Elizabeth Ann Smith Whitney (December 26, 1800 – February 15, 1882) was an early Latter Day Saint leader, and wife to Newel K. Whitney, another early Latter Day Saint leader. She went by her middle name, Ann.

Early life and marriage
Elizabeth Ann Smith was born in Derby, Connecticut, to Gibson Smith and Polly Bradley. She was the couple's oldest child. Her parents did not attend any church, but identified as Christian, and Ann Smith later described her young self as "naturally religious." As a child, she was "carefully educated according to the customs of that early period", such as dancing and singing. When Smith was about 18 years old, she had some sort of disagreement with her mother and left home. She followed her unmarried aunt, Sarah Smith, westward to Kirtland, Ohio. In this venture, the two women displayed what Mark L. Staker, a faculty member of the LDS Church History Department, calls "a strong sense of self-reliance". Sarah Smith bought a parcel of land within the Connecticut Western Reserve, and soon one of Ann's uncles joined them in Ohio. Her father also tried to move west, but was prevented from doing so by his wife.

When she was 20 she met her future husband, Newel K. Whitney. The couple was married on October 20, 1822 after a three-year courtship. They quickly accumulated wealth and status in their community. They had eleven children together and adopted several homeless children.

Conversion
In Kirtland, Ann and her husband joined the Disciples of Christ, called the Campbellites at the time, led in the area by Sidney Rigdon. This group denied it had power to give the gift of the Holy Spirit. This, along with vague answers to Whitney's questions, caused her and her husband to pray for direction. In response to that prayer, the couple claimed to have seen a vision and a voice stating, "Prepare to receive the word of the Lord, for it is coming!"

Sidney Rigdon converted to the Church of Jesus Christ of Latter-day Saints, which had been established by Joseph Smith in April 1830. In 1830, Whitney heard of his conversion and of the missionaries who were in the area. She agreed to hear them preach, and was particularly impressed that they did not ask for any financial compensation from their audiences. She went home after hearing them speak to share with her husband that she felt it was the right church. Parley P. Pratt then taught Ann and Newel about the faith, and the two chose to be baptized in November 1830. Rigdon performed their baptisms.

Joseph and Emma Smith arrived at Newel K. Whitney's store in Kirtland in December 1830. Joseph said, "I am Joseph the Prophet; you have prayed me here; now what do you want of me?" The Smiths then stayed in their home. While there, Joseph received revelations that are recorded in Doctrine and Covenants, most likely sections 41 through 44. Whitney felt that the Joseph and Emma's coming was fulfillment of a vision she and Newel had previously witnessed, in which "a cloud of glory rested upon [their] house." They lodged with the Whitneys for a number of weeks. Joseph noticed the quality of Whitney's singing voice and accordingly dubbed her "the sweet songstress of Zion".  Immediately after receiving her patriarchal blessing at the hand of Joseph Smith Sr., Whitney sang about the history and importance of Adam-ondi-Ahman in tongues. The blessing had mentioned the "gift of singing inspirationally."

Whitney and her husband hosted a three-day feast for the poor in January 1836. They lost some of their wealth when the Kirtland Safety Society Banking Company collapsed and people began persecuting members of the church.

Traveling Westward
Whitney and her family traveled with the members of the church. They left Kirtland to move to Far West, Missouri in the fall of 1838 due to persecution. However, when they reached St. Louis, they were informed that Latter-day Saints were being kicked out of Missouri. They settled in Carrollton, Illinois during the winter of 1838–1839. They then moved to Quincy, Illinois during the next winter. By the spring of 1840, they had reached Nauvoo, Illinois, then called Commerce. When the family reached Nauvoo, most of them were sick, and Whitney had her ninth child. The couple received their endowments and were sealed in the Nauvoo Temple by Joseph Smith.

The family continued moving with the Saints, and went to Winter Quarters in February, 1846 before migrating to the Salt Lake Valley. During the difficult trek west, Whitney developed rheumatoid arthritis in her arms and legs. She also gave birth to a son, Newel M., at Winter Quarters. They arrived in Salt Lake City on September 24, 1848. Two years later, her husband died.

LDS Church service
In March 1842, Whitney became one of the original leaders of the Relief Society, with Emma Hale Smith, Sarah M. Cleveland, and Eliza Roxcy Snow (who had been her acquaintance in Kirtland). Whitney served as the second counselor under Emma Smith. Whitney presided over many of the Relief Society's last meetings in Nauvoo, as Emma Smith was away travelling, ill, or struggling with Joseph Smith's doctrine of plural marriage. Ann and Newell Whitney consented for Joseph Smith to marry their daughter in 1842. Shortly after Joseph Smith's death in 1844, Newel took another wife. Ann wrote that she was "more favorably disposed to women as a class" since she had a sister wife.

After the Nauvoo temple was completed, Whitney was the second woman to receive her endowment (after Emma Smith). Whitney worked there daily during the winter of 1845-46 to help other members receive their endowments. In 1850, Brigham Young called her to be in charge of the women's department of the Endowment House. Whitney also served as second counselor to Eliza R. Snow in the Relief Society presidency from 1880–1882.

Later years
Beginning in August 1878, Whitney's autobiography was published in a series called A Leaf from an Autobiography in the Woman's Exponent. In November 1879, she purchased a plot of land that had previously belonged to Brigham Young.

Death
Elizabeth Whitney was affectionately called "Mother Whitney" by members of the church for her service and compassion. It is noted that she had the gift of tongues, and that she even sang in tongues. Whitney also used seer stones. She died in Salt Lake City in 1882 and was buried in Salt Lake City Cemetery. At the time of her death she was the second oldest member of the LDS church. Daniel H. Wells, Lorenzo D. Young, and Joseph F. Smith spoke at Whitney's funeral and praised her for her faith and service in the church. A residence hall at Brigham Young University was named after her in 1957.

Publications
Leaf from an Autobiography, page 33, Woman's Exponent, 1 Aug, 1878
Leaf from an Autobiography, page 41, Woman's Exponent, 15 Aug, 1878
Leaf from an Autobiography, page 51, Woman's Exponent, 1 Sept, 1878
Leaf from an Autobiography, page 71, Woman's Exponent, 1 Oct, 1878
Leaf from an Autobiography, page 83, Woman's Exponent, 1 Nov, 1878
Leaf from an Autobiography, page 91, Woman's Exponent, 15 Nov, 1878
Leaf from an Autobiography, page 105, Woman's Exponent, 15 Dec, 1878
Leaf from an Autobiography, page 115, Woman's Exponent, 1 Jan, 1879
Leaf from an Autobiography, page 191, Woman's Exponent, 15 Feb, 1879

References

External links
Elizabeth Ann Smith Whitney papers
Newel and Elizabeth Whitney's Patriarchal Blessings 1835, BYU
Elizabeth Whitney's Patriarchal Blessing 1855, BYU
Elizabeth Whitney Court Summons, BYU

1800 births
1882 deaths
American leaders of the Church of Jesus Christ of Latter-day Saints
Burials at Salt Lake City Cemetery
Converts to Mormonism from Restoration Movement denominations
Counselors in the General Presidency of the Relief Society
Latter Day Saints from Connecticut
Latter Day Saints from Illinois
Latter Day Saints from Ohio
Latter Day Saints from Utah
Mormon pioneers
People from Derby, Connecticut
People from Kirtland, Ohio
Harold B. Lee Library-related 19th century articles

Elizabeth Ann Whitney


Haroutioun Hovanes Chakmakjian (20 October 1878, in Adana, Ottoman Empire − 22 May 1973, in Jamaica Plain, Massachusetts, United States) was a published scientist, as well as the father of American composer Alan Hovhaness. A professor of chemistry at Tufts University, Chakmakjian wrote numerous books in several languages. His notable publications included an English-Armenian dictionary which is believed to be the first of its kind in the modern Armenian language. The dictionary has become an enduring work of Armenian lexicography and remains regularly used today. His other publications included a 700-page history of Armenia.

Family / Early background
Chakmakjian was of Armenian background and was born in Adana, Ottoman Empire on 20 October 1878. His surname means "gunsmith", a name given to one of his ancestors who had been skilled in creating finely engraved and decorated firearms. Born in 1878, his parents were Hovanes L. Chakmakjian and Cohar Garabed Janbazian, both farmers. He studied at the Abcarian (Apcarian) High School in Adana, then studied for just over one year at the Antoura French Missionary College in Beirut.

Career
Chakmakjian began his career as a teacher and taught in Gesaria (Kayseri today) and in Giresun. He taught in Beirut in the early years of the 20th century, during the time of one of the early Ottoman massacres of Armenians. Rather than return to his birthplace of Adana, he decided to take a ship to France. He subsequently moved to Stamford, Connecticut and eventually settled in Boston, Massachusetts, where he studied at Harvard University from fall 1905 to spring 1908, then entered Harvard again in February 1912, obtaining an A.B. degree in June 1913 (as a member of the class of 1909). Chakmakjian also served as the editor of the Hairenik newspaper from 1909 to 1911.

He later served as a professor of chemistry and biochemistry at Tufts College, and was affiliated with the Tufts Medical School on Huntington Avenue in Boston. He retired from the medical school in 1949. Thereafter, in 1955, Chakmakjian retired from Tufts University as a Professor emeritus.

Marriage
On May 28, 1910, in Somerville, Massachusetts, he married Madeleine Scott (d. October 3, 1930), an American woman of Scottish and English descent who had graduated from Wellesley College. They had one son, Alan Hovhannes, a future composer who reached international fame, who was born on 8 March 1911.

Death
Chakmakjian died of bronchopneumonia in Jamaica Plain, Massachusetts on May 22, 1973, aged 94.

Literary work
In addition to his scientific work, in 1908 Chakmakjian became the chief-editor for The Hairenik newspaper while studying at Harvard, remaining in that position until February 1912. He also authored A Comprehensive Dictionary English-Armenian of approximately 1,600 pages published under the name H. H. Chakmakjian, printed in 1922 by Yeran Press in Boston. The dictionary was republished several times till that date. Other scholarly articles included topics related to chemistry, biochemistry, and the Armenian language. Among his other publications was a book of about 700 pages on the history of Armenia published in 1917. He was a member of the American Chemical Society, was a Fellow of the American Association for the Advancement of Science, and a member of the New England Association of Chemistry Teachers.

