Brand Highway is a  main highway linking the northern outskirts of Perth to Geraldton in Western Australia. Together with North West Coastal Highway, it forms part of the Western Australian coastal link to the Northern Territory. The highway is a part of Australia's Highway 1, and is for the most part a single carriageway with one lane in each direction.

The highway was completed in 1975 and opened in 1976 being named it in honour of former Premier of Western Australia Sir David Brand. It replaced the Midlands Road from Perth to Dongara.

Route description

The Brand Highway, along with the associated section of National Route 1, begins in Muchea, branching off from a roundabout interchange connecting it to both Great Northern Highway to the north and east and Tonkin Highway to the south. The highway passes through agricultural areas and shrublands, travelling through or near the towns of Gingin, Badgingarra (and Badgingarra National Park), Cataby, Eneabba, Dongara and Greenough. The highway ends after  at the city of Geraldton. National Route 1, and traffic travelling to areas further north of here, continue along North West Coastal Highway towards Port Hedland. The vast majority of the highway is a two-lane single carriageway with a speed limit of , except in and around built up areas where it slows down to speeds of between .

Main Roads Western Australia monitors traffic volume across the state's road network, including various locations along Brand Highway. In the 2012/13 financial year, the recorded traffic volumes ranged from 15,400 vehicles per day north of Olive Street, near Geraldton, down to 1,470 south of Indian Ocean Drive. The highest percentage of heavy vehicles was 36.0% south of Airfield Road, the access road to RAAF Gingin. Reports commissioned by the Royal Automobile Club of Western Australia (RAC) in 2006 and 2008 gave the highway a three-star safety rating out of five. The overall highway network was generally rated as three-star or four-star, with around 10% in 2006 and 5% in 2008 receiving a two-star rating.

Wheatbelt
From the Great Northern and Tonkin Highways at Muchea, the Brand Highway heads west for  to the town centre, crossing over the Midland railway line. It heads north-west, paralleling the railway for , towards Gingin. While the railway continues north to the town, the highway deviates to the west, continuing north-west through the Wheatbelt. Brand Highway reaches the Regans Ford roadhouse after .  on, the highway turns north for , past Bandgingarra National Park, to Badgingarra. The Brand Highway leaves the Wheatbelt for the Mid West region, continuing its journey north-westwards.

Mid West
The Brand Highway encounters Eneabba  beyond Badgingarra, and after another  meets the northern end of the coastal road Indian Ocean Drive. The highway travels north for  to the terminus of The Midlands Road, just outside Dongara. The Brand Highway heads west for  into the town, and then follows the coast north and north-westwards. It reaches South Greenough after , where it realigns itself  to the north-east via two 90° curves. The Brand Highway continues north-west, passing through Greenough after , and terminating  further on in Geraldton, at a diamond interchange with North West Coastal Highway. For the last  of its length, the Brand Highway serves as the main road for the southern suburbs of Geraldton, including Wandina, Tarcoola Beach, Mount Tarcoola and Mahomets Flats.

History
Within two years of its formation in 1926, Western Australia's new Main Roads Board became responsible for the state's arterial and trunk roads, which were declared 'main roads' under the Main Roads Act. The main road to Geraldton branched off the Perth–Meekatharra road at Walebing, near Moora, travelled an inland route via Mingenew to Dongara, and then continued north along the coast to Geraldton. A new main road from Perth to Geraldton via Mogumber was proposed in the 1940s, but was rejected by the Minister for Works, who considered the development of parallel routes infeasible given that traffic was light.

Western Australia's Nomenclature Advisory Committee proposed in October 1940 that a highway name, Great Northern Highway, be used to describe the main route from Midland to Geraldton, and extending to areas further north. By July 1941, the committee's proposal had expanded to three highway names for the roads in the state's northern areas: Great Northern Highway for the Midland Junction to Wyndham road, North West Coastal Highway for the road linking Geraldton to Port Hedland and De Grey, and Geraldton Highway for the Walebing–Mingenew–Geraldton route. This road was gazetted as Geraldton Highway on 17 September 1943, superseding the previously used names of Choral Street, Yarma Street, Railway Road, Midland Street, Railway Street and Irwin Road.

From the 1950s, increasing development between Perth and Geraldton saw the planning and establishment of a road network linking Dongara and Gingin – though the roads were not initially intended to become a highway. Early surveying of the roads, in the 1950s, was undertaken from within a light aircraft flying over the area. This was one of the first times in Western Australia that this technique was used. Wide road reserves, up to  in width, were acquired from crown land and pastoral leases. This allowed native wildflowers to survive and flourish on public land, providing aesthetically pleasing and interesting views to reduce road hypnosis and driver fatigue. The road would also be made safer by removing natural roadside obstacles, and replacing them with shrubs and more wildflowers.

Construction of new roads that would eventually be part of the Brand Highway began in 1959. Various segments were completed as the need arose, until in 1975, there was a new link between Perth and Geraldton. The route reduced the distance between the cities by , and had a total cost of $4.2 million. On 14 February 1975, the new road was gazetted as part of the Geraldton Highway, with the old route via Moora renamed The Midlands Road. It was officially opened on 4 April 1975 by the Minister for Transport, Ray O'Connor at Eneabba. One year later, the road was named Brand Highway after Sir David Brand, who was Premier of Western Australia from 1959 to 1971 and also held the local electorate of Greenough from 1945 to 1975. The change of name from Geraldton Highway to Brand Highway was gazetted on 12 March 1976. Premier Charles Court officiated a ceremony held on 30 April 1976 at a tourist information bay in Dongara, where a plaque was unveiled commemorating the naming of the highway.

The northern end of Brand Highway was upgraded as part of Stage 1 of the Geraldton Southern Transport Corridor, the biggest individual project in the early 2000s across all of rural Western Australia. The project, constructed between March 2004 and December 2005 at a cost of $92.5 million, involved the relocation of railway tracks,  worth of road works, and grade separation of roads. Brand Highway's northern terminus at North West Coastal Highway was upgraded from a roundabout to an interchange. An overpass was built for nearby Durlacher Street to cross North West Coastal Highway, which was made into a dual carriageway in the vicinity of the interchange. Stage 2 of the project, constructed between December 2008 and December 2009, provided a new single carriageway connection to Geraldton–Mount Magnet Road, with access to Geraldton Airport.

Major intersections

The Midlands Road

While the Geraldton Highway was shifted to a new alignment in 1975, the old route, renamed The Midlands Road, remains a significant part of the road network, with the road included as part of numbered road routes.

The Midlands Road, also known as Midlands Road, is a  road in the Mid West and Wheatbelt regions of Western Australia. From Great Northern Highway at Walebing, the road travels west to Moora and then north to Watheroo. The road continues north to Gunyidi, and then travels north-west to Mingenew via Coorow, Carnamah and Three Springs. Beyond Mingenew, it heads west to Dongara, terminating at Brand Highway.

The section from Moora northwards is part of State Route 116, which continues south to Bindoon via Bindoon Moora Road. The section from Walebing to Watheroo National Park is part of Midlands Tourist Way (Tourist Drive 360).

See also

 Highways in Australia
 List of highways in Western Australia

Notes

References

External links

 Main Roads Western Australia

Highways in rural Western Australia
Mid West (Western Australia)
Highway 1 (Australia)

Brand Highway


William Desmond Taylor (born William Cunningham Deane-Tanner, 26 April 1872 – 1 February 1922) was an Anglo-Irish-American film director and actor. A popular figure in the growing Hollywood motion picture colony of the 1910s and early 1920s, Taylor directed fifty-nine silent films between 1914 and 1922 and acted in twenty-seven between 1913 and 1915.

Taylor's murder on 1 February 1922, along with other Hollywood scandals such as the Roscoe Arbuckle trial, led to a frenzy of sensationalist and often fabricated newspaper reports. The murder remains an official cold case.

Early life

William Cunningham Deane-Tanner was born into the Anglo-Irish gentry on 26 April 1872, at Evington House, Carlow, County Carlow, Ireland, one of five children of a retired British Army officer, Major Thomas Kearns Deane-Tanner of the Carlow Rifles, 8th Battalion, King's Royal Rifle Corps, and his wife, Jane O'Brien. Taylor's siblings were Denis Gage Deane-Tanner, Ellen "Nell" Deane-Tanner Faudel-Phillips, Lizzie "Daisy" Deane-Tanner, and Oswald Kearns Deane-Tanner. One of his uncles was Charles Kearns Deane Tanner, the Irish Parliamentary Party Member of Parliament for Mid Cork.

From 1885 to 1887, Taylor attended Marlborough College in England. In 1891, he left Ireland for a dude ranch in Kansas. There, Taylor became reacquainted with acting (his first experiences being at school) and eventually moved to New York City.

While in New York, Taylor courted Ethel May Hamilton, an actress who had appeared in the stage musical Florodora under the name Ethel May Harrison. Hamilton's father was a broker and an investor in the English antiques store on Fifth Avenue, the Antique Shoppe, which eventually employed Taylor. The couple married in an Episcopal ceremony on 7 December 1901 at the Little Church Around the Corner, and had a daughter, Ethel Daisy, in 1902 or 1903.

Taylor and his family were well known in New York society and were members of several clubs. He was also a heavy drinker, possibly suffered from depression, and was known to carry on affairs with women. Taylor suddenly disappeared on 23 October 1908, deserting his wife and daughter. After his disappearance, friends said he had previously suffered "mental lapses", and his family thought initially he had wandered off during an episode of amnesia. Taylor's wife obtained a state decree of divorce in 1912.

Little is known of the years immediately following Taylor's disappearance. He traveled through Canada, Alaska and the northwestern U.S., mining gold and working with various acting troupes. Eventually, he switched from acting to producing. By the time he arrived in San Francisco, California around 1912, he had changed his name to William Desmond Taylor; in San Francisco, some New York acquaintances met him, and provided him with some money to re-establish himself in Los Angeles.

Hollywood
Taylor's initial film acting was in 1913 for the New York Motion Picture Company, releasing under the brands of Bronco and Kay-Bee. His earliest known screen appearance was in The Counterfeiter. He then acted for Vitagraph Studios, including four appearances opposite Margaret "Gibby" Gibson, and Balboa Amusement Producing Company. At Balboa, Taylor met actress Neva Gerber with whom he became engaged until 1919. Gerber later recalled, "He was the soul of honour, a man of personal culture, education, and refinement. I have never known a finer or better man."

