Robert Morton Fass (June 29, 1933 – April 24, 2021) was an American radio personality and pioneer of free-form radio, who broadcast in the New York region for over 50 years. Fass's program, Radio Unnameable, aired in some form from 1963 until his death primarily on WBAI, a radio station operating out of New York City.

Early years
Robert Morton Fass was born June 29, 1933, and grew up in Brooklyn, New York. He graduated from Syracuse University in 1955. When he went into the army in 1956, he started a theater at Fort Bragg, North Carolina. Fass received a scholarship to study acting with Sandy Meisner and Sydney Pollack at the Neighborhood Playhouse and was also a member of Stella Adler's workshop.

He appeared on stage in Brendan Behan's The Hostage at Circle in the Square, The Execution of Private Slovik with Dustin Hoffman, and The Man with the Golden Arm at the Cherry Lane, among other New York productions. In 1960, he took over the role of the warden in the legendary off-Broadway production of Threepenny Opera with Lotte Lenya. Over the next two years, he played a variety of roles in the show, also acting as assistant stage manager.

In 1963, he began working at WBAI, operated by the Pacifica Foundation. Novelist and poet Richard Elman, a friend of Fass's from high school, who was producing programs for the station's Drama & Literature Department,  helped Fass get a job as an announcer. He then was given the midnight to dawn time block to use as he wished.

Radio Unnameable
The Unnamable by Samuel Beckett, which Fass was reading at the time, gave the show its title. His signature greeting, "Good morning, cabal," came from a listener. "I wanted a sign-on line, like William B. Williams "Good morning, world," says Fass.

Someone sent in a postcard suggesting, "Good morning, cabal." I looked it up in the dictionary and discovered that the word, cabal, comes from "horse." Originally, people met on horseback at night with their identities concealed-even from each other—to plot or plan something subversive. And I thought, that's it: "Good morning, cabal."

Show content
The show was described as a free-form show often with random phone calls and political discussion."

Nowhere else, Jay Sand writes, could you hear a DJ

playing two records at the same time or backwards, or the same song over and over and over again, simply because he liked its message.  Nowhere else in the early 60s could you hear callers and hosts alike criticize LBJ [President Lyndon B. Johnson] for escalating the War in Vietnam, encourage men to burn their draft cards, or talk in glowing terms about their drug experiences. Radio Unnameable was a counterculture radio show before anyone ever applied the term to America's drop-out youth. Bob Fass was a hippie before there were hippies.

Fass collaborated with Gerd Stern and Michael Callahan's media collective, USCO, which had produced sound fields for Timothy Leary's Fillmore East shows, then dove in and began creating  mixes on the air.

In the mid 1970s, Fass asked the station's Chief Engineer, Mike Edl, if there was any way to rig up a contraption that would allow Fass to put as many as ten phone calls on the air at the same time. The system Edl built became a centerpiece of Fass's show, allowing more of his listeners to connect with him, and with each other.

Response to the show
Neil Fabricant, Legislative Director of New York's ACLU during the 1960s, has said that Fass was "a midwife at the birth of the counterculture."  Ralph Engleman, in his book, Public Radio & TV in America: A Political History, cites Fass as "the first to develop the full potential of free-form radio and make it a major vehicle of the counterculture." and Wavy Gravy refers to him as "the father of freeform radio."

He also plays a major role in Marc Fisher's book, Something In The Air, which covers radio's impact in the post-TV years. The Washington Post columnist describes how the "I'm mad as hell and I'm not going to take it any more!" scene in the film, Network, grew out of an actual incident when WOR's Jean Shepherd exhorted his listeners to throw open their windows, stick out their heads, and shout, "Excelsior!", then he goes on to write "Radio Unnameable would inspire a monsoon of musical, sexual, pharmacological, political, and social change"

Shepherd took the unseen audience and let them see each other, but it's Bob Fass who took that to the next level, giving it social and political meaning. Fass really opened the door and summoned the audience into the action. He used the mass media to amass a very real movement.

"Midwife to a Movement"

Human Fly-In
Some believe it began one night on-air in 1967, when Fass invited "the Cabal" to join him for the Fly-In, a get together at JFK airport where he and his friends could meet and party with Radio Unnameable listeners and their friends, while aircraft took off and landed in the background. ("My vision was like the Hawaiians who greet you when you get off the plane with leis, a kiss, and song," Fass says.)

About a month later, on February 11, 1967, 3000 people showed up at midnight "on the coldest day of the year", to play guitar and hang out at the International Arrivals Terminal. Fass told author Jay Sand, "that was the first inkling I had that there were so many people and that they wanted so much to get together." "Something about this electronic thing - this radio station - makes it possible to listen to other people like themselves and they get the idea they aren't alone."

Sweep In
Excited by the response to the Fly In, Fass and his friends looked for another opportunity to gather. Emmett Grogan of the Diggers suggested the next get together should put all that energy towards a good purpose, "like cleaning up the junk on the Lower East Side." They announced plans for a Sweep In which would be held on April 8, 1967, and invited the audience to join them in cleaning up Krassner's garbage-strewn block; 7th Street between Avenue D and Avenue C. Word of the upcoming spring-cleaning eventually reached New York's Sanitation Department. Apparently embarrassed by the idea of dirty hippies doing their work for them, city trucks were dispatched in the wee hours to clean the block, from top to bottom, a hitherto unprecedented occurrence. That didn't dampen the enthusiasm of Fass's listeners. When they arrived armed with brooms, mops, sponges and cleaning solutions and discovered the original mission had been accomplished; they simply moved down to 3rd Street and started scrubbing there. The New York Times reported a sizeable group of participants were kids who came in from Westchester County and Long Island.

Yippies
It wasn't long before the movement nurtured in NYC went national. Abbie Hoffman became a household name in August 1967, after he led an anti-capitalist demonstration at the New York Stock Exchange, showering the traders with dollar bills. Radio Unnameable became the communications hub of the Yippies!, the Youth International Party, started by Hoffman, Jerry Rubin, Fass, Krassner, and a few others, to bring flower children, acidheads and old lefties together into one group that could change the course of American society.

The Yippies! got worldwide attention that October when they applied for permission to levitate the Pentagon during a massive anti-Vietnam War demonstration that attracted 50,000 to Washington, D.C. Fass can be heard on tapes of the event (along with Ed Sanders of the rock group The Fugs, and Mountain Girl) chanting, "out demons, out!" as they attempt to exorcize the evil spirits at the War Department.

Yip In at Grand Central
Not every one appreciated the Yippies' sense of humor and it proved hard to keep things light in 1968. Fass and his friends spent months on the air plotting a march on Chicago to coincide with the Democratic National Convention. They dubbed it the "Festival of Life", in contrast to the "Festival of Death," they felt the political power brokers were advancing in Vietnam.  As a kind of a practice run for the big event, the Yippies decided to hold a Yip In at Grand Central Terminal in New York in March 1968.

It began as a happy go lucky party; a reunion of people who'd met at the Fly In and the Easter Be-In in Central Park the previous year. WBAI had reporters on the scene and Fass was broadcasting calls from Paul Krassner and others at Grand Central, describing the good vibes and great turn out. Then suddenly, things turned  violent. Several hippies from the commune, Up Against the Wall Motherfuckers, decided it would be a symbolic gesture to rip the hands off the clock at the train station in "a rape of time." A couple others set off firecrackers and the NYPD began cracking heads and smashing cameras. As the panicked crowd streamed for the exits, over 200 cops cornered them, throwing individuals like Village Voice reporter, Don McNeill, through glass doors, and dragging others out and arresting them.

Radio Unnameable provided a link between people inside the terminal and the audience listening at home. He broadcast eyewitness accounts from the scene and spoke to Abbie Hoffman, who was getting his wounds patched up at Bellevue Hospital. Washington Post reporter, Nicholas Von Hoffman, came directly from Grand Central to join Fass on the air.

It was a brutal initiation for the Yippies but it was also the moment that solidified Fass's place in the city. He was providing up to the second, unfiltered news that citizens wary of mainstream press coverage could trust. As Sand points out in the Radio Waves Unnameable— "Bob Fass did not just report the news, he helped mold the events of the time."

Columbia occupation
The next month, when Columbia students occupied school buildings to protest the University's stance on the war and a plan to evict Harlem residents in order to build a gymnasium, WBAI, with Fass's show in the lead,  "acted as a nerve center for the demonstrators."  After the assassinations of Martin Luther King Jr. and Robert F. Kennedy, Fass provided in depth, ongoing alternative coverage, giving listeners and independent investigators a chance to grieve, discuss theories, express opinions and trade information considered too controversial for the major media.

1968 DNC
In the weeks leading up to the 1968 Democratic National Convention, callers and guests on Radio Unnameable debated the wisdom of marching directly into the path of Mayor Richard J. Daley's troops. Fass cautioned listeners "to know what they were getting into should they choose to go. They don't mess around in Chicago." Vin Scelsa, later a major NYC radio broadcaster in his own right, then a WBAI listener, told Jay Sand, "We all should have been indicted as co-conspirators, not just the Chicago Seven. We were all in on it. That whole thing was planned on Bob's show."

Fass rarely left his command center in WBAI's Master Control but at the very last minute, he flew to Chicago and recorded everything he saw and heard. After reporting a noise that sounded  like "an M1 cracking against someone's head," Fass noticed that some of the national guardsmen "look very frightened. They are putting on their gas masks. They aren't very experienced with them."

The ensuing attack, roughing up hippies and network news reporters, was broadcast live on television. When the dust settled, several of Fass's comrades were arrested for conspiracy and inciting to riot.