Publications
Some of Chakmakjian's publications include:
Sahmanadrakan kaṛavarutiunner, Volume 1 (English: Constitutional Governments) (1910: Boston)
Armeno-American letter writer, containing a large variety of model letters adapted to all occasions letters of friendship, letters of congratulation and condolence, letters of love, business letters. (1914: Boston)
Skapeni charachchi hnaramtutiunnere: katakergutiin erek araruatsov (Armenian translation of Molière's play The Miser) (Boston: 1914)
Hay Avetaran Ekeghetsin ev hay joghovurte (English: The Armenian Church and the Armenian people) (Published in Marseille)
Kerakan-entertsaran: kerakan ev mayreni lezu (English: Literary reader: Literature and the mother language) (Boston: 1916)
Endardzak patmutiun hayots: skizbēn minchev mer orere patkerazard (Comprehensive history of Armenians: from the beginning till today) (Boston: 1917)
A Comprehensive Dictionary, English-Armenian (Boston: 1922)
Hairenik and Its Workers: Memories of Seventeen Years (Published in the Armenian Review: 1979)

References

1878 births
1973 deaths
People from Adana
People from Adana vilayet
Armenians from the Ottoman Empire
Emigrants from the Ottoman Empire to the United States
Harvard University alumni
Writers from Boston
Tufts University faculty
People from Arlington, Massachusetts
Historians of Armenia
Armenian lexicographers
American chemists
Ethnic Armenian historians

Haroutioun Hovanes Chakmakjian


In Greek mythology, Harpina (; Ancient Greek: Άρπινα) was a Naiad nymph and daughter of Phliasian Asopus and of Metope.

Mythology
According to the tradition of the Eleans and Phliasians, Ares mated with Harpina in the city of Pisa (located in the ancient Greek region of Elis). The couple were the parents of Oenomaus, the king of Pisa. The latter founded and named after his mother the city of Harpina, not far from the river Harpinates, near Olympia. Pausanias mentions Harpina in his description of a group sculpture, donated by the Phliasians, of the daughters of Asopus, which included Nemea, Zeus seizing Aegina, Harpina, Corcyra, Thebe and Asopus. The sculpture was located in the sanctuary of Hippodamia at Olympia.

Notes

References
 Diodorus Siculus, The Library of History translated by Charles Henry Oldfather. Twelve volumes. Loeb Classical Library. Cambridge, Massachusetts: Harvard University Press; London: William Heinemann, Ltd. 1989. Vol. 3. Books 4.59–8. Online version at Bill Thayer's Web Site
 Diodorus Siculus, Bibliotheca Historica. Vol 1-2. Immanel Bekker. Ludwig Dindorf. Friedrich Vogel. in aedibus B. G. Teubneri. Leipzig. 1888-1890. Greek text available at the Perseus Digital Library.
 Pausanias, Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. . Online version at the Perseus Digital Library
 Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903.  Greek text available at the Perseus Digital Library.
 Smith, William, Dictionary of Greek and Roman Geography, 1854. "Harpina".

Naiads
Nymphs
Children of Asopus
Women of Ares
el:Άρπινα (αρχαία πόλη)

Harpina


Jean-Michel Byron (born Jean-Michel Byron DuPlessis) is a South African-born funk and rock vocalist. The singer-songwriter is best known for serving for a time as the lead vocalist for the rock band Toto for new material on their first greatest hits album, Past to Present, as well as the band's Greatest Hits Live...and More project. Byron was the fourth frontman in the band's history, replacing Joseph Williams after Williams had suffered from voice issues due to intense touring as well as drug abuse. The South African singer was pushed heavily by the group's record label. The line-up change divided Toto's band-members, yet key group member Jeff Porcaro expressed support at first. His tenure with the band ended up being both brief and highly controversial with fans. In more recent years, Byron has collaborated with the jazz fusion group Michael Sanders & the One Tribe Nation.

Biography and career
Byron's musical career began in 1983 as a session singer, having also played in groups doing cover songs. Originally from East London, South Africa, he attended high school (senior secondary) at John Bissicker High School in a former "coloured area". He sang at high school concerts and community shows.

Byron joined Toto for their Past to Present 1977–1990 album. Singing on the release's four new tracks, including the funk-fueled song "Love Has the Power", Byron had a style mixing rock music with R&B different than the group's past vocalists, being directly influenced by artists such as George Michael. The album proved to be a hit after it came out in mid-1990, reaching top 20 spots on album ranking charts in over four nations including Germany and Switzerland, and it also attracted critical praise. Reviewers had mixed remarks on Byron's vocal abilities, with AllMusic's William Ruhlmann finding the artist "more soulful than his predecessors, but no more memorable."

The band's record label had strongly pushed Byron on the other band members, who felt uncertain given the difference of styles between Byron's soul music background and Toto's previous rock work. Despite album success, things would soon become more intense. During the album's supporting tour in 1990, Byron and the band began to openly clash. His on-stage antics and diva-like behavior irked other band members and had a strongly polarizing influence on Toto's fans, some concertgoers even flipping him off and heckling him during performances. "Byron comes out and starts dancing around. I'm looking at Jeff [Porcaro] with bulging eyes. In rehearsal, Byron was just sitting there, but now he's out doing this Michael Jackson on crack shit, with a golf glove on one hand, and my jaw was on the floor," Toto guitarist, songwriter, and co-vocalist Steve Lukather later remarked, "We're mortified... but it had all gone to his head".

The group ended up bringing in additional singers, and Steve Lukather took on a more prominent role until Byron ended up being basically relegated to the role of a backing vocalist. Upon Byron's dismissal, Toto were once again at a crossroads, having had an acrimonious divide during his tenure.

Fans' anti-Byron sentiment had built up to the point that all of his songs were cut from the filmed Toto Live video from the aforementioned tour, though his studio work has remained a hot topic among critics and listeners alike over the years. After being kicked out of Toto, Byron released a solo album, simply titled Byron, which contains an alternate version of "Love Has the Power"

More recently, Byron has collaborated with the group "Michael Sanders & the One Tribe Nation", a band playing a mix of jazz rock with funk, world music, and more, and he appeared on the outfit's 2005 debut album Servants of a Lesser God. With Byron's material alongside works by Luis Conte and Andy Vargas of Santana among others, the release has received positive remarks from several critics such as Morley Seaver of antimusic.com, who praised the "hypnotic blend of musical virtuosity and melodic ear-pleasers" on the album.

Byron also contributed to the Star Jasmine Music Foundation project's 2007 release, titled simply Star Jasmine, with his material alongside songs performed by artists such as Ginger Baker and Van Morrison. His song was called "For a Dancer". The charitable organization assists Californians in many ways such as operating "JAMS", a volunteer-run music school giving instruments and lessons to at-risk youths in the Santa Barbara area.

In 2021 he was on the jury for the regional finals of the Italian music talent format Sanremo Rock, during which he performed in a live jam session with Nora Hime, art name of Eleonora Almonti, front of the winning Italian band Tothem.

Highlighted discography
1990 – Past to Present / Toto (vocals, composition)
2005 – Servants of a Lesser God / Michael Sanders & the One Tribe Nation (vocals)

References

Year of birth missing (living people)
Living people
20th-century South African male singers
Toto (band) members
21st-century South African male singers

Jean-Michel Byron


A key signature is a group of sharps or flats which are printed at the beginning of a line/measure of music.  It shows which notes have to be changed into sharps or flats.  For example: if there is one sharp in the key signature it will be an F sharp.  It means that every time the note F is written one plays (or sings) an F sharp (on a keyboard: the black note just to the right of the F) instead.

There are twelve major and twelve minor keys (properly called "modes").  This is because a scale can start on any note, and there are twelve notes within an octave: seven white notes and five black notes on a keyboard.  Each major key has its own key signature. The relationship between the keys is explained in the article "circle of fifths".  Each minor key shares a key signature with one of the major keys.

There are fifteen possible key signatures: up to seven sharps, up to seven flats, or no sharps or flats.  The reason why there are fifteen and not twelve is because three of them have two possible names: F sharp major (6 sharps) can also be called G flat, C sharp is D flat and B is C flat.  We call these enharmonic i.e. the same note but with a different name.

There are two reasons for writing a key signature.  Firstly, it saves writing out lots of sharps or flats during the piece.  Secondly, it helps the player to think in the key (music) of the piece.  This helps to understand the music better.

If the composer wants any extra sharps or flats during the piece, or he wants to cancel the ones in the key signature, these can be written in the music.  These are called accidentals.  An accidental is always written before the note it belongs to (we say "C sharp" but we write the sharp sign and then the note C).   As an example:  in a piece in G major all Fs are F sharps.  If the composer wants a C sharp he writes a sharp sign in front of the C that needs to be sharpened.  This will last for the rest of the bar (measure).  If he wants a B flat he has to write it in.  If he wants an F instead of the usual F sharp he writes a natural sign.  There are also double sharps (the sign looks like an x) and double flats (two flat signs).  An F double sharp is an F sharp that has been sharpened.  It is the same note as G.

Key signatures are written at the beginning of each line of music.  This helps the player to remember what the key signature is.  The time signature, however, is only written at the beginning of the piece (the order is: clef – key signature – time signature).  Sometimes music changes key (modulates) during a piece.  If the music is going to stay in the new key for some time the composer may decide to change the key signature.  Another reason for changing the key signature might be that the music has modulated to a key like G sharp major with eight sharps (including a double sharp).  It is easier to read the music if it is written in A flat major (4 flats).

One can tell from the key signature what key a piece is in so long as one knows whether it is major or minor (see "mode").  For example: a key signature of one sharp is either G major or E minor.  The best way to find out which it is would be to see whether the end of the piece is based on G major or E minor.  Also: if the piece is in the minor key it is very likely that there will be several accidentals in the piece which sharpen the 7th note of the scale (in this case changing a lot of the Ds to D sharps).

Some modern composers do not use key signatures.  This is often the case when the music is atonal or not very firmly in one key.  If there are lots of sharps and flats and the bars are very long they may write accidentals in front of every note that needs one instead of just once in a bar.  This should be explained at the top of the music.  It may also be because the piece is modal.

One way to read key signatures is to use the order of sharps and flats. The order of sharps is F-C-G-D-A-E-B. This means that if a piece has two sharps at the beginning, they will be F and C. You can also find the tonic note ("do" in solfege) for key signatures with sharps by going to the note you left on (so, in our example with the two sharps, would be C) and moving up a note in the alphabet, giving us D as our home note. It's a bit different for the order of flats, which is B-E-A-D-G-C-F. We will still count the flats, meaning that if there are two flats at the beginning they will be B and E, but we find the tonic note differently. For the order of flats, we will go back one in the order, meaning that in our example our home note is B flat. If there is only one flat in the key signature, the tonic is F since it's at the end of the order. If there are no sharps or flats in the key signature, the tonic is C.