Taylor began directing films in 1914, beginning with The Judge's Wife for Balboa. After leaving Balboa he directed two films at Favorite Players Film Co. and then American Film Manufacturing Company, where he directed most of the 30-episode serial The Diamond from the Sky. In October 1915 he joined Pallas Pictures. A year later Pallas became a subsidiary of Famous Players–Lasky. Except for a month working at Fox Film Corporation in 1917, all of Taylor's subsequent films were directed for Famous Players–Lasky or its subsidiary companies.

Around 1915, Taylor made contact with a sister-in-law, Ada Brennan Deane-Tanner, wife of Taylor's younger brother Denis. A former British Army lieutenant and manager of a New York antiques business (separate from Hamilton's), Denis had also abandoned his wife and children, disappearing in 1912. Ada and her daughters moved to Monrovia, California, where Ada could be treated at the Pottinger Sanitorium for tuberculosis. Ada's sister, Lillian Pomeroy, was married to the sanitorium's physician in charge, Dr. John L. Pomeroy. This would become public after Taylor's murder, and the press descended upon the little town of Monrovia.

Towards the end of World War I, in July 1918, Taylor enlisted in the Canadian Expeditionary Force as a private. After training for four and a half months at Fort Edward, Nova Scotia, Taylor sailed from Halifax on a troop transport carrying 500 Canadian soldiers. They arrived at Hounslow Barracks, London on 2 December 1918.

Taylor was ultimately assigned to the Royal Army Service Corps of the Expeditionary Forces Canteen Service, stationed at Dunkirk, and promoted to the temporary grade of lieutenant on 15 January 1919. At the end of April 1919, Taylor reached his final billet at Bergues, France, as Major Taylor, Company D, Royal Fusiliers. Upon returning to Los Angeles on 14 May 1919, Taylor was honoured by the Motion Picture Directors Association with a formal banquet at the Los Angeles Athletic Club.

After returning from military service, Taylor went on to direct some of the most popular stars of the era, including Mary Pickford, Wallace Reid, Dustin Farnum and his protégée, Mary Miles Minter, who starred in the 1919 version of Anne of Green Gables. By this time, Taylor's ex-wife and daughter were aware that he was working in Hollywood. In 1918, while watching the film Captain Alvarez, they saw Taylor appear on the screen. Ethel responded, "That's your father!" In response, Ethel Daisy wrote Taylor in care of the studio. In 1921, Taylor visited his ex-wife and daughter in New York City and made Ethel Daisy his legal heir.

Murder
At 7:30 on the morning of Thursday, 2 February 1922, Taylor's body was found inside his bungalow at the Alvarado Court Apartments, 404-B South Alvarado Street, in Westlake, Los Angeles, a trendy and affluent neighborhood. A crowd gathered inside, and someone identifying himself as a doctor stepped forward, made a cursory examination of the body, and declared Taylor had died of a stomach hemorrhage. The doctor was never seen again, and when doubts later arose, the body was rolled over by forensic investigators, revealing that the 49-year-old film director had been shot at least once in the back with what appeared to have been a small-caliber pistol, which was not found at the scene.

Funeral
Taylor's funeral took place on 7 February 1922, in St. Paul's Cathedral. After an Episcopal ceremony, he was interred in a mausoleum at Hollywood Cemetery, now named Hollywood Forever Cemetery, on Santa Monica Boulevard. The inscription on his crypt reads, "In Memory of William C. Deane-Tanner, Beloved Father of Ethel Deane-Tanner. Died 1 February 1922."

Investigation
In Taylor's pockets, investigators found a wallet holding US$78 in cash (modern day $), a silver cigarette case, a Waltham pocket watch, a pen knife, and a locket bearing a photograph of actress Mabel Normand. A two-carat diamond ring was on his finger. With the evidence of the money and valuables on Taylor's body, robbery did not seem to be the motive for the killing, but a large sum of cash, that Taylor had shown to his accountant the day before, was missing and apparently never accounted for. After some investigation, the time of Taylor's death was set at 7:50 pm on the evening of 1 February 1922.

While being interviewed by the police five days after the director's body was found, Minter said that, following the murder, her friend, director and actor Marshall Neilan, had told her that Taylor had made several highly "delusional" statements about some of his social acquaintances (including her) during the weeks before his death. She also said that Neilan thought Taylor had recently become "insane".

In the midst of a media circus caused by the case, Los Angeles Undersheriff Eugene Biscailuz warned Chicago Tribune reporter Eddie Doherty, "The industry has been hurt. Stars have been ruined. Stockholders have lost millions of dollars. A lot of people are out of jobs and incensed enough to take a shot at you." According to Robert Giroux, "The studios seemed to be fearful that if certain aspects of the case were exposed, it would exacerbate their problems." King Vidor said of the case in 1968: "Last year I interviewed a Los Angeles police detective, William Michael Cahill Sr., now retired, who had been assigned to the case immediately after the murder. He told me, 'We were doing all right and then, before a week was out, we got the word to lay off.'"

Suspects and witnesses

Edward Sands

Edward F. Sands had prior convictions for embezzlement, forgery, and serial desertion from the U.S. military. Born in Ohio, he had multiple aliases and spoke with an affected cockney accent. Sands had worked as Taylor's valet and cook until seven months before the murder. While Taylor was in Europe the summer before in 1921, Sands had forged his name on cheques and wrecked his car. Later, Sands burgled Taylor's bungalow, leaving footprints on the film director's bed. Following the murder, Sands was never seen or heard from again.

Henry Peavey

Henry Peavey, who replaced Sands as Taylor's valet, was the person who found the body. Newspapers noted that Peavey wore flashy golf costumes, but did not own any golf clubs. Three days before Taylor's murder, Peavey had been arrested for "social vagrancy" and charged with being "lewd and dissolute".

According to Robert Giroux:

 In 1931, Peavey died in a San Francisco asylum where he had been hospitalized for syphilis-related dementia.

Mabel Normand

Mabel Normand was a popular comedic actress and frequent costar with Charlie Chaplin and Roscoe Arbuckle. According to author Robert Giroux, Taylor was deeply in love with Normand and she had originally approached him for help to cure her cocaine dependency. Based upon Normand's subsequent statements to police investigators, her repeated relapses were devastating for Taylor. According to Giroux, Taylor met with federal prosecutors shortly before his death and offered to testify against Normand's cocaine suppliers. Giroux believed that those suppliers learned of the meeting and hired a contract killer to assassinate the director. According to Giroux, Normand suspected the reasons for her lover's murder, but did not know the identity of the triggerman.

On the night of the murder, Normand claimed to have left Taylor's bungalow in a happy mood at 7:45 pm, carrying a book he had lent her. She and Taylor blew kisses to each other as her limousine drove her away. Normand was the last person known to have seen Taylor alive, and the Los Angeles Police Department (LAPD) subjected her to a grueling interrogation, but ruled her out as a suspect. Most subsequent writers have done the same. However, Normand's career had already slowed, and her reputation was tarnished by revelations of her addiction, which was seen as a moral failing. According to George Hopkins, who sat next to her at Taylor's funeral, Normand wept inconsolably throughout the ceremony.

Ultimately, Normand continued to make films throughout the 1920s. She died of tuberculosis eight years later, on 23 February 1930. According to her friend and confidante Julia Brew, Normand asked her a few days before she died: "Julia, do you think they'll ever find out who killed Bill Taylor?"

Faith Cole MacLean
Faith Cole MacLean, the wife of actor Douglas MacLean and neighbor of Taylor's, is widely believed to have seen Taylor's killer. The couple was startled by a loud noise at 8 pm. MacLean opened her front door and saw someone emerging from the front door of Taylor's home who, she said, was dressed "like my idea of a motion picture burglar". She recalled the person pausing for a moment before turning and walking back through the door, as if having forgotten something, then re-emerging seconds later, flashing a smile at her before running off and disappearing between the buildings. MacLean thought that the loud noise she had heard was a car back-firing, not a gunshot. She also told police interviewers the person looked "funny" (like movie actors in white-faced makeup) and speculated that it may have been a woman disguised as a man, due to the person's height and build.

Mary Miles Minter

Mary Miles Minter was a former child star and teen screen idol whose career had been guided by Taylor. Minter, who had grown up without a father, was only three years older than the daughter Taylor had abandoned in New York. Love letters from Minter were found in Taylor's bungalow. Based upon those, reporters alleged that a sexual relationship between the 49-year-old Taylor and 19-year-old Minter had started when she was 17. Giroux and Vidor, however, disputed that allegation. Citing Minter's own statements, both believed that her love for Taylor was unrequited. Taylor had often declined to see Minter, and had described himself as too old for her.

However, facsimiles of Minter's passionate letters to Taylor were printed in newspapers, forever shattering her screen image as a modest and wholesome young girl, and she was vilified in the press. Minter made four more films for Paramount Pictures, and when the studio failed to renew her contract, she received offers from many other producers. Never comfortable as an actress, Minter declined them all. In 1957, she married Brandon O. Hildebrandt, a Danish-American businessman. She died in Santa Monica, California, on 4 August 1984.

Charlotte Shelby

Charlotte Shelby was Minter's mother. Like many stage mothers before and since, she has been described as manipulative and consumed by wanton greed over her daughter's career. Minter and her mother were bitterly divided by financial disputes and lawsuits for a time, but they later reconciled. Shelby's initial statements to police about the murder are still characterized as evasive and "obviously filled with lies" about both her daughter's relationship with Taylor and "other matters". Perhaps the most compelling bit of circumstantial evidence was that Shelby allegedly owned a rare .38 caliber pistol and some unusual bullets, which were very similar to the kind which had killed Taylor. After that information became public, she reportedly threw the pistol into a Louisiana bayou.

Shelby knew the Los Angeles district attorney socially and spent years outside the United States, in an effort to avoid both official inquiries by his successor, and press coverage related to the murder. In 1938, her other daughter, actress Margaret Shelby (who was by then suffering from both clinical depression and alcoholism), openly accused her mother of the murder. Shelby was widely suspected of the crime and was a favorite suspect of many writers. For example, Adela Rogers St. Johns speculated that Shelby was torn by feelings of maternal protection for her daughter and her own attraction to Taylor.

Although Shelby feared being tried for the murder, at least two Los Angeles County district attorneys publicly declined to prosecute her. Almost twenty years after the murder, Los Angeles district attorney, Buron Fitts, concluded evidence was insufficient for an indictment of Shelby and recommended that the remaining evidence and case files be retained on a permanent basis. All of those materials subsequently disappeared. Shelby died in 1957. Fitts, in ill health, died by  suicide in 1973.

