The Lesbian Movement () was a Danish organization for lesbians established in 1974 in Copenhagen by a group of women including Vibeke Vasbo who were unhappy about the degree of intolerance towards lesbians in the Danish Redstocking Movement.

The Movement was Denmark's first lesbian organization. It was established on 10 March 1974 by a group of women from Rødstrømpebevægelsen (The Red Stocking Movement) together with a smaller group from the homosexual organization Forbundet af 1948 (The 1948 Association). The main reason for setting the organization up was that a number of lesbians found that members of the Red Stocking Movement were not ready to accept their identity and their problems. They had even been called a group of "lesbian men haters".

Like the Red Stockings, the Lesbian Movement consisted of several freely organized groupings, without any specific management structure. While the Copenhagen group was the largest, there were active sections throughout the country. In addition to general support for women's rights, the Movement strove for progress on lesbian rights. By means of courses and publications, they encouraged lesbians to become more open and visible and to fight discrimination against them. Despite their differences, they conducted much of their work in collaboration with the Red Stockings, becoming part of the evolving feminist movement in the 1970s. As a result, many of their individual activities were shut down. In 1985, the Movement was dissolved.

The Lesbian Movement's main publications were Kvinder-Kvinder (Women-Women, 1972–78) and Hvidløgspressen (The Garlick Press, 1982–86). In the 1970s, they congregated at summer camps on the islands of Femø and Sejerø.

References

1974 establishments in Denmark
1985 disestablishments in Denmark
History of women in Denmark
Feminist organizations in Denmark
Lesbian culture in Europe
Lesbian feminist organizations
Lesbian history
Lesbian organizations based in Denmark
LGBT history in Denmark
LGBT organizations in Denmark
Organizations established in 1974
Organizations disestablished in 1985

Lesbian Movement (Denmark)


Hermann Wilhelm Ebel (10 May 1820 – 19 August 1875) was a German philologist.

Biography
Ebel was born in Berlin. He displayed in his early years a remarkable capacity for the study of languages, and at the same time a passionate fondness for music and poetry.

At the age of sixteen he became a student at the University of Berlin, applying himself especially to philology, and attending the lectures of Böckh. Music continued to be the favorite occupation of his leisure hours, and he pursued the study of it under the direction of Joseph Marx.

In the spring of 1838 he passed to the University of Halle, and there began to apply himself to comparative philology under August Pott. Returning in the following year to his native city, he continued this study as a disciple of Franz Bopp. He took his degree in 1842, and, after spending his year of probation at the French Gymnasium of Berlin, he resumed with great earnestness his language studies.

About 1847 he began to study Old Persian. In 1852 he accepted a professorship at the Beheim-Schwarzbach Institution at Filehne, a post he held for six years. It was during this period that his studies in the Proto-Slavic and Celtic languages began. In 1858 he removed to Schneidemühl, and there he discharged the duties of first professor for ten years. He was afterwards called to the chair of comparative philology at the University of Berlin. He died at Misdroy on 19 August 1875.

The most important work of Ebel in the field of Celtic philology is his revised edition of the Grammatica Celtica of Professor Johann Zeuss, completed in 1871. This had been preceded by his treatises De verbi Britannici futuro ac conjunctivo (1866), and De Zeussii curis positis in Grammatica Celtica (1869). He made many learned contributions to Kuhn's Zeitschrift für vergleichende Sprachforschung, and to August Schleicher's Beitrage zur vergleichenden Sprachforschung; and a selection of these contributions was translated into English by Sullivan, and published under the title of Celtic Studies (1863). Ebel contributed the Old Irish section to Schleicher's Indogermanische Chrestomathie (1869). Among his other works must be named Die Lehnworter der deutschen Sprache (1856).

References

External links

1820 births
1875 deaths
Writers from Berlin
German philologists
Pupils of Joseph Marx
German male writers

Hermann Wilhelm Ebel


Building the Machine is a studio album by former Deep Purple, Black Sabbath and Trapeze vocalist/ bassist Glenn Hughes. It was his eighth solo studio album and was released in 2001 on SPV, DNA and Nippon Crown records.

History
Building The Machine has a similar feel to Hughes' previous album, 2000's Return of Crystal Karma. Many of the songs have a hard rock sound with a funk edge, although the funk aspect is somewhat toned down on this album and the songs are more driven by guitar riffs than bass lines.

This album marks the fourth collaboration between Hughes and longtime guitarist and co-songwriter JJ Marsh. The album also features contributions from Hughes' regular drummer of the period Gary Ferguson, keyboardists Vince DiCola and John Beasley and guitarist Pat Travers, who duets with Hughes on the Rare Earth cover I Just Want To Celebrate. Bobby Kimball of Toto provides backing vocals on two of the tracks.

The track High Ball Shooter is a newly recorded version of the Deep Purple song, which originally featured on the album Stormbringer.

The Japanese version of the album includes the track Cosmic Spell, which was written by Hughes and Pat Travers.

The opening track Can't Stop The Flood also kicked off Hughes' 2004 live album Soulfully Live in the City of Angels and often frequents his set-lists.

Track listing
"Can't Stop the Flood" – 4:11 (Hughes, Marsh)
"Inside" – 4:52 (Hughes, Marsh)
"Out On Me" – 5:32 (Hughes)
"I Just Want To Celebrate" – 3:23 (Fekaris, Zesses)
"Don't Let it Slip Away" – 4:57 (Hughes, Marsh, Scott)
"Feels Like Home" – 4:38 (Crook, Hughes)
"High Ball Shooter" – 4:29 (Blackmore, Coverdale, Hughes, Lord, Paice)
"When You Fall" – 4:57 (Hughes, Marsh)
"I Will Follow You" – 6:11 (Hughes, Marsh)
"Beyond the Numb" – 7:51 (Hughes)
"Big Sky" – 4:38 (Ellis, Hughes)

Japan Bonus Track
"Cosmic Spell" – 4:49 (Hughes, Travers)

Personnel
Glenn Hughes – Vocals, Bass
JJ Marsh – Guitars except tracks 4&11/ Backing Vocals on track 8
Gary Ferguson - Drums

Special Guests:

Pat Travers – guitar, vocals on track 4
Brett Ellis – guitar on track 11
Vince DiCola – Keyboards except tracks 4&9*
John Beasley - Keyboards on track 9
Bobby Kimball – Backing Vocals on tracks 2&5
Doug Bossi – background vocals on track 8
David K. Tedds – background vocals on track 4
Lol Tolhurst – background vocals on track 4
Cindy Tolhurst – background vocals on track 4

References

External links
 Building The Machine entry at glennhughes.com

2001 albums
Glenn Hughes albums
Funk rock albums by English artists

Building the Machine


The Battle of Schellenberg, also known as the Battle of Donauwörth, was fought on 2 July 1704 during the War of the Spanish Succession. The engagement was part of the Duke of Marlborough's campaign to save the Habsburg capital of Vienna from a threatened advance by King Louis XIV's Franco-Bavarian forces ranged in southern Germany. Marlborough had commenced his  march from Bedburg, near Cologne, on 19 May; within five weeks he had linked his forces with those of the Margrave of Baden, before continuing on to the river Danube. Once in southern Germany, the Allies' task was to induce Max Emanuel, the Elector of Bavaria, to abandon his allegiance to Louis XIV and rejoin the Grand Alliance; but to force the issue, the Allies first needed to secure a fortified bridgehead and magazine on the Danube, through which their supplies could cross to the south of the river into the heart of the Elector's lands. For this purpose, Marlborough selected the town of Donauwörth.

Once the Elector and his co-commander, Marshal Marsin, knew of the Allies' objective, they dispatched Count d'Arco with an advance force of 12,000 men from their main camp at Dillingen to strengthen and hold the Schellenberg heights above the town. Rejecting a protracted siege, Marlborough decided in favour of a quick assault, before the position could be made impregnable. After two failed attempts to storm the barricades, the Allied commanders, acting in unison, finally managed to overwhelm the defenders. It had taken just two hours to secure the bridgehead over the river in a hard-fought contest, but following the victory, momentum was lost to indecision. The deliberate devastation of the Elector's lands in Bavaria failed to bring Max Emanuel to battle or persuade him back into the Imperial fold. Only when Marshal Tallard arrived with reinforcements to strengthen the Elector's forces, and Prince Eugene of Savoy arrived from the Rhine to bolster the Allies, was the stage finally set for the decisive action at the Battle of Blenheim the following month.

Background

The Battle of Schellenberg was part of the Grand Alliance's campaign of 1704 to prevent the Franco-Bavarian army from threatening Vienna, the capital of Habsburg Austria. The campaign began in earnest on 19 May when the Duke of Marlborough began his 250-mile (400 km) march from Bedburg near Cologne towards the Elector of Bavaria and Marshal Marsin's Franco-Bavarian army on the Danube. Marlborough had initially deceived the French commanders, Marshal Villeroi in the Spanish Netherlands and Marshal Tallard along the Rhine, into thinking his target was Alsace or the Moselle, in the north. However, when the Elector was notified on 5 June of Marlborough's march from the Low Countries, he had correctly predicted that it was his principality of Bavaria that was the Allies' real target.

Holy Roman Emperor Leopold I was keen to lure the Elector back into the Imperial fold after he had switched allegiance to fight for King Louis XIV before the war. Given that duplicity, Marlborough thought the best way to secure Bavaria for the Alliance was to negotiate from a position of strength by invading the Elector's territories and hoped to persuade him to change sides before he could be reinforced. By 22 June, Marlborough's army had linked up with elements of the Margrave of Baden's Imperial forces at Launsheim; by the end of June, their combined strength totalled nearly 80,000 men (see map on right). The Franco-Bavarian army camped at Ulm wS numerically inferior to the Allies, and a large part of the Elector's troops was scattered about garrisons in his territories as far as Munich and the Tyrolese frontier, but his position was far from desperate. If he could hold out for a month, Tallard would arrive from the Rhine with French reinforcements.

Once the Allies had combined their forces, the Elector and Marsin moved their 40,000 troops into the entrenched camp between Dillingen and Lauingen on the north bank of the Danube. The Allied commanders, unwilling to attack such a strong position, which was rendered impregnable by redoubts and inundations, passed round Dillingen to the north through Balmershofen and Armerdingen in the direction of Donauwörth. If captured, the bridgehead at Donauwörth, which was overlooked by the Schellenberg, would offer new communications with the friendly states in central Germany by way of Nördlingen and Nuremberg and would provide a good crossing place over the Danube for resupply when the Allies were south of the river.