{| align=center cellpadding="2" cellspacing="0"
|-
!Key Sig.
!Major Key
!Minor Key
|-
| align=center|No sharps or flats</td>C major
|A minor
|}

Related pages
Scale
Tonality
Circle of Fifths
Transposing Instrument

Music theory
Musical notation

Key signature


Museums Victoria is an organisation which operates three major state-owned museums in Melbourne, Victoria: the Melbourne Museum, the Immigration Museum and Scienceworks Museum. It also manages the Royal Exhibition Building and a storage facility in Melbourne's City of Merri-bek.

History
The museum traces its history back to the establishment of the "Museum of Natural and Economic Geology" by the Government of Victoria, William Blandowski and others in 1854.

The Library, Museums and National Gallery Act 1869 incorporated the Museums with the Public Library and the National Gallery of Victoria; but this administrative connection was severed in 1944 when the Public Library, National Gallery and Museums Act came into force, and they became four separate institutions once again.

Museums Victoria was founded in its current form under the Australian Museums Act (1983). Currently, Museums Victoria's State Collections holds over 17 million items, including objects relating to Indigenous Australian and Pacific Islander cultures, geology, historical studies, palaeontology, technology & society, and zoology Museums Victoria also contains a library collection that holds some of Australia's rarest and finest examples of 18th and 19th century scientific monographs and serials.

Significant events in the Museum's history include:
 1854 – Founding of the "Museum of Natural and Economic Geology" by William Blandowski and others; Blandowski oversees the museum
 1856 – Collections moved to the University of Melbourne in Parkville by Frederick McCoy
 1858 – McCoy appointed first "director" of the museum
 1862 – New building opens on University site, museum renamed "National Museum of Victoria"
 1869 – National Museum, embryotic Industrial & Technological (I&T) Museum, National Gallery of Victoria (NGV) and Public Library of Victoria merged into a single body
 1870 – I&T Museum opened on Swanston Street site (behind the Public Library)
 1893 – I&T Museum opens new building on Russell St as part of Library complex
 1899 – National Museum moved to I&T Museum's building, and takes over its mineral collection; rest of I&T Museum put into storage
 1915 – I&T Museum reopens in Library's now surplus Queens Hall, thanks largely to George Swinburne and John Monash
 1927 – National Museum acquired the H. L. White Collection of Australian native bird eggs
 1944 – Museums organisationally re-separated from Library, NGV and each other; all remain in one building
 1945 – I&T Museum renamed Museum of Applied Science (MAS)
 1946 – MAS takes over Melbourne Observatory
 1969 – NGV moves to St Kilda Rd, MAS moves into its old buildings, Library gets back Queens Hall
 1961 – Museum of Applied Science renamed Institute of Applied Science
 1971 – Institute of Applied Science renamed Science Museum of Victoria
 1981 – Museum Station opened, providing train services
 1983 – National Museum of Victoria and Science Museum of Victoria amalgamated to form the Museum of Victoria (NMV)
 1992 – Scienceworks opened in Spotswood
 1997 – Swanston Street campus closed
 1998 – Museum of Victoria renamed Museum Victoria; Immigration and Hellenic Antiquities Museum opened
 2000 – Melbourne Museum at Carlton Gardens opened
 2016 – Museum Victoria renamed Museums Victoria

Administration
The present chief executive officer of Museums Victoria is Lynley Crosswell (formerly Marshall), who was previously the head of the Australian Broadcasting Corporation's international arm. Crosswell is the first woman to lead the organisation in its history.

Former directors include:
 1858 – Frederick McCoy
 1899 – Walter Baldwin Spencer
 1928 – James A. Kershaw
 1931 – Daniel James Mahony
 1957 – Charles. W. Brazenor
 1962 – John McNally
 1979 – Barry Wilson
 1984 – Robert Edwards
 1990 – Graham Morris
 1998 – George F. MacDonald
 2002 – Dr J. Patrick Greene

Library
The Museums Victoria Library collection was first established in the 1850s as a working collection for the Museum's curators, and has developed into one of the best collections of natural history books and journals in Australia. The library was located at Melbourne University until 1906 when it moved, with the museum, to be co-located with the Public Library.

Today, the library collection is located at Melbourne Museum and contains 40,000 titles, which includes around 1,000 titles that are considered to be rare due to one or a combination of factors, including: value; scarcity; aesthetic qualities; historic, scientific or institutional significance; fragility; or age. Collection strengths include natural history in the fields of zoology, geology and palaeontology, scientific expedition reports, society and institutional journal titles, Indigenous cultures of Australia and the Pacific, Australian history, technology, colonial and other exhibition catalogues, museum studies, and Museums Victoria publications.

Many items from the Museums Victoria Library have been digitised for the Biodiversity Heritage Library as Museums Victoria is the home to the Australian node of this project. The digitisation operation is hosted by Museums Victoria and is nationally funded by the Atlas of Living Australia.

Significant works

Notes

References
 Wilkinson, I. (1996), "The Battle for the Museum: Frederick McCoy and the Establishment of the National Museum of Victoria at the University of Melbourne", Historical Records of Australian Science, Vol.1, No.1, (January 1996), pp. 1–11.

External links

Museums Victoria website
Virtual tour of the Museums Victoria provided by Google Arts & Culture
Museums Victoria Online Collections

1983 establishments in Australia
Archaeological museums in Australia
Ethnographic museums in Australasia
Museum organizations
Museums established in 1983
Museums in Melbourne
Natural history museums in Australia
Physical museums with virtual catalogues and exhibits
Technology museums in Australia

Museums Victoria


Steven Portenga is a retired NASCAR driver. He spent more than 2 decades racing in various national and regional support series to NASCAR Sprint Cup Series, and he won the NASCAR Featherlite Southwest Tour championship for late models in 1994 and 1998. Portenga and his wife, Windi, are now car owners of the #21 & #31 cars in the NASCAR K&N Pro Series West, where he's also the crew chief for one of those drivers, Alex Schutte.

Portenga won his first racing championship in 1991 at Silver State Raceway in the Winston Racing Series. In 1995, he competed full-time in the Craftsman Truck Series, winning one pole and finishing in the top-ten three times, finishing 13th in points.

He ran six races the following year, his best finish 15th at Phoenix International Raceway. In 1999, he made his Busch Series debut at Pikes Peak International Raceway, finishing 41st. He also attempted to make his Winston Cup debut at Sears Point International Raceway, but failed to qualify.

In 2001, he returned to the trucks, running two races for MacDonald Motorsports and one race in his own truck, finishing fourteenth at Kansas Speedway. He ran two races the next year, posting two top-tens. He attempted Phoenix with Ware Racing Enterprises in the Cup series, but missed the race.

Motorsports career results

NASCAR
(key) (Bold - Pole position awarded by qualifying time. Italics - Pole position earned by points standings or practice time. * – Most laps led.)

Nextel Cup Series

Busch Series

Craftsman Truck Series

References

External links

 Steve Portenga Driver Card

Living people
1970 births
Sportspeople from Sparks, Nevada
Racing drivers from Nevada
NASCAR drivers
NASCAR team owners

Steve Portenga


Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards."

The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of [analysis] is to decompose, to mutilate the spirit of a work".

Analyses
Some analysts, such as Donald Tovey (whose Essays in Musical Analysis are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who devised a technique he called Functional Analysis) used no prose commentary at all in some of their work.

There have been many notable analysts other than Tovey and Keller. One of the best known and most influential was Heinrich Schenker, who developed Schenkerian analysis, a method that seeks to describe all tonal classical works as elaborations ("prolongations") of a simple contrapuntal sequence. Ernst Kurth coined the term of "developmental motif" . Rudolph Réti is notable for tracing the development of small melodic motifs through a work, while Nicolas Ruwet's analysis amounts to a kind of musical semiology.

Musicologists associated with the new musicology often use musical analysis (traditional or not) along with or to support their examinations of the performance practice and social situations in which music is produced and that produce music, and vice versa. Insights from the social considerations may then yield insight into analysis methods.

Edward T. Cone argues that musical analysis lies in between description and prescription. Description consists of simple non-analytical activities such as labeling chords with Roman numerals or tone-rows with integers or row-form, while the other extreme, prescription, consists of "the insistence upon the validity of relationships not supported by the text." Analysis must, rather, provide insight into listening without forcing a description of a piece that cannot be heard.

Techniques
Many techniques are used to analyze music. Metaphor and figurative description may be a part of analysis, and a metaphor used to describe pieces, "reifies their features and relations in a particularly pungent and insightful way: it makes sense of them in ways not formerly possible." Even absolute music may be viewed as a "metaphor for the universe" or nature as "perfect form".

Discretization
The process of analysis often involves breaking the piece down into relatively simpler and smaller parts. Often, the way these parts fit together and interact with each other is then examined. This process of discretization or segmentation is often considered, as by Jean-Jacques Nattiez, necessary for music to become accessible to analysis. Fred Lerdahl argues that discretization is necessary even for perception by learned listeners, thus making it a basis of his analyses, and finds pieces such as Artikulation by György Ligeti inaccessible. while Rainer Wehinger created a "Hörpartitur" or "score for listening" for the piece, representing different sonorous effects with specific graphic symbols much like a transcription.

Composition
Analysis often displays a compositional impulse while compositions often "display an analytical impulse" but "though intertextual analyses often succeed through simple verbal description there are good reasons to literally compose the proposed connections. We actually hear how these songs [different musical settings of Goethe's "Nur wer die Sehnsucht kennt"] resonate with one another, comment upon and affect one another ... in a way, the music speaks for itself". This analytic bent is obvious in recent trends in popular music including the mash-ups of various songs.

Analytical situations

Analysis is an activity most often engaged in by musicologists and most often applied to western classical music, although music of non-western cultures and of unnotated oral traditions is also often analysed. An analysis can be conducted on a single piece of music, on a portion or element of a piece or on a collection of pieces. A musicologist's stance is his or her analytical situation. This includes the physical dimension or corpus being studied, the level of stylistic relevance studied, and whether the description provided by the analysis is of its immanent structure, compositional (or poietic) processes, perceptual (or esthesic) processes, all three, or a mixture.