Fass escaped indictment and returned to WBAI, where over the next decade, his show became a kind of an alternative Town Hall; Abbie Hoffman called virtually every night with an update from the show trial of the Chicago Seven, which lasted for months.

Rubin Carter
Over the long years of Rubin Carter's incarceration for a murder he did not commit, attorney Flo Kennedy called Radio Unnameable regularly "to keep the case in the consciousness of at least listeners to late night radio," says Fass. He remembers visiting Woodstock during the early 1970s and telling Bob Dylan "Carter was being railroaded for being "an uppity nigger." Several years later, Dylan produced his epic song telling the story of the unjust conviction (Hurricane) and formed his Rolling Thunder Revue specifically to raise funds for Carter's defense. Fass calls the subsequent retrial and vindication of Carter "one of the great cooperative efforts where hippies and blacks united to achieve change before Jesse Jackson's Rainbow Coalition."

The 1970s onward
Fass continued to do his show as New York City and WBAI went through radical changes. In the 1970s, the Movement split into factions and new program directors and station managers began to alter the thrust of the programming, apportioning blocks of airtime to feminists, gay rights activists, African-Americans, Hispanic-Americans, Native Americans, and other interest groups. Fass and many others felt this approach was the very antithesis of the personal character of WBAI.

Station takeover and lock-out
In 1977, Fass found himself at the  forefront of a power struggle for the future of the station. He participated in a staff attempt to form a union. Management accused him of "living in the past" and ordered him not to discuss the station's internal business on the air. That was a request he found impossible to adhere to because he felt strongly that listeners paying to support non-commercial radio deserved to know and have a voice in what was being planned. The stand off ended with some staff members seizing control of WBAI's transmitter at the Empire State Building, while others (including Fass) remained barricaded in the studios, broadcasting until the phone lines were cut and the police arrived to haul them away.

New York City's free speech station padlocked the front door and suspended broadcasting for 35 days. Fass was banned for five years, during which he returned to stage acting, did a guest residency at WFMU in New Jersey, and campaigned to return to WBAI.

Reinstatement
Since his reinstatement in 1982, Fass continued in the same vein. Singers like Jeffrey Lewis, Roy Zimmerman, Debby Dalton, Kathy Zimmer and Rav Shmuel, blues guitarists Toby Walker  and Guy Davis, radical environmentalist Keith Lampke and visual artists like Keith Haring, Art Spiegelman and MacArthur Fellow Ben Katchor, are just a few who have joined the roster of Radio Unnameable guests. Fass reassembled the members of The Lovin' Spoonful on the air, emceed the Phil Ochs Memorial, and flew to Houston to celebrate Jerry Jeff Walker's birthday, which he taped and played on the radio.

In the mid-1980s, Fass was nearly homeless. AJ Weberman rented a truck for Fass and a large storage unit to hold his archives, paid in advance for many years.

Fass was last paid for his radio time in 1977. Musicians like Dave Bromberg turn up at tributes to thank Bob "for giving us our careers." Many of his protégées have turned colleagues, like Steve Post, Larry Josephson, and Vin Scelsa, and have spoken of his generosity with his time. Listeners have made donations to his retirement fund. "It's better than BAI paying me that people remember me, I guess," Fass said.

By 2006, Fass's time on WBAI had been reduced to just one night a week. He continued to host in that single weekly overnight time slot. On October 4, 2019, WBAI was illegally seized by a minority faction of Pacifica's board without authorization, and canceled all of WBAI's original programming including Fass's show, replacing it with canned programs from California. This lasted a month before it could be reversed through court action and Radio Unnameable was restored.

Notable guests
Fass remembered his very first guest on the air was Paul Krassner, editor of The Realist, soon followed by Zen poet D.A. Levy. Krassner became a regular, along with Timothy Leary, Wavy Gravy, (aka comedian Hugh Romney), filmmaker Robert Downey, David Amram, comic actor and writer, Marshall Efron, the club performer, Brother Theodore, and Kinky Friedman (years before he began writing mystery stories and took up politics).

Notable guests include investigative reporter Mae Brussell, Abbie Hoffman commenting on the Chicago Seven trial, a planning session for the Central Park Be-In, and the first radio appearance of Phoebe Snow. The show has featured the work, and the first performances of Arlo Guthrie's "Alice's Restaurant" and Jerry Jeff Walker's "Mr. Bojangles."

Allen Ginsberg, Peter Orlovsky, and Gregory Corso, turned up multiple times. Over the course of the years, activist attorney Flo Kennedy kept listeners abreast of the latest injustices in America's court system. Steve Ben Israel and Judith Malina of the Living Theater, actor Rip Torn (and more recently his son, director Tony Torn), Ed Sanders, Tuli Kupferberg, and the rest of The Fugs, all made themselves comfortable on Fass's show. Abbie Hoffman, the former civil rights organizer turned political provocateur appeared regularly during the tumultuous years from 1968 to 1973.

Musicians
A long list of musicians have appeared on Radio Unnameable, including Townes Van Zandt, David Peel, Richie Havens, Jose Feliciano, Joni Mitchell, The Fugs, Karen Dalton, Patti Smith and Phil Ochs (parodying "Positively 4th Street"; half pretending a comic competition with Bob Dylan, but later telling disapproving callers that it was Dylan's right to play with an electric guitar and a band behind him). The Incredible String Band came over from England with their manager, Joe Boyd, Happy and Artie Traum often stopped by before heading back to Woodstock.

Other performers include Taj Mahal, Paul Siebel, Muddy Waters, Otis Spann, Skip James, Rosalie Sorrels, Tiny Tim, Jake & the Family Jewels, Cat Mother & the All Night Newsboys, Melanie, Penny Arcade, Rambling Jack Elliot, Tom Rapp and Pearls before Swine, Frank Zappa, Jeremy Steig, The Holy Modal Rounders, Sis Cunningham and Sammy Walker.

Bob Dylan
Fass met Dylan before he began his radio career, double dating with Carla Rotolo, one-time stage manager of The Hostage, and her sister, Suze, who was Dylan's girlfriend.

We went out to dinner in the Village and played poker at Dylan's apartment over The Music Inn on W. 4th Street," Fass remembers. "When I started the show, he listened and occasionally I could squeeze a suggestion out of him. He turned me on to Lightnin' Hopkins."

Dylan's first appearance on radio was on Radio Unnameable doing comic improvs with Suze Rotolo and John Herald in 1963. Listeners also got a preview of his forthcoming album, Freewheelin'. In 1966, in the midst of recording Blonde on Blonde, he returned to Radio Unnameable, taking calls from listeners. When Dylan's crusading anthem, Hurricane, came out in the mid 1970s, Fass played it all night for five nights in a row and in 1986, when Dylan turned 45; he organized a 45-hour marathon of his music for WBAI.

Fass explained the connection to NPR reporter (and former WBAI news reporter) Jon Kalish, this way:

Bob Dylan is the leading bard of our age. I feel grateful to have been alive while he's been writing. In a way, it's like having known Shakespeare.

Style
Fass had never been a brilliant monologist like Jean Shepherd who preceded him on WOR in the late 50s, nor a star interviewer. His style was to make a few gentle stabs at drawing his guest out, and then he was content to go with the flow. His singular talent, as Sand notes in The Radio Waves Unnameable, was for orchestrating the great mix;  "For Fass, beauty exists in the way events intertwine... the art came in the complete presentation... and for better or worse, the divergent strands of life which Fass presented would have fused to form a lucid whole by the time he said, 'BYE BYE'."

Unlike almost any other radio or television personality, silence never scared Fass. Seconds passed as he seemingly pondered the thoughts of his guests, leaving them or the listener a space to fill in the blanks. In addition to being a congenial master of ceremonies, Fass was a good listener.

He was always ready to lend an ear and share the air with absolutely anyone who felt they had something to say. This largesse often led to endless, boring mouthing off, but equally often led to dynamic, intimate flurries of insight, energy, humor and understanding.

Remembering the appearance of the Brooklyn Black Panthers on Radio Unnameable back in the day, Fass said, "I kind of like it when people come up a little hostile and suspicious and I and the audience warm them up and win them over by the end of the show."

Community organizers knew they could always count on Fass for airtime to spread word of current crises or upcoming events. He was an ongoing outlet for the unsung, unspun, ignored and unknown.

Issues
Fass was a fierce and consistent critic of, as he called it, "Bush's war for oil",  and continued to speak out against capital punishment, often putting prisoners who call from jail on the air. Anti-draft protestors would phone from the courthouse after being arrested to ask Bob's audience for help in raising bail. A woman called to say her landlord had set fire to her building, and she had no other place to go—were there any carpenters listening who might help her rebuild?

He returned to the issue of homelessness in New York numerous times, raising awareness about the dangerous city shelters, reporting on the gentrification of many of the city's neighborhoods which traditionally had offered affordable housing, and slamming the city's " assault on rent control." In the mid-1980s, Fass made remote recordings at the tent city the homeless had erected in Tompkins Square Park on the Lower East Side. He went on to work with the Living Theater and members of that community to produce a piece of theater based on their experiences (which included both professional actors and homeless people), called The Hands of God.