English forces
The English regiments engaged in the battle were (unless stated, 'regiments' contained only 1 battalion):

 King's Regiment of Carabiniers
 Royal Regiment of Scots Dragoons (Scottish)
 James Wynne's Regiment of Dragoons (Irish)
 Queen's Regiment of Horse
 Earl of Plymouth's Horse
 Duke of Shrewsbury's Regiment of Horse
 Lord Cavendish's Regiment of Horse
 Unknown Battalion from 1st Regiment of Foot Guards
 1st & 2nd Battalions, Earl of Dumbarton's Regiment of Foot (Scottish)
 Prince George of Denmark's Regiment of Foot
 Princess Anne of Denmark's Regiment of Foot
 Earl of Bath's Regiment of Foot
 Sir William Clifton's Regiment of Foot
 Archibald Douglas's Regiment of Foot
 Earl of Granard's Regiment of Foot (Irish)
 Earl of Mar's Regiment of Foot (Scottish)
 Lord Herbert's Regiment of Foot
 Sir Edward Dering's Regiment of Foot
 Earl of Angus's Regiment of Foot (Scottish)
 Thomas Meredith's Regiment of Foot (Irish)

Prelude

Schellenberg's defences
The Schellenberg heights dominate the skyline to the northeast of Donauwörth – the walled town on the confluence of the Wörnitz and Danube rivers. With one flank of the hill protected by dense, impenetrable trees of the Boschberg wood, and the river Wörnitz and marshes protecting its southern and western quarters, the Schellenberg heights offer a commanding position for any defender. However, its oval shaped summit was flat and open, and its 70-year-old defences, including an old fort built by the Swedish king Gustavus Adolphus during the Thirty Years' War, were neglected and in a dilapidated state. When the unexpected attack took place the bastions, the curtain, and the ditch were fairly complete along the long eastern face from the shore of the Danube to the wooded hilltop, but in the shorter section from the wood to the fort – the angle where Marlborough's attack was delivered – the earthwork had been more hastily made up of fascines of brushwood thinly covered with soil. The western section of the lines ran steeply downhill from the fort to the city walls. Here, there was little to show in terms of defences, but to compensate the line could be protected by a flanking fire from the town. (See 'Schellenberg' map below.)

In 1703 Marshal Villars had advised the Elector to fortify his towns, "... and above all the Schellenberg, that fort above Donauwörth, the importance of which the great Gustavus taught us." The Elector, whose relationship with Villars had since collapsed, had initially ignored the advice to repair the decaying defences, but once it was realised that Donauwörth was to be attacked, Count d'Arco, a Piedmontese officer, was despatched from the camp at Dillingen with orders to strengthen and hold the position. D'Arco was entrusted with 12,000 men, most of whom were drawn from Bavaria's best units including the Elector's Guards and the regiment of the Prince Electoral, led by veteran officers. In total, the garrison defending the Schellenberg consisted of 16 Bavarian and seven French infantry battalions, six squadrons of French and three squadrons of Bavarian dragoons, supported by 16 guns. In addition, Donauwörth was held by a French battalion and two battalions of Bavarian militia.

Initial manoeuvres

On the night of 1–2 July, the Allies were camped at Armerdingen,  from Donauwörth. It was here when Marlborough received an urgent message from Baron Moltenburg, Prince Eugene's Adjutant-General, that Marshal Tallard was marching with 35,000 troops through the Black Forest to reinforce the Franco-Bavarian army. This news convinced Marlborough that he did not have time for a protracted siege and, despite protestations from Baden – arguing that a direct assault would incur severe casualties – the Duke planned for an outright assault on the position.

At 03:00 on 2 July the Allied advance guard began to break camp for the march towards Donauwörth and the Schellenberg heights. Marlborough personally oversaw the advance of the initial assault force of 5,850 foot, drawn up in groups of approximately 130 men from each battalion under his command. The Dutch General Johan Wijnand van Goor would lead this vanguard. Behind these stormers came 12,000 Allied infantry in two echelons, each of eight battalions (English, Dutch, Hanoverian and Hessian) under Major General Henry Withers and Count Horn, supported by Henry Lumley's and Graf Reynard van Hompesch's 35 squadrons of British and Dutch cavalry and dragoons. Baden, whose wing of the army marched behind Marlborough's, would hold a brigade of Imperial grenadiers ready for action when the opportunity came as there was insufficient room in front of the Schellenberg for them to fully deploy. In all, the Allies were deploying 22,000 men in the operation.

Riding far ahead of the army Marlborough personally examined the enemy position, observing through his telescope preparations for a camp on the far side of the river in expectation of the arrival of the Elector's main force the following day. There was, therefore, no time to be lost. Although the Duke had 12 hours of light remaining in the day his men were still struggling in the mud, miles away behind the river Wörnitz, and they could not hope to launch the attack before about 18:00, leaving just two hours before nightfall. As the Allies marched, work on the defences of Donauwörth and the Schellenberg were proceeding in earnest. With the aid of French engineer officers d'Arco started to repair and strengthen the  of old entrenchments that connected the fort of Gustavus with the Danube on one side, and the town walls on the other. A French commander in Bavarian service and chronicler of the period, Colonel Jean Martin de la Colonie, later wrote – "The time left to us was too short to complete this satisfactorily."

The Allied cavalry began to appear at about 08:00,  or  away on d'Arco's left front to the north-west, followed by the infantry. By 10:00 Marlborough's Quartermaster-General, William Cadogan, began to mark out land for an encampment within sight of the Schellenberg – short of the Wörnitz – to give the impression they were intending a leisurely siege. Count d'Arco watched Cadogan's preparations and, falling for the deception, left the supervision of the still incomplete defences to lunch with the French commander of Donauwörth, Colonel DuBordet, safe in the belief that he had the rest of the day and night to finish the defences. However, the columns marched purposefully onwards, and by mid-afternoon they had crossed the river Wörnitz at Ebermorgen, intent on launching an immediate assault. The Allies were spotted by the Bavarian outposts who, after setting fire to Berg and surrounding hamlets, rushed off to sound the alarm. General d'Arco, rudely interrupted from his lunch, rushed up the Schellenberg and called his men to arms.

Battle

Marlborough's first assault

Although Marlborough knew a frontal attack on the Schellenberg would be costly, he was convinced that it was the only way of securing the speedy capture of the town: unless he captured the summit by nightfall, it would never be taken – the defences would be too strong, and the main Franco-Bavarian army, which was hastening from Dillingen towards Donauwörth, would arrive to defend the position. A female dragoon, Christian Welsh (she had disguised her true sex) remembered, "Our vanguard did not come into sight of the enemy entrenchments til the afternoon; however, not to give the Bavarians time to make themselves yet stronger, the duke ordered the Dutch General Goor ... to attack as soon as possible."

General d'Arco now ordered de la Colonie's French grenadiers into reserve on top of the Heights (above the breastworks manned by the Bavarians), ready to plug any gaps in their defences at the appropriate time. However, due to the flatness of the summit this position offered his men limited protection from the Allied guns. This exposure was noted by Colonel Blood who, sighting his artillery upon the summit, was able to inflict serious casualties upon de la Colonie's men. De la Colonie later recorded – "They concentrated their fire upon us, and with their first discharge carried off Count de la Bastide ... so that my coat was covered with brains and blood." Notwithstanding this barrage, and despite losing five officers and 80 grenadiers before firing a shot, de la Colonie insisted his French regiment stayed at their post, determined as he was to maintain discipline and ensure his troops would be in good order when called into action.

There was just enough time before nightfall to storm the position on its north side (mainly up the steepest part of the slope immediately north of Gustavus's fort), but not enough time to develop simultaneous attacks from other sides. The attack went in around 18:00, led by the advanced guard of the 'forlorn hope'. This force of 80 English grenadiers from the 1st English Foot Guards, led by Viscount Mordaunt and Colonel Richard Munden, was designed to draw the enemy fire and thus enable the Allied commanders to discern the defensive strong points. The main force followed closely behind. "The rapidity of their movements, together with their loud yells, were truly alarming", recalled la Colonie, who, in order to drown out the shouts and hurrahs, ordered his drummer to beat charge "so as to drown them with their noise, lest they should have a bad effect upon our people."

As the range closed the Allies became easy targets for the Franco-Bavarian musket- and grape-shot; the confusion exacerbated by fizzing hand-grenades thrown down the slope by the defenders. To aid their assault, each Allied soldier carried a bundle of fascines (earlier cut from the Boschberg wood), with which to bridge the ditches in front of the breastworks to speed their passage. However, the fascines were mistakenly thrown into a dry gully – formed by the recent summer rains – instead of the Bavarians' defensive trench about 45 m (50 yards) farther on. Nevertheless, the Allies continued to push forward, joining battle with the Bavarians in savage hand-to-hand fighting. Behind the defences the Elector's Guards and la Colonie's men bore the brunt of the attack so that, "The little parapet which separates the two forces became the scene of the bloodiest struggle that could be conceived."

Marlborough's second assault
The second assault proved no more successful. The red-coated English and the blue-coated Dutch advanced side by side in perfect order for a second attempt. Requiring from them another concerted effort their general officers personally led the men from the front into a second torrent of musket-shot and grenades. Again the Allies left many dead and wounded at the enemy palisade including Marshal Count von Limburg Styrum who had led the second assault. With broken ranks, and in confusion, the attacking troops fell once more back down the hill. With the Allies repulsed for a second time the exultant Bavarian grenadiers, with bayonets fixed, poured over their breastworks to pursue the attackers and drive them to defeat. But English guardsmen, aided by Lumley's dismounted cavalrymen, prevented a total rout, compelling the Bavarians back behind their defences.

Baden's assault

At this moment, having failed twice to make a breakthrough, Marlborough received intelligence that the defences linking the town walls with the breastwork on the hill were now sparsely manned (Marlborough's unsuccessful attacks had drawn d'Arco's men away from other parts of the stronghold, leaving his left flank almost defenceless and highly vulnerable). The other Allied commander, the Margrave of Baden (who had entered the battle half an hour after Marlborough), also noticed this opportunity and was soon hurrying with his grenadiers from the hamlet of Berg, and across the Kaibach stream to assault the position.

Critically, Donauwörth's garrison commander had withdrawn his men inside the town, locked the gates, and could now only offer scattered shots from its walls. Baden's Imperial troops (now supported by eight of Marlborough's reserve battalions), easily breached these weakened defences, defeated the two battalions of infantry and a handful of cavalry still defending the area, and were able to form up at the foot of the Schellenberg, interposing themselves between d'Arco and the town. Noticing the danger d'Arco hurried to the rear to summon his dismounted French dragoons (held back in the lee of the hill) in an attempt to stem the advancing Imperialists marching up the glacis. However, three companies of Baden's grenadiers confronted them with concentrated volleys, forcing the cavalry to retire. This action subsequently left d'Arco out of position and out of contact with his main force fiercely resisting on the crest of the hill. The Franco-Bavarian commander headed for the town and, according to de la Colonie – "... had some difficulty in entering owing to the hesitation of the commandant to open the gates."

