Architecture of the United Kingdom

The architecture of the United Kingdom, or British architecture, consists of a combination of architectural styles, dating as far back to romananic architecture, to the present day 21st century contemporary. England has seen the most influential developments, though Ireland, Scotland, and Wales have each fostered unique styles and played leading roles in the international history of architecture. Although there are prehistoric and classical structures in the United Kingdom, British architectural history effectively begins with the first Anglo-Saxon Christian churches, built soon after Augustine of Canterbury arrived in Great Britain in 597. Norman architecture was built on a vast scale throughout Great Britain and Ireland from the 11th century onwards in the form of castles and churches to help impose Norman authority upon their dominions. English Gothic architecture, which flourished between 1180 until around 1520, was initially imported from France, but quickly developed its own unique qualities.
Throughout the United Kingdom, secular medieval architecture has left a legacy of large stone castles, with a concentration being found lining both sides of the Anglo-Scottish border, dating from the Wars of Scottish Independence of the 14th century. The invention of gunpowder and cannons made castles redundant, and the English Renaissance that followed facilitated development of new artistic styles for domestic architecture: Tudor style, English Baroque, Queen Anne Style, and Palladian. Georgian, Scots Baronial and Neoclassical architecture advanced after the Scottish Enlightenment, and since the 1930s various modernist forms appeared, though traditionalist resistance movements continue with support from Charles, Prince of Wales.
Beyond the United Kingdom, the influence of British architecture is evident in most of her former colonies and current territories across the globe. The influence is particularly strong in India, Bangladesh and Pakistan the result of British rule in India in the 19th and 20th centuries. The cities of Lahore, Mumbai, Kolkata, Dhaka and Chittagong have courts, administrative buildings and railway stations designed in British architectural styles. In the United Kingdom, a scheduled monument is a "nationally important" archaeological site or historic building, given protection against unauthorised change. A listed building is a building or other structure decreed as being of special architectural, historical or cultural significance; it is a widely used status, applied to around half a million buildings in the UK, enacted by provisions in the Town and Country Planning Act 1947 and the Town and Country Planning Act (Scotland) 1947.
Background.
Within the United Kingdom are the ruins of prehistoric structures and ancient neolithic settlements. The architecture of ancient Rome penetrated Roman Britain with "elegant villas, carefully planned towns and engineering marvels like Hadrian's Wall". After the Roman departure from Britain in around the year 400, Romano-British culture flourished but left few architectural remnants, partly because many buildings were made of wood, and partly because the society had passed into the Dark Ages. Similarly, Anglo-Saxons brought a "sophisticated building style of their own" to Britain, but little physical evidence survives because the principal building material was wood.
The Norman conquest of England, which began in 1066, marked the introduction of large-scale stone-block building techniques to Britain. Norman architecture was built on a vast scale from the 11th century onwards in England, Wales and Ireland in the form of castles, such as the White Tower at the heart of the Tower of London, and Carrickfergus Castle in County Antrim, as well as Gothic churches and cathedrals, to help impose Norman authority upon their dominions. The Norman penetration of the Scottish nobility resulted in Scoto-Norman and Romanesque architecture too, examples being Dunfermline Abbey, St. Margaret's Chapel and St. Magnus Cathedral.
Throughout Britain and Ireland, simplicity and functionality prevailed in building styles. Castles, such as Alnwick Castle, Caernarfon Castle and Stirling Castle served military purpose and their battlements and turrets were practical solutions to medieval warfare. Under the feudal system that dominated Britain, fitness for purpose characterised domestic structures, particularly for the lower classes. For many, houses were "dark, primitive structures of one or two rooms, usually with crude timber frames, low walls and thatched roofs. They weren't built to last. And they didn't". Although primarily homes, manor houses of the Late Middle Ages, were designed with achieving respect and maintaining status through their hospitality and lordship rather than the grandeur of their buildings. In the Kingdom of England, Perpendicular style gained preference for civic and church structures throughout much of the Middle Ages. King's College Chapel in Cambridge, which started in 1446 and was completed in 1515, marks the period of transition between Perpendicular and Tudor style architecture.
Between 1500 and 1660 Britain experienced a social, cultural and political change owing to the Union of the Crowns (the accession of James VI, King of Scots, to the throne of England) and the Protestant Reformation. Although Britain became more unified and stable, it became more isolated from continental Europe. Catholic monasteries were closed, and their lands were redistributed, creating new "rich and ambitious" landowners. The architecture of Britain this period reflects these changes; church building declined dramatically, supplanted by the construction of mansions and manor houses. Clergyman William Harrison noted in his "Description of England" (1577), "Each one desireth to set his house aloft on the hill, to be seen afar off, and cast forth his beams of stately and curious workmanship into every quarter of the country."
A greater sense of security led to "more outward-looking buildings", as opposed to the Medieval, inward facing buildings constructed for defence. However, owing to troublesome relations with Catholic Europe, the free exchange of ideas was difficult meaning new Renaissance architecture was generally slow to arrive in Britain. Increasingly isolated from the continent, landowners relied on new architectural books for inspiration, as well as surveyors to interpret designs. This allowed for much more in the way of the ornamental facades of Italianate architecture to penetrate the architecture of Great Britain; room sizes were increased (as an expensive commodity), and there was also a general move towards balanced and symmetrical exteriors with central entrances, all used as statements of wealth. Medieval Gothic architectural forms were gradually dropped, and mansions and other large domestic buildings became "varied and playful". Ultimately drawing upon ancient Hellenistic art, Inigo Jones is credited as Britain's first classically inspired architect, providing designs as "sophisticated as anything being built in Italy", such as Queen's House and Banqueting House, both in London. For the majority of the people of Great Britain however, domestic buildings were of poor design and materials, meaning few examples from the early modern period have survived. Most buildings remained tied to the locality, and local materials shaped buildings. Furthermore, the buildings of the 16th century were also governed by fitness for purpose. However, more stable and sophisticated houses for those lower down the social scale gradually appeared, replacing timber with stone and, later, brick. The arrival of Flemish people in the 16th and 17th centuries introduced Protestant craftsmen and pattern-books from the Low Countries that also prompted the multiplication of weavers' cottages.
The 18th century has been described as "a great period in British Architecture". The Acts of Union 1707 put into effect the terms agreed in the Treaty of Union the previous year, resulting in a political union between the Kingdom of England and Kingdom of Scotland to create the new Kingdom of Great Britain. This union meant that Scottish politicians tended to spend most of their time in London to attend the Parliament of the United Kingdom; the tendency was that these individuals became very wealthy. For example, Sir William Dundas, a Member of Parliament from the Highlands and Islands who served as one of Britain's Lords Commissioners of the Admiralty, was involved in the financial and political structure of the Kingdom of Great Britain; his increased wealth allowed him to build his own mansion in Scotland. Under the newly formed Kingdom of Great Britain, output from the Royal Society and other English initiatives combined with the Scottish Enlightenment to create innovations in the arts, sciences and engineering. This paved the way for the establishment of the British Empire, which became the largest in history. Domestically it drove the Industrial Revolution, a period of profound change in the socioeconomic and cultural conditions of Britain.
Georgian architecture in Britain was the term used for all styles of architecture created during its reign by the House of Hanover. These included Palladian, neo-Gothic and Chinoiserie. Initially, Georgian architecture was a modifications of the Renaissance architecture of continental Europe. It was a variation on the Palladian style, which was known for balanced façades, muted ornament, and minimal detailing. Simplicity, symmetry, and solidity were the elements strived for in British Georgian architecture. The Palace of Westminster, a UNESCO World Heritage Site, houses the Parliament of the United Kingdom. A collaboration in the Perpendicular Gothic style between Augustus Welby Pugin and Sir Charles Barry, it is described by Linda Colley as "the building that most enshrines Britain's national and imperial pre-tensions".
England.
Many ancient standing stone monuments were erected during the prehistoric period, amongst the best known are Stonehenge, Devil's Arrows, Rudston Monolith and Castlerigg. With the introduction of Ancient Roman architecture there was a development of basilicas, baths, amphitheatres, triumphal arches, villas, Roman temples, Roman roads, Roman forts, stockades and aqueducts. It was the Romans who founded the first cities and towns such as London, Bath, York, Chester and St Albans. Perhaps the best known example is Hadrian's Wall stretching right across northern England. Another well-preserved example is the Roman Baths at Bath, Somerset. Early Medieval architecture's secular buildings were simple constructions mainly using timber with thatch for roofing. Ecclesiastical architecture ranged from a synthesis of Hiberno–Saxon monasticism, to Early Christian basilica and architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. After the Norman conquest in 1066 various Castles in England were created so law lords could uphold their authority and in the north to protect from invasion. Some of the best known medieval castles include the Tower of London, Warwick Castle, Durham Castle and Windsor Castle amongst others.
Throughout the Plantagenet era an English Gothic architecture flourished—the medieval cathedrals such as Canterbury Cathedral, Westminster Abbey and York Minster are prime examples. Expanding on the Norman base there was also castles, palaces, great houses, universities and parish churches. Medieval architecture was completed with the 16th century Tudor style; the four-centred arch, now known as the Tudor arch, was a defining feature as were wattle and daub houses domestically. In the aftermath of the Renaissance, the English Baroque style appeared, which architect Christopher Wren particularly championed. English Baroque is a casual term, sometimes used to refer to the developments in English architecture that were parallel to the evolution of Baroque architecture in continental Europe between the Great Fire of London (1666) and the Treaty of Utrecht (1713). Queen Anne Style architecture flourished in England from about 1660 to about 1720, even though the Queen's reign covered only the period 1702–1714. Buildings in the Queen Anne style are strongly influenced by Dutch domestic architecture: typically, they are simple rectilinear designs in red brick, with an undemonstrative charm. Georgian architecture followed in a more refined style, evoking a simple Palladian form; the Royal Crescent at Bath is one of the best examples of this. With the emergence of romanticism during Victorian period, a Gothic Revival was launched—in addition to this around the same time the Industrial Revolution paved the way for buildings such as The Crystal Palace. Since the 1930s various modernist forms have appeared whose reception is often controversial, though traditionalist resistance movements continue with support in influential places.
Northern Ireland.
The first known dwelling in Northern Ireland are found at the Mount Sandel Mesolithic site in County Londonderry and date to 7000 BC. Counties Fermanagh and Tyrone are especially rich in Stone Age archaeology. Early Christian art and architecture is found throughout Northern Ireland, as well as monastic sites, gravestones, abbeys, round towers and Celtic crosses.
Northern Ireland has some of the largest and finest castles in Ireland, the earliest of which date back to the Norman invasion of Ireland. Examples of Norman architecture in Northern Ireland include Carrickfergus Castle. Other medieval castles include Greencastle, Jordan's Castle, Dunluce Castle, Dundrum and Harry Avery's Castle. Enniskillen Castle dates back to early modern Ireland. Fortified homes and bawns continued to be built well into the 17th century, a result of the Plantation of Ulster; examples include Benburb Castle, Castle Caulfield, Monea Castle, and Castle Balfour. Much of the architecture of Derry dates from the Plantation of Ulster, including its defensive walls. St. Columb's Cathedral...
Northern Ireland in the 18th and 19th centuries produced two varieties of architecture, constructed along the divide of societal privilege; "sumptuous" manor houses of the landed gentry include Castle Ward and Hillsborough Castle; for many however, domestic life was restricted to "humble cottages". The National Trust for Places of Historic Interest or Natural Beauty and the Ulster Folk and Transport Museum maintain and conserve farm and village buildings of historical interest, including many of the ancestral homes of the 17-plus Presidents of the United States who have Ulster ancestry. The city of Armagh has Georgian architecture by way of the Armagh Observatory and the city's Georgian quarter; the Catholic St Patrick's Cathedral and Anglican St Patrick's Cathedral are two landmarks in Armagh.
During the Victorian era, Belfast flaunted its economic prowess with "splendid" Victorian architecture, among them Belfast City Hall, Queen's University Belfast, Belfast Castle, the Belfast Botanic Gardens, Albert Memorial Clock, and the ornate Crown Liquor Saloon. Early 20th century landmarks include a number of schools built for Belfast Corporation in the 1930s by R S Wilshere. Notables include the severe, sturdy, 1936 brick built Belfast School of Music on Donegall Pass and the Whitla Hall at Queen's University Belfast, designed by John McGeagh. Belfast has examples of art deco architecture such a such as the Bank of Ireland and Sinclair's department store on Royal Avenue and the Floral Hall at Bellevue. Many of Belfast's oldest buildings are found in the Cathedral Quarter. Prominent Northern Irish architects include R S Wilshere and McGeogh, cinema architect James McBride Neil, and Dennis O’D Hanna, part of the "Ulster Unit" group of self-consciously modern artists and craftspeople, promoted by poet and curator John Hewitt.
Scotland.
Prehistoric architecture is found throughout Scotland. Skara Brae is a large stone-built neolithic settlement, located on the Bay of Skaill on the west coast of Mainland, Orkney. Nicknamed the "British Pompeii", Skara Brae is Europe's most complete neolithic village and the level of preservation is such that it has gained UNESCO World Heritage Site status in 1999. Celtic tribes during the Bronze Age left few physical remnants of their dwellings, but stone Christian monuments and Celtic crosses have endured erosion. Protohistorical Scotland during the Roman Empire was, unlike the rest of Great Britain, broadly untouched by the Romans, but there are the remains of Roman forts at "Trimontium" and "Inchtuthil".
Scotland is known for its "dramatically placed castles, fused onto defensive ridges and rocky islands". Many of these date from Scotland in the Middle Ages. In contrast to England, which embarked on Elizabethan houses, Scotland saw the building of castles and fortified houses continue well into the 17th century, and many were constructed in a building-boom following the Scottish Reformation. The most distinctive Scottish fortification at this time was the tower house. The grandest medieval Scottish castles are composed of a series of courtyards, with a keep at their centre, but the lone keep-towers were more common, particularly amongst Scottish feudal barons. Some of Scotland's most famous medieval fortifications include Castle Stalker and Stirling Castle. More recent, Jacobean era castles include Edinburgh Castle and Craigievar Castle. The arrival of the cannon made high-walled castles defensively impractical and obsolete, but the fortification genre evolved into a style in its own right; Scots Baronial Style architecture has an emphasis on turrets and strong vertical lines drawn from tower houses, and constitutes one of Scotland's "most distinctive contributions to British architecture".
The new political stability, made possible by the Act of Union, allowed for renewed prosperity in Scotland, which led to a spate of new building, both public and private, during the 18th century. Scotland produced "the most important British architects of this age": Colen Campbell, James Gibbs and Robert Adam were Scots interpreting the first phase of Classical forms of ancient Greece and Rome in Palladian architecture. Edinburgh's New Town was the focus of this classical building boom, resulting in the city being nicknamed "The Athens of the North" on account both of its intellectual output from the Scottish Enlightenment and the city's neo-classical architecture. Together with Edinburgh's Old Town, it constitutes one of the United Kingdom's World Heritage Sites.
Christian architecture in Scotland has a distinct style; The Royal Institute of British Architects have stated that "Scottish churches are peculiarly plain, low and often quite humble buildings". The Scottish Reformation revolutionised church architecture in Scotland, because the Scottish Calvinists rejected ornamental places of worship and few churches escaped their attention. This tradition of geometric purity became prominent in Scottish architecture thereafter, but never became popular in England. Similarly, Scotland has produced some of the most idiosyncratic of architects such as James, John and Robert Adam, Alexander Thomson and Charles Rennie Mackintosh, which all relate to popular trends in Scottish architecture; all however created Scottish stylistic interpretations and often deliberately injecting traditional Scottish forms into their work. The Adam brothers were leaders of the first phase of the classical revival in the Kingdom of Great Britain.
Wales.
Cromlechs and other prehistoric architecture exits in Wales. Examples include Bryn Celli Ddu a neolithic site on the Isle of Anglesey, and Parc Cwm long cairn on the Gower Peninsula.
As stated by Sir Simon Jenkins, "Wales has a very long and porous border with England", which had a major influence upon the architecture of Wales. Many Welsh landmark buildings were designed and built by Englishmen, such as the Romanesque-revival Penrhyn Castle near Bangor, a design by Thomas Hopper that blended Norman, Regency and early-Victorian architecture for an English MP who had inherited a vast Welsh estate.
Contemporary architecture has appeared in Wales from Cardiff Bay to Caernarfon, and has a tradition of mixing traditional Welsh materials in to modern construction techniques.