Stylistic levels may be hierarchized as an inverted triangle:
universals of music
system (style) of reference
style of a genre or an epoch
style of composer X
style of a period in the life of a composer
work

Nattiez outlines six analytical situations, preferring the sixth::

Examples:
 "...tackles only the immanent configuration of the work." Allen Forte's musical set theory
 "...proceed[s] from an analysis of the neutral level to drawing conclusions about the poietic" – Reti analysis of Debussy's La cathédrale engloutie
 The reverse of the previous, taking "a poietic document—letters, plans, sketches— ... and analyzes the work in the light of this information." Paul Mie, "stylistic analysis of Beethoven in terms of the sketches"
 The most common, grounded in "perceptive introspection, or in a certain number of general ideas concerning musical perception ... a musicologist ... describes what they think is the listener's perception of the passage",, analysis of measures 9–11 of Bach's C minor fugue in Book I of the Well-Tempered Clavier
 "Begins with information collected from listeners to attempt to understand how the work has been perceived ... obviously how experimental psychologists would work"
 "The case in which an immanent analysis is equally relevant to the poietic as to the esthesic." Schenkerian analysis, which, based on the sketches of Beethoven (external poietics) eventually show through analysis how the works must be played and perceived (inductive esthesics)

Compositional analysis
Jacques Chailley views analysis entirely from a compositional viewpoint, arguing that, "since analysis consists of 'putting oneself in the composer's shoes,' and explaining what he was experiencing as he was writing, it is obvious that we should not think of studying a work in terms of criteria foreign to the author's own preoccupations, no more in tonal analysis than in harmonic analysis."

Perceptual analysis
On the other hand, Fay argues that, "analytic discussions of music are often concerned with processes that are not immediately perceivable. It may be that the analyst is concerned merely with applying a collection of rules concerning practice, or with the description of the compositional process. But whatever he [or she] aims, he often fails—most notably in twentieth-century music—to illuminate our immediate musical experience," and thus views analysis entirely from a perceptual viewpoint, as does Edward T. Cone, "true analysis works through and for the ear. The greatest analysts are those with the keenest ears; their insights reveal how a piece of music should be heard, which in turn implies how it should be played. An analysis is a direction for performance," and Thomson: "It seems only reasonable to believe that a healthy analytical point of view is that which is so nearly isomorphic with the perceptual act."

Analyses of the immanent level
Analyses of the immanent level include analyses by Alder, Heinrich Schenker, and the "ontological structuralism" of the analyses of Pierre Boulez, who says in his analysis of The Rite of Spring, "must I repeat here that I have not pretended to discover a creative process, but concern myself with the result, whose only tangibles are mathematical relationships? If I have been able to find all these structural characteristics, it is because they are there, and I don't care whether they were put there consciously or unconsciously, or with what degree of acuteness they informed [the composer's] understanding of his conception; I care very little for all such interaction between the work and 'genius'."

Again, Nattiez argues that the above three approaches, by themselves, are necessarily incomplete and that an analysis of all three levels is required. Jean Molino shows that musical analysis shifted from an emphasis upon the poietic vantage point to an esthesic one at the beginning of the eighteenth century.

Nonformalized analyses
Nattiez distinguishes between nonformalized and formalized analyses. Nonformalized analyses, apart from musical and analytical terms, do not use resources or techniques other than language. He further distinguishes nonformalized analyses between impressionistic, paraphrases, or hermeneutic readings of the text (explications de texte). Impressionistic analyses are in "a more or less high-literary style, proceeding from an initial selection of elements deemed characteristic," such as the following description of the opening of Claude Debussy's Prelude to the Afternoon of a Faun: "The alternation of binary and ternary divisions of the eighth notes, the sly feints made by the three pauses, soften the phrase so much, render it so fluid, that it escapes all arithmetical rigors. It floats between heaven and earth like a Gregorian chant; it glides over signposts marking traditional divisions; it slips so furtively between various keys that it frees itself effortlessly from their grasp, and one must await the first appearance of a harmonic underpinning before the melody takes graceful leave of this causal atonality".

Paraphrases are a "respeaking" in plain words of the events of the text with little interpretation or addition, such as the following description of the "Bourée" of Bach's Third Suite: "An anacrusis, an initial phrase in D major. The figure marked (a) is immediately repeated, descending through a third, and it is employed throughout the piece. This phrase is immediately elided into its consequent, which modulates from D to A major. This figure (a) is used again two times, higher each time; this section is repeated."

"Hermeneutic reading of a musical text is based on a description, a 'naming' of the melody's elements, but adds to it a hermeneutic and phenomenological depth that, in the hands of a talented writer, can result in genuine interpretive masterworks.... All the illustrations in Abraham's and Dahlhaus's Melodielehre (1972) are historical in character; Rosen's essays in The Classical Style (1971) seek to grasp the essence of an epoch's style; Meyer's analysis of Beethoven's Farewell Sonata penetrates melody from the vantage point of perceived structures." He gives as a last example the following description of Franz Schubert's Unfinished Symphony: "The transition from first to second subject is always a difficult piece of musical draughtsmanship; and in the rare cases where Schubert accomplishes it with smoothness, the effort otherwise exhausts him to the verge of dullness (as in the slow movement of the otherwise great A minor Quartet). Hence, in his most inspired works the transition is accomplished by an abrupt coup de théâtre; and of all such coups, no doubt the crudest is that in the Unfinished Symphony. Very well then; here is a new thing in the history of the symphony, not more new, not more simple than the new things which turned up in each of Beethoven's nine. Never mind its historic origin, take it on its merits. Is it not a most impressive moment?".

Formalized analyses
Formalized analyses propose models for melodic functions or simulate music. Meyer distinguishes between global models, which "provide an image of the whole corpus being studied, by listing characteristics, classifying phenomena, or both; they furnish statistical evaluation," and linear models which "do not try to reconstitute the whole melody in order of real time succession of melodic events. Linear models ... describe a corpus by means of a system of rules encompassing not only the hierarchical organization of the melody, but also the distribution, environment, and context of events, examples including the explanation of 'succession of pitches in New Guinean chants in terms of distributional constraints governing each melodic interval' by Chenoweth the transformational analysis by Herndon, and the 'grammar for the soprano part in Bach's chorales [which,] when tested by computer ... allows us to generate melodies in Bach's style' by Baroni and Jacoboni.

Global models are further distinguished as analysis by traits, which "identify the presence or absence of a particular variable, and makes a collective image of the song, genre, or style being considered by means of a table, or classificatory analysis, which sorts phenomena into classes," one example being "trait listing" by Helen Roberts, and classificatory analysis, which "sorts phenomena into classes," examples being the universal system for classifying melodic contours by Kolinski. Classificatory analyses often call themselves taxonomical. "Making the basis for the analysis explicit is a fundamental criterion in this approach, so delimiting units is always accompanied by carefully defining units in terms of their constituent variables."

Intermediary analyses
Nattiez lastly proposes intermediary models "between reductive formal precision, and impressionist laxity." These include Schenker, Meyer (classification of melodic structure), Narmour, and Lerdahl-Jackendoff's "use of graphics without appealing to a system of formalized rules," complementing and not replacing the verbal analyses. These are in contrast to the formalized models of Milton Babbitt and Boretz. According to Nattiez, Boretz "seems to be confusing his own formal, logical model with an immanent essence he then ascribes to music," and Babbitt "defines a musical theory as a hypothetical-deductive system ... but if we look closely at what he says, we quickly realize that the theory also seeks to legitimize a music yet to come; that is, that it is also normative ... transforming the value of the theory into an aesthetic norm ... from an anthropological standpoint, that is a risk that is difficult to countenance." Similarly, "Boretz enthusiastically embraces logical formalism, while evading the question of knowing how the data—whose formalization he proposes—have been obtained".

Divergent analyses

Typically a given work is analyzed by more than one person and different or divergent analyses are created. For instance, the first two bars of the prelude to Claude Debussy's Pelléas et Mélisande:

are analyzed differently by Leibowitz Laloy, van Appledorn, and Christ. Leibowitz analyses this succession harmonically as D minor:I–VII–V, ignoring melodic motion, Laloy analyses the succession as D:I–V, seeing the G in the second measure as an ornament, and both van Appledorn and Christ analyses the succession as D:I–VII.

Nattiez argues that this divergence is due to the analysts' respective analytic situations, and to what he calls transcendent principles (1997b: 853, what George Holton might call "themata"), the "philosophical project[s]", "underlying principles", or a prioris of analyses, one example being Nattiez's use of the tripartitional definition of sign, and what, after epistemological historian Paul Veyne, he calls plots.

Van Appledorn sees the succession as D:I–VII so as to allow the interpretation of the first chord in measure five, which Laloy sees as a dominant seventh on D (V/IV) with a diminished fifth (despite that the IV doesn't arrive till measure twelve), while van Appledorn sees it as a French sixth on D, D–F–A–[C] in the usual second inversion. This means that D is the second degree and the required reference to the first degree, C, being established by the D:VII or C major chord. "The need to explain the chord in measure five establishes that C–E–G is 'equally important' as the D–(F)–A of measure one." Leibowitz gives only the bass for chord, E indicating the progression I–II an "unreal" progression in keeping with his "dialectic between the real and the unreal" used in the analysis, while Christ explains the chord as an augmented eleventh with a bass of B, interpreting it as a traditional tertian extended chord.

Not only does an analyst select particular traits, they arrange them according to a plot [intrigue].... Our sense of the component parts of a musical work, like our sense of historical 'facts,' is mediated by lived experience." (176)

While John Blacking, among others, holds that "there is ultimately only one explanation and ... this could be discovered by a context-sensitive analysis of the music in culture," according to Nattiez and others, "there is never only one valid musical analysis for any given work." Blacking gives as example: "everyone disagrees hotly and stakes his [or her] academic reputation on what Mozart really meant in this or that bar of his symphonies, concertos, or quartets. If we knew exactly what went on inside Mozart's mind when he wrote them, there could be only one explanation". (93) However, Nattiez points out that even if we could determine "what Mozart was thinking" we would still be lacking an analysis of the neutral and esthesic levels.

Roger Scruton, in a review of Nattiez's Fondements, says one may, "describe it as you like so long as you hear it correctly ... certain descriptions suggest wrong ways of hearing it ... what is obvious to hear [in Pélleas et Mélisande] is the contrast in mood and atmosphere between the 'modal' passage and the bars which follow it." Nattiez counters that if compositional intent were identical to perception, "historians of musical language could take a permanent nap.... Scruton sets himself up as a universal, absolute conscience for the 'right' perception of the Pélleas et Mélisande. But hearing is an active symbolic process (which must be explained): nothing in perception is self-evident."

Thus Nattiez suggests that analyses, especially those intending "a semiological orientation, should ... at least include a comparative critique of already-written analyses, when they exist, so as to explain why the work has taken on this or that image constructed by this or that writer: all analysis is a representation; [and] an explanation of the analytical criteria used in the new analysis, so that any critique of this new analysis could be situated in relation to that analysis's own objectives and methods. As Jean-Claude Gardin so rightly remarks, 'no physicist, no biologist is surprised when asked to indicate, in the context of a new theory, the physical data and the mental operations that led to its formulation'. Making one's procedures explicit would help to create a cumulative progress in knowledge." (177)

See also

References

Sources

 . Cited in .

  . Cited in .
  Cited in .

  Cited in .