Breakthrough
Aware that Imperial troops had breached the Schellenberg's defences Marlborough launched a third assault. This time the attackers formed a broader front, requiring d'Arco's men to spread their fire, thus reducing the deadly effectiveness of their musketry and grenades. But the defenders, including la Colonie, (unaware that the Imperialists had penetrated their left flank, and that d'Arco had retreated to Donauwörth), were still confident in their ability to repel the enemy – "We remained steady at our post; our fire was regular as ever, and kept our opponents in check." It was not long, however, before the Franco-Bavarian forces fighting on the hill became conscious of Baden's infantry approaching from the direction of the town. Many of the officers, including de la Colonie, initially thought that the advancing troops were reinforcements from DuBordet's garrison in Donauwörth, but it soon became apparent that they were in fact Baden's troops. "They [Baden's Imperial grenadiers] arrived within gunshot of our flank about 7:30 in the evening, without our being aware of the possibility of such a thing." Wrote de la Colonie. "So occupied were we in defence of our own particular post ..." After establishing themselves at the summit of the Heights on the Allied right, Baden's men now fired upon the surprised defenders of the Schellenberg, compelling them to re-align in order to meet this unexpected threat. Consequently, Marlborough's assaulting troops on the Allied left, supported by a fresh echelon of dismounted English dragoons, were able to scramble over the now weakly defended breastwork and push the defenders back to the crown of the hill. The enemy at last fell into confusion.

The outnumbered defenders of the Schellenberg had resisted the Allied assaults for two hours, but now under pressure from both Baden's and Marlborough's forces, their stalwart defence was over. As panic spread through the Franco-Bavarian army, Marlborough unleashed 35 squadrons of cavalry and dragoons to pursue the fleeing troops, ruthlessly cutting down the enemy soldiers to the shouts of "Kill, kill and destroy!" There was no easy escape route. A pontoon bridge over the Danube had collapsed under their weight, and many of d'Arco's troops, most of whom could not swim, drowned trying to cross the fast-flowing river. Many others who had been cut off on the northern shore of the Danube ran for their lives amongst the reed-beds, vainly endeavouring to avoid the Allied sabres. Others headed for the village of Zirgesheim, straining to escape to the wooded hills beyond. Only to the west could Marlborough detect a few Franco-Bavarian battalions crossing the Danube by Donauwörth's bridge in tolerable order, before darkness descended over the battlefield.

Aftermath
De la Colonie was one of the few to escape, but the Elector of Bavaria had lost many of his best troops which was to have a profound effect on the ability of the Franco-Bavarian forces to face the Allies in the rest of the campaign. Very few of the men who had defended the Schellenberg rejoined the Elector's and Marsin's army. Included amongst this number, however, were the Comte d'Arco and his second-in-command, the Marquis de Maffei, both of whom later defended Lutzingen at the Battle of Blenheim. Of the 22,000 Allied troops engaged, over 5,000 had become casualties, overwhelming the hospitals that Marlborough had set up in Nördlingen. Amongst the Allied fatalities were six lieutenant-generals, four major-generals, and 28 brigadiers, colonels and lieutenant-colonels, reflecting the exposed positions of senior officers as they led their men forward in the assaults. No other action in the War of the Spanish Succession claimed so many lives of senior officers.

The victory produced the usual spoils of war. As well as capturing all the guns on the Schellenberg the Allies captured all the regimental colours (apart from de la Colonie's Grenadiers Rouge Régiment), their ammunition, baggage and other rich booty. But the large casualty figures caused some consternation throughout the Grand Alliance. Although the Dutch cast a victory medal showing Baden on the obverse and a Latin inscription on the other side, there was no mention of the Duke of Marlborough. The Emperor, though, wrote personally to the Duke: "Nothing can be more glorious than the celerity and vigour with which ... you forced the camp of the enemy at Donauwörth".

Devastation of Bavaria

Marlborough had won his bridgehead over the Danube, and had put himself between the French and Vienna; yet the battle was followed by a curious, dragging anti-climax. The Duke was determined to lure the Elector into battle before Tallard arrived with reinforcements, but since the battle on the Schellenberg neither Allied commander could agree on their next move, resulting in a protracted siege of Rain. Due to the initial lack of heavy guns and ammunition (promised by the Empire but not delivered on time) the town did not fall until 16 July. Nevertheless, Marlborough promptly occupied Neuburg which, together with Donauwörth and Rain, provided the Allies with enough fortified bridges across the Danube and Lech rivers to manoeuvre with ease.

The Allied commanders now marched to Friedberg, watching their enemy across the river Lech in Augsburg, at the same time preventing them from entering Bavaria or drawing from it any supplies. But the transfer of Bavaria from the party of the Two Crowns to the Grand Alliance was the prime concern to the Allies. As the Elector sat behind his defences at Augsburg Marlborough sent his troops deep into Bavaria on raids of destruction, burning buildings and destroying crops, trying to lure the Bavarian commander into battle or convince him to change his allegiance back to Emperor Leopold I. The Emperor had offered a full pardon, as well as subsidies and restoration of all his territories, with additional lands of Pfalz-Neuburg and Burgau if he returned to the Imperial fold, but negotiations between the parties were making little headway.

The spoliation of Bavaria led to entreaties from the Elector's wife, Theresa Kunegunda Sobieska, for him to divest himself of the French alliance. Although the Elector wavered somewhat in his allegiance to Louis XIV, his resolve to continue fighting against Leopold I and the Grand Alliance was stiffened when news arrived that Tallard's reinforcements – some 35,000 men – would soon be in Bavaria. Marlborough now intensified the policy of devastating the Elector's territory. On 16 July the Duke wrote to his friend Heinsius, the Grand Pensionary of Holland, "We are advancing into the heart of Bavaria to destroy the country and oblige the Elector one way or the other to a compliance". The policy compelled the Elector to send 8,000 troops from Augsburg to defend his own property, reserving only a fraction of his army to join the French under Marsin and Tallard. But although Marlborough thought it a necessary strategy to secure success, it was of doubtful morality. The Duke himself confessed his reservations to his wife, Sarah, "This is so uneasy to my nature that nothing but an absolute necessity would have obliged me to consent to it. For these poor people suffer only for their master's ambition." Accounts differ as to the actual amounts of damage done. De La Colonie thought that reports of the devastation were perhaps exaggerated for propaganda purposes; yet Christian Davies serving with Hay's Dragoons wrote, "The allies sent parties on every hand to ravage the country ... We spared nothing, killing, burning or otherwise destroying whatever we could not carry off." To Historian David Chandler, Marlborough must bear the full responsibility for the destruction, for although he undoubtedly found it hard to stomach it was taken under Baden's, and the Emperor's protests.

There are accounts of the 1704 plundering which have been recorded in various churches of Upper Bavaria, such as in Aichach, Erdweg, Petershausen, Indersdorf and around Dachau. The villages of Viehbach and Bachenhausen (near Fahrenzhausen, ca. 30 km north of Munich) also recorded the plundering and fires. When their homes were spared destruction, they swore a vow to forever hold a Mass every year on St. Florian's Day (May 4) to remember their deliverance. The proclamation can still be seen in the old village church in Viehbach.

The failure of the Empire to provide an effective siege train had, up to this point, robbed the Allies of victory – neither Munich nor Ulm could be taken, and the Elector had neither been defeated nor compelled to change allegiance. Prince Eugene had become increasingly worried that no decisive action had followed the victory on the Schellenberg, writing to the Duke of Savoy, "... I cannot admire their performances. They have been counting on the Elector coming to terms ... they have amused themselves with ... burning a few villages instead of ... marching straight upon the enemy." Tallard arrived in Augsburg with French reinforcements on 5 August. Eugene, shadowing Tallard, was also heading south with 18,000 men, but he had been forced to leave behind 12,000 troops guarding the Lines of Stollhofen with which to prevent Villeroi bringing further French reinforcements to the Danube. Moreover, the Elector had at last sent orders to the large Bavarian contingents on the Tyrolese border to rejoin the main army. For the Allies, therefore, time was short: they must defeat the French and their allies at once, or all south Germany would be lost.

On 7 August the three Allied commanders – Marlborough, Baden and Eugene – met to decide their strategy. To give themselves another major crossing over the Danube a plan by Baden to besiege the city of Ingolstadt with a force of 15,000 men was agreed to, despite leaving the Allied army numerically inferior.

Cultural references

Notes
Explanatory notes

Citations

References

Primary
 La Colonie, Jean Martin de (1904). The Chronicles of an Old Campaigner (trans. W. C. Horsley).

Secondary

 Falkner, James (2004). Blenheim 1704: Marlborough's Greatest Victory. Pen & Sword Books Ltd. .
 Holmes, Richard (2008). Marlborough: England's Fragile Genius. HarperCollins. .
 Lynn, John A (1999). The Wars of Louis XIV, 1667–1714. Longman. .
 McKay, Derek (1997). Prince Eugene of Savoy. Thames and Hudson Ltd. .
 Spencer, Charles (2005). Blenheim: Battle for Europe. Phoenix. .
 Trevelyan, G. M. (1948). England Under Queen Anne: Blenheim. Longmans, Green and co. .

1704 in Europe
Battles involving Bavaria
Battles involving England
Battles involving France
Battles involving the Dutch Republic
Battles of the War of the Spanish Succession
Battle of Schellenberg
1704 in the Holy Roman Empire
Battles in Bavaria

Battle of Schellenberg


Beit El Kabbalist yeshiva (Beit El means "House of God") (also: Midrash Hasidim 'School of the Devout' or Yeshivat haMekubalim, 'Yeshiva of the Kabbalists') is a center of kabbalistic study in Jerusalem. Today it consists of two buildings, one in the Ruhama neighbourhood of West Jerusalem, built in 1948, and another in Old City's Jewish Quarter, built in 1974.

History

The yeshiva was founded in 1737 by Rabbi Gedaliah Hayon, originally from Constantinople, for the study of kabbalah in the Holy City. In the 1740s, a gifted young man named Shalom Mizrachi Sharabi arrived in Jerusalem from Yemen. He studied at Beit El and over time became an outstanding scholar and kabbalist. At the behest of Rabbi Hayon, he was appointed head of the yeshiva.

Under Sharabi's leadership the yeshiva grew and became one of the main yeshivas in Jerusalem with 40 scholars from the Sephardic and Ashkenazi communities. Rabbi Hayon had organized the life of the yeshiva around prayer services, which through mystical communion with God would bring the scholars closer to understanding the secret teachings of Kabbalah. Rabbi Sharabi initiated regulations, orders and kavanot ("intentions") of the daily prayers according to the Nahar Shalom prayer book (Salonika, 1806/5566) which he authored, continuing the teachings of the  Arizal and following its cosmological approach while incorporating kabbalistic symbolism, entreaties and thoughts/meditations. Known today as the Siddur haRashash, it remained, together with the Etz `Haim of Rabbi `Haim Vital, the focus of  kabbalistic studies in the yeshiva.

The scholars were divided into four groups. The first awoke at midnight to say Tikkun Hatzot and learn the Kabbalah of the Arizal until dawn. The second delved into the works of the Arizal from after shacharit (morning prayers) until midday. The third group learnt the Mishna with Rabbi Ovadia mi'Bartenura's commentary from midday till nightfall. After ma'ariv (evening prayers) the fourth set of scholars would arrive and learn the Talmud and the Shulchan Aruch.