El-Gabal el-Ahmar

El-Gabal el-Ahmar () is located today within the boundaries of modern-day Cairo, in the area of Nasr City. The name means "The Red Hill". The site was in full production in the times of Akhenaton, Amenhophis III, Tutankhamon and Ramses III. The quarry was directed by Huy also known as "Chief of the King's Works" and also by Hori.
The famous Colossi of Memnon are made from blocks of quartzite sandstone probably quarried at El-Gabal el-Ahmar.
Typical minerals known from this site:


Krogharpe

The krogharpe was a type of harp native to Norway, which featured steel strings and a horizontal soundboard. In the modern era German harpist Nancy Thym has reconstructed and played a krogharpe based on an instrument built in 1776 in Østerdalen.
Period description.
A 1916 article in "The Musical Times" described the instrument:
A 1902 German-language encyclopedia described it as "played until recently."


List of Pennsylvania state historical markers in Butler County

This is a list of the Pennsylvania state historical markers in Butler County.
This is intended to be a complete list of the official state historical markers placed in Butler County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 15 historical markers located in Butler County.


List of recurring characters in the James Bond film series

This is a list of the recurring characters and the cast members who portray them in the "James Bond" film series.
List indicator(s)


Alice Cling

Alice Williams Cling (born March 21, 1946) is a Native American Navajo ceramist and potter known for creating beautiful and innovative pottery that has a distinctive rich reds, purples, browns and blacks that have a polished and shiny exteriors, revolutionizing the functional to works of art. Critics have argued that she is the most important Navajo potter of the last 25 years.
Early life.
Cling was born in Cow Springs, Arizona, in the Tonalea area of the Navajo Nation.
In 1966, Cling graduated from the Intermountain Indian School in Brigham City, Utah.
Career.
Cling learned the craft of pottery from her mother, Rose Williams, and her great aunt, Grace Barlow. The pots are created from clay found near the Black Mesa area in Apache-Navajo Counties in Arizona, and are then fired outdoors using juniper wood, with the firing process enhancing the clay's natural pigments. Cling and her mother and aunt were responsible for revitalizing traditional Navajo pottery.
Cling is a coil potter, and was the first Navajo potter to use a smooth river stone to polish her pots instead of the traditional corncob. Her pottery is considered non-utilitarian, which represented a huge shift from function to art.
In 1978, Cling's work was selected by Joan Mondale and featured in the vice-presidential mansion in Washington, D.C. and she was honored with the Arizona Indian Living Treasures Award in 2006. Cling's work is in the collection of the Smithsonian.
Personal life.
Cling learned her pottery skills from her mother, master potter Rose Williams. She lived across the highway from her mother in Shonto, Arizona. Following in the family tradition, Cling's daughters are also artists, as are her sisters, Sue Ann Williams, and Susie Williams Crank.
Cling married Jervis "Jerry" Cling shortly after graduating from high school. They had four children. She works and lives in the Shonto-Cow Springs area in Arizona.


Pyeongtaek nongak

Pyeongtaek nongak is a "nongak" or Korean farmer's music which has been performed and handed down in the Pyeongtaek region of Gyeonggi Province.
There are five types of nongak in Korea: Wootdari (웃다리) nongak of Gyeonggi and Chungcheong, Left Jeolla nongak, Right Jeolla nongak, Southeastern Korea (Yeongnam, 영남) nongak, and Eastern Gangwon-do (Yeongdong, 영동) nongak. Each nongak has its unique representation of Korean culture and has been recognized as an important intangible cultural asset in each region.
It was designated as the eleventh asset of the Important Intangible Cultural Property by the South Korean government on December 1, 1985. Since then, there have been a lot of performances in and out of South Korea.
Origins.
Pyeongtaek has had open fields called "Sosabeol", 소사벌 and traditionally its people have farmed. This was a crucial background for developing Pyeongtaek nongak. In Gyeonggi and Chungcheong provinces, there were many professional performing groups and Geollippaes (걸립패) which were performing nongak groups (though sometimes monk groups) asking for money and food while entertaining village people. Cheongyongsa Temple near Pyeongtaek was a base for the troupes of strolling player (Namsadang, 남사당패) at the end of Joseon Dynasty.
Features of Pyeongtaek nongak.
The professional performing groups had a great effect on the Doorepaes (두레패), organizations for doing collaborative agricultural work in villages in Pyeongtaek, Anseong and Hwaseong. As a result, nongak has been developed in these areas. Pyeongtaek nongak was designated as an important intangible cultural asset in 1985 and won recognition as a representative nongak inheriting the authenticity of Wootdari nongak. Although Wootdari nongak doesn't have many cords in diversity, people play variations. Also it has some characteristics in its speedy tones, power, and linking and disconnecting rhythms. Its typical rhythms are Chilchae (칠채) and JJeokJJeoki (쩍쩍이) which is sometimes called jajeunsamchae (잦은 삼채).
Performers wear military uniforms and hats in Joseon Dynasty or in some cases peaked hats worn by Buddhist monks and nuns, along with colorful cloth strips around their body.
Pangut.
Pangut (판굿) is a kind of Pungmulnori (풍물놀이) which is a Korean folk music tradition that includes drumming, dancing, and singing. It is performed with kkwaenggwari (a small handheld gong, 꽹과리), janggu (hourglass drum, 장구), buk (barrel drum, 북), and jing (gong, 징) and the wind instrument taepyeongso (태평소). According to a prefabricated order, they play the scene of spree and show their talents.
Performers and audience sing and dance together. Wootdari Pangut (웃다리 판굿) usually consists of 30 performers. Followed by the agricultural banners (농기, 農期) which say "Agriculture is the prop of the country" or "Agriculture forms the basis of national existence", taepyeongso (태평소), kkwaenggwari (꽹과리), jing (징), janggu (장구), buk (북), beopgo (법고) which is a big drum that is used in a temple players are the next and at the end there are dancers (무동, 舞童).
Performing formations.
Pyeongtaek nongak has various performing formations. The Dangsanbeolim (당산벌림) are formation and Moodongnori (무동놀이) a dance of boys playing on the top of adult's shoulders. Dunjilsawi (던질사위), Apdwigondoo (앞뒤곤두), Mangyeongchangpadotdaesawi (a sail dance, 만경창파돛대사위), Dongeori (동거리) and Gokmadan (circus troupes, 곡마단) performed by dancers make Pyeongtaek Nongak unique.
People in Pyeongtaek nongak.
Choi Eun-chang was recognized as the most skilled in Pyeongtaek Nongak Binari. Lee Seong-ho was a Binari singer and Janggu player Lee Se-jin who had a perfect voice for singing Binari. As buk players, Kim Yong-rae, Kim Yook-dong and Lee Se-jin are famous.


Albert Woods

Sir Albert William Woods (16 April 18167 January 1904) was an English officer of arms, who served as Garter Principal King of Arms from 1869 to 1904. The Woods family has a strong tradition of service at the College of Arms. Albert Woods was the son of Sir William Woods, Garter King of Arms from 1838 until his death in 1842. Likewise, the grandson of Albert Woods was Sir Gerald Woods Wollaston, who also rose to the rank of Garter King of Arms and served there from 1930 until 1944.
Heraldic career.
Woods' first heraldic appointment came in 1837 when he served as Fitzalan Pursuivant of Arms Extraordinary at the coronation of Queen Victoria. In 1838 Woods became a member of the chapter of the College of Arms when he was appointed Portcullis Pursuivant of Arms in Ordinary. After a short appointment as Norfolk Herald of Arms Extraordinary, Woods was promoted to the office of Lancaster Herald of Arms in Ordinary in 1841. He held this position until 1869, when he was appointed Garter Principal King of Arms, a position he held until his death 35 years later.
From 1866, Woods was registrar of the College of Arms. At his appointment as Garter Principal King of Arms, he was also named the King of Arms of the Order of St Michael and St George. In 1878, he was made registrar of the Order of the Star of India and the Order of the Indian Empire. He officiated at the coronations both of Queen Victoria and of Edward VII.
Woods's eye for heraldic design has been deprecated by some heraldists. In his "Complete Guide to Heraldry", Arthur Fox-Davies refers to his designs as "wretched", "unsuitable" and "abortions". He is particularly critical of the crests granted by Woods, which frequently incorporated tree trunks, either in front of the crest or underneath it, a practice Davies considered unheraldic.
"Garter's Ordinaries".
Woods was responsible for the compilation of the important unpublished ordinary of arms (a systematic register of coats of arms) known as "Garter's Ordinaries". He began work on it in 1842 and continued until his death in 1904. By that date the ordinary comprised two series, one of five and the other of six volumes, plus indexes. Following his death it was donated to the College of Arms by his grandson, Gerald Woods Wollaston: since then, subsequent Garter Kings of Arms have added to it and kept it up to date by including within it new grants of arms. It remains in use: Sir Anthony Wagner has described it as "an indispensable tool at the College".