  Cited in Nattiez (1990).
  French original: Musicologie générale et sémiologue, Paris: , 1987.

  Cited in .

Further reading
Cook, Nicholas. 1992. A Guide to Musical Analysis. .
Hoek, D. J. (2007). Analyses of Nineteenth- and Twentieth-Century Music, 1940–2000. .
Kresky, Jeffrey. 1977. Tonal Music: Twelve Analytic Studies. .
Poirier, Lucien, ed. 1983. Répertoire bibliographique de textes de presentation generale et d'analyse d'oeuvres musicales canadienne, 1900–1980 = Canadian Musical Works, 1900–1980: a Bibliography of General and Analytical Sources.

External links
"Chapter 8 – Example musical analyses", from Syntactic Structures in Music, Harmony.org.uk
Benoit Meudic, IRCAM, Musical Pattern Extraction: from Repetition to Musical Structure

Musical analysis


The Fair Labor Standards Act of 1938 (abbreviated as FLSA; also referred to as the Wages and Hours Bill) is a federal statute of the United States.

The Act

The FLSA introduced a maximum 44-hour workweek (reduced to a 40-hour workweek by 1940). It established a national minimum wage (of 25¢ per hour). It guaranteed "time-and-a-half" for overtime in certain jobs. The FLSA also prohibited most employment of minors in "oppressive child labor". The FLSA created a Wage and Hour Division in the Department of Labor. The statute applies to employees engaged in interstate commerce or employed by a business engaged in commerce or in the production of goods for commerce, unless the employer can claim an exemption from these requirements.

The FLSA was originally written in 1932 by Senator Hugo Black. He was later appointed to the Supreme Court in 1937. However, Black's proposal to require employers to adopt a thirty-hour workweek met stiff resistance.  In 1938 a revised version of Black's proposal was passed that adopted an eight-hour day and a forty-hour workweek. It allowed workers to earn wages for an extra four hours of overtime as well. According to the act, workers must be paid minimum wage and overtime pay must be one-and-a-half times regular pay. Children under eighteen cannot do certain dangerous jobs. Also children under the age of sixteen cannot work during school hours. There were 700,000 workers affected by the FLSA. President Franklin Delano Roosevelt called it the most important piece of New Deal legislation passed since the Social Security Act of 1935.

Related pages

 Equal Pay Act of 1963
 United States Department of Labor
 United States Women's Bureau

References

Other websites

 Fair Labor Standards Act of 1938: Maximum Struggle for a Minimum Wage
 The Fair Labor Standards Act Of 1938, As Amended

United States federal legislation
20th century in law
1938 in the United States

Fair Labor Standards Act


Becket is a 1964 British historical drama film about the historic, tumultuous relationship between Henry II of England and his friend-turned-bishop Thomas Becket. It is a dramatic film adaptation of the 1959 play Becket or the Honour of God by Jean Anouilh made by Hal Wallis Productions and released by Paramount Pictures. It was directed by Peter Glenville and produced by Hal B. Wallis with Joseph H. Hazen as executive producer. The screenplay was written by Edward Anhalt based on Anouilh's play. The music score was by Laurence Rosenthal, the cinematography by Geoffrey Unsworth and the editing by Anne V. Coates.

The film stars Richard Burton as Thomas Becket and Peter O'Toole as King Henry II, with John Gielgud as King Louis VII, Donald Wolfit as Gilbert Foliot, Paolo Stoppa as Pope Alexander III, Martita Hunt as Empress Matilda, Pamela Brown as Queen Eleanor, Siân Phillips, Felix Aylmer, Gino Cervi, David Weston and Wilfrid Lawson.

Restored prints of Becket were re-released in 30 cinemas in the US in early 2007, following an extensive restoration from the film's YCM separation protection masters. The film was released on DVD by MPI Home Video in May 2007 and on Blu-ray Disc in November 2008. The new film prints carry a Dolby Digital soundtrack, although the soundtrack of the original film, which originally opened as a roadshow theatrical release, was also in stereo.

Becket won the Academy Award for Best Adapted Screenplay, and was nominated for eleven other awards, including for Best Picture, Best Director, Best Supporting Actor, and twice for Best Actor.

Background and production
The original French play on which the film is based was given its first performance in Paris in 1959. It opened on Broadway with Laurence Olivier as Becket and Anthony Quinn as King Henry II in a production directed by Peter Glenville, who later went on to direct the film version. The play opened in London in a production by Peter Hall with Eric Porter and Christopher Plummer. O'Toole was originally signed to play Henry II in the production, but broke the contract before rehearsals began to take the lead in David Lean's film of Lawrence of Arabia.

The film was made at Shepperton Studios, England, and on location at Alnwick Castle, Bamburgh Castle and Bamburgh Beach in Northumberland.

Peter O'Toole went on to play King Henry II once more in The Lion in Winter (1968) with Katharine Hepburn as Queen Eleanor.

Siân Phillips, who plays Gwendolen, was Peter O'Toole's wife at the time of filming.

Synopsis
During the late 12th century, about 100 years after the Norman conquest of England (1066), the Normans have removed the native ruling class, replacing it with a new monarchy, aristocracy and clerical hierarchy.

Thomas Becket is a Saxon courtier to King Henry II, who becomes a determined opponent of the King as the Archbishop of Canterbury.

Plot
Thomas Becket is a advisor and companion of the carousing King Henry II. Henry appoints Becket as Lord Chancellor to have a close confidant in this position whom he can completely control. Henry is more interested in escaping his royal duties through drunken forays in the royal hunting grounds, and womanising among peasant women. He becomes increasingly dependent on Becket, a Saxon commoner, who arranges these debaucheries when he is not busy running Henry's court. This foments great resentment on the part of Henry's Norman noblemen, who distrust and envy this Saxon upstart, as well as Henry's wife Queen Eleanor and Henry's mother Empress Matilda, who see Becket as an unnatural and unseemly influence upon the King.

Henry finds himself in continuous conflict with the elderly Archbishop of Canterbury, who opposes the taxation of Church property to support Henry's military campaigns in France. During one of his campaigns in coastal France, he receives news that the archbishop has died. In a burst of inspiration, Henry exercises his prerogative to pick the next Archbishop, and informs an astonished Becket that he is the royal choice.

Shortly thereafter, Becket sides with the Church, throwing Henry into a fury. One of the main bones of contention is Thomas' excommunication of Lord Gilbert, one of Henry's most loyal stalwarts, for seizing and ordering the killing of a priest who had been accused of sexual indiscretions with a young girl, before the priest can even be handed over for ecclesiastical trial. Gilbert then refused to acknowledge his transgressions and seek absolution.

The King has a dramatic secret meeting with the Bishop of London in his cathedral. He lays out his plan to remove Becket through scandal and innuendo, which the envious Bishop of London quickly agrees to. These attempts fall flat when Becket, in full ecclesiastic garb, confronts his accusers and announces that as Archbishop he will petition the Pope for a ecclesiastical trial, causing Henry to laugh and bitterly note the irony of having his friend turn into his enemy.

Becket escapes to France where he encounters the conniving yet sympathetic King Louis. King Louis sees in Becket a means by which he can further his favourite pastime, tormenting the English. Louis provides refuge for Becket at the Abbey of Saint Martin while the English send emissaries to retrieve Becket.

Becket then travels to the Vatican, where he begs the Pope to allow him to renounce his position and retire to a monastery as an ordinary priest. The Pope reminds Becket that he has an obligation as a matter of principle to return to England and take a stand against civil interference in Church matters. Becket yields to this decision and asks Louis to arrange a meeting with Henry on the beaches at Normandy. Henry asks Becket whether or not he loved him and Becket replied that he loved Henry to the best of his ability. A shaky truce is declared and Becket is allowed to return to England.

Henry then rapidly sinks into drunken fixation over Becket and his perceived betrayal. The barons worsen his mood by pointing out that Becket has become a folk hero among the vanquished Saxons, who are ever restive and resentful of their Norman conquerors. During a drunken rage, Henry asks "Will no one rid me of this meddlesome priest?" His faithful barons hear this and proceed quickly to Canterbury, where they put Thomas and his Saxon deputy, Brother John, to the sword. A badly shaken Henry then undergoes a penance by whipping at the hands of Saxon monks.

Henry, fresh from his whipping, informs the barons that the ones who killed Becket will be found and justly punished. He then publicly proclaims to the crowd outside the church his arrangement for Thomas Becket to be canonised as a saint.

Preservation
The Academy Film Archive preserved Becket in 2003.

Cast
 Richard Burton – Thomas Becket, Archbishop of Canterbury
 Peter O'Toole – King Henry II of England
 John Gielgud – King Louis VII of France
 Paolo Stoppa (voice: Robert Rietti) – Pope Alexander III
 Donald Wolfit – Gilbert Foliot, Bishop of London
 David Weston – Brother John
 Martita Hunt – Empress Matilda, Henry II's mother
 Pamela Brown – Eleanor of Aquitaine, wife of Henry II
 Siân Phillips – Gwendolen - Becket's lover & a Welsh noblewoman who is a captive of Henry II
 Felix Aylmer – Theobald of Bec, Archbishop of Canterbury
 Gino Cervi – Cardinal Zambelli
 Percy Herbert – Baron
 Niall MacGinnis – Baron
 Christopher Rhodes – Baron
 Peter Jeffrey – Baron
 Inigo Jackson – Robert de Beaumont
 John Phillips – Bishop of Winchester
 Frank Pettingell – Bishop of York
 Hamilton Dyce – Bishop of Chichester
 Jennifer Hilary – Peasant's daughter
 Véronique Vendell – Marie, a French peasant girl that Henry has a tryst with
 Graham Stark – The Pope's Secretary
 Jack Taylor – a villager
 Victor Spinetti – French tailor
 Edward Woodward – Clement

Historicity

Most of the historical inaccuracies in the film are from the play, as Anouilh was writing drama rather than a history, and he took dramatic licence.

The major inaccuracy is the depiction of Becket as a Saxon who has risen to a perceived Norman social standing, when in fact the historical Thomas Becket was a Norman (while Henry was an Angevin). Anouilh did this because he had based the play on a 19th-century account that described Becket as a Saxon. He had been informed of this error before his play was produced, but decided against correcting it because it would undermine a key point of conflict, and because "history might eventually rediscover that Becket was a Saxon, after all."

Becket is depicted as Henry's loyal "drinking pal", who assists him with illicit romantic entanglements and drunken hunting exercises, but who becomes saintly and responsible after his appointment as Archbishop. Passing mention is made in the film of the Constitutions of Clarendon (simply as the "Sixteen Articles"); the struggle between Becket and Henry is boiled down to their conflict over Lord Gilbert's murder of the captive priest. In no way is Becket depicted as a man who desired special legal privileges (defrocking rather than prison) for his clergy, as some believe.