At least one suicidal listener called in to receive on-air counseling. In 1971, a man (later identified as Michael Valenti) called in at about 2:45 AM and announced that he had taken three kinds of sleeping pills and was going to commit suicide. Fass spent about an hour and a half talking to the caller live on the air, as other WBAI workers contacted the police and the phone company attempted to trace the call. The police finally found the caller lying unconscious on his bedroom floor. His telephone was off the hook, the radio tuned to WBAI. He was taken to the hospital in critical condition but survived. Fass says the man contacted him later and thanked him for being there. The press tried to turn Fass into a hero, but he demurred. When a Daily News reporter arrived at his home, wanting to take his picture, Fass passed him a photo of his colleague, Larry Josephson, through a crack in the door. Josephson made the front page, identified incorrectly as "Bob Fass, WBAI's heroic DJ". Fass later commented that he thought "Larry would enjoy having his picture in the paper".

Influence
In his book about life at WBAI, Playing in the FM Band, Steve Post describes Fass as "a gigantic man with receding blond hair and thick black-rimmed glasses, with hands so huge they appeared to dominate his enormous frame. His voice, soft and gentle, which I heard coming from the office monitors seemed somehow detached from his body." Post, who began as WBAI's bookkeeper before hosting a program of his own, The Outside, describes how Fass took him under "his ample wing" and allowed him to watch him at work, teaching him what he knew, demystifying the whole process.

Julius Lester, a former SNCC photographer, recalls being so in awe of Fass that for the first year he did his own program at WBAI people constantly mistook him for Bob.

Larry Josephson, who would become WBAI'S morning man and eventually station manager, remembers the first time Bob motioned him into Master Control: "It was like Dorothy entering Oz."

Fass encouraged dozens of wanna-be DJs. His continuing impact is clear, according to Marc Fisher, author of Something in the Air (Random House, 2007), who says Fass has inspired countless other personalities like Sirius shock jock Howard Stern (who listened to Bob a lot as a kid), Tom Leykis in L.A., and Vin Scelsa, to ride the radio waves.

"I like the idea of sharing, from each according to their ability, to each according to their need," said Fass. "I want to connect people in one city with people in another. I think information can cure almost anything."

"Like many others, Bob wanted to change the world. Unlike many others, he had access to the airwaves and therefore a very real opportunity to do so," says Sand.

Legacy
In 2005, attorney Neil Fabricant, President Emeritus of the School of Social Policy at GWU, organized a rent party for Fass. "The right wing has spent billions of dollars to revise the history of an era and to distort the collective memory," Fabricant says. He suggests that restoring and properly archiving the 45 years of Bob Fass's program "would be a giant first step in reclaiming that history."

A documentary film about Fass and the show, also named Radio Unnameable, aired on the World Channel series America ReFramed on September 17, 2013.

80 hours of Radio Unnameable have been acquired and are currently available at the Museum of Television and Radio in New York.

Good Evening Cabal, a weekly show on a Florida-based community FM station, is named as a tribute to Bob Fass by its host, Curt Werner, who as a Brooklyn teenager listened to Fass in the 1960s on WBAI. The program, which features music from the 1960s and 1970s, and live interviews with artists and writers from that era, has been on the air for four years on WSLR 96.5 LPFM in Sarasota, Florida. Fass himself appeared as a guest on the show in 2007.

Quotes about Fass
When speaking today to those who listened to Bob Fass regularly throughout the '60s, one can sense an almost spiritual reverence that they still hold for Radio Unnameable. Before the cultural explosion of the mid-1960s- before listening to Radio Unnameable became a ritual shared by the city's counterculture community – those who discovered Fass felt as if they had untapped a passageway into a magical world, and many instantaneously became religious Radio Unnameable devotees.

Broadcast samples
The internet archive has available a sound recording (in various formats) of a program "featuring live interviews with Jerry Rubin, Abbie Hoffman, and Phil Ochs": Bob Fass in Chicago - August 27, 1968

Death
Fass's death was announced via the WBAI Twitter account: "Bob Fass, Legendary Icon, the Father of Free Form Radio who had a program and home @WBAI since 1963, passed away peacefully April 24, 2021. He was 87 years old. We love you Bob. Rest in Peace." Fass died of longstanding congestive heart failure as well as COVID-19.

WBAI has run reruns of Radio Unnameable segments in Fass's former time slot since his death.

See also
 Timeline of 1960s counterculture
 WBAI
 Yippies

Sources
 Playing in the FM Band: A personal account of free radio – Steve Post – Viking Press, 1974,
 "A Radio Station with Real Hair, Sweat, and Body Odor" – The New York Times, Susan Braudy; Sep 17, 1972; Sunday Magazine
 "Insurgent Staff Members Take Over WBAI In Coup" – The New York Times, Robert D. McFadden; Feb 12, 1977
 Sand, Jay. "THE RADIO WAVES UNNAMEABLE:." 24 Jan. 1996. 28 Aug. 2006 <.
 Breslin, Jimmy. "BETWEEN EVANGELIST & a ROCK SHOW, JUSTICE." NY Daily News 29 Oct. 1985.
 Engleman, Ralph. Public Radio & TV in America: a Political History. Thousand Oaks, CA: Sage Publications, 1996. p. 57
 Fisher, Marc. Something in the Air. New York, NY: Random House, 2007. pp124–157
 Platzer, David "Some Radio Unnameable Nights with Bob Dylan", The London Magazine December 2004/January 2005
"On Air, a Broadcaster and a Killer Shared a Platform" New York Times, Feb 24, 2008

References

Notes

External links
Bob Fass at WBAI
Radio Unnameable - documentary film website

1933 births
2021 deaths
American anti-war activists
Pacifica Foundation people
Military personnel from New York City
American radio DJs
Freeform (radio format)
Yippies
Free speech activists
Radio personalities from Brooklyn
Deaths from the COVID-19 pandemic in North Carolina

Bob Fass


Megamorphs #4: Back to Before is the fourth and final book in the Megamorphs series, a spinoff of the Animorphs series. With respect to the continuity in the Animorphs books, it takes place between The Other (#40) and The Familiar (#41).

Plot summary

After a particularly vicious battle, Crayak sends the Drode to tempt Jake into accepting an alternate reality in which the Animorphs did not walk home through the abandoned construction site, did not meet Elfangor, and did not become Animorphs.

The results are drastic: a friendless Tobias joins The Sharing, and is infested by a Yeerk who is later revealed as a spy for Visser One, and is killed. Marco -- now dating Rachel in this world -- runs into his mother, but she escapes before he can confront her. Jake discovers that his brother Tom is involved with dangerous dealings after a Yeerk security leak. And all the while, Cassie has a strong feeling that all is not right. Ax manages to escape from the remains of the Dome Ship, and begins to warn the people of Earth about the Yeerk presence.

The Yeerk response is immediate; they abandon their silent invasion and launch all-out warfare. In the ensuing chaos, Marco, Rachel and Cassie are all killed, while Jake and Ax meet up and manage to raid the Blade Ship and kill Visser Three. They take control of the Blade Ship and plan to use it to destroy the Yeerk Pool Ship, at which point the Drode and the Ellimist interrupt the timeline, returning the deceased characters to life and returning everyone's memories. The Drode complains that the events in this timeline are doomed to cause failure, and the Ellimist reveals that Cassie is an anomaly, a rare individual who is grounded in the true timeline and will disrupt any other timelines that try to take its place -- explaining Cassie's constant feeling that something was not right. It is also revealed that the Ellimist manipulated events (or as the Drode exclaims in disgust, "stacked the deck") to ensure that Cassie, Marco, Tobias, and Ax -- the anomaly, the son of Visser One's host, Elfangor's paradoxical son, and Elfangor's brother -- were all Animorphs; Jake and Rachel apparently became Animorphs through chance alone.

The Ellimist restores everything to as it was -- with only Cassie retaining even a vague memory of this new timeline, who prefers that Jake and Tobias not know how they gave in to the Drode and the Yeerks respectively -- and this time around, the Drode decides not to try to tempt Jake into accepting the alternate reality.

Morphs

Ax's particular unknown human morph is rendered unusable due to the timeline being rectified. However, he is still able to use a tiger shark morph since he acquired that in the original timeline as well.

TV adaptation
Back to Before was loosely adapted as part of the Animorphs TV series, which aired on Nickelodeon and YTV between the fall of 1998 and the spring of 2000 as the seventeenth episode "Not My Problem". The episode alters many characters' roles within the Animorphs, and changing plot lines. However, this could be because the episode in question was written independently of the book, and the book was written without knowledge of the episode.
 It is the Ellimist who grants Jake's wish to be normal in the TV series, not the Drode (Crayak having never been introduced in the TV series), apparently to make a point to Jake that his actions as an Animorph have been for the best when he is feeling particularly frustrated at the seemingly pointless war.
 All of the Animorphs except for Tobias (and the apparently absent Ax) are Controllers, while in the book only Tobias is made a Controller.
 None of the Animorphs realize that the timeline is wrong, although Tobias at one point notes that he and Jake should have been on the same side, suggesting some awareness of what should have happened; in the book, Cassie is an anomaly, a rare individual who is grounded in the true timeline and will disrupt any other timelines that try to take its place, and realizes that the timeline is wrong.
 In the book, only Cassie faintly remembers the alternate timeline because she is an anomaly, while in the TV series, Jake remembers it very clearly.

References

Animorphs books
2000 science fiction novels
Novels about multiple time paths
2000 American novels
Novels with multiple narrators

Back to Before


The Battle of Mauron was fought in 1352 in Brittany during the Breton War of Succession between an Anglo-Breton force supporting the claim of Jean de Montfort and a Franco-Breton force supporting the claim of Charles de Blois. The Anglo-Bretons were victorious. The battle took place in the context of the Hundred Years War.