Cousin Kate (film)

Cousin Kate is a lost 1921 American drama film produced and released by the Vitagraph Company of America. It is based on a 1903 play by Hubert Henry Davies. On the Broadway stage Ethel Barrymore made the role of Kate Curtis her own and was identified with it for many years. This film version was directed by a relative of Barrymore's, Lucille McVey, who was the second wife of Barrymore's uncle Sidney Drew. Alice Joyce stars in this film version.


Bullet (DC Thomson)

Bullet was a comic book published weekly in the UK during the 1970s.
First published on 14 February 1976 by D.C. Thomson for 7p, it focused upon adventure, action, revenge, science fiction, war and sport. It was a popular comic for boys throughout its publication.
The main character was a moustached, multi-talented, highly trained secret agent, aptly named Fireball. When his parents had died in a mysterious car crash when he was a young child, he became the ward of his father's friend Lord Peter Flint, a wartime hero (a.k.a. ""). Fireball had been trained by "Uncle Pete" (since childhood) in the arts of shooting, martial arts, sports and survival - this was as well as the usual reading and writing skills. The full Fireball story was secret but could be acquired by joining the "Fireball club" which gave you the story enclosed in a red, plastic wallet. This story was used as the key for a substitution cipher for encrypting/decrypting secret messages which often appeared in Bullet's central pages as a sequence of seemingly random numbers. You also received a Fireball pendant for joining. Fireball's original pendant (which he always wore) saved his life on one occasion - it shielded him from a long range sniper's bullet. Fireball's archenemy was Catriona Klansberg (a.k.a. "The Cat"). Fireball had a soft spot for her - he had a habit of letting her slip away after he had just thwarted her evil plan.
Fireball was said to have been modelled on Peter Wyngarde.
In December 1978 the comic merged into the longer running "Warlord" comic.
Notable stories.
"Fireball": Bullet always included weekly stories about Fireball getting into various scrapes, going on dangerous missions, saving the world and generally kicking the backsides of the baddies - he was always able to maintain a sense of humour throughout the most death-defying situations.
Some of the other stories included:


Domenicus Verwilt

Domenicus Verwilt (sometimes "ver Wilt") was a Flemish painter active in Sweden.
Biography.
According to the RKD he is known for portraits and historical allegories. Though his birth and death dates are uncertain, he is registered working in Antwerp from 1544 to 1555 and in Sweden between 1556 and 1566, where he became court painter to Eric XIV of Sweden. He probably knew the portrait painter Steven van der Meulen from his period in Antwerp, who also visited the court of Eric XIV and made a painting of him in 1561.


The Speed Classic

The Speed Classic is a 1928 American silent action film directed by Bruce M. Mitchell and starring Rex Lease, Mildred Harris and Mitchell Lewis. It is now considered a lost film.
Synopsis.
A young man obsessed with cars is dumped by his girlfriend, and goes on a binge in Mexico where he ends up in jail. His girlfriend has a change of heart and gets his released in time to compete in a major car race.


Michel Gondry videography


Gillen

Gillen may refer to:


Bukhansan Monument

Bukhansan Monument, was designated as the 3rd National Treasure of Korea on December 12, 1962. The stone monument was originally erected at Bibong Peak on Bukhan Mountain. It was subsequently moved to Gyeongbokgung Palace for safekeeping and is now displayed in the National Museum of Korea.
The rectangular monument is built on a two-story pedestal. Because the monument was exposed to the elements for 1400 years it has suffered weathering and erosion damage. It is currently 154 centimeters high and 69 centimeters wide.
The Bukhansan Monument was rediscovered in 1816 during the reign of Emperor Sunjo by Chusa Kim Jeonghui, a famous calligrapher.
The monument is valuable for the historical information inscribed on its surface. There are 12 lines with 32 characters per line in the Haeseoche style of Chinese calligraphy. The inscription praises the Silla King Jinheung's (540-575 CE) territorial expansion into the Han River valley and commemorates the occasion when the king came and inspected the new borders of his realm. The inscription explains why the monument was built, describes the achievements of King Jinheung, and also describes the royal retinue. While the exact date of when the monument was constructed is unclear because the era name is illegible, it is believed that the monument was constructed in 561 CE or 568 CE because the Changnyeongbi Monument and the Hwangchoryeongbi Monument were built on those dates respectively.


Any Wife

Any Wife is a lost 1922 American silent melodrama film directed by Herbert Brenon and starring Pearl White. It was produced and distributed by Fox Film Corporation.
Plot.
As described in a film magazine, Myrtle Hill (White) is the wife of John Hill (Emery), a successful contractor who, because of his devotion to his work, he neglects his wife. He has to make a hurried business trip to San Francisco and wants his wife and child to accompany him. After debating the matter, the wife falls asleep and dreams that she has divorced her husband and married a draftsman. He mistreats her and casts her off for an actress. The actress, sympathizing with her, brings the wife face-to-face with this husband, but he turns against her. She attempts suicide by jumping from a high bridge into the water, but then wakes up with her hand in an aquarium. She hurriedly dresses and together with her little boy Cyril (Johnson) accompanies her husband on his trip.


Banjaran

Banjaran (बंजारन) (transl. Wanderer) is a 1991 Hindi-language Bollywood romance film. It was directed by
Harmesh Malhotra. Rishi Kapoor and Sridevi played the main lead roles. Laxmikant–Pyarelal were the music directors. The film was released on 8 November 1991. The film successful at the box office.
Plot.
Kumar (Rishi Kapoor) and Reshma (Sridevi) are both mysteriously drawn to each other and realise that they were lovers in their past lives. However, their fathers are furious at this reunion and tries to separate them.
Soundtrack.
All lyrics by Anand Bakshi. 'Teri Banjaran', sung by Alka Yagnik, remains a popular song.


Parc Montmorency

Parc Montmorency is a park located in Quebec City and home to Parliaments of Lower Canada, Canada East and Quebec from 1791 to 1883. It is named for Henri II, Duke of Montmorency, the viceroy of New France, 1619–1625, under the French king, Louis XIII.
The site sits above the St. Lawrence River and bounded by Côte de la Montagne and Rue Port Dauphin. The last building was demolished in 1883 and in 1894 city opened it as Parc Frontenac.
The park is partially covered by trees with walkways and signs describing the historical importance of the site.
In 1949 the park was recognized as a national historic site.
Monuments.
There are several cannons and statues:
First settlers of Québec City.
Text of the plaque
"Les premiers colons de Québec.
Ils ont été à la peine: qu'ils soient à l'honneur."
"The first settlers of Quebec.
They were saddened: let them be in the spotlight."
Louis Hébert (1617) Marie Rollet,
 (1618) Marie-Guillemette Hébert,
Abraham Martin - Marguerite Langlois,
Nicolas Marcolet - Marie Le Barbier,
Nicolas Pivert - Marguerite Lesage,
Pierre Desportes - Françoise Langlois,
Étienne Jonquest - Anne Hébert,
Olivier Le Tardif - Louise Couillard,
Jean Nicolet - Marguerite Couillard,
Noël Morin - Hélène Desportes,
Noël Langlois - Françoise Garnier,
Guillaume Hubou - Marie Rollet,
Robert Giffard (1634) Marie Renouard,
Guillaume Fournier - Marie Fse Hébert,
Jean Guyon (1635) Mathurine Robin,
Jean Guyon - Madeleine Boulé,
Jean Bourdon - Jacqueline Potel,
François Marguerie - Louise Cloutier,
Zacharie Cloutier - Xaintès Dupont,
Jean Côté - Anne Martin,
Gaspard Boucher - Nicolas Le Maire,
Philippe Amyot - Anne Convent,
Jean-Paul Godefroy - Madeleine Le Gardeur,
Jean-Baptiste Godefroy - Marie Le Neuf,
Mobin Boucher - Perrine Mallet,
Sébastien Dodier - Marie Bonhomme,
Pierre de la Porte - Anne Voyer,
Jean Juchereau - Marie Langlois,
Jean Sauvaget - Anne Dupuis,
Guillaume Isabel - Catherine Dodier,
Robert Drouin - Anne Cloutier,
Louis-Henri Pinguet - Louise-Boucher,
Pierre Delauney - Françoise Pinguet,
François Aubert - Anne Fauconnier,
Pierre Le Gardeur (1638) Marie Favery,
Charles Le Gardeur - Geneviève Juchereau,
Jacques Le Neuf - Marguerite Le Gardeur,
Robert Caron - Marie Crevet,
François Bélanger - Marie Gagnon,
Claude Poulin - Jeanne Mercier,
Jacques Hertel - Marguerite Marguerie,
Antoine Brassard - Françoise Méry,
Étienne Racine - Marguerite Martin,
René Maheu - Marguerite Corriveau,
Jacques Maheu - Anne Convent,
Louis Sédillot - MarieGrimoult,
François de Chavigny - Eléonore de Grandmaison.