Henry's mother, Empress Matilda, died in 1167, three years before the treaty of Fréteval allowed Becket to return in England. Henry appears to not have any respect for his mother and treats her as something of an annoyance, a rather drastic departure from what is generally held as historical fact. Empress Matilda was Henry's sole parent for much of his childhood, and she was instrumental in shaping Henry into the fierce warrior and skilled administrator he was. Far from seeing his mother as a burden, Henry seems to have adored Matilda and relied heavily on her advice and guidance until her death.

Henry's wife, Eleanor of Aquitaine, was in fact beautiful, and highly educated. She was known to have a amicable marriage with Henry despite his mistresses and frequent absences. She is shown publicly rebuking Henry in a scene near the end of the film, when in fact Eleanor, whatever private reservations she may have had, is not known to have ever behaved in such a manner in public. During the same scene, she says she will go to her father to complain of Henry's treatment of her; however, her father William X, Duke of Aquitaine had died decades before, when Eleanor was just 15 years old.

Also, the film only shows four sons of Henry and Eleanor. In actuality, Henry and Eleanor had eight children, five sons and three daughters. While the eldest son, William, had died before the events of the film, the three daughters are neglected.

Production financing

The film grossed $9,164,370 at the box office, earning $3 million in rentals.

Reception
On review aggregator Rotten Tomatoes, 75% of 28 critics gave the film a positive review, with an average rating of 7.2/10.

Awards and nominations

Legacy

Becket and its spiritual sequel The Lion in Winter were both nominated for Best Picture in their respective years 1964 and 1968. Both lost in years which were considered by many to be Musical Film showdowns, where two high-profile musical films were in contention to win Best Picture: Mary Poppins and winner My Fair Lady against Becket in 1964, Funny Girl and winner Oliver! against The Lion in Winter in 1968.

See also
List of American films of 1964
 List of historical drama films

References

External links

 Becket re-release official website

1964 films
1960s biographical drama films
1960s historical drama films
British biographical drama films
British historical drama films
1960s English-language films
Cultural depictions of Thomas Becket
Cultural depictions of Eleanor of Aquitaine
Henry II of England
Cultural depictions of Empress Matilda
Films about Catholicism
Films about Catholic priests
Biographical films about English royalty
Films based on works by Jean Anouilh
Films about religion
Films set in England
Films set in the 12th century
Films set in Kent
Best Drama Picture Golden Globe winners
Films featuring a Best Drama Actor Golden Globe winning performance
Films whose writer won the Best Adapted Screenplay Academy Award
Paramount Pictures films
Films directed by Peter Glenville
Films produced by Hal B. Wallis
Epic films based on actual events
Historical epic films
Films scored by Laurence Rosenthal
Martyrdom in fiction
Films with screenplays by Edward Anhalt
1964 drama films
1960s British films

Becket (1964 film)


Bermet (Бермет in Serbian Cyrillic) is a dessert wine that is a specialty of northern Serbia's Fruška Gora wine region, in the Vojvodina province. It was originally intended for medicinal purposes (similar to the original digestifs), but later it was produced for regular consumption.

It contains between 16 and 18% of alcohol and it is usually served as a dessert wine, but can also be served as an aperitif, much like Vermouth. However, Bermet is produced in a different manner than Vermouth, through maceration of 20 different herbs and spices. It can be made of red or white grapes, but the exact recipe is secret and held by only a handful of families in the town of Sremski Karlovci.

According to some documents, Bermet was served on the Titanic, as well as in the Vienna royal palace.

It is best served at a temperature of 18-20 C. Bermet is registered as a protected indication of geographical origin in the Intellectual Property Office of the Republic of Serbia.

References

Serbian wine
Agriculture in Serbia

Bermet


Greetings From Cairo, Illinois is a 2005 concept album and historical album by Stace England with songs referencing the history of Cairo, Illinois from 1858 to 2005. The project encompassed five years of research and two years of writing and recording the music.

The songs concern people, places and things throughout Cairo's history including Ulysses S. Grant, the American Civil War, blues music, lynching, the Great Migration, Civil Rights struggles, vigilante groups, Jesse Jackson, political corruption, economic decline and hope for renewal.

The album was the subject of a radio documentary on VPRO Dutch National Broadcasting produced by noted musicologist and author Jan Donkers, and features a vocal performance by alternative country pioneer Jason Ringenberg of Jason & the Scorchers. The album's title and cover art are inspired by Bruce Springsteen's debut, Greetings from Asbury Park, N.J.

Track listing
"Goin' Down to Cairo" – 1:54
"Cairo Blues" – 3:52
"Grant Slept Here" – 3:25
"Equal Opportunity Lynch Mob" – 3:56
"The North Starts in Cairo" – 3:29
"Far from the Tree" – 4:04
"White Hats" – 4:54
"Jesse's Comin' to Town" – 4:58
"Buy My Votes" – 3:34
"Prosperity Train" – 3:02
"Can't We All Get Along" – 3:46

See also

2005 in music
Illinois – a 2005 album from Sufjan Stevens about Illinois

External links
  Stace England Official Site
  Gnashville Sounds Records

2005 albums
Cairo, Illinois
Concept albums
Illinois in fiction

Greetings from Cairo, Illinois


Where the Red Fern Grows is a 1961 novel by American author Wilson Rawls. It is about the friendship between a boy and two Redbone Coonhound hunting dogs.

Plot
This story takes place on a farm near the Ozark mountain range. The narrator, Billy Coleman, saves a Redbone Coonhound from a dog fight. He helps it recover from its wounds. He sets it free. He remembers his past. He then tells the story of how he had owned two Redbone Coonhounds when he was a boy.

As a little boy, Billy had always wanted puppies since he was ten years old. His parents tell him they don't have enough money for puppies. He decides to earn the money himself. For two years, he works many different jobs. He saves $50. His grandfather helps him order two Redbone Coonhounds. The mail does not deliver the puppies, so Billy goes to get them. He walks to Tahlequah, Oklahoma. He sees how different the city life is from his country life at home. He buys gifts for his family there. He picks up his puppies. On the way back home, he sleeps in a cave on a mountain. He hears the roar of a mountain lion. The puppies answer the roar with their howls. They scare off the lion. The next morning, Billy and the dogs return home. On the way, he sees  a sycamore tree with the names Dan and Ann on it. He decides to name the puppies Old Dan and Little Ann.

Billy trains his dogs to become hunting dogs. They often mess up. Billy does not give up and continues to encourage them. He soon makes a strong loving bond with his dogs. In the end, Billy's dogs grow ill and weak and later die. He buries them on his family's farm to remember them. Soon, Billy sees a red fern growing over his dogs' graves. He sees the red fern as a symbol of the love that kept him and his dogs together.

References

Other websites
 SparkNotes: Where the Red Fern Grows

1961 books
American children's books
20th-century American novels

Where the Red Fern Grows


Hubert Lacroix or Le Croix (1778 or 1779 — September 14, 1827) was an American soldier, trader, and politician who fought in the War of 1812.
He was captured by the British following the surrender of Detroit and saved from charges of treason by his friend, the Shawnee chief Tecumseh.
Lacroix later served two terms as a member of the Michigan Territorial Council.

Biography

Hubert Lacroix was a native of Montreal, born in either 1778 or 1779. He settled along the River Raisin in Michigan Territory in 1800, became an American citizen, and engaged in trade as an employee of the North West Fur Company.

When Colonel John Anderson organized a local militia, Lacroix was the first man to enlist. He was unanimously chosen as captain of his company in April 1812, just prior to the outbreak of the War of 1812, and since he lived quite a ways upriver, Territorial Governor William Hull asked him to move closer to the mouth of the river. While his company built Hull's Trace to Fort Detroit he began construction of a new house along the river within the boundaries of present-day Monroe, Michigan that spring. The house, still under construction, was burned on January 23, 1813, the final day of the Battle of the River Raisin.

Following Hull's surrender of Detroit in August 1812, Lacroix was taken prisoner by the British.
Though his fellow militiamen had been paroled, since Lacroix had been born in Montreal, he was to face charges of treason there.
Lacroix had earlier established a friendship with the Shawnee chief Tecumseh, who was allied with the British. To avoid upsetting their ally, the British took Lacroix out of Detroit secretly by boat and held him on a prison ship near Fort Malden, Ontario, to await transport back to Quebec. Lacroix's daughter informed Tecumseh of her father's arrest, and Tecumseh went to ask British General Henry Procter about it. Though Procter was inclined to deny it, Tecumseh ordered him to tell the truth, saying, "If I ever detect you in a falsehood, I, along with my Indians, will immediately abandon you". Procter admitted to holding Lacroix prisoner and when Tecumseh demanded he be released, Procter complied.

When Monroe County was organized in 1817, Lacroix was named a colonel in the militia as well as the county sheriff. He built a new brick house on his destroyed property between 1817 and 1818, which may have been the first brick structure in the county; the house, near the site of the modern River Raisin National Battlefield Park, was destroyed in 1912.

When the government of the Territory of Michigan was restructured to include a new legislative council, Lacroix was one of the top 18 vote-earners in a general election. Those names were sent to President James Monroe, who selected nine, including Lacroix, to form the First Michigan Territorial Council. Lacroix also served on the second council.

Following the end of the second council's session in April 1827, Lacroix walked home from Detroit to Monroe, and became ill due to exposure. After several months of illness, he died in Monroe on September 14, 1827.

Notes

References

1827 deaths
Members of the Michigan Territorial Legislature
American militiamen in the War of 1812
1770s births
War of 1812 prisoners of war held by the United Kingdom

Hubert Lacroix (American politician)


Manuel dos Santos (28 October 1933 – 20 January 1983) was a Brazilian football player. He played for Brazil national team. Garrincha, the nickname "little bird" he got from his sister. He won the 1962 World Cup in Chile with Brazil after Pelé was injured. He is regarded as one of the greatest footballers of all time and considered one of the best dribblers and by many the greatest dribbler ever.
At the height of his career, he signed Manoel dos Santos, in honor of a homonymous uncle, who helped him a lot. Garrincha is also widely recognised as the finest dribbler in football history.