As the yeshiva's reputation spread it attracted prominent rabbis, among them were Chaim Joseph David Azulai, Avraham Gershon of Kitov, Menachem Mendel of Shklov and Yom Tov Algazi.

In 1757, Rabbi Sharabi chose twelve select disciples who were to form a special group called Ahavat Shalom (love of peace). They signed a pledge of eternal friendship which hung on the door of the Holy Ark in the yeshiva. Part of the document reads: "..all twelve of us shall be as one glorious soul…that if God forbid one of us encounters misfortune, we will all assist him.."  One of the stipulations was that if a son was born to one of the group, three members would go to learn Torah by the newborn's side every night until its circumcision to act as a safeguard for the child. On the night before the brit milah the whole group was instructed to visit and study there.

The yeshiva premises remained in the hands of the leading kabbalists of each generation who inherited the apartment on the top floor.

In the late 1800s, the writings of Dr Eliezer Levy, who escorted Sir Moses Montefiore around Jerusalem, describe of how they visited the place where "they pray all year round according to the mystical meanings of the Arizal from midnight till the afternoon, and from then till the evening they study Talmud and Zohar." The authoritative Sefer Etz `Haim of Rabbi `Haim Vital was for the first time printed under the auspices of the yeshiva around 1866. Distinguished scholars of Kabbalah continued to emigrate to Jerusalem in order to study in the yeshiva. Among the outstanding luminaries, Rabbi Hayim Shaul Dweck HaKohen, Rabbi Shaul Kassin (the father of the famed leader of Syrian Jewry, Rabbi Yaakov Kassin), and Rabbi Avraham Ades (the master of the Baba Sali) were drawn there from Syria in order to dedicate themselves to spiritual growth.

New building (1928)
The July 1927 Jericho earthquake damaged the building and the British Municipality ordered the building be demolished. No sooner had the order been received, plans got underway to rebuild and eight months later in March 1928 the new extended premises were completed.

In the 1930s when the illustrious Chazon Ish was on his way to the Western Wall, he made a point of stopping by the yeshiva to study there, stating "I have great merit to see the place where such great and holy people learnt and prayed".

During the 1947–1949 Palestine war the contents of the building were looted and the building was desecrated.

New City (1948) and Old City (1974)

The son of Rabbi Shalom Hedaya (who was head of Bet El from 1927 to 1945, following the leadership of Rabbi Yedidya Rafael Aboulafia and Rabbi Massoud Alhadad), Rabbi Ovadia Hedaya, set to work on schemes to revive the study of Kabbalah in the spirit of Bet El. Rabbi Ovadia Hedaya did so on the roof of his house on Rashi street before taking on the task in 1958 of rebuilding the yeshiva in the new section of the city on the very street where he lived.

In 1974, six years after the liberation of the Jewish Quarter, on the very site of the former Beit El yeshiva in the Old City, the Beit El Yeshiva was re-established (at first under the cryptic name Rishpei Esh, as understood from the Shir haShirim) under the aegis of Rabbi Meir Yehuda Guez, a noted kabbalist, who until his death was the official rabbi of the Western Wall area. The Rashi Street yeshiva remains in existence.

On 13 September 1995, a ceremony took place celebrating the completion of refurbishment to the yeshiva in the Old City, at this time also renamed Yeshivat HaMekubalim Beit El. Upon Rabbi Guez's death, his foremost student (talmid muvhaq) was chosen as Rosh Yeshiva of the Old City site.

One of the most famous alumni of the yeshiva was Rabbi Yitzchak Kaduri, who died in January 2006. The Rosh Yeshiva Rabbi Shalom Mordekhai Haim Hedaya died in March 2010. Rabbi Raphael Hedaya was appointed as caretaker Rosh Yeshiva of Beit El at the Rashi Street yeshiva until the year of mourning was passed.

The current Rosh Yeshiva of Beit El in the Old City is Rabbi Yisrael Avi`hai.

See also
Shaar Hashamayim Yeshiva

References

Synagogues in Jerusalem
Orthodox yeshivas in Jerusalem
Sephardic yeshivas
Educational institutions established in 1737
Kabbalah
1737 establishments in the Ottoman Empire
Jewish Quarter (Jerusalem)

Beit El Kabbalist yeshiva


The United Kingdom uses Greenwich Mean Time or Western European Time (UTC) and British Summer Time or Western European Summer Time (UTC+01:00).

History
Until the advent of the railways, the United Kingdom used local mean time. Greenwich Mean Time was adopted first by the Great Western Railway in 1840 and a few others followed suit in the following years. In 1847 it was adopted by the Railway Clearing House, and by almost all railway companies by the following year. It was from this initiative that the term "railway time" was derived.

It was gradually adopted for other purposes, but the legal case of Curtis v March in 1858 held "local mean time" to be the official time. On 14 May 1880, a letter signed by 'Clerk to Justices' appeared in The Times, stating that 'Greenwich time is now kept almost throughout England, but it appears that Greenwich time is not legal time. This was changed later in 1880, when Greenwich Mean Time was legally adopted throughout the island of Great Britain under the Statutes (Definition of Time) Act 1880 (43 & 44 Vict. c. 9). GMT was adopted on the Isle of Man on 30 March 1883, Jersey in 1898, and Guernsey in 1913. Ireland adopted GMT in 1916, supplanting Dublin Mean Time.

Daylight saving time was introduced by the Summer Time Act 1916 (6 & 7 Geo. 5. c. 14), which was implemented in 1916 as GMT plus one hour and Dublin Mean Time plus one hour. The length of DST could be extended by Order in Council, and was extended for the duration of World War I. For 1916, DST extended from 21 May to 1 October, with transitions at 02:00 standard time. On 1 October 1916, Greenwich Mean Time was introduced to Ireland.

At the beginning of the 20th century, Sandringham Time (UTC+00:30) was used by the royal household. This practice was abolished by King Edward VIII in an effort to reduce confusions over time.

In the summers of 1941 to 1945, during the Second World War, Britain was two hours ahead of GMT and operating on British Double Summer Time (BDST). To bring this about, the clocks were not put back by an hour at the end of summer in 1940 (BST having started early, on 25 February 1940). In subsequent years, clocks continued to be advanced by one hour each spring (to BDST) and put back by an hour each autumn (to BST). On 15 July 1945, the clocks were put back by an hour, so BDST reverted to BST; the clocks were put back by an additional hour on 7 October 1945, so BST reverted to GMT for the winter of 1945.

The United Kingdom experimentally adopted Central European Time by maintaining Summer Time throughout the year from 1968 to 1971. In a House of Lords debate, Richard Butler, 17th Viscount Mountgarret said that the change was welcomed at the time, but the experiment was eventually halted after a debate in 1971, in which the outcome might have been influenced by a major accident on the morning of the debate. Proposals to adopt CET have been raised by various politicians over the years, including a proposal in 2011 to conduct an analysis of the costs and benefits.

The dates of British Summer Time are the subject of the Summer Time Act 1972. From 1972 to 1980, the day following the third Saturday in March was the start of British Summer Time (unless that day was Easter Sunday, in which case BST began a week earlier), with the day following the fourth Saturday in October being the end of British Summer Time. From 1981 to 2001, the dates were set in line with various European Directives. Since 2002 the Act has specified the last Sunday in March as the start of British Summer Time with the last Sunday in October being end of British Summer Time.

Since 1998 the start and end date are the same in both the United Kingdom and the European Union.

Future

A proposal to repeal European Directive 2000/84/EC and require that member states observe their own choice of time year-round was initiated in September 2018. The United Kingdom left the EU before this reform became effective; the UK is subsequently free to make its own arrangements. , the UK Government had "no plans" to end daylight saving.

In July 2019, the House of Lords EU Internal Market Sub-Committee launched a new inquiry into the implications for the UK of the European changes, to "explore what preparations the Government needs to make and what factors should inform the UK's response."

Decentralisation
Authority over the time zone in Northern Ireland can be legislated by the Northern Ireland Assembly but the power has never been used, as the Republic has followed the UK.  In Scotland and Wales, time zone is a reserved matter, meaning that only the Parliament of the United Kingdom has power to legislate.

IANA time zone database
The IANA time zone database contains one zone for the United Kingdom in the file zone.tab, named Europe/London.
This refers to the area having the ISO 3166-1 alpha-2 country code "GB". The zone names Europe/Guernsey, Europe/Isle_of_Man and Europe/Jersey exist because they have their own ISO 3166-1 alpha-2 but the zone.tab entries are links to Europe/London. There are several entries for UK possessions around the world.

Data directly from zone.tab of the IANA time zone database. Columns marked with * are the columns from zone.tab itself.

British territories

See also
Lists of time zones
Summer time in Europe

References

External links
Archive of Summer time dates from the National Physical Laboratory
1880 Definition of time act.

Time in the United Kingdom


The Rebellion of Cao Qin () was a day-long uprising in the Ming dynasty capital of Beijing on August7, 1461, staged by Chinese general Cao Qin (; died 1461) and his Ming troops of Mongol and Han descent against the Tianshun Emperor (1457–1464). Cao and his officers launched the insurrection out of fear of being persecuted by Tianshun. Tianshun had just gained back the throne from his half-brother the Jingtai Emperor, who rose to power during the 1449 Tumu Crisis.

The rebellion was a failure: three of Cao's brothers were killed during the ensuing battle, and Cao Qin was forced to commit suicide during a last stand against imperial troops storming his Beijing residential compound. The rebellion marked the high point in political tension over allowing Mongols to be employed in the Ming military command structure. Ming Chinese officials often made recompense with Mongol subordinates for military merits while at the same time strategically relocating their troops and families away from the capital.

Background

The Mongols ruled over the Chinese Yuan dynasty from the 13th century to 1368. The Ming then overthrew Yuan rule and unified much of China except the far north and northwest, which were still under Mongol Northern Yuan rule. Many Mongols still lived within the Ming dynasty, where they lived as Ming citizens alongside Han and Jurchen peoples.

During the Ming dynasty (1368–1644), the Mongols enrolled in military service were either originally prisoners of war or they were those who voluntarily submitted to the Ming and settled in China. Others fled their homeland on the northern steppe due to natural disasters such as droughts, seeking refuge in China where Mongol families found lodging and hospitality. Some Mongols became distinguished military officers, were granted noble ranks, and on rarer occasions became ministers in the state bureaucracy. Mongols of noble lineage socialized with Chinese literati of the two capitals (Nanjing and Beijing) while they also had their sons educated in the Chinese classic texts.

Nonetheless, due to the Ming's rivalry with the Mongol-led North Yuan and Moghulistan empires (two other successor states of the Mongol Empire), Mongols were sometimes held in suspicion by Ming authorities. Mongols of lower social stature were often accused by officials of being prone to violence, banditry, begging, and even prostitution. Ming officials used the excuse of military campaigns to relocate and scatter Mongol troops and families throughout China so that they would not be concentrated in North China (which neighbored the Mongol-led Northern Yuan). Wu Tingyun argues that there was a noticeable shift in Ming court policies after the 1449 Tumu Crisis in dealing with the Mongols; he stated that beforehand the Ming court actively encouraged Mongol immigration, and afterwards merely managed those who had already sided with the Ming.