Prelude
In 1352 a French army, commanded by Marshal Guy II de Nesle, invaded Brittany, and after recapturing Rennes and territories to the south was advancing northwest, towards the town of Brest. Under orders from the French King Jean II of France to retake the castle of Ploërmel from the Anglo-Breton garrison who occupied it, de Nesle made his way towards Ploërmel. Faced with this threat, the English captain Walter Bentley and the Breton captain Tanguy I du Chastel assembled troops to ride out and meet the Franco-Breton forces on 14 August 1352. The two armies met at a place called Brambily (currently the town of Saint-Léry) near Mauron castle.

Forces

Anglo-Breton army
2,000 men commanded by the Englishman Sir Walter Bentley and the Breton captain Tanguy I du Chastel. (Sir Walter had succeeded Sir Thomas Dagworth, the former keeper of Brittany who had been killed in a French ambush).

Franco-Breton army
The other army comprised 5,000 men under the command of the French marshal Guy II de Nesle and the Breton captain Jehan de Beaumanoir.

Battle
With only a minute force, Sir Walter took up one of those strong defensive positions favoured by the English of the time, with men-at-arms on foot in a line, with archers in the customary "wedge" (one interpretation of Froissart's enigmatic word 'herce' which more probably means in a 'zig-zag' rather than wedge-shaped deployment) formation on the wings.

The Franco-Breton forces attacked late in the afternoon and the English longbowmen inflicted mass carnage on the French horses, their dismounted riders being dispatched by the men-at-arms as they struggled to get to their feet under the weight of their armour. Although pushed back on their right, the Anglo-Bretons, under the command of Sir Robert Knollys, later a notorious commander of routiers, stood with their back to a belt of trees and put up such a fight that the French were routed.

The French leader, Guy II de Nesle, was amongst the slain, and at least six hundred French knights and nobles were taken prisoner, vastly enriching the victors. The battle gave the English further control of Brittany.

Aftermath
The battle was very violent and severe losses occurred on both sides: 800 of the Franco-Breton side and 600 on the Anglo-Breton. It was especially serious for the Breton aristocracy supporting the party of Charles de Blois. Guy II de Nesle and the hero of the Battle of the Thirty, Alain de Tinténiac, were slain. More than eighty knights of the recently formed chivalric Order of the Star also lost their lives, possibly partly because of the oath of the order never to retreat in battle.

References

Sources

Mauron
Mauron
1352 in England
1350s in France
Mauron
History of Morbihan
War of the Breton Succession

Battle of Mauron


Nesomyidae is a family of African rodents in the large and complicated superfamily Muroidea.  It includes many subfamilies, which all live in Africa. Malagasy rats and mice, climbing mice, African rock mice, swamp mice, pouched rats, and the white-tailed rat are in this family.

Characteristics

Nesomyids are small to medium rodents, and the largest is the size of a rat. They may look like mice, rats, voles, or hamsters, depending on the species and subfamily. They can either eat plant and meat totally, or insects totally. Their habits are also different, with some species climbing trees, and others digging holes in the ground to hide. They can give birth to the most four babies after being in the mother's womb for about six weeks.

Classification

Many of these animals were once thought to be related to other groups of muroid rodents, but this African-based group has been confirmed to be different from the other muroids based on genetic studies.  Still, all members of the Nesomyidae are placed in the family Muridae along with all other members of the Muroidea.

The Nesomyids are classified in 5 subfamilies, 22 genera and 55 species.

Subfamilies
Cricetomyinae (pouched rats)
Delanymyinae (Delany's Mouse)
Dendromurinae (climbing mice)
Mystromyinae (white-tailed rat)
Nesomyinae (Malagasy rats and mice)
Petromyscinae (African rock mice)

References

Jansa, S. A. and M. Weksler. Phylogeny of muroid rodents: relationships within and among major lineages as determined by IRBP gene sequences.  Molecular Phylogenetics and Evolution, 31:256-276.

Michaux, J., A. Reyes, and F. Catzeflis. 2001. Evolutionary history of the most speciose mammals: molecular phylogeny of muroid rodents. Molecular Biology and Evolution, 17:280-293.

Steppan, S. J., R. A. Adkins, and J. Anderson. 2004. Phylogeny and divergence date estimates of rapid radiations in muroid rodents based on multiple nuclear genes. Systematic Biology, 53:533-553.

Rodents

Nesomyidae


Grimoire is a book of witchcraft or paranormal magic. The word is pronounced "grim-warr", which rhymes with "guitar".

The word is a mistaken way of saying grammar. It probably started being used in a time when not many people could read. Then any book might be thought to contain instructions for magic.

In the religion of Wicca and other forms of Neopaganism, such a book is sometimes called a "Book of Shadows".

Magic (paranormal)
Spiritual books

Grimoire


Rose's Pawn Shop is an Americana, rock, folk and bluegrass band from Los Angeles, California. Their debut album,  The Arsonist, was released in May 2006. The band tours several times each year throughout the United States.

On their later album Gravity Well, the fiercely independent young quintet known as Rose's Pawn Shop deliver a rousing, honest set that demonstrates exactly why this multi-talented, multi-instrumental L.A.-based fivesome has quickly risen from humble D.I.Y. origins to national notoriety, winning a fiercely loyal fan base in the process.

The 12 new tunes that comprise Gravity Well—produced by Ted Hutt, renowned for his work with the likes of the Dropkick Murphys, Gaslight Anthem and the Old Crow Medicine Show—make it clear why Rose's Pawn Shop has earned such a fervent following.  The band's catchy, anthemic songcraft channels the raw emotional power of America's folk, country and bluegrass traditions and puts them through a modern filter, creating timelessly resonant music.

Frontman Paul Givant's heartfelt, engaging songwriting surveys such time-honored subjects as heartache, loss, regret and redemption, echoing centuries of musical tradition while still sounding wholly contemporary.  Despite the lyrics' often-dark subject matter, the music is consistently uplifting, thanks to the musicians' infectious instrumental interplay and soaring three- and four-part harmonies.  The ensemble makes innovative use of banjo, fiddle, mandolin and upright bass, while maintaining an edgy swagger.

"I think that this music exists on two different levels," notes singer, guitarist and main songwriter Givant, adding, "The songs are passionate and emotional, and sometimes sad and heartbreaking.  But at the same time, the energy of the music makes you want to get up and dance and release all of that pent-up energy."

Rose's Pawn Shop's musical and emotional depth is apparent on such lyrically and melodically compelling new tunes as "What Were You Waiting For?", "Staring At the Door" and "On the Brink", which merge equal amounts of country twang and punk adrenaline.  Meanwhile, gentler numbers like "Go Get Gone", "Stay All Night" and the cinematic title track explore more introspective territory, and a memorable reading of the Dock Boggs standard "Country Blues" affirms the group's instinctive understanding of its vintage influences.

Growing up in the 1990s, Paul Givant absorbed a wide array of music, yet he was drawn most deeply to traditional folk and bluegrass, and inspired by the music's ability to illuminate the tragedies and triumphs of everyday life.  The influence of those genres loomed large when Givant began writing songs himself.

Through various mutual friendships, chance meetings and some help from Craigslist, Givant eventually connected with kindred musical spirits John Kraus, Tim Weed, Stephen Andrews and Christian Hogan, whose musical expertise, instrumental versatility and organic rapport were ideally suited to Givant's expansive musical vision.

"The original intent," Givant explains, "was to be kind of a bluegrass version of the Pogues, fusing bluegrass instrumentation and energy with rock and punk.  That's what our first album was like: gritty, high-energy and passionate, with a lot of instrumental virtuosity.  But over time, we've evolved to be more song-focused.  I think we've retained that original energy, but now we're more focused on crafting our arrangements so the song can shine though."

The nascent combo got its name after Rose, Givant's ex-girlfriend and former bandmate, stole the band's equipment from their rehearsal space and scattered their gear amongst various pawn shops throughout North Hollywood.  Fortunately, the musicians were able to recover their gear, and soon forged a formidable musical chemistry that manifested itself in their highly charged live shows, and on their 2010 release Dancing on the Gallows.

Rose's Pawn Shop's lineup solidified and began touring intensively in time to support Dancing on the Gallows, accumulating such landmarks as month-long residencies at New York's Parkside Lounge and L.A.'s Redwood Bar, busking in New Orleans' fabled Jackson Square, live radio sessions on such prestigious stations as KEXP in Seattle and WMBR in Boston, well-received appearances at various prestigious music festivals, and a slot opening for Jack White's Raconteurs, at White's invitation, at the Henry Fonda Theatre in Los Angeles.

Dancing on the Gallows spent several weeks on CMJ's influential album chart, while receiving extensive national and international airplay on college, AAA, country and alternative radio formats.  Meanwhile, the band's diligent roadwork—which has taken them across North America several times, along with visits to the U.K. and Ireland—has allowed Rose's Pawn Shop to continue winning fans and friends across the nation and around the world.

"Our travels have had a big influence on our evolution," Givant states.  "Meeting other bands and meeting people from all over the world at our shows has had a big influence on our songwriting, and opened us up to new musical traditions. Seeing the world in general and being away from home for long periods of time has influenced many of our songs.  It's matured us, as people and as a band."

Rose's Pawn Shop's ongoing musical journey yields considerable musical rewards on Gravity Well, making it clear that the band's creative horizons are unlimited.

"We've always been about the music and the songs, and the expression of the human experience through music," says Givant.  "But we've matured as musicians over time, and I think that that's been reflected in the music.  We've learned that we don't all have to play crazy at all times, and we've learned to pick our moments to shine and deliver the songs in the most clear, concise and passionate way possible."

Rose's Pawn Shop released their 4th album "Punch-Drunk Life" on February 24, 2023 on KZZ Music.

Formation
Formed in August 2005, Rose's Pawn Shop is a five-piece band consisting of:
Paul Givant - lead vocals, guitar and banjo
Tim Weed - fiddle, mandolin and vocals
John Kraus - banjo, electric guitar and vocals
Stephen Andrews - upright bass
Zachary Ross - Electric Guitar
Matt Lesser - drums

Former members:
Sebastian St. John - fiddle, mandolin, accordion, Bouzouki, Greek lyra and vocals
Bill Clark - banjo, pedal steel, guitar and vocals
Derek Asuan-O'Brien - upright and gut bucket basses
Derek Swenson - drums and vocals
Dave Weinstein - original drummer, left the band to pursue a modeling career
Ulf Geist - drums
Christian Hogan - drums

They have also recorded and performed with: "Soda"- banjo, guitars and vocals, Jimmy Stelling of The Hackensaw Boys, Wayne Hancock, Junior Brown, Flogging Molly, Th' Legendary Shack Shakers, The Scotch Greens, Jack White and The Raconteurs, Grace Potter & The Nocturnals, Ghostland Observatory, Blues Traveler, DeVotchka, Old Crow Medicine Show, Levon Helm, Blue Rodeo, Conor Oberst and the Mystic River Band, Railroad Earth, The Sadies, and The Duhks, and many others.

Awards
In 2006, Rose's Pawn Shop was awarded the 2006 Best Band in the West title in the Billboard Magazine/Disc Makers Independent Music World Series. They were also selected as Amoeba Records homegrown artist of the month for June 2006.  Following these awards Rose's Pawn Shop embarked on a three-month cross-country tour.

Press highlights
Rolling Stone premiered "What Were You Waiting For" music video in September 2014.
American Songwriter premiered "What Were You Waiting For" in July 2014.

Discography

References

External links
Main website
Rose's Pawn Shop booking page on High Road Touring
About.com review of "The Arsonist"
KEXP review of "Dancing On the Gallows"
AOL's The Boot review of "Live Show in Nashville"
Interview at bigtakeover.com
Interview at Magnet magazine
"Paul Givant from Rose's Pawn Shop at American Highways magazine
Rose's Pawn Shop at AllMusic

American bluegrass music groups
Rockabilly music groups
Country music groups from California
Rock music groups from California
Musical groups from Los Angeles

Rose's Pawn Shop


LeBoeuf, Lamb, Greene & MacRae LLP was an international law firm of about 700 attorneys headquartered in New York City. The firm had specialities in energy, public utilities, and insurance. It was founded by Randall LeBoeuf Jr. In 2007, it merged with Dewey Ballantine to form Dewey & LeBoeuf, which went bankrupt in 2012.

History

From its beginnings in 1929, LeBoeuf, Lamb, Greene & MacRae was known for its representation of energy and public utility companies, and from 1965, when it was selected as U.S. counsel for Lloyd's of London, it became a preeminent law firm advising insurance companies. It was this that led to the opening of the London office in 1978.

The firm was founded by Randall J. LeBoeuf Jr., who was born in Albany, New York, in 1897. While still in solo practice in 1929, LeBoeuf became general counsel to Niagara Hudson Power Company and the Aluminum Company of America (ALCOA). As his workload increased, LeBoeuf recruited his friend Bill Winston from an Albany law firm to form the partnership LeBoeuf & Winston on October 7, 1929, just before the U.S. stock market collapsed. Within six months, the new partnership had established itself at 15 Broad Street, New York City, where it shared offices with Niagara Hudson Power. Donald Greene was a partner as well, and made a strong stand in the firm

Horace Lamb joined the partnership in 1934 to enhance its expertise in a wider variety of legal matters. Characterized as an aggressive litigator, Lamb came to the firm after working for the Antitrust Division of the U.S. Department of Justice as well as in private practice. Lamb soon become a name partner at the firm.

In 1952 Adrian C. Leiby, a former clerk to U.S. Supreme Court Justice Harlan Fiske Stone, left his position at the firm of DeForest & Durr to join LeBoeuf, which was renamed LeBoeuf, Lamb & Leiby. Leiby brought with him 20 years of experience in corporate securities and finances.

Anticipating the creation of the Atomic Energy Commission to regulate the new civilian use of fission plants, LeBoeuf opened its first branch office in 1952 in Washington, D.C. to help utilities license nuclear plants.

One of the nation's top public utility lawyers, Cameron F. MacRae Jr., joined the firm from Whitman Ransom, in 1958. The following year, Randall LeBoeuf became the special assistant attorney general representing New York in a water rights dispute over the amount of Great Lakes water that could be diverted through the Chicago Drainage Canal. This conflict pitted the lakes states against those next to the Mississippi River.

The firm lost three of its name partners in short succession in the 1970s: Randall LeBoeuf in 1975, Adrian Leiby in 1976, and Horace Lamb in 1977. Cameron MacRae, who had been formally installed as presiding partner in 1970, remained at the firm, which had become known as LeBoeuf, Lamb, Leiby & MacRae.

The firm developed an ambitious growth strategy in the 1970s through the 1990s. As a result, it expanded to become an international law firm with offices not only in the U.S. but also in London, Paris, Moscow, Riyadh, Beijing and Hong Kong. By early 2007, LeBoeuf, Lamb, Greene & MacRae had approximately 650 attorneys in 19 offices around the world.

The firm had offices in Albany, Almaty, Beijing, Bishkek, Boston, Brussels, Chicago, Hartford, Houston, Jacksonville, Johannesburg, London, Los Angeles, Moscow, New York City, Paris, Pittsburgh, Riyadh (affiliated office), San Francisco, and Washington, DC.  LeBoeuf's Denver and Newark offices closed in 2003 and 2004, respectively. The Pittsburgh office closed in 2006.

On October 1, 2007, the firm merged with Dewey Ballantine to form the combined firm of Dewey & LeBoeuf LLP. The merged firm employed a recruiting and growth strategy that proved to be financially unsound, which led to a talent exodus. Combined, this forced the firm into bankruptcy in May 2012.

References

External links
 Dewey & LeBoeuf, Official website

Law firms based in New York City
Defunct law firms of the United States
Defunct companies based in New York (state)
Law firms established in 1929
1929 establishments in New York (state)
Law firms disestablished in 2007
2007 disestablishments in New York (state)

LeBoeuf, Lamb, Greene & MacRae


Patrick O'Donoghue (1810–1854), also known as Patrick O'Donohoe or O'Donoghoe, from Clonegal, County Carlow, was an Irish Nationalist revolutionary and journalist, a member of the Young Ireland movement.

Early life

Born to a peasant family in County Carlow, O'Donoghue was self educated. He managed to gain a place at Trinity College Dublin. He worked as a Law Clerk in Dublin.

Young Irelander Rebellion
In the aftermath of the failed Young Irelander Rebellion at Ballingarry, County Tipperary, in July 1848, he was placed in October 1848 before a British 'Special Commission' at Clonmel in County Tipperary and sentenced to death for treason. As with other prominent Young Irelanders, this was later commuted to transportation for life to the penal colony at Van Diemen's Land (Tasmania).

Transportation to Van Diemen's Land

In 1849 O'Donoghue, together with William Smith O'Brien, Terence MacManus, Thomas Francis Meagher and many others were on board the prisoner transport ship the Swift for a six-month, 14,000-mile journey under difficult conditions which some fellow prisoners did not survive.

On 26 January 1850, "Using materials he had begged and borrowed" as one account gives it, Patrick O'Donoghue started publishing in Hobart Town a weekly newspaper named The Irish Exile, aimed mainly at fellow Irish prisoners and deportees and considered to be the first Irish Nationalist paper to be published in Australia.

The paper featured Irish ballads and poetry, articles about Irish history, and a regular column by John Martin reporting on the situation of the Repeal Movement (campaigning to repeal the Act of Union under which the Irish Parliament had been abolished). There were also local news of the Irish deportee community, then numbering in the thousands, and of Hobart Town daily life in general.

O'Donoghue used The Irish Exile to publish excerpts of his journal aboard The Swift, which were reprinted in Australian, British and Irish newspapers. Brisbane's The Moreton Bay Courier (reprinted from Dublin's The Nation) found that the journal "will show how severely the tyrannical government of England visited the offences of the Ballingarry cabbage-tree heroes. The studies of Messrs. O'Brien, Meagher (afterwards O'), and O'Donoghoe, will amuse the reader". While in Van Diemen's Land, the Launceston Examiner reprinted London's The Examiners view that "a singularly large amount of mercy has been shown to those grown-up children who made the escapade from Dublin to raise the standard of Irish rebellion at Ballingarry. One of the worthies, Mr. Patrick O'Donoghue, has published an account of his deportation; and certainly a more pleasureable  voyage could not have been under taken at the expanse of government. A roomy cabin, a capital library, a fair dinner, with a couple of glasses of wine, and cigars upon deck, from the dietary and the entertainment of the political exiles".

Publication of the paper was not in itself illegal, but was highly displeasing to the Governor, Sir William Denison, who found that the paper could be suppressed by arresting O'Donoghue and charging him with having "left his allocated district". He was sentenced to one year's work in a chain-gang – a time spent at hard labour, living in a convict station and wearing a convict uniform, mainly in the company of non-political prisoners such as "rapists, muggers and thieves".

In March 1851 he was released and taken back to Hobart Town. Undeterred, he immediately restarted his paper, prominently featuring an extensive personal account of his year with the chain gang. The governor reacted by sending him again to a chain gang, at a more distant location this time – the Cascades Penal Station. Three months later the governor ordered him released from there and sent to Launceston.

On the way there, he succeeded in escaping from his guards with the help of fellow-prisoners, who managed to smuggle him on board the ship Yarra Yara, on its way to Melbourne.

Escape to America
There, he successfully hid from the British authorities (who may have been tacitly happy to see the last of him) and with further help from Irish sympathisers managed to get to San Francisco, where some of his fellows such as MacManus and Meagher also ended up.

He died in New York City on 22 January 1854, shortly before the arrival of his wife on a ship from Ireland. The time spent in the chain gang may have contributed to undermining his health. The other escaped state prisoners did not attend his funeral, although Michael Doheny and Michael Cavanagh, fellow Young Irelanders who lived in New York, did. Christine Kinealy, 'Repeal and Revolution. 1848 in Ireland', Manchester University Press, 2009.

The local Sinn Féin Cumman (branch of a political party) in Carlow is named after O'Donoghue.

See also
List of convicts transported to Australia

References

Further reading
The Politics of Irish Literature: from Thomas Davis to W.B. Yeats, Malcolm Brown, Allen &  Unwin, 1973.
John Mitchel, A Cause Too Many, Aidan Hegarty, Camlane Press.
Thomas Davis, The Thinker and Teacher, Arthur Griffith, M. H. Gill & Son 1922.
Brigadier-General Thomas Francis Meagher His Political and Military Career, Capt. W. F. Lyons, Burns Oates & Washbourne Limited 1869
Young Ireland and 1848, Dennis Gwynn, Cork University Press 1949.
Daniel O'Connell The Irish Liberator, Dennis Gwynn, Hutchinson & Co, Ltd.
O'Connell Davis and the Colleges Bill, Dennis Gwynn, Cork University Press 1948.
Smith O'Brien And The "Secession", Dennis Gwynn, Cork University Press
Meagher of The Sword, edited By Arthur Griffith, M. H. Gill & Son, Ltd. 1916.
Repeal and Revolution. 1848 in Ireland, Christine Kinealy, Manchester University Press, 2009).
Young Irelander Abroad The Diary of Charles Hart, edited by Brendan O'Cathaoir, University Press.
John Mitchel First Felon for Ireland, Edited By Brian O'Higgins, Brian O'Higgins 1947.
Rossa's Recollections 1838 to 1898, Intro by Sean O'Luing, The Lyons Press 2004.
Labour in Ireland, James Connolly, Fleet Street 1910.
The Re-Conquest of Ireland, James Connolly,	Fleet Street 1915.
John Mitchel Noted Irish Lives, Louis J. Walsh, The Talbot Press Ltd 1934.
Thomas Davis: Essays and Poems, Centenary Memoir, M. H. Gill, M.H. Gill & Son, Ltd MCMXLV.
Life of John Martin, P. A. Sillard,	James Duffy & Co., Ltd 1901.
Life of John Mitchel, P. A. Sillard, James Duffy and Co., Ltd 1908.
John Mitchel, P. S. O'Hegarty, Maunsel & Company, Ltd 1917.
The Fenians in Context Irish Politics & Society 1848-82, R. V. Comerford, Wolfhound Press 1998
William Smith O'Brien and the Young Ireland Rebellion of 1848, Robert Sloan, Four Courts Press 2000
Irish Mitchel, Seamus MacCall, Thomas Nelson and Sons Ltd 1938.
Ireland Her Own, T. A. Jackson, Lawrence & Wishart Ltd 1976.
Life and Times of Daniel O'Connell, T. C. Luby,	Cameron & Ferguson.
Young Ireland, T. F. O'Sullivan, The Kerryman Ltd. 1945.
Irish Rebel John Devoy and America's Fight for Irish Freedom, Terry Golway, St. Martin's Griffin 1998.
Paddy's Lament Ireland 1846–1847 Prelude to Hatred, Thomas Gallagher,	Poolbeg 1994.
The Great Shame, Thomas Keneally, Anchor Books 1999.
James Fintan Lalor, Thomas, P. O'Neill, Golden Publications 2003.
Charles Gavan Duffy: Conversations With Carlyle (1892), with Introduction, "Stray Thoughts on Young Ireland", by Brendan Clifford, Athol Books, Belfast, . (Pg. 32 Titled, Foster's account of Young Ireland.)
Envoi, Taking Leave of Roy Foster, by Brendan Clifford and Julianne Herlihy, Aubane Historical Society, Cork.
The Falcon Family, or, Young Ireland, by M. W. Savage, London, 1845. (An Gorta Mor) Quinnipiac University

1810 births
1854 deaths
Australian journalists
Convicts transported to Australia
19th-century Irish journalists
Burials at Green-Wood Cemetery
People from Clonegal
Young Irelanders
Alumni of Trinity College Dublin
Lawyers from County Carlow
Writers from County Carlow

Patrick O'Donoghue (Young Irelander)


Henry Lawes (1596 – 1662) was the leading English songwriter of the mid-17th century. He was elder brother of fellow composer William Lawes.

Life
Henry Lawes (baptised 5 January 1596 – 21 October 1662), the elder son of Thomas Lawes (died 1640) and Lucris Lawes (born Shephard) was born at Dinton, near Wilton, Wiltshire, just before 5 January 1596. Around 1602 Thomas, a church musician, moved to Salisbury as lay vicar and the family took up residence in the Close. Henry's three brothers, born in Salisbury, were also able musicians: William, Thomas (1608 – 1666) and John (d 1655). It is presumed that Henry, and subsequently William, sang in the Cathedral choir but there is no direct evidence. Nor is there information about his upbringing or musical training before he appeared in London, probably about 1615.

At an early stage in London he was employed by John Egerton, earl of Bridgewater to teach music to his daughters. He was sworn 'epistoler' of the Chapel Royal in January 1625/6 and Gentleman in November following. On 6 January 1630/1 he was cited in the Lord Chamberlain's accounts as being appointed 'for the lutes and voice' as one of Charles I's musicians, replacing the recently deceased Robert Marsh. By 28 February he was receiving an annual salary of £20, with a livery allowance of £16 2s 6d. Lawes was one of six countertenors of the Capel Royal who attended the King at his coronation in Scotland in 1633). That same year he served as the Clerk of the Cheque of the Chapel Royal and was a member of the royal band.

During the mid-1630s he composed songs for Milton's Arcades and arranged for John Milton to write the masque Comus; its first performance on 29 September 1634 at Ludlow Castle marked the appointment of Bridgewater as President of the Council of Wales. Compositions for masques and other entertainments followed in the 1630s, sometimes with brother William and others such as Simon Ives. Unlike his songs (see below), little of his music for the masques survives. The portrait now in the Faculty of Music, Oxford University, is dated around this time, approximately 1642.

The English Civil War altered this way of life and affected Henry especially when William was killed in 1645, joining what was believed to be a victorious rout in the fighting at the siege of Chester.  In 1648 Henry published Choice Psalms containing three-part psalms by himself and William as a memorial to William. It includes verse memorials by Townshend, Harington, Milton and Sambrooke, with musical elegies by Henry Lawes, John Wilson, John Taylor, John Cobb, Edmond Foster, John Jenkins and John Hilton.

Whereas William had continued in the King's service, Henry developed his activities as teacher and performer. He taught the daughter of Sir Edward Dering, Lady  Mary, to whom he  later dedicated his 1655 collection of airs. He appears to have  opened his house for music - the duchess of Newcastle attended "several times". Playford listed Henry in 1651 as among the London teachers "for the Voyce or Viol". In the later Commonwealth musical entertainments revived and Henry contributed to entertainments written by William Davenant such as his First Day's Entertainment performed at Rutland House on 23 May 1656.

With the publication of his second book of Ayres and Dialogues from 1655, Lawes reflected on his life's changes wrought by the Civil War: "...although I have lost my fortunes with my Master (of ever blessed memory) [the reference is to Charles I], I am not so low to bow for a subsistence to the follies of this age."

At the Restoration Lawes was reinstated in both of his old positions in the King's Musick (16 June, as Composer in the Private Musick " in place of Thomas Ford) and the Chapel Royal. On 23 April 1661 Henry Lawes's anthem Zadok the priest was sung at the coronation of Charles II. However it had been noted by William Child and Samuel Pepys among others that he lies very sick: he died on 21 October 1662 and was buried in the cloisters of Westminster Abbey on 25 October.

Works
Henry Lawes wrote little instrumental music though some may have been lost: and though some of his 1638 psalm tunes are found in modern hymn-books, his devotional music does not now appeal. It is his output of more than 430 songs on which his reputation rests, linking the period of Dowland to that of Purcell. The major quantity of songs remain in MS, most especially an autograph collection, thought to be in chronological order between 1620 and 1650, containing 325 songs. Another substantial MS source is in New York. The favoured poets were Carew, Waller, Herrick, Suckling and Lovelace.

Printed sources have some degree of overlap with the MSS but account for a further 239 songs:
1638: Psalms to paraphrase by George Sandys;
1648: Choice Psalms (see above);
1653: First Booke of Ayres and Dialogues;
1655: Second Booke of Ayres and Dialogues;
1658: Third Booke of Ayres and Dialogues;

In addition there are many songs and catches in publications by John Playford from 1652 ("Catch that Catch Can") through to 1678.