Garrincha's best talent certainly consisted in his very particular dribbling, a game that he performed in making two different types of movements: cutting towards the inside of the field or, typically, widening to the right, always starting with the ball and chain from his own area of expertise, placed near the sideline of the pitch. In the second case, his actions were rather repetitive, without affecting the success of the feint; Garrincha, after receiving the ball on the wing, aimed at the direct opponent and then stopped, causing the marker to stop in turn, after which he threw himself to the right, subsequently folding on the opposite side. The winger repeated the play more than once, when he decided to overtake the now disoriented defender with a definitive acceleration again on the right. Dribbling was made particularly effective by the explosiveness of the shot and the unpredictability of the movements due to the asymmetry of the lower limbs. Garrincha often abused this skill, as he used to dribble opponents and wait for them to retrace their steps so as to overcome them a second time, for pure pleasure; in a match valid for the Rio-San Paolo tournament that Botafogo played against América, the referee threatened to expel him due to the excessive number of dribbles carried out at the expense of full-back Ivan.

Despite having been afflicted with several birth defects (he had strabismus, an imbalance of the pelvis, six centimeters of length difference between the legs; the right knee had valgus and the left varus), Garrincha, "The Anjo de Pernas Tortas", was one of the main players in the 1958 FIFA World Cup and, especially, the 1962 FIFA World Cup, when, after Pelé's injury, he became the main player of the Brazilian team. Of Brazil's 14 goals in the competition, six (42%) went through his feet (he scored four and provided two assists for goals). In this tournament, he became the first player to win the Golden Ball (best player in the tournament), the Golden Boot (the competition's top scorer) and the World Cup trophy in the same edition. Because of this, the 1962 World Cup is known in Brazil as "The Garrincha Cup".

Included in the Football Team of the 20th Century by 250 of the world's most respected football writers and journalists, he was selected in 1994 for the FIFA World Cup All-Time Team and ranked seventh in a vote among FIFA experts. about the best player of the 20th century.

Garrincha was a heavy drinker who died of cirrhosis in 1983.

Biography
Garrincha was born in 1933 in Pau Grande, a small town near Rio de Janeiro. At birth, it was found that his left leg was turned outwards and that his right leg was six centimeters shorter and turned inwards. Despite, or perhaps because of this handicap, Garrincha went on to become a highly technical footballer and one of the greatest dribblers of all time. Garrincha was a great footballer, but in his private life he had a lot of problems. He was a heavy drinker and was involved in a car accident several times. In 1969, his mother-in-law was killed in one of these accidents.

Garrincha married twice. The first time with Nair Marques, a factory girl from his hometown of Pau Grande, and the second time with Elza Soares, a well-known samba singer. But in addition, Garrincha had several other affairs and in total he left behind thirteen children after his death, one of which was in Sweden.

In the spring of 1959, Garrincha had an affair with a waitress from the players' hotel in Umeå, after a Botafogo friendly match in Sweden. Nine months later, a letter was delivered to him in Rio de Janeiro saying that Garrincha had fathered a son. His Swedish grandson, Martin Lindberg, also had an aptitude for football and played as a right winger as a youth player for Halmstads BK, but had to finish football at level after he tore his knee ligament in 2009.

After his football career, things quickly went downhill for Garrincha. He didn't know how to handle the fame and started drinking more and more. In 1983, at the age of 49, he died of cirrhosis. His funeral procession, from Maracanã Stadium to Pau Grande, drew thousands of people and after his death people wrote on the wall: "Thank you, Garrincha, for living".

In the capital Brasilia, a stadium is named after him: Estádio Mané Garrincha, and the stadium of Esporte Clube Pau Grande also bears his name.

Club career
Garrincha played in his youth for a local club from Pau Grande. At the age of nineteen, in the summer of 1953, he reported for the first time for a trial training, at Botafogo in Rio de Janeiro. He played as a right winger against international Nílton Santos (later elected by FIFA as left back in the twentieth century world team). Garrincha passed him immediately. Nilton Santos thought he could tame this young lad, but Garrincha also left him behind for the next five moves. The trainer had seen enough and after three training sessions, Garrincha was allowed to try in the first team of Botafogo and immediately scored a hat trick.

He played for the club for twelve years and scored 232 times in 581 matches. With Botafogo he won the Campeonato Brasileiro once and the Campeonato Carioca three times. In his last years at this club, Garrincha's body started to work against him and his broken knees started to hinder him more and more. After his stint with Botafogo, he played a number of matches for Sport Club Corinthians Paulista, Flamengo and Colombian Atlético Junior. In 1969 there was talk of being sold to the French Red Star Paris, but he never signed a contract. In 1972 he finished his career with Olaria.

On tour through Europe, with Botafogo, he played in the Netherlands in 1959 against Willem II (win), Fortuna '54 (win) and Feyenoord (loss).

International career
Between 1955 and 1966, Garrincha played 50 games for the Brazil national team with 12 goals and played in the 1958 World Cup, 1962 World Cup and 1966 World Cup. Brazil became world champions in 1958 and 1962. He also won the Oswaldo Cruz Cup five times in 1955, 1956 but he didn't play any matches, 1958, 1961 and 1962. He became champions in 3 O'Higgins Cup tournaments in 1955, 1959 and 1961
He also won the Roca Cup in 1957, 1960 and 1963 but he wasn't able to play any matches in that year's tournament. And he also won the Taça Atlântico Cup in 1956 but he couldn't play any matches and he won the 1960 tournament. Garrincha was omitted to play for the 1954 FIFA World Cup and 1956 South American Championship.

1958 FIFA World Cup
This was the first World Cup for both Pelé and Garrincha. In the first two games, Garrincha and Pelé were stubbornly ignored by Feola. After a collective plea from the selection, they were finally included in the base against the Soviet Union. In that match, Garrincha tried the left post and Pelé the right within two minutes. Garrincha turned right back Kuznetsov completely mad and already in the third minute Vavá. scored the 1-0. The Soviet Union was not given a moment's rest by the artists of Brazil. Yet it only became 2-0 thirteen minutes before the end, again with Vavá as the finisher. The spectators in Gothenburg still marveled at a comical bouncer by Garrincha. As if on a string, he had as many as five Russians dance in a circle around the ball. Brazil's demonstration justified a much higher score than the 2-0. But the world had become acquainted with the Pelé and Garrincha phenomena. Brazil eventually reached the final, in which the home country belittled Sweden by no less than 5-2. He was being recognized as one of the best players of the tournament and was included in the Team of the tournament. Garrincha won the first world title.

1962 FIFA World Cup
Four years later, Garrincha shone at the World Cup in Chile, where Pelé was injured in the second game. It would be Garrincha's tournament, as the 1986 World Cup was Maradona 's tournament. The Brazilians, with largely the same team as in 1958, missed the brilliance of four years ago. But Garrincha took them in tow and led them to a second world title. In the quarter-final against England, he stepped out of the shadow of the absent Pelé in full glory for the first time. He could even head straight away. At the 1-0 he reached, 1.68 meters short, higher than the 1.86 meters long Maurice Norman. After the 1-1, Garrincha inspired the Brazilians as pacesetter. He awarded Vavá the 2-1 and closed the show himself with 3-1. In the semi-finals, home country Chile was then defeated 4-2, partly thanks to Garrincha's 1-0 and 2-0. In the final phase, Garrincha was kicked in the shins for the umpteenth time. The star was so tired of the pounding that he kicked back. The expelled Garrincha fled to the locker room to cheers and whistles. On the way another bottle popped on his head. Bleeding, he made it to the catacombs. He was allowed to be used in the final against Czechoslovakia. After the intervention of the Brazilian Prime Minister Tancredo Neves, his suspension was converted to an official warning. Garrincha played the final with a fever of 39 degrees, so he had to leave the leading role to others. After trailing 1-0, the Czechs, with Josef Masopust as director, were defeated 3-1. Garrincha became this tournament's top scorer and player of the tournament.

1966 FIFA World Cup
The 1966 tournament in England was not a great experience for Brazil. Garrincha had long ceased to be the star of four years earlier, but no one dared to keep him out of the squad. The first match at the World Cup was won, but the second, against Hungary, was lost. It was Garrincha's fifteenth and final game for the Brazilian national team. It was the first time that the Brazilian team lost with Garrincha in the squad.

End of professional football and the 1973 farewell match
Garrincha said goodbye to football on December 19, 1973 at the age of 40, when a friendly match between the Brazilian national team and a selection of players chosen by FIFA, called FIFA XI, took place at the Maracanã stadium. In addition to Garrincha, the first team was made up of players who had won the World Cup three years earlier, including Carlos Alberto Torres, Brito, Rivelino, Jairzinho and Pelé; the second was made up of ten elevenths by Argentines and Uruguayans. The match ended 2-1 for the Brazilian selection, thanks to goals from Pelé - who dribbled all the opposing defense - and Luís Pereira. The proceeds were donated to Garrincha himself, who at the end of the match, during which he did not shine, moved on a field tour to say goodbye to the one hundred and thirty-one thousand spectators who came to the stadium.

Garrincha still played for more than ten years, albeit at an amateur level. Among the teams with which he played in this period it is worth mentioning that of the Milionários, a formation made up of ex-professionals who used to play friendly matches around Brazil. With this team he played almost five hundred games between 1974 and 1982, alongside famous names such as Nílton Santos, Hilderaldo Bellini, Djalma Santos, Vavá, Rivelino and Serginho.

He also played in the Sacrofano football team, being paid 100,000 lire per game, then a militant in the First Category championship and coached by Dino da Costa, his former teammate in Botafogo, dragging her to victory in the Mignano Monte Lungo quadrangular tournament.
His last appearance on a football field occurred at a charity match held on Christmas day 1982, during which he played for twenty minutes (forty-five according to other sources). The match was held at Planaltina, near Brasilia , and saw as opponents Londrina, with Garrincha, and the representative of the Associaçao de Garancia ao Atleta Profissional (AGAP), a team that won 1-0.

Death
Garrincha died on January 20, 1983, at the age of 49 from the consequences of liver cirrhosis  and pulmonary edema in conditions of poverty and degradation. and was buried in the Raiz da Serra cemetery in Rio de Janeiro.