On July 20, 1461, after Mongols had staged raids into Ming territory along the northern tracts of the Yellow River, the Minister of War Ma Ang (馬昂; 1399–1476) and General Sun Tang (孫鏜; died 1471) were appointed to lead a force of 15,000 troops to bolster the defenses of Shaanxi. Historian David M. Robinson states that "these developments must also have fed suspicion about Mongols living in North China, which in turn exacerbated Mongol feelings of insecurity. However, no direct link can be found between the decision by the Ming Mongols in Beijing to join the [1461] coup and activities of steppe Mongols in the northwest."

Day before the coup
On August 6, 1461, the Tianshun Emperor issued an edict telling his nobles and generals to be loyal to the throne. This was a veiled threat to Cao Qin, who had murdered his associate in the Imperial Guard to cover up crimes of illegal smuggling. This associate had acted as Cao's private commercial agent, but when this man had failed to keep affairs secret, Cao had the soldier's wife tell authorities that her husband had fled and gone mad. Lu Gao (逯杲; died 1461), head officer of the Imperial Guard, had arrested the missing soldier with approval of the Emperor. Cao then had his associate beaten to death before authorities could reach him.

General Shi Heng (石亨; died 1459), who aided Tianshun's succession, starved to death in prison after a similar warning from an imperial edict. His son Shi Biao (石彪) was executed in 1460. Cao Qin was to take no chances in allowing himself to be ruined in similar fashion. Cao's Mongol troops were veterans who had fought in several campaigns under the eunuch Cao Jixiang (曹吉祥)—Cao Qin's adoptive father—in the 1440s. The loyalty of Cao's Mongol-officer clients was secure due to circumstances of thousands of military officers who had to accept demotions in 1457 because of earlier promotions in aiding Jingtai's succession. Robinson states that "Mongol officers no doubt expected that if Cao fell from power, they would soon follow."

Cao either planned to kill Ma Ang and Sun Tang as they were to depart the capital with 15,000 troops to Shaanxi on the morning of August 7, or he simply planned to take advantage of their leave. The conspirators are said to have planned to place their heir apparent on the throne and demote Tianshun's position to "grand senior emperor", the title delegated to him during the years of his house arrest from 1450 to 1457, under Jingtai's rule.

Lu Gao's murder

While Cao held a banquet for his Mongol officers on the night of August 6, two of his Mongol officers slipped away from the festivity and leaked Cao's plot to the high-level Mongol commanders Wu Jin () and Wu Cong () around 1:00 to 3:00 AM on August 7. Wu Jin alerted General Sun Tang about the plot, and soon after Sun alerted the emperor with a message slipped through the Western Chang'an Gate. Upon receiving this warning, the Emperor arrested the eunuch conspirator Cao Jixiang and had all nine gates of Beijing and all four gates of the Forbidden City blockaded. Meanwhile, Cao Qin began to suspect that the plot was leaked, and so moved with his troops around 5:00 to 7:00 AM on August 7 to inspect the gates of the Imperial City; when the Dongan Gate (the eastern entrance) failed to open, his suspicions were confirmed.

While his forces searched for Ma Ang and Sun Tang, Cao visited the home of Lu Gao, head of the Imperial Guard who led the efforts to investigate Cao Jixiang and Cao Qin, and killed Lu in his own home (decapitating and dismembering him). After killing Lu Gao, Cao Qin found and detained the Grand Secretary Li Xian (; 1408–1467), showing him the severed head of Lu Gao and explaining that Lu had driven him to rebellion. Li Xian agreed to draft a memorial to the throne explaining that Cao Qin wished the emperor no harm, that his vengeance against Lu Gao was finished, and asked for an imperial pardon. Cao's men had also detained the Minister of Personnel, Wang Ao (; 1384–1467), and using writing materials from his office Li and Wang composed the memorial. Wang and Li slipped the message through the door panels of the gate to the Imperial City, but the gates remained tightly shut, so Cao Qin began calling for the death of Li Xian. Wang Ao and Wan Qi (万祺; died 1484), a director of the Ministry of Personnel, dissuaded Cao Qin from killing Li, noting Li had written the funerary inscription for Cao's adopted father Jixiang.

Failed coup and inner city battle

After Li's message was unable to get through, Cao began the assault on Dongan Gate, East Chang'an Gate, and West Chang'an Gate, setting fire to the western and eastern gates; these fires were extinguished later in the day by pouring rain. Defending these gates were 5,610 imperial bodyguards, who were generously rewarded after the conflict for their merit in maintaining a strong defense. Ming troops poured into the area outside the Imperial City to counterattack; Li Xian and Wang Ao were able to flee, but Wu Jin and the head of the Censorate, Kou Shen (; 1391–1461), were killed by Cao's soldiers. Kou had earlier denounced Cao as a criminal and was an associate of Lu Gao; when Cao's soldiers found Kou in a waiting room outside Chang'an Gate, he cursed at them before they cut him down.

General Sun Tang led the charge against Cao Qin right outside Donghua Gate, while Ma Ang approached Cao Qin's forces from the rear in a flank. Cao was forced to withdraw and set up temporary camp at Dongan Gate. By midday, Sun Tang's forces had killed two of Cao Qin's brothers (Sun Tang personally shot the second brother, who had been leading cavalry charges against imperial troops, with an arrow). Sun's forces had also severely wounded Cao Qin in both his arms; his forces took up position in the Great Eastern Market and Lantern Market northeast of Dongan Gate, while Sun deployed artillery units against the rebels. Cao lost his third brother, Cao Duo (), while attempting to flee out of Beijing by the Chaoyang Gate. Cao made another dash for the northeastern gates of the capital (Anding Gate and Dongzhi Gate), and then back to Chaoyang Gate, all of which remained closed. Finally, Cao fled with his remaining forces to fortify his residential compound in Beijing. Ming troops under Sun Tang and the newly arrived Marquis of Huichang, Sun Jizong (), stormed the residence. To avoid arrest and execution, Cao Qin committed suicide by throwing himself down a well. Imperial troops recovered his body and then decapitated it.

Aftermath

As promised by Grand Secretary Li Xian before the final assault on the Cao residence, imperial troops were allowed to confiscate for themselves what they could find from Cao Qin's property. Li had also given another incentive that any imperial soldier who captured a rebel would be rewarded with the same title and office their captive had. Those found to be followers of Cao Qin were soon after executed, including members of the Imperial Guard and the Yuzhou Guard on August 22, 1461. On August 8, Cao Jixiang was publicly dismembered, a sentence and execution which ministers of state were made aware of by the Tianshun Emperor once he held an audience at the Median Gate. The dismembered corpses of Cao Qin and his brothers were left outside and exposed to the elements. Cao's father-in-law was spared from punishment since it was known that he had refused to communicate with Cao Qin during the latter's rise to power as a career general.

The Tianshun Emperor spared some of the culprits the sentence of death by commuting their sentence to imprisonment instead; this included Vice Commissioner-in-chief Esen Temür, who lowered himself down the city walls of Beijing and was later found in a farmer's melon patch as far as Tongzhou District. Others were exiled to Lingnan to "suffer the inhospitable tropical climate for the remainder of their lives," according to Robinson. Li Xian also pressured the Emperor to pardon and exonerate "those who had been forced to join" Cao's rebellion.

Rewards were given to those who captured the escapees of the plot, including Chen Kui, Grand Defender of Tianjin, who was promoted. On August 9, the Mongol officer Wu Cong was put in charge of the Chief Military Commission of the Left; in September, twenty taels of silver and two-hundred piculs of grain were added to his stipend. Ma Ang was made the Junior Guardian of the Heir Apparent in September. Plaques were made to commemorate the dead who fought against Cao Qin.

Besides the handling of punishments and rewards, the court made other efforts to reestablish order in the capital region. Nonessential taxes were suspended. Nobles of the imperial clan patrolled the gates of the imperial city while rebels were still at large. Some residents in Beijing abused the order that they alert authorities of remaining culprits of the coup in order to label personal enemies as "rebels" to take their property. To discourage this, the emperor had several dozen of these looters beaten and paraded through the streets as criminals. In an edict of August 9, the Emperor reassured loyal Mongol officers of Baoding that Mongol participation in Cao's rebellion did not mean persecution for them. In October, Mi Duo-duo-lai, commander of Baoding and veteran Mongol officer who fought against Esen Tayisi's 1449 invasion, was ordered to stay put in Baoding, a gesture by the emperor that there was no need to worry about loss of authority.

Three weeks after Cao Qin's failed uprising, the Mongol leader Bolai, who had been staging raids into northern China, sent an embassy into China to request formal tribute relations and to serve as a vassal to the Ming. News of this rebellion reached the Joseon court of Korea by September 9, while the Korean official in charge of the report perhaps embellished the level of gore and violence by stating that tens of thousands had died and the three days of pouring rain following the rebellion flooded even the Forbidden City with streams of blood and rain. A native rebellion would not threaten the capital city again until the fall of Beijing to the army of Li Zicheng in 1644, marking the end of the dynasty and, shortly after, the beginning of Manchu conquest. Until the conquest of the Manchu Qing dynasty, Chinese officials continued to show a large degree of apprehension over Mongols in military service to the Ming, and still favored relocation schemes. However, Cao's rebellion marked the last event when Ming Mongols were of great importance to court affairs; although many Mongol officers retained hereditary titles of noble lineage, the nobility within the military command structure declined as a whole while men from more humble origins eventually displaced them.

Historiography

Pre-modern sources
The general Chinese history texts on the Ming Dynasty, including the Mingdai Shi and the Mingshi, briefly mention Cao Qin's failed coup of 1461. Cao Qin's coup and the events leading up to it were covered in Gao Dai's Hong you lu of 1573, Jiao Hong's Guochao Xianzheng lu of 1594–1616, the Huang Ming shi gai of 1632 and the Mingshi jishi benmo of 1658. Li Xian also wrote about Cao Jixiang's career in his "Cao Jixiang zhi bian", included in the Huang Ming mingchen jingji lu that was edited by Huang Xun in 1551.

Modern sources
The historian Meng Sen (孟森; 1868–1938), who compiled, edited, and commented on texts dealing with the Ming and Qing eras, stressed that Tianshun was an incompetent ruler for having allowed Shi Heng and Cao Jixiang to develop into formidable threats to central rule. Henry Serruys, whom Robinson calls "the most authoritative writer on the Ming Mongols", did not mention this rebellion in any of his written works. Historians Tang Gang and Nan Bingwen remark in their 1985 publication of the Mingshi that the 1461 coup weakened the power of Ming rule. The historian David M. Robinson devoted the article Politics, Force and Ethnicity in Ming China to the subject of Cao Qin's rebellion and the Ming Mongols.  The historian Okuyama Norio wrote an essay in 1977 arguing that Cao Qin's coup of 1461 should be understood as a single event in the wider context of continuous power struggles between civil officials and military officers during Tianshun's reign.