Margaret Gibson

Margaret Gibson was a film actress who had worked with Taylor when he first came to Hollywood. In 1917, she was indicted, tried, and acquitted on charges equivalent to prostitution (along with allegations of opium dealing), after which she changed her professional name to Patricia Palmer. In 1923, Gibson was arrested and jailed on extortion charges, which were later dropped. She was 27 years old and in Los Angeles at the time of Taylor's murder. No record of her name was ever mentioned in connection with the investigation. Soon after the murder, Gibson got work in a number of films produced by Famous Players–Lasky, Taylor's studio at the time of his death. Shortly before she died in 1964, Gibson reportedly confessed to murdering Taylor.

Lack of evidence
Through a combination of poor crime scene management and apparent corruption, much physical evidence was immediately lost, and the rest vanished over the years, although copies of a few documents from the police files were made public in 2007. Various theories were put forward after the murder, and in the years since, and many books published, claiming to have identified the murderer, but no conclusive evidence has ever been uncovered linking the crime to any particular individual.

Aftermath
Because so many of the celebrities mentioned in the Taylor case were familiar to the public through their movie performances, this was the first American murder in which so many people felt such a personal interest. Public interest in the case resulted in stories about the Taylor murder selling more newspapers in the United States than ever before.

Anti-Hollywood sentiment peaked in the weeks following the Taylor murder, with editorials comparing Hollywood to "all the licentiousness that marked the Roman times of Caligula, Claudius, and Nero," "our American Sodom and Gomorrah," and sounding the call to "Destroy Hollywood!" Other editorials characterized Taylor as a crafty, cultured villain who "got what was coming to him," and urging, "Every weapon available should be used by all the forces of law to defeat the conspiracy to cover up the Taylor case."

A spate of newspaper-driven Hollywood scandals during the early 1920s included Taylor's murder, the Roscoe Arbuckle trial, the death of Olive Thomas, the mysterious death of Thomas H. Ince, and the drug- or alcohol-related deaths of Wallace Reid, Barbara La Marr, and Jeanne Eagels, all of which prompted Hollywood studios to begin writing contracts with "morality clauses" or "moral turpitude clauses", allowing the dismissal of contractees who breached them.

In popular culture

 The murder appears in F Scott Fitzgerald's 1940 story "Pat Hobby's Christmas Wish". Hobby discovers a supposed confession to the murder from a Hollywood producer and tries to use it to blackmail him.
 The film Sunset Boulevard (1950), with William Holden and Gloria Swanson, features a fictional, aging silent screen actress named "Norma Desmond", whose name was taken from Taylor's middle name and Mabel Normand's last name, as a way to resonate with the widely publicized scandals of almost 30 years before.
 The film Hollywood Story (1951), an attempt by Universal Pictures to take advantage of the success of Sunset Boulevard, is clearly based directly on the Taylor murder. While the film reaches a fictional conclusion, it follows the circumstances of the real-life event closely.
 Gore Vidal's novel Hollywood (1990) features a fictionalised account of the Taylor murder. Other novels that fictionalize the case include 13 Castle Walk by DeWitt Bodeen (1975), The Man Who Died Twice by Samuel A. Peeples (1976), and Running Time by Gavin Lambert (1982).
 Taylor's murder was depicted in David Merrick's production of the Jerry Herman - Michael Stewart "cult" musical Mack & Mabel, which opened on Broadway at the Majestic Theatre on 6 October 1974, and ran for six previews and 66 regular performances. Directed and choreographed by Gower Champion, the production starred Robert Preston as Mack Sennett and Bernadette Peters as Mabel Normand, with James Mitchell portraying William Desmond Taylor.
 "Old Hollywood: Silent Stars, Deadly Secret", an episode of the A&E true crime series City Confidential, aired in 2000 and is about the Taylor murder.
 In 2012, to mark the 140th anniversary of his birth, The William Desmond Taylor Society, in his home town of Carlow, Ireland, established Taylorfest, an annual arts and film festival honoring Ireland's most prolific filmmaker and celebrating the contribution of the Irish to silent film.
 TinPot and Cleverality Productions produced, with funding from The Broadcast Authority of Ireland, a one-hour drama-documentary examining the murder of William Desmond Taylor presented in the style of a 1920s live radio show entitled Who Killed Bill? (2013). Written and directed by Marc-Ivan O'Gorman, the show combined dramatizations with interviews from experts, including Oscar-winning film historian Kevin Brownlow.
 In 2018, Buzzfeed Unsolved produced a video discussing "The Scandalous Murder of William Desmond Taylor".
 In 2020, Wondery released a six-episode podcast series "Murder in Hollywoodland" about the murder.

Career as director
Taylor directed more than 60 films. These include:
 The Diamond From the Sky (1915; *co-directed with Jacques Jaccard)
 A Woman Scorned (1915)
 He Fell in Love with His Wife (1916)
 Ben Blair (1916)
 The Heart of Paula (1916; *co-directed with friend Julia Crawford Ivers)
 Pasquale (1916)
 The American Beauty (1916)
 Davy Crockett (1916)
 The Parson of Panamint (1916)
 The House of Lies (1916)
 Her Father's Son (1916)
 Redeeming Love (1916)
 Happiness of Three Women (1917)
 Out of the Wreck (1917)
 The World Apart (1917)
 Big Timber (1917)
 The Varmint (1917)
 Jack and Jill (1917)
 Tom Sawyer (1917)
 The Spirit of '17 (1918)
 Huck and Tom (1918)
 Up the Road with Sallie (1918)
 His Majesty, Bunker Bean (1918)
 Mile-a-Minute Kendall (1918)
 How Could You, Jean? (1918) with Mary Pickford
 Johanna Enlists (1918) with Mary Pickford
 Captain Kidd Jr. (1919) with Mary Pickford
 Anne of Green Gables (1919) with Mary Miles Minter
 Huckleberry Finn (1920)
 Judy of Rogue's Harbor (1920) with Mary Miles Minter
 Nurse Marjorie (1920) with Mary Miles Minter
 Jenny Be Good (1920) with Mary Miles Minter
 The Soul of Youth (1920)
 The Furnace (1920)
 The Witching Hour (1921)
 Sacred and Profane Love (1921)
 Wealth (1921)
 Beyond (1921)
 Morals (1921)
 The Green Temptation (1922) (released posthumously)
 The Top of New York (1922) (released posthumously)

See also
 List of unsolved murders

References

Further reading

External links

 Taylorology Homepage Links to all issues of Taylorology (4 through 98).

1872 births
1922 deaths
1922 murders in the United States
19th-century Anglo-Irish people
20th-century Anglo-Irish people
American people of Anglo-Irish descent
British Army personnel of World War I
Burials at Hollywood Forever Cemetery
Deaths by firearm in California
Irish Anglicans
Irish expatriates in the United States
Irish people murdered abroad
Irish male silent film actors
Actors from County Carlow
People murdered in California
Royal Army Service Corps officers
Silent film directors
Unsolved murders in the United States
20th-century Irish male actors
Royal Fusiliers officers
Canadian Expeditionary Force officers
People from Carlow (town)
Murder victims from County Carlow

William Desmond Taylor


"Ballade pour Adeline" (French for "Ballad for Adeline") is a 1977 instrumental by Richard Clayderman, composed by Paul de Senneville. Paul de Senneville composed the piece as a tribute to his newborn daughter, Adeline. , worldwide sales of the recording have reached 22 million copies in 38 countries.  It remains Clayderman's signature hit.

The French trumpeter Jean-Claude Borelly recorded his version in the early 1980s, which used the same instrumental backing track as the original recording.

Richard Clayderman performed a duet of the track with guitarist Francis Goya in 1999, and it was released on their studio album, Together.  This recording also used the same backing track.

A new version of this piece was released on the Richard Clayderman studio album A Thousand Winds in 2007, to celebrate 30 years since the original release of "Ballade Pour Adeline." Clayderman was accompanied by a new string arrangement by Olivier Toussaint.

History
In 1976, Richard Clayderman (real name Philippe Pagès) received a telephone call from Olivier Toussaint, a well-known French record producer, who, with his partner, Paul de Senneville, was looking for a pianist to record a gentle piano ballad. Paul had composed this ballad as a tribute to his new born second daughter "Adeline". The 23-year-old Philippe Pagès was auditioned along with 20 other hopefuls and, to his amazement, he got the job. "We liked him immediately", says Paul de Senneville, "His very special and soft touch on the keyboards combined with his reserved personality and good looks very much impressed Olivier Toussaint and I. We made our decision very quickly".

Philippe Pagès' name was changed to Richard Clayderman (he adopted his great-grandmother's last name to avoid mispronunciation of his real name outside France), and the single went on to sell 22 million copies in 38 countries. It was called "Ballade pour Adeline". "When I signed him", says Olivier Toussaint, "I told him that if we sell 10,000 singles it will be marvellous, because it was disco at that time and we could not bet on such a ballad being a winner..... We could not imagine that it would be so big".

Instrumentation
Originally composed for piano solo. The Clayderman recording features an accompaniment consisting of strings, keyboard, guitar, bass guitar, and drums. This tune has sometimes been attempted  on the guitar too.

Structure
 19 bars divided into three parts - A, B and A' (akin to extended binary)
 Part A ranges from bar 1 to 10, B from bar 11–16 and lastly A' from bar 17–19

Phrasal structure

 Introduction of two bars antecedent phrase (bar 3 to bar 6) consequent phrase (bar 7 to bar 10)
 B short (first part of bar 11) short (second part of bar 11) long (bar 12) short (first part of bar 13) short (second part of bar 13) long bar (bars 14-16)
 A' is simply a repetition of the antecedent phrase in A. It is played an octave higher.

Findings
The introduction mainly uses arpeggios to create the water imagery. The crescendo and decrescendo contribute to the contour of the piece. Lastly, the usage of semiquavers in the introduction quickens the pace of the piece, making it smooth and flow-like. The piece starts off sweetly with (I-IV-V7-I)x2. It is a simple T-PD-D-T style. Here the composer used the change in dynamics to emphasize the difference between antecedent and consequent phrase. Again, here the composer used semiquavers to add in different styles. To a certain extent the series of eight semiquavers may sound juxtaposing to the smooth/sweet mood created in the piece. In B again, the dreamy effect is emphasized with the introduction of the semiquavers. In bar 11, it starts from F and makes its way down by step. It creates direction both in the piece as well as in the phrase. Furthermore, it seems to be anticipating a climax. In bar 12, the descending tone is "quicken" as we can see a rapid decrease E-D-C-B in the right hand. This E-D-C-B phrase seems to be a little "extra" as the melody then goes back to E and continued with its original rate of movement downwards. Finally, the direction of the piece swings upwards into a full swing. It moved 3 octaves progressively within 2 bars and moved from G to G. The melody is accompanied by alternate accent on G and D in the left hand. The difference in its dynamics from p to ff as well as bring an octave higher than in A. The range of G has also expended to include more notes and add volume to C. the E in bar 3 was omitted and in bar 17 replaced by G. this "octave in the right hand" phenomenon extends for the whole of A' here.