International career statistics

|-
|1955||1||0
|-
|1956||0||0
|-
|1957||6||0
|-
|1958||5||0
|-
|1959||4||0
|-
|1960||5||2
|-
|1961||4||1
|-
|1962||12||6
|-
|1963||0||0
|-
|1964||0||0
|-
|1965||6||0
|-
|1966||7||3
|-
!Total||50||12
|}

Honours
Botafogo
 International Quadrangular Tournament: 1954
 State Championship: 1957, 1961, 1962
 Interclub Tournament Pentagonal Mexico: 1958
 International Tournament of Colombia: 1960
 International Tournament in Costa Rica: 1961
 Tournament Home: 1961, 1962 and 1963
 Pentagonal the International Club of México: 1962
 Interstate Cup Champions Club: 1962
 Rio-São Paulo Tournament: 1962 and 1964
 World Champion Clubs (Paris Intercontinental Championship): 1963
 Golden Jubilee Tournament Football Association of La Paz: 1964
 Ibero-American Tournament: 1964
 Panamaribo Cup: 1964

Corinthians
 (Rio-São Paulo Tournament): 1966

Brazil
 FIFA World Cup: 1958, 1962
 O'Higgins Cup: 1955, 1959, 1961
 Oswaldo Cruz Cup: 1955, 1956, 1958, 1960, 1961, 1962
 Taça do Atlântico: 1956, 1960
 Roca Cup: 1957, 1960, 1963

Individual
 FIFA World Cup Golden Ball: 1962
 FIFA World Cup Golden Boot: 1962
 FIFA World Cup All-Star Team: 1958, 1962
 Brazilian Championship Best Player: 1962
 Rio-São Paulo Tournament Best Player: 1962
 Interstate Club Champions Cup Best Player: 1962
 Carioca Championship Best Player: 1957, 1961, 1962
 World Soccer World XI: 1962
 Brazilian Football Museum Hall of Fame
 World Team of the 20th Century.
 FIFA World Cup All-Time Team inductee
 World Soccer's Greatest Players of the 20th century (1999): #20
 L'Équipe's top 50 South-American footballers in history: #4
 IFFHS Brazilian Player of the 20th Century (2nd place)
 IFFHS South American Player of the 20th Century (4th place)
 IFFHS World Player of the 20th Century (8th place)
 The Best of The Best – Player of the Century: Top 50
 Ballon d'Or: 1962 - Le nouveau palmarès (the new winners)
 IFFHS Legends
 Ballon d'Or Dream Team (Silver): 2020

References

1933 births
1983 deaths
1958 FIFA World Cup players
1962 FIFA World Cup players
1966 FIFA World Cup players
Brazilian footballers
Deaths from pulmonary edema
Deaths from cirrhosis
Disease-related deaths in Brazil

Garrincha


The Raritan Bayshore is a region in central sections in the state of New Jersey. It is the area around Raritan Bay from The Amboys to Sandy Hook, in Middlesex and Monmouth counties, including the towns of Perth Amboy, South Amboy, Sayreville, Old Bridge, Matawan, Aberdeen, Keyport, Union Beach, Hazlet, Keansburg, Middletown, Atlantic Highlands, and Highlands. It is the northernmost part of the Jersey Shore, located just south of New York City. At Keansburg is a traditional amusement park while at Sandy Hook are found ocean beaches. The Sadowski Parkway beach area in Perth Amboy, which lies at the mouth of the Raritan River, was deemed the "Riviera of New Jersey" by local government. In recent years many of the beaches on the Bayshore area have been rediscovered and upgraded.

Henry Hudson and the Half Moon
In September 1609, the Halve Maen (Dutch for Half Moon), anchored along the shores of the Raritan Bay, and remained for five days to explore the estuary and establish contact with local Lenape people (who later become known as the Navesink and Raritan). Four his crew were sent up the Arthur Kill and to  Newark Bay. Upon their return they were attacked and one of them, John Colman was fatally shot by arrow. Taken ashore to be buried, the spot was christened Coleman's Point.  The location Keansburg still bears the name.

Popular attractions
Popular attractions in the Bayshore area include Keansburg Amusement Park and Runaway Rapids Waterpark in Keansburg, Mount Mitchill in Atlantic Highlands, and Longstreet Farm in Holmdel. There are also beaches and waterfronts in both of The Amboys, the Laurence Harbor section of Old Bridge, the Cliffwood Beach section of Aberdeen, Keyport, Union Beach, Keansburg, and the East Keansburg, Port Monmouth, Belford, and Leonardo sections of Middletown. There are also non-commercial boardwalks in Perth Amboy and Keansburg.

Because many of the towns date back to the 17th and 18th century, as well as the important naval history in the area, there are numerous historical locations throughout the Bayshore area. Historical attractions include Fort Hancock in Sandy Hook, the Twin Lights State Historic Site in Highlands, the Strauss Mansion in Atlantic Highlands, Portland Place and the Taylor-Butler House in Middletown, Longstreet Farm in Holmdel, the Burrowes Mansion in Matawan, the Thomas Warne Museum in Old Bridge, and the Kearny Cottage Museum, the Perth Amboy Ferry Slip, and Proprietary House in Perth Amboy. Additionally, there are various historical markers and sites from these early time periods, especially several from the Revolutionary War and the British retreat to Sandy Hook from the Battle of Monmouth.

Bayshore Regional Strategic Plan
The Bayshore Regional Strategic Plan was an effort by nine municipalities in northern Monmouth County, New Jersey to reinvigorate the area's economy by emphasizing the traditional downtowns, dense residential neighborhoods, maritime history, and natural environment of the Raritan Bay coastline, especially along the Route 36 corridor along the Sandy Hook Bay.

Municipalities participating in the effort were Aberdeen, Atlantic Highlands, Hazlet, Highlands, Keansburg, Keyport, Matawan, Middletown and Union Beach.

In August 2006 a report was released, and Monmouth County was asked to vote to have the county planning board approve the plan the Bayshore organization has created.

This plan has since been replaced by the 2016 Monmouth County Master Plan, an effort to beautify, maintain, and revitalize Monmouth County. The new master plan combined four separate regional plans within the county to create one large master plan, fully taking into consideration what each plan had to offer.

Sandy Hook Bay
Sandy Hook Bay is a triangular arm of the Raritan Bay, along the coast of northern New Jersey in the United States. It is formed along the south side of the Lower New York Bay by Sandy Hook, a spit of land that protects the bay from the open Atlantic Ocean. The bay provides a sheltered marina for pleasure craft, as well as a harbor for the United States Coast Guard. It is fed by the Shrewsbury River estuary. It is bounded on the west side by the Naval Weapons Station Earle pier.

Nature, tourism, and recreation
The Henry Hudson Trail is a bicycling and hiking rail trail which runs parallel to the southern
shore of Raritan Bay and connects the Bayshore communities to inland sections of Monmouth County. The trail starts in Freehold Borough and ends at Highlands, with missing links in Atlantic Highlands, Aberdeen/Matawan, and Marlboro.

The Bayshore area is mostly flat areas of beach, with the exception of the hills between the Navesink River and the Sandy Hook Bay. Mount Mitchill, a  hill in Atlantic Highlands, is the highest. To the east of Mount Mitchill are the Twin Lights Lighthouse of Highlands, with unobstructed views of Sandy Hook and the New York City skyline. Hartshorne Woods Park is also located in the Monmouth Hills to the south on the banks of the Navesink River.

The Gateway National Recreation Area Sandy Hook Unit on the barrier peninsula  includes two park sites:
Fort Hancock served as part of the harbor's coastal defense system from 1895 until 1974 and contains 100 historic buildings and fortifications.
Sandy Hook contains seven beaches, including Gunnison Beach, a "nude beach" by custom, as well as salt marshes and a maritime holly forest. Fishing and using hand-launched vessels are popular here.

The New Jersey Coastal Heritage Trail Route and Cheesequake State Park are also here.

Lighthouses
Chapel Hill Rear Range Light, Sandy Hook Bay (deactivated 1957)
Conover Beacon, (located in the Leonardo section of Middletown)
Great Beds Light, South Amboy
Navesink Twin Lights, Highlands
Sandy Hook Lighthouse, Sandy Hook.

Transportation

Ferry service
Ferries to New York City and Exchange Place travel across the Lower New York Bay and enter the harbor at The Narrows, a trip that take approximately 40 minutes.

SeaStreak routes connect the towns of Atlantic Highlands and Highlands to the East River at Pier 11 at Wall Street and East 34th Street Ferry Landing in New York City. The Belford ferry slip  Raritan Bayshore terminal with service to Paulus Hook Ferry Terminal in Jersey City and Wall Street-Pier 11 and West Midtown Ferry Terminal in New York City.

From Memorial Day weekend through Labor Day weekend, service is also provided to the public beaches in Sandy Hook a few times each day by SeaStreak.

North Jersey Coast Line
NJ Transit's North Jersey Coast Line crosses the Raritan River on River Draw between Perth Amboy and South Amboy continuing south to Aberdeen-Matawan, Hazlet, and Middletown.

Bus
NJ Transit bus 48 travels to Elizabeth from Perth Amboy, with stops in Woodbridge, Carteret, and Rahway.
NJ Transit bus 116 travels to New York City from Perth Amboy with stops in Woodbridge and Carteret.
NJ Transit bus 131 travels to New York City with stops in Sayreville.
NJ Transit bus 133 travels to New York City with stops in Old Bridge, Matawan, and Aberdeen.
NJ Transit bus 135 travels to New York City from Freehold with stops in Matawan and Old Bridge.
NJ Transit bus 815 travels between New Brunswick and Woodbridge Center Mall with stops in various towns including Perth Amboy and South Amboy.
NJ Transit bus 817 travels between Middletown and Perth Amboy, with stops in Keansburg, Hazlet, Union Beach, Keyport, Aberdeen, Old Bridge, and South Amboy.
NJ Transit bus 834 travels to the Red Bank bus terminal with stops in Middletown, Atlantic Highlands, and Highlands.
Academy Bus runs regular service in to points in New Jersey and New York City.

See also

 Regions of New Jersey
 Jersey Shore
 Raritan Bay
 Raritan River
 Navesink River
 Shrewsbury River
 Manasquan River
 Barnegat Bay

Footnotes

External links
Bayshore Regional Strategic Plan
Final Copy of the Bayshore Region Strategic Plan
 The Bayshore
 Henry Hudson Trail
 Henry Hudson Regional Alumni Association
 Hartshorne Woods Park
 Sandy Hook Bay Catamaran Club

Bays of New Jersey
Estuaries of New Jersey
Landforms of Monmouth County, New Jersey
Port of New York and New Jersey

Raritan Bayshore


The Independence Party (Icelandic: Sjálfstæðisflokkurinn) is a centre-right political party in Iceland. They are liberal conservatives who are eurosceptic (meaning they don't want Iceland to join the European Union). The party is the one of the largest in Iceland. It is currently tied with the most seats in the Althing. The chairman of the party is Bjarni Benediktsson and vice chairman is  Þórdís Kolbrún Reykfjörð Gylfadóttir.

The party was formed in 1929 as a result of two parties merging. The newly formed party wanted Iceland to be independent. This was later achieved in 1944. From 1929 to 2009, the Independence Party was the dominant party in the Althing.

The party is economically liberal, and is against getting involved with other countries' problems. The party is mainly supported by fishermen and high-earners, particularly in Reykjavík. The party also wants Iceland to join the North Atlantic Treaty Organization (NATO).

References

Political parties in Europe
Politics of Iceland

Organizations based in Iceland

Independence Party (Iceland)