List of Indiana state historical markers in St. Joseph County

This is a list of the Indiana state historical markers in St. Joseph County.
This is intended to be a complete list of the official state historical markers placed in St. Joseph County, Indiana, United States by the Indiana Historical Bureau. The locations of the historical markers and their latitude and longitude coordinates are included below when available, along with their names, years of placement, and topics as recorded by the Historical Bureau. There are 18 historical markers located in St. Joseph County.


The Secret of the Submarine

The Secret of the Submarine is a 1915 American adventure film serial directed by George L. Sargent. It was 15 chapters and all of them are considered to be lost.
Plot.
The heroes must keep the titular submarine from falling into the hands of the Russians or Japanese.
Production.
Secret of the submarine was written in the lead up to the United States' involvement in World War I by war correspondent Richard Barry. The serial was released 15 days after the Lusitania was torpedoed by a German sub.


Meni

Meni is a Jewish given name. Notable people with the name include:


Bryce Building

Bryce Building is located on 909 Throckmorton Street in Fort Worth, Texas. The two-story office building was named after businessman and former mayor William Bryce. The building was designed in the Classical Revival style. It was constructed with brick made by Denton Press Brick Company. In 1982 a fire caused major damage to the building. The building currently houses a law firm.
It was added to the National Register on February 23, 1984.


The Heck with Hollywood!

The Heck With Hollywood! is a 1991 American documentary film about independent film, directed by Doug Block.


The Church and the Woman

The Church and the Woman is a 1917 Australian silent film directed by Raymond Longford set against the background of sectarianism in Australia. It is considered a lost film.
Synopsis.
Eileen Shannon falls in love with Dr Burton . However he is a Protestant and her strongly Catholic father John refuses to give his consent to marriage between them.
Eileen pleads to her brother Darcy, a Catholic priest, for his help, but he does not support mixed marriages either.
John is murdered and Dr Burton is arrested for the crime and sentenced to death. The real murderer confesses to Darcy in the confessional. Unable to break the confidence of the confessional, Darcy admits to the murder and Dr Burton is freed. The murderer eventually confesses and Eileen marries Dr Burton.
Production.
The movie was the first of three financed by exhibitor Humbert Pugliese and his mother Caroline. Shooting began in March 1917 with location filming at the Sacred Heart Church, Darlinghurst, Catholic Riverview College, Sydney, and Wentworth House, Vaucluse. A scene depicting a Catholic mass was filmed not by Protestant Longford but by his Catholic assistant, Pat McGrath.
Lawsuits.
The production and distribution of the film was notable for the large number of lawsuits associated with it.
"The Monk and the Woman".
The producer of the film "The Monk and the Woman" sued Humbert Pugliese for copyright infringement. This was resolved when Pugliese agreed not to advertise "The Church as the Woman" in the press or on noticeboards without adding the words: "The film must not be confused with the film of the play entitled "The Monk and the Woman"."
"A Priest's Secret".
Later on the writer Edmund Finn succeeded in getting an injunction stopping the film being distributed on the grounds it was adapted from his novel, "The Priest's Secret". Pugliese denied he had ever read the novel but Justice Street in the Equity Court of New South Wales found that there were too many similarities and ordered that Finn was entitled to an injunction, an account of profits, and an order for the delivering up of negatives.
Pugliese appealed this decision in the Supreme Court but was unsuccessful. The court held that after comparing the film's script with the novel, it was clear the former had been adapted from the latter – the main incidents of the plot were the same, long passages in the script were taken verbatim from the novel, and there was one passage on page seven of the script where Longford used the name "Martin" when speaking of the character in his scenario, "Mike Feeny", who was obviously taken from the character, "Martin Sullivan", in the novel.
The film was re-released with Edmund Finn credited as the author of the original novel.
"The Church and the Nun".
Pugliese and his Brisbane exhibitors sued a company for exhibiting a film under the title of "The Church and the Nun". The court ruled in their favour, deciding that the other film had to make clear in advertising it was a different movie from "The Church and the Woman".
Ernest Higgins.
The cinematographer of the film, Ernest Higgins, sued Pugliese for unpaid wages of almost £700, mostly for work on this film, and the jury found in his favour.
Reception.
Despite its legal troubles, the film was a popular success at the box office.


First United Methodist Church (San Marcos, Texas)

First United Methodist Church is a historic church at 129 W. Hutchison in San Marcos, Texas.
An easily recognized landmark of the San Marcos skyline is the Carpenter Gothic sanctuary of First United Methodist Church. The sanctuary was built in 1893, but the congregation dates back to 1847 in the earliest days of the city of San Marcos. The present sanctuary is the third building to occupy this site. First United Methodist Church's historic 1893 sanctuary served as the architectural inspiration for the Old Main building at Texas State University.
Founding of Church.
A Methodist circuit-rider, A.B.F. Kerr, organized the congregation on August 5, 1847 in the log cabin home of the John D. Pitts family, which was located on the next corner from the church's present location. There were nine charter members.
After meeting at the Pitts home for two years, the congregation moved their services to a public building, used as a school, courthouse, church, and community hall. When John D. Pitts bought the property along the San Antonio Road, he deeded his property in town (including the present church site) to the church.
Early Buildings.
In 1855, the Methodist congregation joined with the Masonic Order to construct a two-story frame building on this site. The church used the lower floor, and the Masons used the upper floor. But only 13 years later, the building was destroyed by fire.
A second building, this time made of red brick, was completed on the site in 1872. The bell now hanging in the bell tower was given for the brick church by a relative of Benjamin Hawkins, who had been appointed Indian agent by George Washington. In 1806, during Thomas Jefferson's presidency, Hawkins established Fort Hawkins in Macon, Georgia for the conversion of the Indians. The bell hung in the chapel, and is believed to be the oldest artifact in San Marcos. In 1891, only 19 years after the brick church was built, the building developed serious cracks (probably due to an underground fault) and had to be torn down.
Present Sanctuary.
The present church sanctuary was completed in 1893. It is built in the shape of a cross with cypress lumber and beam and sits on large cedar posts. It still has its original curved walnut pews, pulpit, and altar rail. A group of young children under the age of seven years was organized as the “Society of Willing Workers.” This group raised money for several of the furnishings for the new church: the walnut altar rail, the walnut pulpit, and the chandelier over the pulpit. The total cost in 1893 was $75.
The interior walls are the original beaded board. The present chandeliers hang from the original cast iron medallions which feature cherubs in the central medallions. Cast iron hymnal racks with hoops to hold walking canes are on the backs of the pews; and original wire hat holders for gentlemen's hat can be found under certain pews.
A balcony was added in 1911, which was larger than the present balcony. About that same time, the level floor of the church was made to slope to give people in the back of the sanctuary a better view.
In 1912, the church installed San Marcos's first pipe organ at the cost of $3,500. It was converted to electricity in 1924 and has undergone several major renovations.
In 1938-39, Art glass windows were installed which replaced panes of colored glass.
In 1974, the church building was added to the National Register.
In 1980-81 the congregation undertook an extensive renovation of the 1893 church building at the cost of $441,000. New shingles were reproduced from molds of the original shingles. The four-story bell tower, which had been closed in at some point in the church history, was reopened to provide a view of the old bell. Windows were removed and releaded, pews were refinished, and plywood paneling that had covered the front wall of the sanctuary was removed to reveal the original beaded board and stand glass transoms.
In 1983, a set of kneeling cushions which depict the history of the congregation were commissioned for the altar rail. The cushions were designed by Betty Smith (a professional needlepoint designer and wife of a former church minister) and needlepointed by the women of the congregation.
In 2012, the congregation began additional work on restoring the historic sanctuary. The entire interior of the building was sanded, worn wood was repaired, and the interior was repainted. The carpet is being replaced and the hardwood floors will be refinished and exposed at the front of the sanctuary. The pews were removed to allow for full inspection of the flooring, and the pews will be inspected and repaired as needed. Additional lights were added to the sanctuary to highlight the choir, and the pipe organ façade was removed for restoration and repainting.


Sarah Jacob Cohen

Sarah Jacob Cohen (September 4, 1922 – August 30, 2019) was the oldest living member of Kochi’s Jewish community, visited by The British royal family at Mattancherry, Kochi in November 2013. She was a prominent member of the Jewish Community that arrived in Mattancherry, Kochi, in the south Indian state of Kerala, over 500 years ago, from Europe, who was dedicated to keeping alive simple Jewish traditions like the humble kippah making in a far flung Jewish outpost. Cohen had a number of relatives living in Sydney, Australia, including her brother Julian Cohen.
She died on August 30, 2019 at the age of 96.


List of Pennsylvania state historical markers in Bedford County

This is a list of the Pennsylvania state historical markers in Bedford County.
This is intended to be a complete list of the official state historical markers placed in Bedford County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 31 historical markers located in Bedford County.


Sam Houston Hall

The Sam Houston Hall was a building in Houston, Texas. It was located at 801 Bagby Street in the Fourth Ward, though now considered a part of downtown. It was designed as a temporary structure for the 1928 Democratic National Convention. It served as the venue for the Houston Livestock Show and Rodeo from 1932 to 1936, after which it was demolished.
History.
The Sam Houston Hall was a wooden structure covering a length of three football fields erected for the 1928 Democratic National Convention. It was designed by Kenneth Franzheim and Alfred C. Finn under contract with Jesse H. Jones, who insisted on a venue that would accommodate the conventioneers and thousands of spectators. The building was optimized for air flow and equipped with heavy duty "typhoon fans." However, it was also designed as a racially-segregated facility: a substandard area fenced off by chicken wire was designated for African Americans. The hall was completed within four months.
Sam Houston Hall hosted the first Houston Livestock Show and Rodeo in the spring of 1932. A streetcar system made the hall accessible to many Houstonians. It was also located close to the Houston Farmers' Market. The first show, in the middle of the Great Depression, drew 2,000 people. The show was held annually at the hall through 1936.
The Sam Houston Hall was torn down after the 1936 Livestock Show and Rodeo, then replaced by the Sam Houston Coliseum. The site is now occupied by the Hobby Center for the Performing Arts.


History of primitive, ancient Western and non-Western trumpets

The chromatic trumpet of Western tradition is a fairly recent invention, but primitive trumpets of one form or another have been in existence for millennia; some of the predecessors of the modern instrument are now known to date back to the Neolithic era. The earliest of these primordial trumpets were adapted from animal horns and sea shells, and were common throughout Europe, Africa, India and, to a lesser extent, the Middle East. Primitive trumpets eventually found their way to most parts of the globe, though even today indigenous varieties are quite rare in the Americas, the Far East and South-East Asia. Some species of primitive trumpets can still be found in remote places, where they have remained largely untouched by the passage of time.
For the most part, these primitive instruments were "natural trumpets": that is to say, they had none of those devices (fingerholes, keys, slides or valves) by which the pitch of an instrument might be altered. It is in fact quite exceptional to come across a chromatic trumpet – primitive or otherwise – which is not derived from the chromatic trumpet of Western tradition; the bās of Madhya Pradesh in India, which has fingerholes bored into the side of its tube, is one such exception.
Primitive trumpets.
The simplest – and presumably the earliest – type of trumpet was made from the hollowed-out horn or shell of an animal, into the end of which a hole was bored for the mouth. This "trumpet" had neither a mouthpiece nor a bell, and was not so much a musical instrument as a megaphone into which one spoke, sang, or shouted. The intention was to distort the voice and produce a harsh, unnatural sound to ward off evil spirits or disconcert one's enemies. Only later was the trumpet used to invoke friendly gods or to encourage one's own warriors on the battlefield. Typically only one or two different pitches could be produced on such an instrument, though sometimes a small fingerhole was bored in the tip to provide the player with an extra pitch. Most of these early trumpets were end-blown, like the modern trumpet; side-blown varieties, however, were not unknown, and can still be found in Africa and other parts of the globe.
As they were played only by men, they probably acquired strong phallic overtones; among certain aboriginal tribes, for example, it was a capital offense for a woman to look at a trumpet. The tradition of playing trumpet or bugle fanfares at sunrise (Reveille), sunset (Last Post), and at funerals (Taps), probably evolved from these ancient rituals.
The use of the trumpet as an instrument of warfare and the chase is probably as old. Its strident sound and animal origins must have suggested a wild or belligerent nature at a very early date, while the ritualistic uses to which it was put only served to strengthen its associations with death and male-oriented activities.
Animal-horn trumpets.
Animal-horn trumpets are still employed today, especially in Africa, though they are also found in Israel, Asia and Oceania. With the exception of African varieties, most are end-blown instruments from which the tip has been removed to provide a mouthhole. In the majority of cases the player's lips are applied directly to the mouthhole; sometimes, however, the instrument has a detachable mouthpiece. Cattle, sheep, goats and antelopes are among the animals whose horns are – or have been – most frequently used to make such trumpets. The following examples may be briefly noted:
Conch-shell trumpets.
Conch shells have also been used as primitive instruments since Neolithic times, and must be numbered among the antecedents of the natural trumpet. The four shells most commonly used for this purpose are the "triton" or trumpet shell, the "cassis" or helmet shell, the "fusus", and the "strombus" or true conch, though the term "conch-shell trumpet" is generally applied to all instruments of this type. The spiral interior of the shell acts as tubing, and a mouthhole is created either by breaking off the point of the shell (end-blown conch) or by boring a small hole in the body (side-blown conch). The cassis is an end-blown shell; the other three types are usually side-blown.
Conch-shell trumpets are found in almost every part of the globe, including inland areas like Tibet, Central Europe and the Andes. They are especially common throughout Oceania, where the conch-shell trumpet was once used on religious, ceremonial and military occasions. Today, however, the instrument is more often associated with mundane events like football matches; the Tongan football team is regularly encouraged by ensembles of up to nine "kele'a". In the South Pacific island nation of Vanuatu, local fishermen use conch-shell trumpets known as "tapáe" to call for assistance when they are drawing in their nets. In Fiji, the "davui" conch-shell trumpet is still blown to invoke the gods.
End-blown conch-shell trumpets are still used as sacred ritual instruments in Asia. The Indian "śańkh" or "śańkham" is blown by Brahmins in Hindu temples throughout India and South Asia, and is also used today as an instrument of folk music and dance; formerly it was employed as a heraldic instrument to declare war or celebrate victory. According to Hindu mythology the "śankh" will be blown by Siva at the end of the current World Age as a sort of Last Trump.
The conch shell is also used as a signal in Buddhist ceremonies in the Far East. In Tibet it is known as the "dun-dkar", or "dung-dkar"; in China it is the "faluo" or "hai lo", and in Japan the "horagai" or "hora".
Early manufactured trumpets.
The earliest artificial trumpets appeared before the end of the Neolithic, and were adapted from the natural models provided by animal-horns and conch-shells. They were – and in some parts of the world are still – made from a variety of perishable and non-perishable materials, including bark, wood, gourds, bamboo, horn, bone, ivory, clay and, of course, metal. Early metallic trumpets were either hammered from sheets of a suitable metal (e.g. silver) or cast in bronze by the lost-wax method. Among these primitive trumpets the following may be noted:
Ancient Egypt.
The natural trumpet was probably first used as a military instrument in ancient Egypt. The trumpets depicted by the artists of the Eighteenth Dynasty were short straight instruments made of wood, bronze, copper or silver. The Ancient Egyptian name for this particular instrument was "sheneb" ("šnb"). According to the Classical writers, the Egyptian trumpet sounded like the braying of an ass.
For the most part the trumpeters depicted in Egyptian art are engaged in military activities – the "sheneb" was probably used on the battlefield both to encourage (and possibly also to direct) the Pharaoh's troops and to intimidate the enemy. In some murals from the Eighteenth Dynasty, the "sheneb" appears to be accompanying dancers; if this is the case, it is possibly the earliest depiction of a trumpet in a truly "musical" setting. Egyptian trumpeters are often, though not always, shown in pairs.
The oldest surviving examples of metallic trumpets are the two instruments that were discovered in the tomb of Tutankhamun in 1922. One of these is long and is made of silver; it has a conical tube in diameter, and a flaring bell wide. The other instrument is long and is made of copper with gold overlay. Neither instrument has a separate mouthpiece and their respective weights have not been documented. Both are inscribed with the names of gods associated with Egyptian army divisions. A third trumpet, probably dating from the Ptolemaic era, is now preserved in the Louvre museum in Paris.
Ancient Israel.
Other trumpets are mentioned in the Bible besides the primitive "shofar": the "yowbel" was the ram's-horn trumpet whose sound made the walls of Jericho fall down (Joshua 6); the "taqowa"' was a Jewish military trumpet which is mentioned in Ezekiel 7:14. The best known Biblical trumpet after the "shofar", however, is the "hasoserah". In the Book of Numbers, Moses is instructed to make two silver "hasoserah":
2Make thee two trumpets of silver; of a whole piece shalt thou make them: that thou mayest use them for the calling of the assembly, and for the journeying of the camps. 3And when they shall blow with them, all the assembly shall assemble themselves to thee at the door of the tabernacle of the congregation. 4And if they blow but with one trumpet, then the princes, which are heads of the thousands of Israel, shall gather themselves unto thee. 5When ye blow an alarm, then the camps that lie on the east parts shall go forward. 6When ye blow an alarm the second time, then the camps that lie on the south side shall take their journey: they shall blow an alarm for their journeys. 7But when the congregation is to be gathered together, ye shall blow, but ye shall not sound an alarm. 8And the sons of Aaron, the priests, shall blow with the trumpets; and they shall be to you for an ordinance for ever throughout your generations. 9And if ye go to war in your land against the enemy that oppresseth you, then ye shall blow an alarm with the trumpets; and ye shall be remembered before the Lord your God, and ye shall be saved from your enemies. 10Also in the day of your gladness, and in your solemn days, and in the beginnings of your months, ye shall blow with the trumpets over your burnt offerings, and over the sacrifices of your peace offerings; that they may be to you for a memorial before your God... (Numbers 10:2–10, King James Version.)
The "hasoserah" was played in two different ways: "taqa‘" and "teruw‘ah". The former referred to a continuous sounding of the instrument by one or two Levites during religious ceremonies; the latter referred to the sounding of an alarm or military signal, and was always carried out by two trumpeters. In the 18th century the German music theorist Johann Ernst Altenburg compared these two styles of playing to the two styles of trumpet playing prevalent in the Late Baroque: the mellow style of the "principale" and the strident style of the "clarino".
The military use of the natural trumpet is recorded in many passages of the Bible (e.g. Jeremiah 4:19, Zephaniah 1:16, Amos 2:2). Other passages recount its use as a celebratory instrument (e.g. II Kings 11:14, II Chronicles 5:12–13, Psalms 98:6).
Josephus, who credits Moses with the invention of the "hasoserah", describes the instrument thus:
“In length it was little less than a cubit []. It was composed of a narrow tube, somewhat thicker than a flute, but with so much breadth as was sufficient for admission of the breath of a man's mouth: it ended in the form of a bell, like common trumpets. Its sound was called in the Hebrew tongue "Asosra".” ("Antiquities of the Jews", 3.291)
The "hasoserah" is depicted on the Arch of Titus among the spoils taken by the Romans in the sack of Jerusalem in 70 CE (though these particular trumpets appear to be at least long).
Babylon and Assyria.
A straight trumpet similar to the Egyptian "sheneb" was also used in ancient Babylonia and Assyria, where it was called the "qarna". On a relief from the time of Sennacherib (reigned 705–681 BCE) depicting the moving of a colossal bull statue, two trumpeters are standing on the statue; one is playing while the other rests. Among the descendants of the "qarna" are the Persian "karranay" and the Safavid "karna". The latter, a straight metallic trumpet, can still be found in northern India.
Ancient Greece.
The war-trumpet used by the ancient Greeks was called the salpinx, and was probably adapted from the Egyptian "sheneb". There is a fine example on display in Boston's Museum of Fine Arts; the tube of this particular "salpinx" is long and consists of thirteen cylindrical parts made of ivory; the instrument's bell and mouthpiece are both made of bronze, as are the rings used to hold the ivory sections together; the instrument is thought to date from the second half of the 5th century BCE. The Greek playwright Aeschylus described the sound of the "salpinx" as "shattering"; the word "salpinx" is thought to mean "thunderer".
At the Olympic Games, contests of trumpet playing were introduced for the first time in 396 BCE. These contests were judged not by the participants' musical skill but by the volume of sound they generated! Among the more famous trumpeters who participated in the games was Achias, who was awarded first prize on three occasions and in whose honour a column was erected. Another famous contestant was Herodorus of Megas, a man of immense stature, whose playing was so loud that audiences were allegedly concussed by his performances. By winning the trumpet contest at Olympia, a trumpeter was authorized to perform at the hippodrome and to introduce the athletes for the remainder of the games.
On a painted ceramic knee guard dating from around 500 BCE, a salpinx call is recorded using the Greek syllables TOTH TOTOTE. This is the earliest example of trumpet notation anywhere in the world.
Etruria and Ancient Rome.
The use of the natural trumpet as a fully-fledged military signalling instrument is generally credited to the ancient Romans; a total of forty-three signals are said to have been used in the Roman army. Since the early days of the Republic, two centuriates of troops (about 160 men) were composed entirely of trumpeters; these musicians, called aenatores, employed a variety of instruments. It is now thought that the Romans adapted these instruments, and possibly also the signals sounded on them, from Etruscan models. The Etruscans were expert metallurgists and keen musicians, and musical instruments were just some of the many inventions they bequeathed to their Roman conquerors. Among the trumpet-like instruments used by the Romans, the following four may be distinguished:
The late Roman writer Vegetius briefly describes the use of trumpets in the Roman legions in his treatise "De Re Militari":
The legion also has its "tubicines", "cornicines" and "buccinatores". The "tubicen" sounds the charge and the retreat. The "cornicines" are used only to regulate the motions of the colours; the "tubicines" serve when the soldiers are ordered out to any work without the colours; but in time of action, the "tubicines" and "cornicines" sound together. The "classicum", which is a particular signal of the "buccinatores" or "cornicines", is appropriated to the commander-in-chief and is used in the presence of the general, or at the execution of a soldier, as a mark of its being done by his authority. The ordinary guards and outposts are always mounted and relieved by the sound of the "tubicen", who also directs the motions of the soldiers on working parties and on field days. The "cornicines" sound whenever the colours are to be struck or planted. These rules must be punctually observed in all exercises and reviews so that the soldiers may be ready to obey them in action without hesitation according to the general's orders either to charge or halt, to pursue the enemy or to retire. For reason will convince us that what is necessary to be performed in the heat of action should constantly be practised in the leisure of peace. (De Re Militari, Book II)
Like the Greek "salpinx" the Roman trumpets were not regarded as musical instruments. Among the tems used to describe the tone of the "tuba", for instance, were "horribilis" (“horrible”), "terribilis" (“terrible”), "raucus" (“raucous”), "rudis" (“coarse”), "strepens" (“noisy”) and "stridulus" (“shrieking”). When sounding their instruments, the "tubicines" sometimes girded their cheeks with the "capistrum" (“muzzle”) which "aulos" (“flute”) players used to prevent their cheeks from being puffed out unduly.
Middle East.
After the fall of the Western Empire in 476, the trumpet disappeared from Europe for more than half a millennium. Elsewhere the art of bending long metal tubes was lost, for the trumpets of the succeeding era lacked the characteristic G-like curve of the "cornu" and "buccina". The straight-tubed Roman "tuba", however, continued to flourish in the Middle East among the Sassanids and their Arabic successors. The Saracens, whose long metal trumpets greatly impressed the Christian armies at the time of the Crusades, were ultimately responsible for reintroducing the instrument to Europe after a lapse of six hundred years.
During the last centuries of the Roman Empire the name "buccina" was widely used throughout the Near East to denote a particular type of straight trumpet similar to, and probably derived from, the Roman tuba. From this, undoubtedly, derives the generic term "būq", which first occurs after 800; this was the name used by the Arabs to describe a variety of both trumpet-like and horn-like instruments. The "būq al-nafīr" ("buc[cina] of war") was a long straight metal trumpet used in the military bands of the Abbasid period (750–1258) and thereafter; by the 14th century it could be as much as long. From the 11th century, this term was used to denote any long straight trumpet.
Other Arabic words for trumpets of various sizes and shapes include "qarnā" and "sūr"; the latter is the name used in the Qur'an for the Last Trump that will announce Judgment Day. The "qarnā" is thought to be a descendant of the ancient Mesopotamian instrument of the same name.
The Saracens are sometimes said to be the first people to make brass trumpets from hammered sheet, though this is not at all certain.
Many of the long, straight metal trumpets that first appeared around this time were associated with the spread of Islam. In Africa, for example, end-blown metal trumpets are found only in Islamic regions such as Nigeria, Chad and central Cameroon. Known as "kakaki" (among the Hausa of Nigeria) or "gashi" (in Chad), these trumpets consist of narrow cylindrical tubes, sometimes over in length, with flared metal bells. The silver "nafiri" is one of only two trumpets found in Malaysia; its name clearly derives from the Arabic "būq al-nafīr". Slightly less than long, a single "nafiri" is present in each of the royal "nobat" ensembles maintained by the local sultans. As in Africa, these royal ensembles play on ceremonial occasions and Islamic holidays.
Asia.
The "dung" is the long monastic trumpet of Tibet; it is similar to, and probably derives from, straight trumpets depicted in 13th-century Arabic and Persian manuscripts. The "dung" is a straight, end-blown trumpet with a conical bore; it is made of copper or brass and has a separate mouthpiece. It varies in length from about (the medium-sized "rag-dun") to as much as (the telescopic "dung-chen"). In musical ensembles, two such instruments blown in alternation provide a continuous drone, which is sustained beneath the woodwind and percussion.
The "dung-chen" can also be found in the northern hills of Laddakh in India and in Bhutan, where it is known by the name "thunchen". This ceremonial instrument is used to accompany ritual dances. Nearly long, it is made of copper and decorated with silver. The "thunchen" is generally employed in pairs; the trumpeters, known as "thunchen pa", announce the commencement of ceremonies from the "gamba", or temple, and also accompany ritual dances. The length and weight of "thunchen" make it extremely unwieldy; so the flared end is rested on the ground or a special stand, or is supported on the shoulders of another monk.
Possibly related to the Tibetan "dung" is the "tirucinnam", a straight trumpet still found in Tamil Nadu in southern India. Usually a pair of these long, slender instruments are blown together; until a few decades ago it was standard practice for one musician to play both of them simultaneously, which seems to have been the case also in Nepal. A double trumpet of this type is depicted on a relief in Chandi Jawri, Indonesia, dated to 1300. The "tirucinnam" is about long and has a wide cylindrical bore; it has a narrow conical bell but no mouthpiece (to facilitate the simultaneous blowing of two instruments).
The Chinese too had a long cylindrical metal trumpet known as "haotong" (or, in Japanese, "dokaku"), which may have been related to the foregoing instruments. In place of a bell, the "haotong" had a long, broad cylinder made of wood, iron or brass, into which the rest of the instrument could be telescoped when not in use; the "haotong" was played with the bell end resting on the ground. The ordinary Chinese trumpet was the "laba" ("rappa" in Japanese). This came from Mongolia, where it was called the "rapal". It had a narrow, conical bore and consisted of two or three sections which telescoped into each other. (Chinese sources record the use of trumpets on the battlefield by the Huns, or Xiongnu, in the 3rd and 2nd centuries BCE.)


The Neptunes production discography

The following is a discography of production by The Neptunes, a production duo consisting of Pharrell Williams and Chad Hugo.


George William Marshall

George William Marshall, LL.D., FSA (1839–1905) was an English officer of arms, serving as Rouge Dragon Pursuivant from 1887 to 1904, and as York Herald from 1904 to 1905.
He served as High Sheriff of Herefordshire for 1902, and was the same year appointed a deputy lieutenant of Herefordshire.
He compiled "The Genealogist's Guide" (first edition 1879; revised and extended editions 1885, 1893 and 1903), a directory of published genealogies, which remains a standard work of reference.


List of industrial music genres

Industrial music is a form of experimental music which emerged in the 1970s. After 1980, industrial splintered into a range of offshoots, sometimes collectively named post-industrial music. This list details some of these offshoots, including fusions with other experimental and electronic music genres as well as rock, folk, heavy metal and hip hop. Industrial genres have spread worldwide and are particularly well represented in North America, Europe, and Japan.
Industrial music.
Industrial music comprises many styles of experimental music, including many forms of electronic music. The term was coined in the mid-1970s for Industrial Records artists. The first industrial artists experimented with noise and controversial topics. Their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Cabaret Voltaire, Boyd Rice, SPK, and Z'EV. Test Dept, Clock DVA, Nocturnal Emissions, Laibach, and The Leather Nun subsequently participated in the movement. German group Einstürzende Neubauten forged their own style, which mixed metal percussion, guitars and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played.
Post-industrial developments.
Dark ambient.
Dark ambient projects like Coil, Lilith, Nurse with Wound, Lustmord, and Zoviet France, evolved out of industrial music during the 1980s. These artists make use of non-musical material and noise, but less abrasively than other post-industrial musicians, bordering more on ambient music. The last material that Throbbing Gristle recorded in the studio, "In the Shadow of the Sun" and "Journey Through a Body", was ambient, and pointed in the direction that TG's offshoots (notably Coil, Chris & Cosey) would take. Other artists include Long Distance Poison, Hafler Trio, MRT, Kim Cascone, Controlled Bleeding, Nine Inch Nails (on their album "Ghosts I-IV"), early Techno Animal, prominent game music composer Akira Yamaoka, Robin Rimbaud, Final and Deutsch Nepal.
Electro-industrial.
Electro-Industrial draws on Electronic Body Music (EBM), and developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by Skinny Puppy, Front Line Assembly, and Wumpscut. In the mid-'90s, the style spawned the dark electro and aggrotech offshoots. Other artists include Haujobb, Lab Report, and Leæther Strip.
EBM.
EBM combines elements of European industrial, German electronic music such as that of Klaus Schulze, music of the Neue Deutsche Welle electropunk scene. It first came to prominence in Belgium. The name was coined by Ralf Hütter of Kraftwerk in 1978 to explain the more physical sound of their album "The Man-Machine". The term was later used in its current sense by Belgian group Front 242 in 1984 to describe their EP "No Comment", released in the same year. It denotes a certain type of danceable electronic music, a mixture of electropunk and industrial music. Other artists include Armageddon Dildos, Die Krupps, à;GRUMH..., A Split-Second, And One, Bigod 20, The Neon Judgement, and Attrition.
Industrial hip hop.
Industrial hip hop fuses the themes and aesthetics of industrial with hip hop music. Its origins are in the work of Mark Stewart and Adrian Sherwood. In 1985, Stewart, former Pop Group singer, released "As the Veneer of Democracy Starts to Fade", applying the cut-up style of industrial music with the house band of Sugar Hill Records (Doug Wimbish, Keith Leblanc, and Skip McDonald). Sherwood was a major figure in British dub music, as well as working with industrial groups such as Cabaret Voltaire, Einstürzende Neubauten, Ministry, KMFDM, and Nine Inch Nails. Tackhead, a collaboration between Sherwood and the Sugar Hill band, picked up where Stewart left off. The Disposable Heroes of Hiphoprisy, from San Francisco, and Meat Beat Manifesto, from the UK, are also early representatives of the style. The later work of Broadrick's Godflesh, as well as his collaborations with Kevin Martin, Ice, and Techno Animal, are examples of industrial hip hop. Saul Williams, a slam poet, also performs in the style. Other notable contributors include CX KidtroniK, clipping., B L A C K I E, Death Grips, JPEGMafia, Dälek, and Electric Caves.
Industrial rock and industrial metal.
Industrial rock artists generally employ the basic rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily distorted or otherwise effected. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers. The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome, Killing Joke, Swans, