bleiberg was replaced by Frank Farina.

This looked to spell the end to Fitzsimmons's national league career as he went on to play for Brisbane Premier League side Palm Beach SC. The following year he moved to Beenleigh Football Club in the Brisbane Premier League Division 1 where he enjoyed a successful season playing 24 games for the club scoring 7 times including an important goal the club's Grand Final win against Capalaba Football Club. He was also on top in the Player of the Year award voting for Brisbane Premier League Division as voted by referees but was ruled ineligible due to a sending off against Albany Creek Excellsior Soccer Club in Round 21.

Late in 2008, Fitzsimmons was rewarded for his performances while at Beenleigh Football Club by being one of the first signings for Gold Coast United.

On 21 August 2009, he scored his first ever A-League goal in a 2–0 win for Gold Coast during the second half of United's game against Adelaide at Hindmarsh Stadium.

Fitzsimmons turned down a move to Chinese Super League Club Qingdao Jonoon at the end of the 2009/10 season & he was rewarded for his performances with a new 1-year contract at Gold Coast United for the 2010/11 season taking him up to his 34th birthday.

After retiring at the end of the 2010–11 A-League season, Fitzsimmons joined the staff at the club becoming Assistant Coach.

References

External links
 Gold Coast United profile

1976 births
Living people
English emigrants to Australia
English people of Greek descent
Australian people of Greek descent
Men's association football midfielders
Australian men's soccer players
A-League Men players
National Soccer League (Australia) players
Brisbane Strikers FC players
Gold Coast United FC players
New Zealand Knights FC players
Parramatta Power SC players
Brisbane Roar FC players
Footballers from Liverpool
Expatriate men's association footballers in New Zealand

Steve Fitzsimmons


Metal leaf is a type of metallic foil used mostly for decoration. Gold leaf, a thin layering of gold foil, is the most common form of metal leaf, and the two words are often mixed up. Only very malleable metals can be made into leaf.  Those metals are easily shaped, but at the same time very hard to break. Metal leaf is seen in various fields other than in decoration, sometimes used in art and gilding, its purposes in some cultures varies. Vark is a type of silver leaf used to decorate Indian cuisine.

References
Patricia E. Nimocks, Decoupage. 1968, Scribner.

Metals

Metal leaf


Alvin Ailey Jr. (January 5, 1931 – December 1, 1989) was an American dancer, director, choreographer, and activist who founded the Alvin Ailey American Dance Theater (AAADT). He created AAADT and its affiliated Alvin Ailey American Dance Center (later Ailey School) as havens for nurturing Black artists and expressing the universality of the African-American experience through dance.

A gay man, his work fused theater, modern dance, ballet, and jazz with Black vernacular, creating hope-fueled choreography that continues to spread global awareness of Black life in America. Ailey's choreographic masterpiece Revelations is recognized as one of the most popular and most performed ballets in the world.

On July 15, 2008, the United States Congress passed a resolution designating AAADT a "vital American cultural ambassador to the World." That same year, in recognition of AAADT's 50th anniversary, then Mayor Michael Bloomberg declared December 4 "Alvin Ailey Day" in New York City, while then-Governor David Paterson honored the organization on behalf of New York State.

Early life and education
Ailey was born to Alvin Ailey and Lula Elizabeth Cliff in Rogers, Texas, in his maternal grandfather's home at the height of the Great Depression. As a child in the violently racist and segregated south, during his youth Ailey was barred from interacting with mainstream society. When he was five, Ailey's mother was raped by four white men (one likely an employer), and Ailey recalled seeing members of the Ku Klux Klan as a child.

The elder Alvin Ailey abandoned the young Alvin and Lula shortly after Alvin was born, leaving Lula to work in cotton fields and as a domestics in white homes — the only employment available to her. By the time Ailey was five, he joined his mother picking cotton. After a white man raped Lula in 1936, Ailey began to fear white men. As an escape, Ailey found refuge in the church, sneaking out at night to watch adults dance, and in writing a journal, a practice that he maintained his entire life. Even this could not shield him from a childhood spent moving from town to town as his mother sought employment, being abandoned with relatives whenever she took off on her own.

Looking for greater job prospects, Ailey's mother departed for Los Angeles in 1941. He arrived a year later, enrolling at George Washington Carver Junior High School, and then graduating into Thomas Jefferson High School. He was able to explore the arts in high school, singing in glee club and writing poetry. He also took gymnastics. He frequently attended Lincoln Theatre and the Orpheum Theatre, where he was able to see a variety of African American performers, including Pearl Bailey, Fletcher Henderson, Billie Holiday, Lena Horne, Pigmeat Markham, Count Basie, and Duke Ellington.  In 1946 he had his first experience with concert dance, awakening an until then unknown spark of joy within him, when he saw Ballet Russe de Monte Carlo on a school trip and Katherine Dunham Dance Company's "Tropical Review" on solitary trips to the Los Angeles Philharmonic Auditorium.

Also in high school, Ailey discovered his homosexuality, which added another layer of difference and isolation to his already racially segregated experience. Thus, "like many young gay men eager to corral the sensual impulses of the body, he turned to dance study." He briefly studied tap, followed by exploring "primitive dance" as taught by Dunham dancer Thelma Robinson. Neither of these styles were right for Ailey, possibly due to the  physical location and old-fashioned sensibility of the lessons. Therefore, he did not become serious about dance until 1949 when his classmate and friend Carmen De Lavallade dragged him to the Melrose Avenue studio of Lester Horton and he began exploring modern dance.

Ailey studied a wide range of dance styles and techniques — from ballet to Native American inspired movement studies — at Horton's school, which was one of the first racially integrated dance schools in the United States. Though Horton became his mentor, Ailey did not commit to dancing full-time, recognizing the lack of opportunities for black male dancers. Instead, he pursued academic courses, studying romance languages and writing at UCLA (1949), Los Angeles City College (1950-1951), and San Francisco State (1952). During this time, he sporadically returned to Horton to work between courses. Living in San Francisco, he met Maya Angelou, then known as Marguerite Johnson, with whom he formed a nightclub act called "Al and Rita." Eventually, he returned to study dance with Horton in Los Angeles.

Career

Horton Dance Company
Ailey joined Horton's dance company in 1953. While there, he took daily technique classes, studied art and music, and taught children's classes. In 1953, he made his debut in Horton's Revue Le Bal Caribe. In a workshop the summer of 1953, Ailey created his first dance composition, Afternoon Blues. This work was a three minute solo blues adaptation of L'Aprés Midi d'un Faune, which he had seen performed by the Ballet Russe de Monte Carlo. In this piece, Ailey played the eponymous Faun to a selection from On the Town (musical).

Horton died suddenly November 1953 from a heart attack, leaving the company without leadership. In order to complete the organization's pressing professional engagements, and because no one else was willing to, Ailey took over as artistic director and choreographer. In particular, Horton's company was committed to performing at Jacob's Pillow in the summer of 1954. Ailey worked collaboratively with the Horton company dancers and choreographed based on them, gaining the support of the company's dancers who had much more experience than Ailey. These works included According to St. Francis (4 June 1954), a tribute to Horton as a "kind of allusion to Lester's life" featuring James Truitte. He also choreographed and directed Morning Mourning (4 June 1954), a piece based on the work of Tennessee Williams featuring de Lavallade and set to an original score by Gertrude Rivers Robinson. As Horton had done, Ailey designed the sets for Morning Mourning and collaborated on the lighting.  That summer, Ailey also made his first large group piece, Creation of the World (13 July 1954), set to a score by Darius Milhaud. Under Ailey, the Horton company had commercial engagements on television programs Party at Ciro's, The Red Skelton Show, and the Jack Benny show. Ailey and de Lavallade also performed in a segment of Carmen Jones.

Early New York Career

In December, 1954 De Lavallade and Ailey were recruited by Herbert Ross (who had coreographed Carmen Jones) to join the Broadway show, House of Flowers. Ross had been hired to replace George Balanchine as the show's choreographer and he wanted to use the pair, who had become known as a famous dance team in Los Angeles, as featured dancers. The show's book was written and adapted by Truman Capote from one of his novellas with music from Harold Arlen and starred Pearl Bailey and Diahann Carroll.

Ailey and De Lavallade met Geoffrey Holder, who performed alongside them in the chorus, during the production. Holder married De Lavallade and became a life-long artistic collaborator with Ailey. After House of Flowers closed, Ailey appeared in Harry Belafonte's touring revue Sing, Man, Sing with Mary Hinkson as his dance partner, and the 1957 Broadway musical Jamaica, which starred Lena Horne and Ricardo Montalbán. Throughout the late 1950s, Ailey continued to study dance technique sporadically, learning with the New Dance Group's Hanya Holm, Anna Sokolow, Charles Weidman, and Karel Shook. Drawn to dance, but unable to find a choreographer whose work fulfilled him and wanting to continue the work he had begun at the Horton school, Ailey started gathering dancers to perform his own unique vision of dance.

Alvin Ailey American Dance Theater

The Early Alvin Ailey Dance Theater
In 1958 Ailey founded the Alvin Ailey American Dance Theater to present his vision of honoring Black culture through dance. The company had its debut at the 92nd Street YM-YWHA on March 30, 1958 in a concert shared with choreographer Ernest Parham, with headlining guest artist Talley Beatty. The performance included Ailey's first masterpiece, Blues Suite, which drew from Ailey's Texas childhood and House of Flowers, following men and women as they caroused and cavorted over the course of an evening while blues music played in the background until church bells began to ring, signaling a return to mundane life.  Ailey danced in the other two premieres at this performance, Redonda and Ode and Homage. Redonda, which was later retitled Cinco Latinos, brought together five short pieces described as "Latin Theme" in a work similar to  Horton's. Ode and Homage, set to a score by Peggy Glanville-Hicks, was a " dance of faith, respectfully dedicated to the memory of Lester Horton."

Following the success of his first concert, Ailey continued choreographing for a shifting roster of dancers who were available for dances at the 92nd Street YM-YWHA, working with designers Normand Maxon, Ves Harper, and Nicola Cernovich. These works included the integrated Ariette Oubliée (21 December 1958, a choreographic fantasy pantomime set to Debussy's similarly named song cycle and featuring Don Price and de Lavallade. He also choreographed for other companies in collaborations, such as a version of Miss Julie, "Mistress and Manservant," to a score by Ravel for the Shirley Broughton Dance Company.

On January 31, 1960, the AADT premiered several new works at the 92nd Street YM-YWHA. These included Sonera, Ailey's first attempt at choreographing on point. Ailey also reworked Creation of the World for this performance as a duet for himself and Matt Turney of the Martha Graham Dance Company, which received great acclaim. He also premiered his most popular and critically acclaimed work, Revelations. In creating Revelations, Ailey drew upon his "blood memories" of growing up in Texas surrounded by Black people, the church, spirituals, and the blues. The ballet charts the full range of feelings, from the majestic "I Been 'Buked" to the rapturous "Wade in the Water," closing with the electrifying finale, "Rocka My Soul in the Bosom of Abraham."
In 1960, Edele Holz offered Ailey rehearsal space at what would become the Clark Center for the Performing Arts. Shortly after the center opened in October of that year, AADT had its first concert. This concert included a November 27, 1960 premiered Knoxville: Summer of 1915, set to music by Samuel Barber and based on A Death in the Family and Three for Now, set to music by Jimmy Giuffre and John Lewis (pianist), as well as Horton's The Beloved and John Butler's Portrait of Billie. The next year, he premiered Hermit Songs (10 December 1961). Originally conceived as a group work, it premiered as a solo for Ailey performed to Leontyne Price's recording of Samuel Barber's Hermit Songs. Hermit Songs, which is based on a loose narrative of a monk's privilege and penance, remained in the AADT's repertoire through 1991.

Ailey's work during this time was different from many other modern dance choreographers of the time. By keeping a focus on narrative, he was able to draw an audience from outside New York City and the avant garde.

Work with the US State Department and Later Work
In the fall of 1961, the US State Department invited the AADT (under the banner of the Lavallade-Ailey American Dance Company) to tour Southeast Asia and Australia as a part of President Kennedy's Special International Program for Cultural Presentations. This led Ailey to assemble a repertory that the State Department would find appropriate, including a new dance, Been Here and Gone, a suite of folk songs and children's games  based on Donald McKayle's Games (which Ailey had performed in 1956) and his own memories of growing up in Texas. He also assembled a company of ten dancers and four musicians that could travel the world. This tour began on 3 February in Sydney, Australia, and ended on 12 May 1962 in Seoul, South Korea, performing sixty times in thirteen weeks. As necessary, Ailey reworked material to fit the shifting roster of collaborators. Many of the works, including Roots of the Blues and Revelations were specifically reworked to feature the headlining de Lavallade. The tour had followups at the  World Festival of Negro Arts in Dakar, Senegal in 1966, East & West Africa in 1967, and the Edinburgh Festival in 1968. Biographer Thomas DeFrantz notes how the Ailey company's status as "the sole exponent of an emerging standard of African American concert dance" allowed the U.S. government to covertly mold the "signature style of Afro-American concert dance." He also notes that State Department propaganda aided in promoting the international celebrity of the AADT.

The relationship with the State Department did not go well and ended after a few years. Ailey struggled with the state department tours, which insisted on marketing the company as an "ethnic" company rather than a modern dance company, and were closely supervised by the FBI - the latter referred to Ailey's homosexuality as "lewd and criminal tendencies" and threatened his company with bankruptcy if he showed any signs of effeminate or homosexual behavior while on tour.

Despite their work with the State Department, the company was able to book only a few performances per season in America. For a major concert at the Brooklyn Academy of Music on 28 April 1963, Ailey reworked movements of Revelations into "Reflections in D," (set to music by Duke Ellington) which, combined with "Suspensions," and "Gillespiana" made the latest version of Three for Now. Ailey also premiered Labyrinth, telling the story of Theseus and the Minotaur, which was later reborn as Ariadne.

Also in 1963, Ailey began his professional relationship with Duke Ellington. Ellington invited Ailey to perform in My People (First Negro Centennial), a travelogue history in observance of the centennial of the Emancipation Proclamation. For the August 19 performance, Ailey coreographed three pieces, "The Blues Ain't," "Light," and "My Mother My Father." While working with Ellington, Ailey and his company were invited to the International Music Festival in Rio de Janeiro. For this performance, feeling the occasion required a new work, Ailey premiered Rivers, Streams, and Doors.

In August 1964, Ailey choreographed a dance, The Twelve Gates, in honor of Ruth St. Denis and Ted Shawn's golden anniversary. This performance, featuring Truitte and de Lavallade, and with costumes by Holder, was performed for a single week at Jacob's Pillow. In the fall of 1964, Ailey added "American" to his company's name during a three month European tour. In 1965, following physical tensions and negative reviews at the Florentine Festival, Ailey retired from his career as a dancer. Ailey paused choreography until receiving a lucrative commission by the Swedish television for Riedaiglia, which was danced to a commissioned score by Georg Riedel and relied heavily on television director Lars Egler's direction. This dance immediately won the television award the Grand Prix Italia, and was later broadcast in the United States on Ambassadors of Dance.

In the summer of 1968, Ailey received a Guggenheim Fellowship. With these funds, he created his first work set to pop music, choreographing Quintet to six songs from Eli and the Thirteenth Confession. This work debuted at the 1968 Edinburgh Festival, and premiered in New York at the Billy Rose Theatre as a part of AAADT's first Broadway season. The next year, he created Diversion No.1, including dances to Scarborough Fair and Oh Happy Day  for a program shared with The 5th Dimension. This work, created to attract audiences to the AAADT's UCLA season, was one of Ailey's most commercial pieces.

In a twelve-day residency at Connecticut College in 1968, Ailey created Masekela Langage, a piece set in South Africa. This work directly addresses racial politics with the intention of drawing a parallel between the Apartheid and the shooting to death of Fred Hampton. This politicism was uncommon for Ailey's work. The piece received immediate acclaim, and is regularly revived by the AAADT.

After a successful week-long engagement at the Billy Rose Theatre, the company was invited to become the resident company at Brooklyn Academy of Music in 1969. This residency included a revival of Revelations. While working with BAM, he sponsored free classes for children and young adults "geared to channel formidable youth rage into art." Ailey was dissatisfied with the residency due to cramped quarters and BAM directer Harvey Lichtenstein's racialized business tactics.

In 1970, with few bookings on the radar — and on the eve of a tour to Russia as part of a cultural exchange agreement — Ailey announced at a press conference that he was closing the company. In response, the State Department sponsored an Ailey tour of North Africa to tide things over. That August, the company toured to Russia, where it was ecstatically received. The AAADT became the first American modern dance company to perform in the Soviet Union. Their performances were broadcast on Moscow television and seen by over 22 million viewers. On closing night, because the Russian audiences would not stop applauding, the company gave over 30 curtain calls. Returning home with news of this triumph, the company performed a two-week engagement at the ANTA Theater. At this performance, he premiered Flowers, set to music by Blind Faith, Pink Floyd, and Janis Joplin with Big Brother and the Holding Company. Flowers, which featured Lynn Seymour, depicted the death of a rock star caused by drug addiction, inspired by Joplin's death on October 3, 1970 and dedicated to "a slew of rockers making youth-oriented music." By the end of the January 1971 performance, the entire run was sold out. After 13 years, Alvin Ailey American Dance Theatre was a monumental success.

In August 1972, the company was briefly renamed Alvin Ailey City Center Dance Theater and became a resident company of New York City Center. In September of that year, Ailey created Shaken Angels, another rock-based piece. This piece, set to recorded music by Alice Cooper, Pink Floyd, and Bill Withers, featured Dennis Wayne  and Bonnie Mathis in story about a couple "cornered into a relationship of violence and need, smoking pot and mainlining heroin. The work spilled into the audience as Wayne chased Mathis through the aisles, dragging her onto the stage and striking her with a needle.

In 1973, the AAADT headlined the First National Congress on Blacks in Dance, though Ailey sat out of conversaitions on how to advance the public perception and financial profiles of black dance companies.

In 1975, Ailey restaged Revelations for nineteen dancers for a staging at the New York State Theater from August 12 to 24.

While Ailey choreographed more than 100 ballets for his dancers, he insisted that the company perform pieces by other choreographers rather than stand as a singular vehicle for his voice.

Though AAADT was formed to celebrate African American culture and to provide performances for black dancers, who were frequently denied opportunities due to racist mores of the time, Ailey proudly employed artists based solely on artistic talent and integrity, regardless of their background. In addition to his work as artistic director and choreographer with AADT, Ailey also choreographed ballets for other companies including American Ballet Theatre, Joffrey Ballet, Royal Danish Ballet, and The Metropolitan Opera. For American Ballet Theatre, he created The River (1970), one of several choreographies he set to the jazz music of Duke Ellington.

Commercial Work
Throughout his career, Ailey continued to pursue work as a commercial theater choreographer, re-staging Carmen Jones (August 1959) and Jamaica (1960) for Summer stock theater and staging dances for the theatrical review African Holiday (1960) and Dark Side of the Moon (May 1960). These commercial engagements remained segregated, with African American casts generally hired to entertain mostly white audiences. Ailey also studied acting with Stella Adler from 1960 to 1962, acting in non-dancing roles in dramatic plays including Call Me by My Rightful Name (January 1961) with costars Robert Duvall and Joan Hackett, and Tiger Tiger Burning Bright, also starting Roscoe Lee Browne, Al Freeman Jr., Claudia McNeil, Diana Sands, and Cicely Tyson. These plays all constructed race as a societal force and "agent of division."

In 1964, at a direct request from Langston Hughes, Ailey directed Jerico-Jim Crow with William Hairston. His one attempt at Broadway choreography, La Strada (musical), opened and closed in one performance on December 14, 1969.

The Ailey School
In 1969, Ailey founded the Alvin Ailey American Dance Center with the famed Martha Graham Dance Company principal and choreographer Pearl Lang as his co-director of the school. Their aim was to provide access to arts and dance to under-resourced communities. They started off in Brooklyn with 125 students. A year later the school relocated to Manhattan behind the Lincoln Center complex. In 1984, Denise Jefferson assumed directorship. Under her leadership, the school developed a Bachelor of Fine Arts Program in partnership with Fordham University in 1998.

The school was renamed The Ailey School in 1999. Several years later, the school moved into The Joan Weill Center for Dance. Following Jefferson's death in 2010, Tracy Inman and Melanie Person assumed stewardship of the school as co-directors of the school. In 2012, after leading Ailey 2 for 38 years, Sylvia Waters retired. The second company's resident choreographer and associate director Troy Powell took over her role as artistic director. With the addition of the Elaine Wynn and Family Education Wing, the Ailey school is still growing and is now the largest place in New York City committed to training dancers.

From her joining in 1965, the dancer Judith Jamison served as Ailey's muse. In 1971 she premiered Cry, which he dedicated to his mother and black women everywhere. She took over as artistic director following his death in 1989.

Other important figures in the company include Sylvia Waters, who in 1974, after performing with the company for six year was asked by Ailey to lead The Alvin Ailey Repertory Ensemble — a junior company, known today as Ailey 2, that prepares leading students for professional dance careers - and Masazumi Chaya, who danced with the company for 15 years then became rehearsal director, and was appointed associate artistic director in 1991.

Personal life
Ailey was uncomfortable with the label "Black choreographer" and preferred being known simply as a choreographer, while also acknowledging to the Chicago Tribune in 1987, "Of course there is something black in my work: me and my 56 years." He was known to be private about his personal life.

Death
Ailey died from an AIDS-related illness on December 1, 1989, at the age of 58. He asked his doctor to announce that his death was caused by terminal blood dyscrasia in order to shield his mother from the stigma associated with HIV/AIDS.

On December 9, 1989, over 4,000 mourners attended his funeral at the Cathedral of St. John the Divine. The funeral, which lasted two hours, featured his friend Maya Angelou reading an oral interpretation of her poem "For Alvin Ailey," drumming by Max Roach, a reading of a statement from President George H. W. Bush, and eulogies by de Lavallade, Jamison, and New York City mayor David Dinkins. The funeral also included performances of Ailey's choreography on a makeshift stage constructed around his casket. These included Dudley Williams performing "Song for You," Donna Wood dancing an excerpt from "Cry," and excerpts from Revelations performed by  Mari Kajiwara, John Parks, and members of his dance company.

Ailey was buried in Los Angeles.

Reception and legacy

Recognition and honors
1968: Guggenheim Fellowship for Creative Arts, US & Canada
1975: Dance Magazine citation
 1987: Samuel H. Scripps American Dance Festival Award
1977: Spingarn Medal from the NAACP
1979: Capezio Award
1992: Inducted into the National Museum of Dance and Hall of Fame
1989: Kennedy Center Honors
2012: Ailey crater on Mercury named in his honor
2012: Inducted into the Legacy Walk in 2012
2014: Posthumously received the Presidential Medal of Freedom from President Barack Obama.
2017: VH1 Trailblazer Honors
 August 2019: Inducted in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their fields"
 2020: Figure-skating choreographer Rohene Ward and Olympic medallist Jason Brown co-choreographed a tribute to Ailey set to Nina Simone's version of "Sinnerman," which Brown competed in both the 2020–2021 and 2021–2022 seasons, including at the 2022 Winter Olympics.

After his death, Ailey's personal papers were housed at the Black Archives of Mid-America in Kansas City, Missouri.

Documentary
In 2021, the documentary Ailey by director Jamila Wignot was released in the United States. Wignot first discovered the work of the Alvin Ailey American Dance Theater by attending a performance while she was a student at Wellesley College; in her documentary more than twenty years later, Alexandra Villarreal of The Guardian writes, "What emerges is a towering figure who won worldwide acclaim with art steeped in personal experience, yet was too afraid to openly share his full identity even in death."

Though Ailey's work has been met with popular and critical acclaim, there have been detractors of his theatrical style. Marcia Siegel accused the company of "selling soul," and of amplifying and transforming the emotivity characteristic of Martha Graham and his modern dance teachers into "metaphors of the American black experience" while creating a positive stereotype of "supremely physical, supremely sensitive beings" at the expense of genuineness."

Ailey responded to such criticism by stating, "The black pieces we do that come from blues, spirituals and gospels are part of what I am. They are as honest and truthful as we can make them. I'm interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it's art and entertainment — thank God, that's what I want to be."

Associated people
In 1960, James Truitte joined the dance company, and later became an authority on Lester Horton's technique.

Works

Choreography
 Afternoon Blues, Horton Dance Company, summer 1953.
 According to St. Francis, Horton Dance Company, 4 June 1954.
 Morning Mourning, Horton Dance Company, 4 June 1954.
 Creation of the World, Horton Dance Company, 4 June 1954.
 Cinco Latinos (originally Redonda), Alvin Ailey Dance Theatre, Kaufmann Concert Hall, New York City, 30 March 1958.
 Blues Suite (also see below), Alvin Ailey Dance Theatre, Kaufmann Concert Hall, 30 March 1958.
 Ode and Homage, Alvin Ailey Dance Theatre, Kaufmann Concert Hall, 30 March 1958.
 Ariette Oubliée, Alvin Ailey Dance Theatre, 21 December 1958.
 "Mistress and Manservant," Shirley Broughton Dance Company, 1 February 1959.
 Sonera, Alvin Ailey Dance Theatre, 31 January, 1960.
 Revelations, Alvin Ailey Dance Theatre, Kaufmann Concert Hall, 31 January, 1960
 Three for Now, Alvin Ailey Dance Theatre, Clark Center, New York City, 27 November, 1960.
 Knoxville: Summer of 1915, Alvin Ailey Dance Theatre, Clark Center, 27 November 1960.
 Three for Now, Alvin Ailey Dance Theatre, Clark Center, 27 November 1960.
 (With Carmen De Lavallade) Roots of the Blues, Lewisohn Stadium, New York City, 1961.
 Two for Now, Alvin Ailey Dance Theatre, 26 January 1962.
 Been Here and Gone, Alvin Ailey  Dance Theatre, 26 January 1962.
 Hermit Songs, Alvin Ailey Dance Theatre, Library of Congress, Washington, D.C., 1963.
 Three for Now, Alvin Ailey Dance Theatre, Brooklyn Academy of Music, 28 April, 1963.
 Labyrinth, Alvin Ailey Dance Theatre, Brooklyn Academy of Music, 28 April, 1963.
 "The Blues Ain't," Alvin Ailey Dance Theatre, My People (First Negro Centennial), 19 August, 1963.
 "Light," Alvin Ailey American Dance Theatre, My People (First Negro Centennial), 19 August, 1963.
 "My Mother, My Father," Alvin Ailey Dance Theatre, My People (First Negro Centennial), 19 August, 1963.
 Rivers, Streams, Doors, Alvin Ailey Dance Theatre, International Music Festival in Rio de Janeiro, 6 September 1963.
 Ariadne, Harkness Ballet, Opera Comique, Paris, 1965.
 Riedaiglia, Alvin Ailey American Dance Theatre, Sweden, 1967.
 Macumba, Harkness Ballet, Gran Teatro del Liceo, Barcelona, Spain,1966, then produced as Yemanja, Chicago Opera House, 1967.
 Quintet, Alvin Ailey American Dance Theatre, Church Hill Theatre, Edinburgh Festival, Scotland, 1968, then Billy Rose Theatre, New York City, 1969.
 Diversion No. 1, Alvin Ailey American Dance Theatre, Greek Theatre (Los Angeles), 14 July, 1969.
 Masekela Langage, Alvin Ailey American Dance Theatre, American Dance Festival, New London, Connecticut, 1969, then Brooklyn Academy of Music, New York City, 1969.<ref>{{Cite news|url=https://www.nytimes.com/1969/11/21/archives/dance-militant-masekela-langage.html|title=Dance: Militant 'Masekela Langage|last=Kisselgoff|first=Anna|date=1969-11-21|work=The New York Times|access-date=2019-07-28|language=en-US|issn=0362-4331}}</ref>
 Streams, Alvin Ailey American Dance Theatre, Brooklyn Academy of Music, 1970.
 Gymnopedies, Alvin Ailey American Dance Theatre, Brooklyn Academy of Music, 23 August, 1970.
 The River, American Ballet Theatre, New York State Theater, 1970.
 Flowers, Alvin Ailey American Dance Theatre, ANTA Theatre, 1971.
 Myth, Alvin Ailey American Dance Theatre, New York City Center, 1971.
 Choral Dances, Alvin Ailey American Dance Theatre, New York City Center, 1971.
 Cry, solo created for Judith Jamison, Alvin Ailey American Dance Theatre, New York City Center, 1971.
 Mingus Dances, Robert Joffrey Company, New York City Center, 1971.
 Mary Lou's Mass, Alvin Ailey American Dance Theatre, New York City Center, 1971.
 Archipelago, Festival of Contemporary Music at Royan, France, 18 January 1971.
 Song for You, solo created for Dudley Williams, Alvin Ailey American Dance Theatre, New York City Center, 1972.
 The Lark Ascending, Alvin Ailey American Dance Theatre, New York City Center, 1972.
 Love Songs, Alvin Ailey City Center Dance Theater, New York City Center, 1972.
 Shaken Angels, 10th New York Dance Festival, Delacorte Theatre, New York City, 1972.Sea Change, American Ballet Theatre, Kennedy Center Opera House, Washington, D.C., 1972, then New York City Center, 1973.Hidden Rites, Alvin Ailey City Center Dance Theater, New York City Center, 1973.The Mooche, 1975,Night Creature, 1975,Pas de "Duke", 1976,Memoria, 1979,Phases, 1980Landscape, 1981.Survivors, 1986.

Stage
Acting and dancing
(Broadway debut) House of Flowers, Alvin Theatre, New York City, 1954 – Actor and dancer.The Carefree Tree, 1955 – Actor and dancer.Sing, Man, Sing, 1956 – Actor and dancer.Show Boat, Marine Theatre, Jones Beach, New York, 1957 – Actor and dancer.Jamaica, Imperial Theatre, New York City, 1957 – Actor and lead dance.Call Me By My Rightful Name, One Sheridan Square Theatre, January 1961 – Paul.Ding Dong Bell, Westport Country Playhouse, summer 1961 – Negro Political Leader.Blackstone Boulevard, Talking to You, produced as double-bill in 2 by Saroyan, East End Theatre, New York City, 1961–62  – Blackstone Boulevard.Tiger, Tiger, Burning Bright, Booth Theatre, December 1962 – Clarence Morris.

Stage choreography
 Carmen Jones, Theatre in the Park, 1959.
 Jamaica, Music Circus, Lambertville, New Jersey, 1959.
 Dark of the Moon, Lenox Hill Playhouse, 1960.
 (And director) African Holiday (musical), Apollo Theatre, New York City, 1960, then produced at Howard Theatre, Washington, D.C., 1960.
 Feast of Ashes (ballet), Robert Joffrey Company, Teatro San Carlos, Lisbon, Portugal, 1962, then produced at New York City Center, 1971.
 Antony and Cleopatra (opera), Metropolitan Opera House, Lincoln Center, New York City, 1966.
 La Strada, first produced at Lunt-Fontanne Theatre, 1969.
Leonard Bernstein's Mass, Metropolitan Opera House, 1972, then John F. Kennedy delícia Center for the Performing Arts, Washington, D.C., and Philadelphia Academy of Music, both 1972.
 Carmen, Metropolitan Opera, 1972.
 Choreographed ballet, Lord Byron (opera; also see below), Juilliard School of Music, New York City, 1972.
 Four Saints in Three Acts, Piccolo Met, New York City, 1973.

Director
 (With William Hairston) Jerico-Jim Crow, The Sanctuary, New York City, 1964, then Greenwich Mews Theatre, 1968.

 Filmography

 Performer

 Lydia Bailey, Specialty Dancer, 1952.
 Carmen Jones (film), Dance Soloist, 1954.

 Choreographer

 American Ballet Theatre: A Close-Up in Time, choreographer, 1973.
 "Ailey Celebrates Ellington", The CBS Festival of Lively Arts for Young People, choreographer, 1974.
 The Turning Point (1977 film), choreographer for Miss Browne's Gala Solo, 1977.

 Tributes to Ailey

 A Tribute to Alvin Ailey, 1990.
 "Dance in America: Beyond the Steps - Alvin Ailey American Dance Theater," Great Performances, 2006.
 Ailey, 2021.

See also

Postmodern dance
20th century concert dance
List of dance companies

References
 Citations

 Cited works

External links

 Alvin Ailey American Dance Theater

 American Ballet Theatre biography
 Kennedy Center biographyNPR: Holiday Dance at the Alvin Ailey Theater''
 Archive footage of Alvin Ailey Repertory Ensemble dancing Revelations in 1988 at Jacob's Pillow
 Archival footage of Matthew Rushing performing in Alvin Ailey's Revelations in 2007 at Jacob's Pillow Dance Festival
 Archival footage of Ailey II performing in Alvin Ailey's Revelations in 1988 at Jacob's Pillow Dance Festival
 Archival footage of Dance Theatre of Harlem performing in Alvin Ailey's The Lark Ascending in 2013 at Jacob's Pillow Dance Festival
 Alvin Ailey at Find a Grave

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Alvin Ailey