See also
History of Beijing
History of the Ming dynasty
Ming dynasty military conquests

Notes

References

Rebellions in the Ming dynasty
1461 in Asia
15th century in China
Cao
Conflicts in 1461
15th-century rebellions

Rebellion of Cao Qin


Tales from the QuadeaD Zone (also stylized TALES From The QuadeaD Zone) is a 1987 American anthology blaxploitation horror film written, directed, and produced by Chester Novell Turner. The film was originally released straight to VHS. VHS copies of the film have become collector's items due to the difficulty of locating them and the extremely limited quantities produced, with one copy selling for $2000 on eBay.

Turner has expressed interest in creating a sequel and began writing the film's script in 2013. Tales from the QuadeaD Zone was the only film produced by Erry Vision Film Co.

Since its release Tales From the QuadeaD Zone has received several public screenings, one of which was a 2016 symposium at the Yale University Library, Terror on Tape.

It was given a DVD release in 2013 through Massacre Video.

Synopsis
The film is composed of two stories (plus a third wraparound story): "Food For ?" and "The Brothers", both of which are narrated by a mother (Shirley L. Jones) reading the tales to her deceased son Bobby. "Food For ?" centers upon a family that is so poor that they are unable to afford food for every family member. Their only solution is to get rid of some of their family in order to increase the amount of dinner for everyone else. "The Brother" follows two brothers who have hated each other their entire lives and have each made cruel jokes and attacks against the other. When one of them dies, the living brother tries to have the last laugh by stealing his brother's corpse and making him look like a circus clown. Little does he know that his brother's spirit has returned to his body, unhappy with his brother's plans.

Cast

Food For ?
W.J. Rider
Doug Daverport
Johnnie Tanguy
Chris Calloway
Kim Nichols
Tammy Nichols
Jeff Miza
Ronda Rider

The Brothers
Keefe L. Turner as Ted Johnson
Larry Jones as Oscar
Lawrence R. Jones as Moby
William Jones as Fred Johnson
Tommy L. Miller as Man in Coffin

Unseen Vision
John W. Jones as Daryl
Richard Tanguy as 1st Police Officer
Dan Kugler as 2nd Police Officer
Patrick D. Tanguy as Bobby's Voice
Jamar E. Bankhead as Bobby
Shirley L. Jones as Bobby's Mother

Production
Work on Tales from the QuadeaD Zone began three years after Turner completed his first film, Black Devil Doll From Hell, which was initially intended to be one of the anthology's stories. Two of the film's stories, "Food For ?" and the wraparound story "Unseen Vision", were shot in Alabama while "The Brothers" was shot in Chicago.

Release
As Turner released the film on his own, along with star Shirley L. Jones, Tales from the QuadeaD Zone was released in an extremely limited amount, estimated to be at or less than 100 copies. The copies were only circulated in the Chicago area due to the cost of gas and travel required by Turner and Jones and it is believed that many of these copies have been lost.

Reception and legacy
Horronews.net commented that although the video could be seen as a "complete and utter train wreck", the film was made during a point in time when amateur filmmaking would be cost prohibitive for the average person and the creation of Tales from the QuadeaD Zone was evidence of Turner's "heart and a dream to become a film maker". Bloody Disgusting also reviewed the movie, stating that it was "a no-budget, SOV labor of mad love". DVD Talk reviewed the movie as part of Massacre Video's box set and gave it a poor review, which they felt was weaker than Black Devil Doll From Hell.

Over time the video achieved cult status and VHS copies became much sought after collector's items. In 2011 one copy of the film sold for $665 on the online auction site eBay, a feat that was covered in the 2013 documentary Adjust Your Tracking. The winning bidder later sold his copy of the movie for twice the amount paid.

The price reached an all time high when a copy was sold on eBay for $2000.

In 2013, Massacre Video released the movie as part of a DVD box set along with Black Devil Doll From Hell. The box set features commentary from Turner and Jackson, a documentary about both films, and the director's cut of Black Devil Doll From Hell, which upon release had been heavily edited from Turner's original version.

References

External links

1987 horror films
1987 films
Blaxploitation films
Camcorder films
1987 direct-to-video films
Direct-to-video horror films
American direct-to-video films
American horror anthology films
Films shot in Alabama
Films shot in Chicago
1980s English-language films
1980s American films

Tales from the QuadeaD Zone


Silvia Pinal Hidalgo (born 12 September 1931) is a Mexican actress. She began her career in the theater, venturing into cinema in 1949. She is one of Mexico's greatest female stars, one of the last surviving major stars from the Golden Age of Mexican cinema and part of the Golden Age of Hollywood for her film Shark! (1969). Her work in film and popularity in her native country led Pinal to work in Europe (Spain and Italy). Pinal achieved international recognition by starring in a famous film trilogy directed by Luis Buñuel: Viridiana (1961), El ángel exterminador (1962) and Simón del Desierto (1965).

In addition to her film career, Pinal was a pioneer in Mexican musical theatre, ventured into television, and held political office.

Early life
Silvia Pinal Hidalgo was born in Guaymas, Sonora, Mexico. Her parents were María Luisa Hidalgo Aguilar and Moisés Pasquel. Pasquel was an orchestra conductor at the Mexican radio station XEW. Pinal's mother became pregnant by Pasquel when she was 15 years old. Her father did not acknowledge Silvia as his child, and Pinal did not know him until she was 11 years old.<ref>TVyNovelas México: Silvia Pinal presents her autobiographic book]</ref> Her biological father sired three more sons: Eugenio, Moisés, and Virginia. However, Pinal never spent time with the Pasquel family. Pinal spent her first years behind the counter of a seafood restaurant near the XEW, where her mother worked. When she was five years old, her mother married Luis G. Pinal, whom they called "El Caballero Pinal" ("Sir Pinal"), a journalist, military man, and politician twenty years her senior. Pinal subsequently adopted Silvia as his daughter, and in later interviews, she described Pinal as her only father. Pinal also had three daughters from a previous marriage: Mercedes, Beatriz, and Eugenia.

Sr. Pinal held several public positions in Mexico, including the municipal president of Tequisquiapan, Querétaro. The family lived in several cities in Mexico, including Querétaro, Acapulco, Monterrey, Chilpancingo, Cuernavaca and Puebla, before finally settling in Mexico City.

Pinal has had an interest in show business since she was a child. In addition to film and music, she liked to write and recite poems. She studied first at Pestalozzi College in Cuernavaca and then at the Washington Institute in Mexico City. Despite her artistic aspirations, her father cautioned her to look for "something useful," so she learned to type. At age 14, she began working as a secretary at Kodak.

Pinal wanted to study opera and began preparing by taking classes, first with a private teacher and then with Professor Reyes Retana. Her first step toward fame occurred when she was invited to participate in a beauty pageant. In this contest, Pinal obtained the title of Student Princess of Mexico. At her coronation, she met the actors Rubén Rojo and Manolo Fábregas, with whom she became close friends.  While studying bel canto, Pinal went to work as a secretary in the pharmaceutical laboratories of Carlos Stein. At the music academy, Pinal auditioned for a role in the opera La Traviata. However, the audition was a failure. A teacher encouraged her to take acting courses at the Instituto Nacional de Bellas Artes where she was a classmate of figures such as Carlos Pellicer, Salvador Novo and Xavier Villaurrutia. She debuted as an extra in a performance of A Midsummer Night's Dream by William Shakespeare.

Career

Beginning
Pinal continued working in the advertising department of a pharmaceutical products firm. Knowing that she was studying acting, her boss allowed her to participate in recording radio comedies in the XEQ. She debuted in the comedy Dos pesos la Tejada.

At the radio station, Pinal met publicists inviting her to join an experimental company. With that company, she debuted in the play Los Caprichos de Goya. The director of this work was the Cuban-Mexican actor and director Rafael Banquells, with whom Pinal began an employment relationship and a close friendship that led to romance. Banquells got Carlos Laverne to allow them to use the Ideal Theater of Mexico City for their productions. Laverne chose Pinal to participate in a montage with the company of the Ideal Theater, directed by the Spanish actress Isabelita Blanch. The work was called Nuestra Natacha. Pinal acted in numerous works for this company. Her first star work was Un sueño de cristal.

Film
Just fifteen days after she debuted in the theater, Pinal made her debut in the cinema with a brief role in Bamba (1949), starring Carmen Montejo and directed by Miguel Contreras Torres. Contreras Torres had seen her work at the Ideal Theatre and invited her to participate in the project. Contreras Torres was a demanding, strict director who made Pinal suffer for her inexperience. Eventually, that same year, she performed in the film El pecado de Laura, directed by Julián Soler and starring Meche Barba. In that film, she worked for the first time in cinema with Rafael Banquells, who had become her husband. Immediately, she made another small role in the movie Escuela para casadas, by Miguel Zacarías. Pinal met and worked with the famous actor and singer Pedro Infante in the film La mujer que yo perdí for the first time. The actor and comedian Cantinflas (her wedding godfather) chose Pinal as his co-star in The Doorman (1950), which was a massive step for the new, young actress. But her first solid step towards popularity was her participation in the comedy El rey del barrio (1949), where she formed a tremendous comedic pair with Germán Valdés "Tin-Tán", directed by Gilberto Martínez Solares. Pinal and Tin Tán acted together in two more films: La Marca del zorrillo (1950) and Me Traes de un ala  (1952). Pinal participated in minor roles in several more films.

Pinal's first significant award was a Silver Ariel as a supporting actress for her performance in the film Un rincón cerca del cielo (1952), where she worked again with Pedro Infante. In 1952, she performed with Joaquín Pardavé in the comedies Doña Mariquita de mi corazón and El casto Susano.

In 1953, Pinal signed a contract with the FILMEX studios of Gregorio Walerstein, who gave her her first starring roles in the films Reventa de esclavas (1953) and Yo soy muy macho (1953). In that same year, she did her first musical work with the film Mis tres viudas alegres, where she shared credits with Lilia del Valle and the Cuban rumba Amalia Aguilar. The film's success led the three actresses to star, that same year, in the comedy Las cariñosas. That same year, she acted with Libertad Lamarque in Si volvieras a mí.

Pinal achieved success and recognition in 1954 after participating in the film Un extraño en la escalera, directed by Tulio Demicheli, and starring opposite Arturo de Córdova. De Córdova wanted as his co-stars the Italian actress Gina Lollobrigida or the Cuban rumba Rosa Carmina because he distrusted Pinal due to her youth. With the support of the producer Gregorio Walerstein, Pinal made a change of image, highlighting her sex appeal, which helped her to be approved by De Cordova for the film. The film was filmed in Havana, Cuba, and was a remarkable blockbuster, consecrating Pinal as an A-list film actress.

Another director who knew how to make the most of Pinal's histrionic abilities was Alberto Gout. Under Gout's direction, Pinal made the film La sospechosa (1954). Another great movie in which Pinal participated is Historia de un abrigo de mink (1954), an episodic film wherein Pinal co-starred with actresses María Elena Marqués, Columba Domínguez and Irasema Dilián. With Tito Davison as director, Pinal also filmed the Mexican-Spanish-Chilean co-production Cabo de Hornos (1955), along with the actor Jorge Mistral. Pinal worked again with Pedro Infante as his co-star in the famous comedy El inocente (1955).

Pinal starred in several films by Tulio Demicheli. Among the most outstanding is Locura pasional (1955), which would bring her first Silver Ariel award as best actress. The second was thanks to her role in the film La dulce enemiga (1957), directed by Tito Davison.
In 1956, Pinal starred in the film Una cita de amor (1956), where she worked for the first and only time under the direction of the director Emilio Fernández.

The popularity and success of Pinal in Mexico opened the doors for her to work in Europe, following the advice of Tulio Demicheli. Her first work in the Old World was in the Spanish-Mexican co-production Las locuras de Bárbara (1958), directed by Demicheli and from the hand of Demicheli, Silvia starred in the Spanish musical film Charleston.

Given the success of her films in Europe, Pinal was invited to work in Italy, where she also served as producer of the film Uomini e Nobiluomini (1959), in which she co-starred with Vittorio de Sica and Elke Sommer.

Under the direction of José María Forqué, Pinal starred in the Spanish film Maribel y la extraña familia (1960). In 1961, she filmed the Spanish musical film Adiós, Mimí Pompom, along with Fernando Fernán Gómez.

Pinal achieved international acclaim through a trilogy of films that marked the end of the Mexican era of the Spanish filmmaker Luis Buñuel. Pinal had her first contact with Buñuel through Mexican actor Ernesto Alonso, with the firm intention of starring in the film version of the novel Tristana. However, the tiny commercial success of Buñuel's films prevented the producers from financing the project, which ended up collapsing (Buñuel shot the film years later in Spain with Catherine Deneuve).

Years later, Pinal, with the help of her second husband, producer Gustavo Alatriste, looked for Buñuel in Spain and convinced him to film Viridiana (1961). This, without a doubt, is her most famous film. She was co-starred by Francisco Rabal and Fernando Rey and was the winner of the Palme d'Or at the prestigious Cannes Film Festival. Despite the success and prestige enjoyed by the film, it was rejected by the Spanish censorship board and the Vatican at the time, who described the film as blasphemous. The Spanish government ordered its destruction. The film was saved through the intervention of Pinal, who fled with a copy to Mexico. The Vatican censorship also resonated in Mexico, but with the help of Salvador Novo, the film had a limited release.

Her second film with Buñuel was El ángel exterminador (1962), in which Pinal starred with a choral cast. The film also received critical acclaim worldwide. In 2004, the New York Times recognized it among the best films ever.

Her third and last project with Buñuel was Simón del desierto (1964). The film, misrepresented as a medium-length feature, was initially conceived as an episodic film. Pinal and Gustavo Alatriste looked for Federico Fellini to direct a second episode, but Fellini accepted only on the condition that his wife, Giulietta Masina, star in it. They then sought out Jules Dassin, who likewise took the project only on the condition that his wife, Melina Mercouri, star; Pinal also rejected this condition. The idea was that Pinal should star in all the episodes, so Buñuel ended up filming the project himself. In the film, Pinal also made the first nude appearance in her career, an act still rare in Mexican cinema and the first nude scene in Buñuel's films.

Pinal was also on the verge of starring with Buñuel in the film Diary of a Chambermaid in France. She learned French and was willing to receive no salary for her role. However, French producer Serge Silberman ended up choosing Jeanne Moreau.  Even so, Pinal (along with Lilia Prado), the actress with whom Buñuel most frequently worked, made three classic films. Pinal was also going to shoot with Buñuel in Spain on Divinas palabras, but there were problems obtaining a copyright for the film. Years later, Pinal finally shot the movie in Mexico with another director.

After her work with Buñuel, Pinal returned to the cinema with the comedy Buenas noches, Año Nuevo (1965), where she co-starred with Ricardo Montalbán. In 1966 she made the mythical film La Soldadera, directed by José Bolaños and inspired by the Mexican Revolution events. That same year, she participated in the Mexican-Brazilian co-production Juego Peligroso, directed by Luis Alcoriza and based on a script by Gabriel García Márquez. She also appeared in the Franco-Italian-Mexican co-production La bataille de San Sebastian, along with Anthony Quinn and Charles Bronson. In 1967 Pinal appeared in Shark!, with Burt Reynolds and directed by Samuel Fuller, making this the only Hollywood production in which Pinal appeared.
Pinal achieved a massive blockbuster with the film María Isabel (1968), based on a popular cartoon by Yolanda Vargas Dulché.

Between the late 1960s and early 1970s, Pinal mostly made comedy films directed by René Cardona Jr. In 1976, Pinal starred in Las mariposas disecadas, a thriller of psychological suspense. In 1977 she finally starred in the controversial movie Divinas palabras (1977), directed by Juan Ibáñez, a movie where she had an integral nude scene.

At the end of the '70s and the beginning of the '80s, Pinal shot some films in Spain, Italy, and Argentina as part of a project by Televisa to unify the Spanish and Latin American markets.

After ten years of absence from the cinema, Pinal returned in 1992 with the tape Modelo Antiguo, directed by Raúl Araiza. The decline of Mexican cinema and the activity of Pinal on television and other media (such as politics) had made her practically withdraw from the big screen. In recent years, her film appearances have been limited to films Ya no los hacen como antes (2002) and a brief special appearance in Tercera llamada (2013).

Stage
Pinal made her theatrical debut at the Instituto Nacional de Bellas Artes. Eventually, she did experimental plays, to then work at the Ideal Theater in Mexico City, in the Spanish actress Isabelita Blanch's company, where she was directed in numerous productions by Rafael Banquells.

Outside of this company, in 1950, she participated in the play Celos del aire with Manolo Fábregas and Carmen Montejo. That same year she represented Doña Inés in Don Juan Tenorio, co-starring with Jorge Mistral. The most outstanding plays from her early theatrical career are The Madwoman of Chaillot, co-starring Prudencia Griffel, and El cuadrante de la Soledad, by José Revueltas, with sets by the artist Diego Rivera. In 1954, Pinal participated in the play La Sed with Ernesto Alonso and the Argentinean actor Pedro López Lagar. In 1955 she obtained recognition in the theater scene in the cast of Anna Christie, along with Wolf Ruvinskis. In 1957 Pinal staged the play Desnúdate, Lucrecia, in Chile, with Jorge Mistral, who eventually became a star of Mexican cinema.

In 1958, Pinal was responsible for producing in Mexico the first Musical comedy, Bells Are Ringing, directed by Luis de Llano Palmer. For this work, Pinal received an offer from Judy Holliday's manager to work on Broadway, but Pinal refused to leave her career in Mexico.

In 1964 she made the Mexican version of the musical Irma La Douce, alongside Julio Alemán and directed by Enrique Rambal. José Luis Ibáñez ended up becoming her head theater director. Under his direction, Pinal starred in the work Vidas privadas. One of her most notable works in musical comedy was the Mexican version of Mame, a successful Broadway musical. Thanks to her success, Pinal starred in three productions (1972, 1985, and 1989). In 1976 she also starred in the Mexican version of the musical Annie Get Your Gun.

In 1977, to commemorate her twenty-five-year career anniversary, Pinal set up a cabaret show entitled ¡Felicidades Silvia!. The show was presented with great success, first at the nightclub El Patio and then at the Teatro de la Ciudad in Mexico City.

1978 she starred in the musical Plaza Suite. Her daughter Viridiana's death truncated the theatrical project Agnes of God, in which both starred in 1982. In 1983, Pinal starred in and produced the Mexican montage of the work La señorita de Tacna, based on the work of Mario Vargas Llosa. In 1985, while serving as First Lady of the state of Tlaxcala, Pinal remodeled the Xicohténcatl Theater, which reopened with the production The Memories of the Divine Sarah. In 1986, Pinal starred in Anna Karenina, which, despite its success, was not to her liking; the production only reached 100 performances.

In 1988, in association with Margarita López Portillo, Pinal acquired the Cine Estadio, located in Colonia Roma in Mexico City, transforming it into a theatrical venue, the Silvia Pinal Theater, a space dedicated mainly to musical comedy. Here, Pinal was free to set up her productions.  The theater was opened in 1989 with the third production of the musical Mame, with Pinal at the head of the cast.

In 1992, Pinal acquired the former Cine Versailles, located in Colonia Juárez in Mexico City, and turned it into her second theater, the Diego Rivera Theater. This theater opened in 1991 with the production Lettice and Lovage.

In 1996, Pinal returned to musical theater with the second Mexican version of Hello, Dolly!, opposite Ignacio López Tarso. Pinal's last work in theater was Gypsy (1998), starring alongside her daughter, singer Alejandra Guzmán.

As a producer, she was responsible for making the Mexican versions of the musicals A Chorus Line (1989), Cats (1991) and La Cage aux Folles (1992). Unfortunately, several problems caused Pinal to close the Silvia Pinal Theater, which ceased production in 2000 and became a religious temple.

Pinal returned to the theater in 2002 with the play Debiera haber obispas. In more recent times she has participated in productions such as Adorables enemigas (2008) and Amor, dolor y lo que puesto (2012). In 2014, the Diego Rivera Theater changed its name to become the new Silvia Pinal Theatre.

Television
Pinal dabbled in television since its appearance in Mexico in the early 1950s. In 1952, she participated in her television show titled Con los brazos abiertos. Eventually, she participated in numerous telecasts by Luis de Llano Palmer, where Pinal introduced playback on Mexican television.

Pinal staged her comic-musical show on Televisa, Los Especiales de Silvia Pinal in the mid-sixties. When Silvia married the actor and singer Enrique Guzmán, both produced and starred in the variety show Silvia y Enrique (a comedy-musical program in the style of The Sonny & Cher Comedy Hour), which ran for four years (1968–1972) with great success. Once separated from Guzmán, Silvia continued her variety show titled ¡Ahora Silvia!!.In 1985, she became a producer and presenter of the Mujer, casos de la vida real TV show. Initially, the show was created to respond to cases and needs of the public and focused on locating victims of the 1985 earthquake in Mexico City. Over time, the show evolved to present current issues in daily life, including domestic violence, legal issues, and public health. This production was a success and lasted more than 20 years, broadcasting in Mexico, Spain, Italy, and several countries in Latin America. The program was canceled in 2007.

In 1968, Pinal debuted in telenovelas with the historical telenovela Los Caudillos, inspired by the Mexican War of Independence. Ernesto Alonso produced the telenovela. Her second foray into the genre was with the telenovela ¿Quién? (1973), produced by Guillermo Diazayas and based on a cartoon by Yolanda Vargas Dulché.

Eventually, Pinal decided to produce her telenovelas; her first hit was Mañana es primavera (1982), the last acting work of her daughter Viridiana before her death. In 1985 she also produced and starred in Eclipse.

Her latest works in television have been as a special guest star in various telenovelas and television series. The most relevant ones are Carita de ángel (2000), in which she eventually replaced actress Libertad Lamarque, whose death left her character unfinished in this melodrama,  Fuego en la sangre (2008), Soy tu dueña (2010) and Mi marido tiene familia (2017). In 2009, Pinal participated in a chapter of the series Mujeres asesinas.

In addition to the telenovelas mentioned above, Pinal produced the melodramas Cuando los hijos van (1983) and Tiempo de Amar (1987).

Politics
Pinal dabbled in politics after her fourth marriage with the politician Tulio Hernández Gómez, governor of the State of Tlaxcala. Between 1981 and 1987, Pinal was the First Lady of that state. Eventually, she became a member of the Institutional Revolutionary Party and was elected its federal deputy in 1991. Later, she became a senator and member of the Assembly of Representatives of the Federal District. In these positions, Pinal had some achievements. Among the most outstanding were her achievements in Cinematographic Law to protect the rights of interpreters, her work on the Law of Condominiums and the Law of Tourism, tasks in favor of ecology, her promotion of the dissemination of theater books, and her fight against the Ministry of Finance to lower taxes on the theater.

Since the fifties, Pinal has actively participated in trade union movements of the actors of her country. She was part of the group "Rosa Mexicano", founded by Dolores del Río. Between 1988 and 1995, Pinal became a leader of the National Association of Interpreters (A.N.D.I.) of Mexico.

Pinal had legal problems in 2000 due to problems in her management as the Association of Theater Producers (Protea) leader in the early 1990s. For this reason, the actress lived in Miami, Florida, for some time. After eleven months, the actress was declared innocent and returned to her country.

Between 2010 and 2014, Pinal served as General Secretary of the Screen Actors Guild of México (ANDA).

To protect older actors, she became the founder of the Asociación Rafael Banquells, in charge of providing non-profit help to interpreters. As president of the association, Pinal delivers the Bravo Awards for highlights in music, film, theater, radio, television, dubbing and commercial realization during the year. The awards have been given annually since 1991.

Personal life

Pinal has been married four times. Her first marriage was to actor and director Rafael Banquells, her first formal boyfriend, in 1947. She acknowledges that her marriage at such an early age was partly to escape her repressive father: "I changed my father for a softer one that stimulated me in my career." The couple divorced in 1952, a year after the birth of their daughter, Sylvia Pasquel, who later had an outstanding career as an actress.

Her second marriage was to the businessman and film producer Gustavo Alatriste. Pinal has revealed on numerous occasions that Alatriste was the love of her life, a husband with whom she could have stayed forever. Pinal met Alatriste at a meeting at Ernesto Alonso's house when he was about to divorce actress Ariadne Welter. It was thanks to Alatriste that Pinal was able to make her film projects with Luis Buñuel. The marriage ended in 1967 due to Alatriste's infidelities and business problems between the couple. From her relationship with Alatriste, she had a daughter, actress Viridiana Alatriste (1963-1982). Unfortunately, Viridiana died tragically in a car accident in Mexico City in 1982 at the age of 19.

Her third marriage was to the famous rock and roll singer and idol Enrique Guzmán. Pinal and Guzmán met when he was a guest on Pinal's television show ¡Ahora Silvia! They were married in 1967 despite some public resistance, as Pinal was 11 years older than her husband. Their marriage lasted nine years. They worked together and had two children: the famous singer Alejandra Guzmán (born in 1968) and the musician and composer Luis Enrique Guzmán (born in 1970).

Her last marriage was to Tlaxcala's politician and then governor, Tulio Hernández Gómez. The couple married in 1982. It was through Hernández that Pinal entered the world of politics. Pinal and Hernandez divorced in 1995.

In addition to her marriages, at various times in her life, Pinal had multiple romances. In 1954, when filming Un extraño en la escalera, Pinal fell in love with her co-star, Arturo de Córdova. Other romances were with the Mexican businessman Emilio Azcárraga Milmo, the Egyptian actor Omar Sharif and the American businessman Conrad Nicholson Hilton, Jr.

With time, Pinal has become the head of one of Latin America's most famous artistic dynasties. Her daughters Sylvia and Viridiana followed in her footsteps as actresses. Alejandra, her youngest daughter, is one of Mexico's most popular singers. Alejandra's daughter Frida Sofía is also a model living in Miami, Florida. In addition, her granddaughter Stephanie Salas (daughter of Sylvia) has also forged a career as an actress and singer. Stephanie's daughters, Michelle Salas, and Camila Valero are both models and actresses.

Awards and honors
 In 1954, the beer company Corona created an advertisement that included a song in which they mentioned Pinal next to the Italian divas Gina Lollobrigida, Silvana Mangano and Silvana Pampanini.
 In 1955, Pinal was immortalized in a portrait by the famous painter Diego Rivera, which occupies a special place in the Pinal residence in Mexico City.
 In addition to Rivera, Pinal has also been painted by other artists such as Oswaldo Guayasamín, Mario Chávez Marión, Sylvia Pardo, and General Ignacio Beteta Quintana.
 In 1978, Pinal posed nude for a photo shoot for the Spanish magazine Interviú.
 Pinal is represented as one of the Seven Muses of Art in a stained glass window of Xicohténcatl Theatre in Tlaxcala.
 When her daughter Alejandra Guzmán launched her singing career in 1988, she dedicated a controversial song to her mother titled "Bye Mamá" and included it in her debut album.
 In 2002, Pinal was recognized with a statue in her honor unveiled in Mexico City. Renowned sculptor Ricardo Ponzanelli did the work.
 In 2006, in Spain, Pinal was awarded the Orden de Isabel la Católica in the grade of Commander for her cultural contribution to the world of cinema.
 In 2013, Pinal was honored by the Wax Museum of Mexico City, which unveiled a figure in her honor.
 In 2015, Pinal published her autobiographical book entitled Esta soy yo.
 In 2016, the Academy of Motion Picture Arts and Sciences of Hollywood chose Pinal as one of its members to recognize her long career and contribution to the international film industry.
 At some point, Matt Casella, a headhunter for DreamWorks, sought Pinal to make a biographical series about her life. However, the project has yet to materialize.
 In 2019, Televisa produced a television series based on Pinal's life. The series is titled Silvia Pinal, frente a ti, and Mexican actress Itatí Cantoral portrays Pinal.

Filmography

Films

Television
 Relatos macabrones (2020) as Doña Teresa
 Juntos el corazón nunca se equivoca (2019) as Doña Imelda Sierra Vda. de Corcega
 Silvia Pinal, frente a ti (2019) as Herself
 Mi marido tiene familia (2017–2019) as Doña Imelda Sierra Vda. de Córcega
 La tempestad (2013) as Soraya Alcántara
 Un refugio para el amor (2012) as Herself
 Una familia con suerte (2011) as Herself
 Soy tu dueña (2010) as Isabel Rangel Vda. de Dorantes
 Mañana es para siempre (2009) as Herself
 Fuego en la sangre (2008) as Santa Margarita Lorenza Vda. de Gómez
 Una familia de diez (2007–2019) as Herself
 Amor sin maquillaje (2007) as Herself
 Aventuras en el tiempo (2001) as Silvia
 Carita de ángel (2000–2001) as Mother Lucía
 El privilegio de amar (1998)
 Lazos de amor (1995) as Herself
 Mujer, casos de la vida real (1986–2007) as Host
 Eclipse (1984)
 Mañana es primavera (1983) as Amanda González de Serrano
 Y ahora, ¿qué? (1980)
 ¿Quién? (1973)
 Los caudillos (1968) as Jimena
 Al rojo vivoStage

Stage (producer)
 A Chorus Line (1989)
 Cats (1991)
 La Cage aux Folles'' (1993)

References

Bibliography

External links

 Silvia Pinal at the telenovela database

  Silvia Pinal at the cinema of Mexico site of the ITESM
  Silvia Pinal at the Mexican Academy of Film

1931 births
Living people
Pinal family
Mexican telenovela actresses
Mexican television actresses
Mexican film actresses
Mexican stage actresses
Mexican telenovela producers
Mexican television presenters
Mexican television talk show hosts
Best Supporting Actress Ariel Award winners
Golden Ariel Award winners
Ariel Award winners
20th-century Mexican actresses
21st-century Mexican actresses
Commanders of the Order of Isabella the Catholic
Institutional Revolutionary Party politicians
Members of the Chamber of Deputies (Mexico)
Members of the Senate of the Republic (Mexico)
Women members of the Senate of the Republic (Mexico)
Mexican actor-politicians
People from Guaymas
Women members of the Chamber of Deputies (Mexico)
Women television producers
Mexican women television presenters
Golden Age of Mexican cinema

Silvia Pinal


God's Stepson is an album by hip hop producer 9th Wonder (formerly one third of the group Little Brother).  It was an unofficial remix of Nas's God's Son album of 2002.

Background
Released through internet outlets in 2003, the album began the trend for homemade remix projects, which reached fever pitch with Jay-Z's The Black Album remixes (of which 9th also submitted an entry). It was well received by critics and fans alike for its re-interpretation of what many considered to be a return-to-form album from Nas. In particular, the album is responsible for popularizing remixes of whole albums back-to-front, and also for establishing 9th Wonder amongst the premier league of hip hop producers.

9th Wonder didn't create the mix with a view to generate a buzz or promote his skills saying, "I didn't even think anybody was going to hear it". When asked by HitQuarters what inspired the remix he said: "I think all of us at one point want to hear Nas on something different. His voice is like another instrument on a track."

The album was excellently received, and served as the a catalyst for 9th, sweeping "the industry off their feet".

Track listing
 "Get Down"
 "The Cross"
 "Made You Look"
 "Last Real Nigga Alive"
 "Hey Nas"
 "I Can"
 "Book Of Rhymes"
 "Thugz Mansion (NYC)"
 "Mastermind"
 "Warrior Song"
 "Revolutionary Warfare"
 "Ether" (Originally from Stillmatic)

Samples
"Get Down" contains a sample from "You're a Friend of Mine" by The Meters
"The Cross" contains a sample from "Beautiful Man of Mine" by Phyllis Hyman
"Made U Look" outro contains a sample from "Broken Wing Bird" by The 5th Dimension
"Last Real Nigga Alive" contains a sample from "Moves" by Doug Hammond
"Hey Nas" contains a sample from "I'd Like To Be Baby To You" by Roberta Flack
"I Can" contains a sample from "Break It Down" by Curtis Mayfield
"Book Of Rhymes" contains a sample from "You'll Always Be Mine" by The Impressions
"Thugz Mansion (NYC)" contains a sample from "It's Madness" by Marvin Gaye
"Mastermind" contains a sample from "Scarborough Fair" by Sérgio Mendes
"Revolutionary Warfare" contains a sample from "Let Me Make Love To You" by The O'Jays
"Ether" contains a sample from "Hey, What's That You Say" by Brother To Brother

References

9th Wonder albums
Albums produced by 9th Wonder
2003 remix albums
Nas
Unofficial remix albums

God's Stepson