References

Notes

External links

 The Lied, Art Song and Choral Texts Archive

1596 births
1662 deaths
English Baroque composers
English classical composers
Gentlemen of the Chapel Royal
17th-century classical composers
17th-century English composers
English male classical composers
17th-century male musicians

Henry Lawes


Jerry Blackstone is a Grammy Award winning American choral conductor. He was the Director of Choirs and Chair of the Conducting Department at the University of Michigan and the Music Director of the University Musical Society Choral Union.

Blackstone holds degrees from Wheaton College, Indiana University, and the University of Southern California and has served on the music faculties of Phillips University, Westmont College, and Huntington University.  In 1988, Blackstone joined the faculty of the University of Michigan, where he conducted the University of Michigan Chamber Choir, taught conducting at the graduate level, administered a choral program of eleven choirs, and directed the University of Michigan's Summer Music Programs and Michigan Youth Ensembles. In 2022 he became the director of the Wheaton College Men's Glee Club and Women's Chorale choirs.

From 1988 to 2002, Blackstone was the conductor of the University of Michigan Men's Glee Club. He led the group on tours of Australia, Eastern and Central Europe, Asia, South America, and the United States. The Men's Glee Club CD, I Have Had Singing, is a retrospective of his tenure as conductor of the ensemble.

Blackstone has appeared as festival guest conductor and workshop presenter in twenty-eight states as well as Hong Kong, Shanghai and Australia. His publications include an educational video, Working with Male Voices, and the Jerry Blackstone Choral Series.

In April 2004, Blackstone became Conductor and Music Director of the University Musical Society Choral Union, a large community/university chorus that frequently appears with the Detroit Symphony Orchestra performing major choral-orchestral works. In 2003/2004, he prepared the choirs for the Grammy-winning recording of William Bolcom's Songs of Innocence and of Experience.

External links
 University of Michigan Bio
 University of Michigan's Department of Choral Conducting

Year of birth missing (living people)
Living people
University of Michigan faculty
Phillips University faculty
Indiana University Bloomington alumni
USC Thornton School of Music alumni
American choral conductors
American male conductors (music)
Grammy Award winners
Wheaton College (Illinois) alumni
21st-century American conductors (music)
21st-century American male musicians

Jerry Blackstone


Fifty Foot Hose is an American psychedelic rock band that formed in San Francisco in the late 1960s, and reformed in the 1990s. They were one of the first bands to fuse rock and experimental music. Like a few other acts of the time (most notably The United States of America), they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas.

1960s – original group
The original group comprised three core members: founder and bassist Louis "Cork" Marcheschi, guitarist David Blossom, and vocalist Nancy Blossom, augmented by Kim Kimsey (drums) and Larry Evans (guitar).

Cork Marcheschi (born 1945) grew up in Burlingame, California. In his teens, he performed with the Ethix, who played R&B music in clubs around San Francisco and in Las Vegas, and released one experimental and wildly atonal single, "Bad Trip", in 1967, with the intention that the record could be played at any speed. Interested in the ideas of experimental composers like Edgard Varèse, John Cage, Terry Riley, and George Antheil, he constructed his own custom-made electronic instrument from a combination of elements like theremins, fuzzboxes, a cardboard tube, and a speaker from a World War II bomber.

David and Nancy Blossom brought both psychedelic and jazz influences to the band. Together, the trio recorded a demo which led to a deal with Limelight Records, a subsidiary of Mercury Records. They released one album, Cauldron, in December 1967. It contained eleven songs, including "Fantasy", "Red the Sign Post" and "God Bless the Child", a cover of a Billie Holiday number. It was an intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. "I don't know if they are immature or premature", said critic Ralph J. Gleason.

The record sold few copies at the time, although the group had a small but intense following in San Francisco and also toured with other acts including Blue Cheer, Chuck Berry and Fairport Convention, when the band was augmented by Robert Goldbeck (bass).  They broke up in late 1969, when most of its members joined the musical Hair, Nancy Blossom becoming the lead in the San Francisco production and later singing in Godspell. Larry Evans returned to his hometown of Muncie, Indiana, where he fronted several club groups until his death in 2008.

1990s – reformation
Interest in Fifty Foot Hose resurfaced in the 1990s, as they became recognized as precursors to the electronic rock sounds of groups like Pere Ubu, Chrome and Throbbing Gristle, and Cauldron was reissued on CD. By this time, Marcheschi had become a respected sculptor, specializing in public work using neon, plastic, and kinetic characteristics.

In 1995, Marcheschi reformed the group for live performances in San Francisco, with a new set of musicians. These performances led to the release of the album Live & Unreleased, which was followed in 1997 by a new studio album, Sing Like Scaffold.  On the latter album, Fifty Foot Hose essentially comprised Marcheschi (on echolette, twin audio generators, squeaky stick, white noise generator, theremin, spark gap, and saw blades), Walter Funk III (jokers Ulysses and Cupid constructed by Fred 'Spaceman' Long, Bug (Tom Nunn), vocoder, Hologlyphic Funkaliser, and other electronix), Reid Johnston (guitube, guitar, tools, horns, harmonium, hardware, bikewheel), Lenny Bove (bass, electronics, vocals), Elizabeth Perry (vocals), and Dean Cook (drums).

Funk and Johnston subsequently formed the avant-garde electronic band Kwisp, the first of whose two albums also featured Marcheschi.

In 2006, Marcheschi, Funk, Johnston, and Konstantine Baranov (producer of Sing Like Scaffold), known as CWRK Musical Environments, installed a public sound installation in an atrium in Hong Kong.

Discography
Cauldron (1968, Limelight Records)
...Live... And Unreleased (1997, Captain Trip Records)
Ingredients (1997, Del Val)
Sing Like Scaffold (1998, Weasel Disc Records)

References

External links

 Cork Marcheschi website
 1994 interview with Marcheschi about Fifty Foot Hose
 1997 interview following reformation of group

American experimental rock groups
Musical groups from San Francisco
Psychedelic rock music groups from California
Mercury Records artists

Fifty Foot Hose


Dan Church (born May 14, 1973) is a Canadian ice hockey coach and executive. He was head coach of the Canadian national women's hockey team, which won the gold medal at the 2012 IIHF Women's World Championship. He is also the head coach for the York Lions women's ice hockey program.

University
From 1996 to 2004, Church was the assistant coach for the Toronto Lady Blues ice hockey program. Under his tenure, the Lady Blues claimed one CIAU (now CIS) national championship (2001) and three OUA championships (1998, 2000, 2001). While at the University of Toronto, he was the assistant to Karen Hughes (who was also the National Women's Team head coach). In 2004, Church was appointed head coach for York University.

Hockey Canada
In August 2006, Church was appointed assistant coach with the Canadian National Women's Under-22 Team. The squad participated in a three-game series versus the United States in Ottawa, Ontario. At the 2008 Air Canada Cup (now known as Meco Cup), Church was appointed head coach of the Under 22 team, and helped the Canadian squad claim the gold medal.
During 2009, Church served Hockey Canada in two different capacities. He served as Canada's head coach at the 2009 World University Games in Harbin, China. Women's ice hockey was contested for the first time, and Canada would claim the first-ever gold medal. In August 2009, Church was the head of the Canadian National Womnen's Under-18 team. The team participated in a three game series versus the United States. The series was contested in Calgary, Alberta during August, 2009.

A few months later, Church coached the Canada's National Women's Under-18 Team at the 2010 IIHF World Women's Under-18 Championship (contested in Chicago, Illinois). The end result was Canada winning a gold medal. In 2011, Church was the assistant coach with the Canadian National Women's Team, as they claimed a silver medal at the 2011 IIHF World Women's Championship. The following year, Church was appointed head coach of the National Team.  On December 12, 2013, Church resigned from his position due to differences with Hockey Canada.

Personal
Since 2007, Church has served as the President of the CIS Women's Hockey Coaches Association. Church has also provided coaching duties to the Canadian National Standing Amputee Program, and helped the program claim gold at the world championship in 2008 and 2010. Church is also a Canadian Professional Golf Association (CPGA) professional and has participated at various Canadian Tour competitions.

On April 17, 2012, Church, along with Meghan Agosta, Gillian Apps, Caroline Ouellette and Courtney Birchard, took part in the opening face off of the playoff game between the Ottawa Senators and the New York Rangers at ScotiaBank Place.

References

Living people
1973 births
Canadian ice hockey coaches
Ice hockey people from Ontario
U Sports coaches
York Lions women's ice hockey

Dan Church


The River Beck is one of the tributaries of the River Ravensbourne in south London. The source of the River Beck is in Spring Park () where Shirley and West Wickham meet. For its first mile or so it forms the border between the London boroughs of Croydon and Bromley. Indeed, historically, this was also the border between Surrey and Kent. It gives its name to Beck Lane, Elmers End and Beck Way, Beckenham.

The Beck flows into Cator Park, where it is joined by the Chaffinch Brook. The river after this juncture is called the Pool River, until it joins the River Ravensbourne which in turn joins the River Thames.

The name probably derives from the town of Beckenham - Beohha's homestead (Old English). An alternative derivation  may be the Middle English beck (stream), which would be an example of a tautological name. However this usage is not common in southern England.

References

Geography of the London Borough of Bromley
Geography of the London Borough of Croydon
Beck

River Beck


The Fund Processing Passport (FPP), developed by the European Fund and Asset Management Association (EFAMA), is a fully harmonized document with all the key "operational" information that fund promoters should provide on their investment funds in order to facilitate their trading.

Definition
The information covered includes ISIN code, contact details, subscriptions/redemptions rules, settlement details, cut off times, etc.

History
The FPSG published its first set of recommendations in February 2005. An updated report was published in September 2008. This report consolidates the 2005 recommendations and extends them in three service areas: holding and transaction reporting, commission handling and settlement cycles.

In early 2007, EFAMA published the version 1.0 of the Fund Processing Passport, which had been outlined in the FPSG recommendations of 2005. To highlight the rationale for the FPP, EFAMA published a brochure in June 2007. In May 2008, EFAMA released a revised and improved version of the FPP, together with an updated version of its User Guide and formatting guidelines (see "Fund Processing Passport User Guide", version 2.0, Excel file)

EFAMA strongly believes that the FPSG recommendations, if embraced by the industry, will serve to converge towards industry-wide standards, thereby removing an important barrier to the development of harmonized processing of investment fund transactions in Europe.

External links
 More information Efama

Investment funds

Fund Processing Passport


Peter Spencer (1782–1843) was an American freedman who in 1813 founded the Union Church of Africans in Wilmington, Delaware. The denomination is now known as the African Union First Colored Methodist Protestant Church and Connection, or A.U.M.P. Church for short.  Born into slavery in 1782 in Kent County, Maryland, Spencer was freed after his master died, by the terms of his will.

Spencer moved north to Wilmington, which had a large free black population. He contributed to the development of the free African-American community in this city. There he founded the Union Church of Africans in 1813. (This followed the 1793 establishment in Philadelphia of the African Methodist Episcopal Church by Richard Allen, which was the first independent black church. It had ties to the Methodist Episcopal Church until 1816, when several congregations formed it as a denomination, electing Allen as bishop.

In 1814, Spencer called for the first annual gathering of the Union Church, an event now known as the Big August Quarterly. This has drawn members of this denomination and their descendants together in an annual religious and cultural festival, which continues to be held in the early 21st century.

Thomas Garrett, a Quaker in Wilmington who was an abolitionist and active in the Underground Railroad as  a "conductor" of refugee slaves, helped Spencer buy land to build the Mother Church on French Street in Wilmington. Over the course of his lifetime, Spencer began 31 churches, nearly all of them with schools. He became known as the "father of the independent black church movement."

References

External links
Russell, AUMP Church history, 1920, at Documenting the American South, University of North Carolina

1782 births
1843 deaths
American Methodist bishops
American religious leaders
Clergy of historically African-American Christian denominations

Peter Spencer (religious leader)


The American Kennel Club is an association of breeders of purebred dogs. It is in the United States. The club was founded in 1886. It is one of three such associations. The others are the Federation Cynologique Internationale, and the British Kennel Club. The American Kennel Club has a defined set of dog breeds, which it classifies into groups. While the breeds are pretty standard among the three associations, the classification into groups is not.

Dogs
Organizations in New York City
1886 establishments in the United States
Animal organizations

American Kennel Club


Blast fishing or dynamite fishing is the use of dynamite or homemade bombs to kill or stun many fish at once. This makes the fish easier to catch. It kills many fish, and damages where they live. The explosions often destroys the habitat (such as coral reefs) which supports the fish.

The explosives are also dangerous for the fishermen, causing accidents and injuries. The practice is illegal in many places.

References

Fishing

Blast fishing


Cyperus squarrosus is a species of sedge known by several common names, including bearded flatsedge and awned flatsedge. It is found in wet environments in North and South America, Africa, Australia, southern Asia (China, India, Saudi Arabia, Indochina, etc.) and Italy.

Description
Cyperus squarrosus is a small sedge, reaching a maximum height between 10 and 16 centimeters. There are one to three short, thin leaves around the base of the plant. The inflorescence is a single spherical or bunched spike of up to 30 spikelets. Each spikelet is flat and has excurved awns, meaning the tip of each of the two to eight flowers on the spikelet curls outward. The spikelets are bright green to yellowish or brown. The curved awn tips and the small size of this sedge are good identifying characteristics.

References

External links
Jepson Manual Treatment
USDA Plants Profile
Photo gallery

squarrosus
Flora of Asia
Flora of Italy
Flora of Africa
Flora of Northern America
Flora of Southern America
Flora of Australia
Flora of Madagascar
Plants described in 1756
Taxa named by Carl Linnaeus

Cyperus squarrosus


AB Motorfabriken i Göteborg (AMG) was founded in 1897 in Gothenburg, Sweden as a producer of stationary engines. In 1899 the company also began producing boat engines and started looking into automobile manufacturing. They went to France and looked for suitable models, settling on the Brasier. They imported Brasiers until their own models could be produced.

In 1903 their first automobile was made. Except for engine, ignition system, carburetor, and tires, the car was made entirely of Swedish products. The engine used was the German Fafnir, but converted to be water-cooled. Transmission was via propshaft, rather than chain or belt as was the norm. The first car was driven from Gothenburg to Stockholm for a car exhibition. However, finances were grim and only ten cars were built. Production ended in 1906.

Veteran vehicles
Defunct motor vehicle manufacturers of Sweden
Vehicle manufacturing companies established in 1897
Vehicle manufacturing companies disestablished in 1906
1906 disestablishments in Sweden
Swedish companies established in 1897

AB Motorfabriken i Göteborg


The Holy Trinity Column () in Olomouc, in the Czech Republic is a Baroque monument (Trinity column) that was built between 1716 and 1754. The main purpose was to celebrate the Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia (now in the Czech Republic) between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way.

It is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage List as "one of the most exceptional examples of the apogee of central European Baroque artistic expression".

History

According to the ICOMOS evaluation of this patrimony, "the erection of Marian (plague) columns on town squares is an exclusively Baroque, post-Tridentine, phenomenon. Its iconographic basis lies in the Book of Revelation.  The basic model is thought to have been the column in the Piazza Santa Maria Maggiore in Rome, from 1614.

This monument for Olomouc was the culmination of work of several artists and master craftsmen, but it did not bring much fortune to them. The first to die during the work was Wenzel Render, a monumental mason and privileged imperial architect. He came first with the idea to build the column, enforced his will upon the city council, designed it, built the first stage and helped to finance it. His followers Franz Thoneck, Johann Wenzel Rokický and Augustin Scholtz also did not live long enough to see the column finished; it was completed by Johann Ignaz Rokický. The sculptural decoration was started by Phillip Sattler.  After his death Andreas Zahner continued and made 18 sculptures and 9 reliefs in 7 years before he died as well. Goldsmith Simon Forstner, who made gilded copper sculptures of the Holy Trinity and of the Assumption of the Virgin, was somewhat luckier and managed to finish his brilliant work. However he lost his health when working on the sculptures and using toxic mercury compounds during the gilding process.

After the Holy Trinity Column was finished in 1754, it became a source of great pride for Olomouc, since all people participating in its creation were citizens of the town. The column was consecrated in a great celebration attended by Empress Maria Theresa and her husband Francis I.

Only four years later, when Olomouc was besieged by a Prussian army and the Holy Trinity Column was hit by shots from Prussian cannons several times, Olomouc citizens went in a procession to beg the Prussian general not to shoot at the monument. General James Keith complied with their wishes. The column was repaired soon after the war and a replica of a stone shot was half-buried in its stem on the place where it was hit to remind people of this event.

Description

The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.

The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus' earth life – his mother's parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.

Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius (Czech Metoděj), who came to Great Moravia to spread Christianity in 863 (St. Methodius became Moravian Archbishop), St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague (Czech Vojtěch) and St. John of Nepomuk (Czech Jan Nepomucký), whose following was very strong there as well.

In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas (Czech Václav), in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano (Czech Jan Kapistránský), who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university.

Reliefs of all twelve apostles are placed among these sculptures.

John Sarkander

The last missing in this list of saints is St. John Sarkander (Czech Jan Sarkander), whose statue (holding a lily as a symbol of purity) is on the second stage. John Sarkander was a priest who was tortured to death in Olomouc prison in the beginning of the Thirty Years' War, because he, as the legend says, refused to break the seal of confession. The decision to place him here violated the tradition, since Sarkander had not been canonized and not even beatified in that time yet, which could have resulted in problems with the Holy See. However, his following was so strong here that the craftsmen decided to take the risk. Sarkander was beatified in 1859 and canonized in 1995 on the occasion of the visit of Pope John Paul II in Olomouc.

Inner chapel

The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.

See also
1754 in architecture
Marian and Holy Trinity columns
Pestsäule, Vienna

References

Bibliography
Books in Czech:
 Perůtka, Marek (ed.) (2001). Sloup Nejsvětější Trojice v Olomouci. Olomouc: Statutární město Olomouc. (includes English summary)
 Los, Petr & Brabcová, Jitka (2002). Svatí na sloupu Nejsvětější Trojice v Olomouci. Olomouc: Danal.
 Tichák, Milan (2002). Příběhy olomouckých pomníků. Olomouc: Burian a Tichák, s. r. o.

External links

 UNESCO World Heritage Site: Holy Trinity Column
 Holy Trinity Column – history and regeneration
 Holy Trinity Column – Olomouc official website
 Holy Trinity Column – touristic information

National Cultural Monuments of the Czech Republic
Buildings and structures in Olomouc
Catholic sculpture
World Heritage Sites in the Czech Republic
Religious buildings and structures completed in 1754
Baroque church buildings in the Czech Republic
Marian and Holy Trinity columns
Tourist attractions in the Olomouc Region
1754 establishments in Europe

Holy Trinity Column, Olomouc