Cultural references
 Ballade pour Adeline was used as the demo song for the Casio CT-650, a keyboard manufactured by Casio in 1989.
 This ballade was played as the theme piece of a Filipino program on the GMA Network from 1980 to 1996 Lovingly Yours, Helen, hosted by Helen Vela
 Kingfisher Airlines India used Ballade pour Adeline as its signature tune for pre-departures and post arrivals.
 The ballad is played repeatedly in the film Goodbye Berlin while the protagonists are on their road trip
 The ballad is played during episode 21 of the German crime series The Old Fox (first broadcast November 24, 1978 on ZDF).
 One recording of this piece served as the theme music of long-running (1979–2005) Swedish Radio gardening program .

Charts

Weekly charts

Year-end charts

See also
 List of number-one singles of 1978 (Spain)

References

External links
 Listen to Ballade pour Adeline - Official version - on You Tube
 The Delphine team - The official Clayderman Website

1977 singles
1977 debut singles
1970s instrumentals
Compositions for piano
Number-one singles in Austria
Number-one singles in Switzerland
Pop instrumentals
Pop ballads
Songs with music by Paul de Senneville

Ballade pour Adeline


Seymour Felix (October 23, 1892 – March 16, 1961) was an American director, performer, and choreographer best known for his work in early Broadway musicals.

Seymour was born on October 23, 1892, in New York City. He began his show business career as a professional dancer in vaudeville at the age of 15. In the 1920s he became a dance director in New York, creating and staging dance numbers for such shows as Hit the Deck (1927), Whoopee! (1928), and Rosalie (1928).

In 1929, he moved to Hollywood to begin staging musical films. Although he did direct two films, Girls Demand Excitement (1931) and Stepping Sisters  (1932), he enjoyed his greatest successes as a choreographer in both New York and Los Angeles. In Los Angeles, he choreographed his most notable films such as The Great Ziegfeld (1936), Alexander's Ragtime Band (1938), Rose of Washington Square (1939), Yankee Doodle Dandy (1942, which he choreographed with LeRoy Prinz and Jack Boyle), and Cover Girl (1944).

Felix amassed sixteen Broadway credits in his career, with his last being Strike Me Pink in 1933. He died on March 16, 1961, in Los Angeles.

Awards

Felix won the Academy Award for Best Dance Direction (a short-lived award given from 1935 to 1937) for staging "A Pretty Girl Is Like a Melody" in The Great Ziegfeld (1936).

References

External links

1892 births
1961 deaths
American directors
American choreographers
Best Dance Direction Academy Award winners

Seymour Felix


Ramón Luis Franco (born September 12, 1963) is a film and television actor. He was born in Caguas, Puerto Rico and resides in Los Angeles.

Franco is most well known for his role in the Vietnam series Tour of Duty, where he played Alberto Ruiz. He also appeared in Clint Eastwood's movie Heartbreak Ridge in 1986 as Lance Corporal Aponte. He appeared in the TV series The Bridge as Mexican cartel leader Fausto Galván. He also appeared in an episode of Miami Vice as Bustos, one of Esteban Revilla's drug cartel members in the season 2 opener "The Prodigal Son".

Filmography

References

External links

1968 births
Living people
People from Caguas, Puerto Rico
Puerto Rican male actors

Ramón Franco (actor)


Roswell (also known as Roswell: The U.F.O. Cover-Up) is a 1994 television film produced by Paul Davids based on a supposedly true story about the Roswell UFO incident, the alleged U.S. military capture of a flying saucer and its alien crew following a crash near the town of Roswell, New Mexico, in July 1947.  Along with the Roswell crash, the film references prominent UFOlogy events such as Area 51, alien autopsies, the death of James Forrestal and Majestic-12.

The script was based on the book UFO Crash at Roswell, by Kevin D. Randle and Donald R. Schmitt.

Plot
Beginning at a 30-year reunion for members of the 509th Operations Group, flashbacks are presented that follow the attempts of Major Jesse Marcel to discover the truth about strange debris found on a local rancher's field in July 1947. Told by his superiors that what he has found is nothing more than a downed weather balloon, Marcel maintains his military duty until the weight of the truth, however out of this world it may be, forces him to piece together what really occurred.

Reception
The New York Times reviewed the film as a tense drama, maintaining "an engrossing course."  Criticizing the conspiracy aspect, it's noted that "What prevents this professionally fashioned hokum from being a high flier is the annoying question of how a cover-up that involved hundreds or thousands of people could have been maintained for 30 years or even 30 seconds in this expose-prone society."

Variety labeled it "a gripping fictional account."  The review concludes, "Wherever the truths of the Roswell incident may lie, director Kagan paces his story convincingly and, in the suspicions it raises about American military mendacity, unflinchingly: superior made-for-TV fare, in other words.  The extraterrestrial bodies, by the way, are terrific." (

The Los Angeles Times considered the film "no mere sci-fi hardware yarn," adding "Roswell is not so much a space odyssey but the story of a man's lost soul, that of an Air Force intelligence officer doggedly searching for the truth."

Cast
 Kyle MacLachlan as Jesse A. Marcel
 Martin Sheen as Townsend
 Dwight Yoakam as Mac Brazel
 Xander Berkeley as Sherman Carson
 Bob Gunton as Frank Joyce
 Kim Greist as Vy Marcel
 Peter MacNicol as Lewis Rickett
 John M. Jackson as Colonel Blanchard
 Nick Searcy as Mortician
 J.D. Daniels as Young Jesse Marcel, Jr.
 Charles Hallahan as Older Pilot MacIntire
 Ray McKinnon as Deputy Joe Pritchard
 Eugene Roche as James Forrestal
 Charles Martin Smith as Sheriff Wilcox
 Doug Wert as Older Jesse Marcel, Jr.
 Cynthia Allison as TV commentator
 Hoke Howell as Bar veteran
 Bruce Ed Morrow as General
 Will Huston as Alien clown (as William Edwards)
 Layne Beamer as Soldier
 Max Trumpower as Gate Guard
 Mik Scriba as Air Mechanic
 Matt Landers as Lt. Walter Haut
 George Gray III as Deputy
 Stephen C. Foster as Gate MP
 Dave Adams as Provost Marshal
 Bill Cook as Jeep Driver
 J.W. 'Corkey' Fornof as Pilot
 Charles Beck as Pilot
 Randy Gagne as Pilot
 Charles M. Kistler as Interrogator #1
 Daiton Rutkowski as Interrogator #2
 F. William Parker as Older Stanton
 Jonathan Mincks as Younger Stanton
 Peter Radon as Melvin Brown
 Gary Bullock as Eavesdropper
 Jim Hayne as Harris
 Mark Phelan as Gate Guard
 Steve Lanza as Outside Doctor
 Arthur Kopit as Inside Doctor
 Michael Strasser as Hospital MP
 Don Fischer as Outdoor MP
 Denice Marcel as Waitress
 Brandey Martinez as Waitress #2
 Lisa Waltz as Janet Foss
 John Mahon as Red Hat Vet
 Stanley Grover as Straw Hat Vet
 Warren Munson as Yellow Hat Vet
 Hansford Rowe as Chaplain
 Richard Fancy as Doctor
 Paul Davids as Photographer
 Philip Baker Hall as Roswell General
 Lawrence Dobkin as General (as Larry Dobkin)
 Edward Penn as Civilian Advisor
 Arthur Hiller as Scientist #1
 Parley Baer as Civilian Advisor
 Bruce Gray as Admiral

References/Links

External links

1994 films
1994 television films
Films based on non-fiction books
Roswell incident in fiction
Films set in 1947
Films set in 1977
Films set in New Mexico
Films set in Texas
Films directed by Jeremy Kagan
Films scored by Elliot Goldenthal
UFO-related television
1990s English-language films
American television films

Roswell (film)


Mammon () is a supervillain from the comic book Spawn. He is Spawn's former ally and is the second primary antagonist, having replaced Malebolgia in that role until #184, in which Malebolgia again takes back this role from Mammon.

Fictional character biography

Mammon is depicted as a handsome gentleman, suave and sophisticated.  This demon is often seen making attractive deals with humans for their souls and is thought to be quite persuasive.  A master schemer, he is the puppet-master behind most of the machinations facing Al Simmons, and is seeking the Throne of Creation so that he might remake the universe to his own whim.

Mammon's past is very much shrouded in mystery.  It has been revealed that he was one of The Forgotten, a group of muses that stayed loyal to God but refused to fight against their fellow archangels in the War in Heaven.  For this he and his kind were banished from Heaven, but unlike the rest of The Forgotten, Mammon was not bound to The Tiend and instead appears to have been cast into Hell. He has transformed into a demonic entity on one occasion, on which he was assaulted by Spawn and scarred with three cuts from the Hellspawn's claws.

He is a high-ranking Lord of Hell. It is unknown which sphere he controls, if he controls one at all, but he is obviously one of the most powerful beings in Hell.  It has been stated that, while Malebolgia was the King of Hell and ruler of the 8th Sphere, he was a fly in comparison to Mammon.  It has also been said that he doesn't have the power to grant certain things; the only one who can is Satan. This is supported by Thamuz, who refers to Mammon as Lord, but to Satan as Master. It is later revealed that Mammon is the seemingly omnipotent ruler of the 9th Sphere, and had been for 20,000 years after he killed the previous ruler of the 9th Sphere, Thurifer.

Thus far, Mammon has made Spawn's life truly a living Hell.  He is probably the brains behind the scheme to unleash Urizen, which leads to Spawn destroying Malebolgia.  Mammon was alive during the time Urizen was first contained, while Malebolgia was only created 70,000 years prior to his second coming. Additionally, he orchestrates the plot to give Cog the means and opportunity to betray Spawn and seize control of the 8th Sphere of Hell.  He is the stranger who tells Eddie Frank of redemption, which leads to Eddie becoming The Redeemer and beating Spawn badly enough that he could be dragged into Hell.  He reveals the truth about Eddie's father to him to destroy his faith, weaken his powers and halt his attack while his minions capture Spawn.  He sends Violator to Earth to take over Jason Wynn's body in order to break Spawn physically and mentally. Mammon personally takes the soul of Nyx's friend Thea to use as leverage later on to make Nyx betray Spawn by stealing his costume and going into Hell.  While he is incapacitated she dons the K7-Leetha.  This is part of a larger plan to gain Nyx's powers.  He approaches her prior to her betrayal and tries to bargain with her.  He also tells her about Thea's soul being in Hell.

Nyx tries to outsmart Mammon by making a deal with another minor Lord of Hell known as N'Zzezheaal, who turns out to be Mammon in disguise.  In the end, he gets her powers and uses them to destroy Spawn's memories of Wanda and then send him on his way to break the Tiend and release The Forgotten so that they might begin the assault on Heaven.

During the reappearance of Satan in Hell during the Armageddon arc, Mammon falls out of power. Even his former servant, Thamuz, is ready to turn on him and destroy him at Satan's command. However, Mammon saves himself from Thamuz by offering Satan a way to increase the ranks of Hell's army - namely, triggering the San Andreas Fault.

It has been stated that there is only one way to destroy Mammon and that Spawn does not possess that power.  What it is exactly has not yet been revealed, but it has been hinted that his pride will be his undoing.

Mammon has recently returned along with a robed companion who tells him that Spawn defeated Clown and closed the Hell portal — just as Mammon had wanted him to. Mammon, in turn, calls Spawn "my good and faithful servant."

Mammon also apparently orchestrates the events that lead to Spawn and Nyx in issue 169, returning Nyx's powers in that very same issue.

In the arc "A Tale of Three Brothers" and the arc "Gunslinger Spawn", it is revealed that Mammon has been manipulating Spawn since before he was born and has been controlling his family for generations in preparation for his birth. Mammon, in the guise of Malefick, had seduced Simmons'  mother to serve him in his schemes; she only married her husband because Mammon told her to, and she in turn allowed Mammon to influence her children from a very young age (an action that would lead to Al Simmons becoming a Hellspawn later on). In the Gunslinger arc, it is revealed that Mammon had known many years beforehand that a descendant of Henry Simmons (Al Simmons' great-grandfather) would become a Hellspawn, also predicting that this Hellspawn would destroy and recreate the world, a prediction that was fulfilled when Al Simmons — Spawn — destroys and then recreates the world in the Armageddon arc.

In issue 182, more of Mammon's past is revealed. It is revealed that upon his fall from Heaven into Hell after the failed uprising against God, he offered his services to Malebolgia, completely unaware, that Mammon became the seemingly omnipotent ruler of the 9th Sphere. He then traveled the earth for centuries learning alchemy, divination, and sorcery, eventually coming to the conclusion that the human race could be the greatest of all creation. He then began collecting warriors for Hell's legions, believing that one day there would be a warrior that would lead mankind against both God and Satan during Armageddon. Some time after meeting Al Simmons' great-grandfather, Henry Simmons, Mammon decides to forgo chance, and breed such a Hellspawn. Though Al Simmons played a crucial part in both the defeat of Malebogia and the exile of God and Satan (events which were all planned by Mammon), Mammon reveals that Al Simmons is in fact not the final product of a 'perfect' Hellspawn that Mammon was seeking. Instead, he chooses Morana, Wanda Blake and Al Simmons' child, whom Mammon took from her parents at the hospital after her mother miscarried. Morana is the product of the merging of the Simmons and Blake bloodlines; two bloodlines which have great potential for making Hellspawn, brought forth through centuries of Mammon's manipulation. Issue 182 also poses the possibility that Al Simmons' actions that caused the miscarriage may have been induced by Mammon's influence throughout Al Simmons' childhood.

In issue 184, it is also revealed that Mammon had influenced Al Simmon's K7-Leetha symbiote costume, prior to its bonding with Al Simmons, promising it great power in exchange for its services and convincing Malebogia that it was worthy to become Hellspawn. It is then also revealed that Mammon plans to transfer the symbiote to Morana, believing that Al Simmons was "finished" after Armageddon and that Morana was the one who will sit by his side and rule the world. He eventually was defeated by Nyx and sealed away alongside Morana. Later issues retcon this, with Malebolgia and Violator as the true makers of the Hellspawns, while Mammon made a few cameos in 296 and 297.

Mammon's influence on previous Hellspawns

It is also revealed in several issues that Mammon acted as a representative to Malebogia in the past to recruit Hellspawn. In issue 165, Mammon recruits Chenglei to become the Mandarin Spawn and in issue 174 he recruits Jeremy Winston to become the Gunslinger Spawn. In issue 179, he recruits Thomas Coram to become war spawn. Eventually even his work for Malebolgia is revealed as another ruse: by selecting and recruiting Hellspawns on his own, he seeks to create a perfect bloodline, reuniting under one final offspring the lines of his best subjects.

During the time Mammon sent the Violator to hell he was captured by a former Hellspawn and his energies were weaponized. A product refused to be utilized to create the next HellSpawn. Also, as the ruler of the 9th Sphere of Hell, Mammon is exceptionally all-powerful within the realm of the 9th Sphere, and therefore, can control and create Hellspawns, even out of his fellow angels.

In other media
 Mammon has appeared in only one comic title outside of the core Spawn comic, the French-produced title Spawn: Simony.
 Mammon's name was first revealed in a Spawn video game: Mammon appeared as a supporting character in Spawn: Armageddon voiced by Andre Sogliuzzo,  and the announcement for the game was the first time the character had been directly named.  Prior to this announcement he was only known by the fan-created nickname, Mr. Hell.
 Mammon's action-figure debut was as the Collector's Club Exclusive for Spawn Series 30, slated for a Fall 2006 release. The toy is tied to the web-comic The Adventures of Spawn, in which Mammon is the main antagonist.
 Mammon was mentioned in Mortal Kombat 11.

Miscellaneous
 The term Mammon is used in the New Testament to describe material wealth or greed. Mammon is pseudo-canonically referred to as one of the Seven princes of Hell.

References

Characters created by Todd McFarlane
Comics characters introduced in 1999
Comics characters who use magic
Demon characters in comics
Demon supervillains
Fictional businesspeople in comics
Fictional con artists
Fictional dictators
Fictional emperors and empresses
Fictional mass murderers
Fictional soul collectors
Mythology in comics
Image Comics characters who are shapeshifters
Image Comics male supervillains
Spawn characters

Mammon (comics)


Dick Tracy vs. Cueball is a 1946 American action film based on the 1930s comic strip character of the same name created by Chester Gould. The film stars Morgan Conway as Dick Tracy in the second installment of the Dick Tracy film series released by RKO Radio Pictures. The villain, Cueball, is a murderous diamond thief who gets his monicker for his big, round head.

Plot
Aboard an ocean liner that has just docked is Lester Abbott, carrying diamonds he intends to sell to gem dealer Jules Sparkle. Before he can leave the ship, he is robbed and strangled by ex-con Cueball, who was alerted to Abbott's arrival by two accomplices, Simon Little and Mona Clyde, who work for Sparkle. Little and Clyde have arranged with crooked antique dealer Percival Priceless to pay Cueball a few thousand dollars and then resell the stolen gems for a fortune, splitting the proceeds three ways.

After meeting with Little—who did not expect Cueball to murder Abbott and tries to back out of the deal—Cueball visits Filthy Flora, madam of the Dripping Dagger Bar. She lets him stay there in a hidden room where he will be safe from police, but she knows he has the diamonds and demands a large payment.

Detectives Dick Tracy and Pat Patton visit Sparkle's establishment to question him. The detectives become suspicious of Little and Clyde. Tracy surreptitiously follows Clyde that evening, and sees her slip a note under the door of Priceless's shop and walk away. After the note disappears under the door, Tracy gains entry and questions Priceless, who claims that Clyde is a customer seeking candlesticks. Unsatisfied, Tracy enlists his friend, the aged thespian Vitamin Flintheart, to visit the shop the next day and observe any suspicious activity. Posing as a customer, Flintheart sees Clyde enter and leave, but is unable to overhear her conversation with Priceless, who learns from her that Little (whose intended role in the scheme was to recut the gems) is an unreliable partner.

Priceless goes to Cueball's room to complete the transaction for the diamonds, not realizing that Tracy and Patton are tailing him. Cueball sees the detectives in the bar and becomes enraged. Suspecting Priceless of treachery, he strangles him. Later, while Cueball is temporarily away, Flora searches his room for the diamonds. She finds and steals them, but Cueball has been watching her through a window. He confronts and strangles her.

Cueball's habit of strangling his victims with a braided leather hatband provides the police with a clue to his identity. Hoping to lure him out of hiding, Tracy allows his girlfriend Tess Trueheart to meet with Little and Clyde on the pretense of being a wealthy customer seeking diamonds. Before she can meet them she is kidnapped by Cueball, who discovers her identity and is about to strangle her when Tracy arrives on the scene. During the chase that ensues, Cueball runs onto a railroad track, where he gets his foot stuck under the track and is killed by a speeding locomotive.

Cast
 Morgan Conway as Dick Tracy
 Anne Jeffreys as Tess Trueheart
 Lyle Latell as Pat Patton
 Rita Corday as Mona Clyde
 Ian Keith as Vitamin Flintheart
 Dick Wessel as Harry "Cueball" Lake
 Douglas Walton as Percival Priceless
 Esther Howard as Filthy Flora
 Joseph Crehan as Chief Brandon
 Byron Foulger as Simon Little
 Jimmy Crane as Junior, Tracy's adopted son
 Milton Parsons as Higby, assistant to Priceless
 Skelton Knaggs as Rudolph, accomplice diamond cutter
 Ralph Dunn as Policeman (uncredited)

Reception
Upon its release, Variety called the film "Hot action celluloid that's bang-up and bang-bang from start to finish."
In 1978, Dick Tracy vs. Cueball was listed in the book The Fifty Worst Films of All Time.

References

External links

1946 films
American black-and-white films
Films directed by Gordon Douglas
Film noir
Dick Tracy films
Films about organized crime in the United States
RKO Pictures films
1940s police procedural films
1940s crime films
American crime films
1940s American films

Dick Tracy vs. Cueball


Carol Seeger "Siggy" Kendall (September 13, 1917 – July 28, 2012) was an American writer of children's books. She has received the Newbery Honor, Ohioana award, Parents choice award, and the Mythopoeic Society Aslan award.

Biography
Carol Kendall was born in Bucyrus, Ohio, and was a graduate of Ohio University. Some of her first books were directed at adults such as "The Black Seven" (1946) and "The Baby Snatcher" (1952).  It was her travels across the world that inspired her folk tale stories. She even gathered old folk tales from other countries and translated them into English for children. Despite her love for traveling, she always loved returning to her home on Holiday Drive and to Kansas.

Marriage and family
Carol Kendall married Paul Murray Kendall. He was an English professor, historian, and a biographer. He died in November 1973. She died almost 40 years later, on July 28, 2012, in Lawrence, Kansas. She was survived by two daughters and three grandchildren.

Writing career

Commenting on her career Kendall once said:
People ask me "What made you decide to be a writer?" and laugh knowingly when I answer "Six older brothers."

Those six brothers were as fine a set of boys and young men as one could want, but they did talk a lot. By the time I made my belated appearance into the family, they were so well gifted in the flow of conversation that there were few pauses for the addition of one small female voice. So I grew up listening. Family recollections would indicate that I was just one sentence short of being completely mute—my single comment of record (at age four) was "Thank goodness that noisy thing is gone." The noisy thing was my brother Arden, whose goings and comings were as turbulent as a high wind gusting through the house.

But then came school! I loved school. The teachers also talked a lot, but they did it to me instead of to each other, and their words were about reading and writing—worth all the missed conversations in the world. My voice could be heard at last! Before the year was out, I started to write a "diary-book" with my new power. The opening line was "I saw my first robin today." It was also the last line, for clearly I had run out of words I knew how to write. The rest of my thoughts would have to wait a spell.

I am still not adept at entering conversations when there are more than three competing talkers, but I don't mind much because I know I can put my own offerings into the computer and fish them out when the time is ripe.

Kendall is most well known for her children's fantasy. Her book The Gammage Cup was a Newbery Honor book and won the Ohioana award. She also won the Parents choice award and the Mythopoeic Society Aslan award for The Firelings.

Her books include:
"The Adventures of Curley Green" (1946)
The Black Seven (1946)
The Baby-Snatcher (1952)
The Other Side of the Tunnel (1957)
The Gammage Cup (1959)
The Big Splash (1960)
The Whisper of Glocken (1965)
Sweet and Sour: Tales from China (1978)
The Firelings (1981)
Haunting Tales from Japan (1985)
 The Wedding of the Rat Family (1988)

References

External links

 http://www.fantasticfiction.co.uk/authors/Carol_Kendall.htm
 https://web.archive.org/web/20050903014353/http://scifan.com/writers/kk/KendallCarol.asp
 http://www.bookshoptalk.com/2011/09/gammage-cup-by-carol-kendall-1959.html

1917 births
2012 deaths
20th-century American novelists
American children's writers
Newbery Honor winners
Ohio University alumni
People from Bucyrus, Ohio
American women novelists
20th-century American women writers
21st-century American women

Carol Kendall (writer)


Séamus Ryan (6 December 1895 – 30 June 1933) was a member of the Seanad Éireann from 1931 to 1933 representing the Fianna Fáil party.

Early life
He was born at the family farm in the townland of Deerpark in the County Tipperary Parish of Kilfeacle in 1895 and attended Bansha National School. Early in his life he had been a supporter of the moderate Irish nationalist John Redmond, but family links made him increasingly sympathetic and committed to the Irish republican cause. Ryan married Agnes Harding from Solohead, County Tipperary, in 1918. In that year they also opened a shop in Parnell Street, Dublin. It was the first of 33 outlets for the company they named The Monument Creameries after the famous monument to the Irish nationalist Charles Stewart Parnell located near their shop. During the Irish War of Independence the shop was a haven for members of the Irish Republican Army seeking refuge from British "Black and Tans" and later for Republicans during the post-Treaty conflicts. Among the Irish nationalists harboured within his Parnell Street shop was Seán Treacy who established a workshop where he put false bottoms on  butter boxes to conceal dispatches and ammunition for IRA operations. Ryan transported the boxes by horse and cart to Kingsbridge Station. It was said he had "a face of such truly angelic innocence that no one could have guessed the subversive nature of his freight". Cash from the business funded the republican cause and later the new Fianna Fáil Party.

Political career
Ryan was a member, organiser and campaigner for the fledgling Fianna Fáil party. A self-made businessman, he was not representative of the party's core support base of labourers and farmers. But he was a generous donor and valuable advocate for their protectionist policies within business circles. In 1932, the de Valera government enacted the Dairy Produce (Price Stabilisation) Act, in response to high import duties imposed by the British on Irish dairy products during the Anglo-Irish trade war. The law capped the domestic price of butter. Ryan assisted negotiations with retailers who were required to sell butter for a reduced price so that farmers were not disadvantaged.
In 1927, he gathered an impressive twelve thousand pounds towards the establishment of The Irish Press a new national newspaper sponsored by Éamon de Valera that appeared for the first time in September 1931.

In November 1931, Ryan won pre-selection from among 70 possible candidates to contest Seanad elections held in December 1931. Ryan was one of four additional Fianna Fáil senators elected to the Seanad in December 1931, a precursor to their major electoral success at the 1932 general election that resulted in the transfer of Government from the Cumann na nGaedheal to Fianna Fáil.

Other interests
He was a student of the Irish language and a patron of Irish artists.  His purchases included a portrait of Éamon de Valera by Seán O'Sullivan that was given to the subject in 1933. He was a patron of the South Kildare Beeheepers Association and a Member of the Third Order of Saint Francis.

Death
Ryan's political career was cut short when he died suddenly at his residence "Rockdale" located on Orwell Road, Rathgar in Dublin on 30 June 1933. He was given a state funeral. Éamon de Valera and every member of his cabinet (with one exception) were in attendance. The centre of Dublin came to a standstill as the forty vehicle cortège passed thousands of sympathisers that lined Parnell Street before it paused for two minutes outside the head offices of Monument Creameries in Camden Street. Finally the tricolour draped coffin was carried to its resting place, just metres from the grave of Jeremiah O'Donovan Rossa in the Republican Plot at Glasnevin Cemetery on the shoulders of Daniel Breen TD his friend, parliamentary colleague and Irish revolutionary hero.

Family
Séamus and Agnes Ryan had eight children and many have made significant contributions to the arts and public life. Kathleen Ryan was an international motion picture actress who starred with James Mason in the Odd Man Out and other films. Cora Ryan (b. 1922) attempted unsuccessfully in 1969 to enter the Irish Parliament in a by election caused by the death of her husband Seán Dunne TD. John Ryan was an accomplished painter who inaugurated the literary magazine Envoy, A Review of Literature and Art and was one of the instigators of the Bloomsday commemoration of the work of Irish writer James Joyce. Patrick Ryan (b. 1926) joined the Royal Air Force before returning to Dublin to manage the Monument Creameries. He moved to the United States of America and published a book of poetry before returning to Ireland in retirement. Their third daughter Máire Ryan (1928–1966) married a RAF officer. Oonagh Ryan (b. 1929) married Russian Prince Alexis Guedroitz and their daughter Princess Ania Guédroïtz is a Belgian actress. Oonagh later married Irish Painter Patrick Swift and after his death was married to the poet, David Wright. Their youngest son, Séamus Ryan (1930–2005) became Dom Vincent, a Benedictine Monk at Glenstal Abbey, Limerick. The youngest, Íde Ni Riain (1933–2018) became a nun at the Mount Anville Convent in Dublin and authored a number of religious and historical works including translations of Medieval Latin works into English.

References

1895 births
1933 deaths
Members of the 1931 Seanad
Fianna Fáil senators
Politicians from County Tipperary
Burials at Glasnevin Cemetery

Séamus Ryan


Homoeroticism is sexual attraction between members of the same sex, including both male–to–male and female–to–female attraction. The concept differs from the concept of homosexuality: it refers specifically to the desire itself, which can be temporary, whereas "homosexuality" implies a more permanent state of identity or sexual orientation. It has been depicted or manifested throughout the history of the visual arts and literature and can also be found in performative forms; from theatre to the theatricality of uniformed movements (e.g., the Wandervogel and Gemeinschaft der Eigenen). According to the Oxford English Dictionary, it is "pertaining to or characterized by a tendency for erotic emotions to be centered on a person of the same sex; or pertaining to a homo-erotic person."

This is a relatively recent dichotomy that has been studied in the earliest times of ancient poetry to modern drama by modern scholars. Thus, scholars have analyzed the historical context in many homoerotic representations such as classical mythology, Renaissance literature, paintings and vase-paintings of ancient Greece and Ancient Roman pottery.

Though homoeroticism can differ from the interpersonal homoerotic — as a set of artistic and performative traditions, in which such feelings can be embodied in culture and thus expressed into the wider society — some authors have cited the influence of personal experiences in ancient authors such as Catullus, Tibullus and Propertius in their homoerotic poetry.

Overview and analysis

The term "homoerotic" carries with it the weight of modern classifications of love and desire that may not have existed in previous eras. Homosexuality as known today was not fully codified until the mid-20th century, though this process began much earlier:

Following in the tradition of Michel Foucault, scholars such as Eve Kosofsky Sedgwick and David Halperin have argued that various Victorian public discourses, notably the psychiatric and the legal, fostered a designation or invention of the "homosexual" as a distinct category of individuals, a category solidified by the publications of sexologists such as Richard von Krafft-Ebing (1840–1902) and Havelock Ellis (1859–1939), sexologists who provided an almost-pathological interpretation of the phenomenon in rather Essentialist terms, an interpretation that led, before 1910, to hundreds of articles on the subject in The Netherlands, Germany, and elsewhere. One result of this burgeoning discourse was that the "homosexual" was often portrayed as a corrupter of the innocent, with a predisposition towards both depravity and paederasty—a necessary portrayal if Late-Victorian and Edwardian sexologists were to account for the continuing existence of the "paederast" in a world that had suddenly become bountiful in "homosexuals."

Despite an ever-changing and evolving set of modern classifications, members of the same sex often formed intimate associations (many of which were erotic as well as emotional) on their own terms, most notably in the "romantic friendships" documented in the letters and papers of 18th- and 19th-century men and women. These romantic friendships, which may or may not have included genital sex, were characterized by passionate emotional attachments and what modern thinkers would consider homoerotic overtones.

Aesthetic philosopher Thomas Mann argued in a 1925 essay that homoeroticism is aesthetic, while heterosexuality is prosaic.

Psychoanalysis

Sigmund Freud, the founder of psychoanalysis, held viewpoints on sexual orientation embedded in his psychoanalytic studies on narcissism and the Oedipus complex, where "rather than being a matter only for a minority of men who identify as homosexual or gay, homoeroticism is a part of the very formation of all men as human subjects and social actors." Freud believed humans to be naturally bisexual, however also expressed interest in "the organic determinants of homoeroticism".

Notable examples in the visual arts

Male–male

Male-male examples, in the visual fine arts, range through history: Ancient Greek vase art; Ancient Roman wine goblets (The Warren Cup). Several Italian Renaissance artists are thought to have been homosexual, and homoerotic appreciation of the male body has been identified by critics in works by Leonardo da Vinci and Michelangelo.  More explicit sexual imagery occurring in the Mannerist and Tenebrist styles of the 16th and 17th centuries, especially in artists such as Agnolo Bronzino, Michel Sweerts, Carlo Saraceni and Caravaggio, whose works were sometimes severely criticized by the Catholic Church.

Many 19th century history paintings of classical characters such as Hyacinth, Ganymede and Narcissus can also be interpreted as homoerotic; the work of 19th-century artists (such as Frédéric Bazille, Hippolyte Flandrin, Théodore Géricault, Thomas Eakins, Eugène Jansson, Henry Scott Tuke, Aubrey Beardsley and Magnus Enckell); through to the modern work of fine artists such as Paul Cadmus and Gilbert & George. Fine art photographers such as Karl Hammer, Wilhelm von Gloeden, David Hockney, Will McBride, Robert Mapplethorpe, Pierre et Gilles, Bernard Faucon, Anthony Goicolea have also made a strong contribution, Mapplethorpe and McBride being notably in breaking down barriers of gallery censorship and braving legal challenges. James Bidgood was also an important pioneer in the 1960s, radically moving homoerotic photography away from simple documentary and into areas that were more akin to fine art surrealism.

In Asia, male eroticism also has its roots in traditional Japanese shunga (erotic art), this tradition influenced contemporary Japanese artists, such as Tamotsu Yatō (photography artist), Sadao Hasegawa (painter) and Gengoroh Tagame (manga artist).

Female-female

Female-female examples are most historically noticeable in the narrative arts: the lyrics of Sappho; The Songs of Bilitis; novels such as those of Christa Winsloe, Colette, Radclyffe Hall, and Jane Rule, and films such as Mädchen in Uniform. More recently, lesbian homoeroticism has flowered in photography and the writing of authors such as Patrick Califia and Jeanette Winterson.

Female homoerotic art by lesbian artists has often been less culturally prominent than the presentation of lesbian eroticism by non-lesbians and for a primarily non-lesbian audience. In the West, this can be seen as long ago as the 1872 novel Carmilla, and is also seen in cinema in such popular films as Emmanuelle, The Hunger, Showgirls, and most of all in pornography. In the East, especially Japan,  lesbianism is the subject of the manga subgenre yuri.

In many texts in the English-speaking world, lesbians have been presented as intensely sexual but also predatory and dangerous (the characters are often vampires) and the primacy of heterosexuality is usually re-asserted at the story's end. This shows the difference between homoeroticism as a product of the wider culture and homosexual art produced by gay men and women.

Notable examples in writing

The most prominent example in the Western canon is that of the sonnets by William Shakespeare. Though some critics have made assertions, some in efforts to preserve Shakespeare's literary credibility, to its being non-erotic in nature, no critic has disputed that the majority of Shakespeare's sonnets concern explicitly male-male love poetry. The only other Renaissance artist writing in English to do this was the poet Richard Barnfield, who in The Affectionate Shepherd and Cynthia wrote fairly explicitly homoerotic poetry. Barnfield's poems, furthermore, are now widely accepted as a major influence upon Shakespeare's.

The male-male erotic tradition contains poems by major poets such as Abu Nuwas, Walt Whitman, Federico García Lorca, Paul Verlaine, W. H. Auden, Fernando Pessoa and Allen Ginsberg.

Elisar von Kupffer's Lieblingminne und Freundesliebe in der Weltlitteratur (1900) and Edward Carpenter's Ioläus: An Anthology of Friendship (1902) were the first known notable attempts at homoerotic anthologies  since The Greek Anthology. Since then, many anthologies have been published.

In the female-female tradition, there are poets such as Sappho, "Michael Field", and Maureen Duffy. Emily Dickinson addressed a number of poems and letters with homoerotic overtones to her sister-in-law Susan Huntington Gilbert.

Letters can also be potent conveyors of homoerotic feelings; the letters between Virginia Woolf and Vita Sackville-West, two well-known members of the Bloomsbury Group, are full of homoerotic overtones characterized by this excerpt from Vita's letter to Virginia: "I am reduced to a thing that wants Virginia [...] It is incredible to me how essential you have become [...] I shan't make you love me any the more by giving myself away like this --But oh my dear, I can't be clever and stand-offish with you: I love you too much for that." (January 21, 1926)

Religion

Although the idea is spread by some Christian circles that non-heteronormative orientation is a sin, some theologians and historians have concluded that Jesus of Nazareth had a non-heteronormative behavioral pattern, in some cases based on apocryphal texts. Some also include the apostles John and Simon Peter.

Some speculate that John the Baptist had homosocial or homoerotic behavior. In the Gospel of John (3:22–36), John the Baptist speaks of himself as the "friend of the bridegroom," implying that the bridegroom of Christ (Matthew 9:15) is coming to meet his bride, though nothing specific to identify the bride. Jesus was a rabbi, a teacher, and all the rabbis at that time were married; there is no reference to a possible marriage.

Some theologians and scholars claim that other Biblical figures engaged in non-heterosexual behavior such as Jacob and David and Jonathan, as well as the canonized saints Francis of Assisi and Saint Sebastian.

In cinema
Most notable are positive portrayals of homoerotic feelings in relationships, made at feature length and for theatrical exhibition, and made by those who are same-sex oriented.  Successful examples would be: Mädchen in Uniform, Germany (1931); The Leather Boys, UK (1964); Scorpio Rising, U.S. (1964); Death in Venice, Italy (1971); The Naked Civil Servant, UK (1975); Sebastiane, UK (1976); Outrageous!, Canada (1977); My Beautiful Laundrette, UK (1985); Maurice, UK (1987); the Talented Mr. Ripley, US (1999); Summer Vacation 1999, Japan, (1988); Mulholland Drive, U.S. (2001); Brokeback Mountain, U.S. (2005); Black Swan, U.S. (2010); Carol, UK/U.S. (2015) and most recently Moonlight U.S. (2016), and Call Me by Your Name, U.S./Italy (2017).  Also of note is the 1990 feature-length BBC adaptation of Oranges Are Not the Only Fruit.

See: List of lesbian, gay, bisexual or transgender-related films.

Key introductory books
Classical and medieval literature:
 Murray & Roscoe. Islamic Homosexualities: Culture, History, and Literature (1997)
 J. W. Wright. Homoeroticism in Classical Arabic Literature (1997)
 Rictor Norton. The Homosexual Literary Tradition (1974) (Greek, Roman & Elizabethan England)

Literature after 1850:
 David Leavitt. Pages Passed from Hand to Hand : The Hidden Tradition of Homosexual Literature in English from 1748 to 1914 (1998)
 Timothy d'Arch Smith. Love In Earnest; some notes on the lives and writings of English 'Uranian' poets from 1889 to 1930 (1970)
 Michael Matthew Kaylor, Secreted Desires: The Major Uranians: Hopkins, Pater and Wilde (2006), a 500-page scholarly volume that considers the major Victorian writers of Uranian poetry and prose (the author has made this volume available in a free, open-access, PDF version).
 Mark Lilly. Gay Men's Literature in the Twentieth Century (1993)
 Patricia Juliana Smith. Lesbian Panic: Homoeroticism in Modern British Women's Fiction (1997)
 Gregory Woods. Articulate Flesh – male homoeroticism and modern poetry (1989) (USA poets)
 Vita Sackville-West. Louise DeSalvo, Mitchell A. Leaska, editors. Vita Sackville-West The Letters of Vita Sackville-West to Virginia Woolf (1985)
 Virginia Woolf. Congenial Spirits: The Selected Letters of Virginia Woolf Joanne Trautmann Banks, editor (Harcourt Brace, 1991)
 Joe Dowson. Past Thoughts and Precognition: Eroticism Through My Eyes (Self Published, co-author by D.Cameron, 2013)

Visual arts:
 Jonathan Weinberg. Male Desire: The Homoerotic in American Art (2005)
 James M. Saslow. Pictures and Passions: A History of Homosexuality in the Visual Arts (1999)
 Allen Ellenzweig. The Homoerotic Photograph: Male Images, Delacroix to Mapplethorpe (1992)
 Thomas Waugh. Hard to Imagine: Gay Male Eroticism in Photography and Film from Their Beginnings to Stonewall (1996)
 Emmanuel Cooper. The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West (1994)
 Claude J. Summers (editor). The Queer Encyclopedia of the Visual Arts (2004)
 Harmony Hammond. Lesbian Art in America: A Contemporary History (2000) (Post-1968 only)
 Laura Doan. Fashioning Sapphism: The Origins of a Modern English Lesbian Culture (2001) (Post-WW I in England)

Performing arts:

 Ramsay Burt. The Male Dancer: Bodies, Spectacle, Sexualities (3rd Revised Edition 2022)

See also
 Erotica
 Sex in advertising
 Slash fiction
 Uranian poetry
 Shōnen-ai
 Bara
 Yaoi
 Yuri

References

Bibliography
 BURGER, Michael. The Shaping of Western Civilization: From Antiquity to the Enlightenment (University of Toronto Press, 2008), 308 pages. ,
 YOUNGER, John Grimes. Sex in the ancient world from A to Z (Routledge, 2005), 217 pages. ,
 FLOOD, Michael. International encyclopedia of men and masculinities (Routledge, 2007), 704 pages. ,
 HEILBUT, Anthony. Thomas Mann: Eros and Literature (University of California Press, 1997), 638 pages. ,
 KONTJE, Todd Curtis. A companion to German realism, 1848–1900 (Camden House, 2002), 412 pages. ,

Further reading
 FALCON, Felix Lance. Gay Art: a Historic Collection [and history], ed. and with an introd. & captions by Thomas Waugh (Arsenal Pulp Press, 2006), 255 p.

External links

Ioläus: An Anthology of Friendship

LGBT erotica
LGBT literature
Gay art

Homoeroticism


is the titular superhero of a tokusatsu science fiction/kaiju/superhero TV series. Produced by Tsuburaya Productions, the show was broadcast on Mainichi Broadcasting System from January 17 to December 29, 1973, with a total of 50 episodes. This was also one of several shows Tsuburaya did to celebrate the company's 10th Anniversary (the other two being Ultraman Taro and Fireman).

Plot summary
Young air delivery boy Naoki Tachibana (played by, oddly enough, Naoki Tachibana; His character's first name is spelled in katakana, however) is out to deliver a package for his grumpy boss Daisaku Banno (played by veteran actor Jun Tazaki), when his older brother Shin'ya (Toshiaki Amada), who commanded the defense force, Protective Attacking Team (PAT), was killed in an attack by a giant monster called King Jyglus (which was sent by the evil alien Antigone of the planet Groth). When PAT retaliates against a second attack by the monster, Naoki, in retaliation for his brother's death, suicidally tries to ram his air delivery cessna into the monster, to their shock. When the monster downs the plane, Naoki and his plane are teleported into an energy dimension by an Ultraman-like alien from the Emerald Star. The Emerald Alien has instantly used his technology to completely modify the plane, as well as Naoki's wristwatch. He suddenly finds himself back in his cessna's cockpit in the real world, but he hears the Emerald Alien's voice, telling him to activate his wristwatch, and upon shouting the command "Jum-Fight!!!", his jet transforms into the giant cyborg, Jumborg Ace, with Naoki, in a VR movement-control suit, piloting the robot from inside the head with his own physical movements! He fights with King Jyglas, eventually destroying the monster. But his battle against the Groth Aliens has only just begun...

Powers and Abilities
Jumborg Ace has a vast array powers, including a sword coming from his stomach, missiles, and energy beams. He can cut enemies heads off with a kick or change his body into a slicing machine. He can also transfer energy from his eyes if Jumborg 9 is out of power.

Later episodes find Naoki alternating from Jumborg Ace with a Honda Z, which transforms into a similar giant cyborg called Jumborg 9 (upon the command "Jum-Fight Two Dash!!!"). It has a pattern of red and silver and it has a light on its belt resembling Ultraman's Color Timer. And like the Color Timer, it blinks when Jumborg 9 is running out of power.

Unlike Ace, he can move very fast and can perform a dashing attack. But like him, he can shoot energy from his eyes to Ace. However unlike Ace, he cannot fly.

Cameos
A Mirrorman bank owned by Kazuya can be seen in one episode. In addition, the characters of Chief Murakami, Yasuda and Nomura originally appeared in Mirrorman, thus placing the shows in the same universe.

Jumborg Ace was integrated into the "M78 Canon" in the form of "Jeanbot": A double-changing robot warrior who debuted in Ultraman Zero The Movie: Super Deciding Fight! The Belial Galactic Empire. He joined forces with updated versions of Fireman (Glen-Fire) and Mirrorman (Mirror-Knight), in addition to Ultraman Zero.

Film
, known in Thailand as Giant and Jumbo A (ยักษ์วัดแจ้ง พบ จัมโบ้เอ - Yak Wat Jaeng phop Chambo E, or Yuk Wud Jaeng pob Jambo A, depending on the Romanization) is a tokusatsu science fiction/kaiju/superhero film produced in 1974 by Tsuburaya Productions of Japan and Chaiyo Productions of Thailand, directed by Sompote Sands. It was released theatrically in Thailand in April 1974.  It has not been released theatrically in Japan.

This film teams the Japanese superhero Jumborg Ace with a giant stone idol called Yuk Wud Jaeng, simply known as "Giant" (this character was the star of a very successful film, Tah Tien, produced earlier by Chaiyo Productions) against Ace's own enemies.

Note that some of the scenes of this film contain footages of the Jumborg Ace TV series.

This film, along with The 6 Ultra Brothers vs. the Monster Army, marked the only time Tsuburaya Productions and Chaiyo Productions officially worked together. Decades after this film was made, relations between the two companies have deteriorated, leading to the legal battle (more details here) over rights to the Ultraman characters (specifically the ones depicted in said film) and even Jumborg Ace, which was eventually won by Tsuburaya in 2008.

Cast
 Naoki Tachibana as Jumborg Ace / Naoki Tachibana
 Sipeuak as Yak Wud Jaeng
 Tape Tienchai as Yak Wat Pho
 Nobuo Tanaka as Demon Go-Ne (Male)
 Yoshino Ohtori as Demon Go-Ne (Female)
 Kazunari Mori as Jum Killer Jr
 Shuichiro Moriyama as Anti Go-Ne
 Michihiro Ikemizu as Mad Go-Ne
 Keiko Azuma as Demon Star (Human form)
 Kenichiro Kawamura as Antron (Human form)
 Anan Pricha as Anan
 Sripouk as Sipuak
 Srisuriya as Sisuliya

External links

1973 Japanese television series debuts
1973 Japanese television series endings
Tsuburaya Productions
Tokusatsu television series
Aviation television series
Aviation comics
Mainichi Broadcasting System original programming
Ultra television series
Television duos

Jumborg Ace


Merchant of Venus is a board game, published in 1988 by Avalon Hill, set in an unexplored part of the galaxy during a reawakening of galactic civilization.  Players move around the board as traders discovering long forgotten pockets of civilization and buying and selling goods.  The game can be played by one to six players.  In tournaments it is usually played by four players.  The solitaire version, which relies heavily on combat with a militaristic race, has different game mechanics.

The name of the game is a pun on the Shakespeare play Merchant of Venice.  The planet Venus does not actually appear in the game.

Aim
The aim of the game is to acquire a set amount of wealth ($1000, $2000, $3000 or $4000).  The first player to hold the required amount in cash and deeds is declared the winner.

Strategy
The length of the game impacts on the strategy.  In short games trade routes will not be well developed whereas in longer games extensive trade routes will develop.

The game has at least two predictable phases.  In the early part of the game, players are discovering the identity of the cultures in the fourteen solar systems available for trade, and often find valuable artifacts from an earlier period of civilization.  When discovering a culture, players get bonuses, which they can use to buy goods.  Once the board has been largely revealed, the game focuses on moving goods from cultures that build to other races that demand the goods.  Often the winner will be a player who is effective in investing his mid-game purchase in factories and orbital ports that pay a commission when other players use the ports.  Judging whether a player is coming up on a win often consists of looking at the number of deeds the player owns.

Later in the game, calculating the sale, purchase and commission on several transactions can become a  relatively complicated event, especially when players are expecting a fast turnaround.

The game remains popular decades after publication in part thanks to its whimsical theme, but also because it allows a number of potential win strategies and calls on the players to make many interesting decisions.

2012 Second Edition
On October 24, 2011, game publisher Stronghold Games announced that it had reached an agreement with designer Richard Hamblen to reprint the game for release in 2012. Later that same day, publisher Fantasy Flight Games announced that it had acquired the right to republish the game from Hasbro, which Hasbro had acquired through their purchase of Avalon Hill. Both companies issued statements in the days following, maintaining a cordial tone but each asserting its right and intention to reprint the game.

On June 27, 2012, both Stronghold Games and Fantasy Flight Games announced that they had come to an agreement regarding the fate of the game. The second edition was released in November 2012 by Fantasy Flight Games with Stronghold Games consulting on the project. It contains a two-sided game board and two sets of rules, allowing for play of both the original game and an updated one that is more in line with contemporary boardgame design.

Reception
Mike Siggins reviewed Merchant of Venus for Games International magazine, and gave it 4 stars out of 5, and stated that "Richard Hamblin has devised a system that has some clever design tricks, works within a reasonable time, has plenty of options and offers high playability and balance. With the possible exception of SPI's out of print Star Trader, I would say it is the best trading game so far."

John ONeill of Black Gate commented: "Unlike Avalon Hill's other science fiction games — like Stellar Conquest and Alpha Omega — the focus of Merchant of Venus wasn't crushing your opponents with massive fleets of warships. Players were explorers and traders in an unexplored part of the galaxy during a reawakening of galactic civilization, discovering long-lost pockets of civilization, and opening fabulously profitable trade routes. Playable with up to six players, the game also had an intriguing solitaire version, which featured action-heavy combat with a strange militaristic race."

Reviews
Casus Belli #49

References

External links

Robo's Merchant of Venus Page

Avalon Hill games
Board games introduced in 1988
Science fiction board games

Merchant of Venus


Michael Bayne is an athletic coach who has led teams in many sports, and in schools all across North and South Carolina. He served as the head golf coach and special teams coordinator at Brevard College from 2006 until 2010, where he then worked as the head track, cross country and lacrosse coach and special teams coordinator for North Greenville University. He grew up in South Carolina, receiving his B.A. degree from University of South Carolina in 1980. Bayne has provided services as the head and assistant coach for many different schools and team sports, from 1984 to the present. In addition to his coaching career, Bayne has been an upstanding educator and administrator.

In 1998, he received the Guinness World Record for the most three-point shots made in one game by a team (32); that team also holds the tie for second most three-point goals (29). His athletes have been made All-American 12 times in the NCAA and NCCAA. Bayne has coached players and teams that hold seven South Carolina state records for the South Carolina High School League. He has been inducted into the WCOS Charleston Hall of Fame, has won over 600 games in his career, and has been named A.D. or Coach of the Year around twenty times.

Coaching career
From 1984 to 1987, Bayne held the position of athletic director, as well as head coach for the football, baseball, basketball and track teams in Orangeburg School District Seven. In July 1987 until June 1992, he would then move on to become the head coach for the basketball and track teams of Denmark-Olar High School, as well as being the offensive coordinator for their football team. During this period, Bayne was also the assistant basketball coach for Denmark Technical College (1988). From July 1992 until June 1994, Bayne worked at St. George High School; there he was the head football, tennis and track coach, as well as teaching social studies and driver's education. In 1993, Bayne gave his time and coaching experience to the Dorchester Eagles POP Warner football team.

In July 1994, Bayne transplanted to Charleston County, South Carolina, where he would remain until 2006. In Charleston County's Schools he would operate not only as head coach for football, basketball, track and baseball; there he would also hold the positions of administrative assistant, athletic director, occupational specialist, CTE, firefighter, and first responder. Bayne's tenure at Garrett Academy of Technology of Charleston from 1996 until 1999 would include him holding positions as the head coach for cross country and basketball, with this team also being the one to hold the Guinness World Record for "Most Three Point Goals Made in One Game by a Team".

From 2002 until 2003 Bayne was also the assistant baseball coach at Charleston Southern University. After serving with Charleston County Schools for over a decade, in December 2006 Coach Bayne was hired at Brevard College as their director of football operations, assistant football coach, special teams coordinator, recruiting coordinator and running back coach. In February 2010, Bayne entered a five-year tenure with North Greenville University, during that time sustaining positions as head coach for women's lacrosse, track and cross country, as well as being the assistant football coach. On May 28, 2015, Brevard College announced that Bayne would be returning to serve the Tornados as head coach for their track program, as well as the special teams coordinator for the Brevard College football team.

Honors received

References

Year of birth missing (living people)
Living people
American sports coaches
Sports coaches from North Carolina
Sports coaches from South Carolina

Michael Bayne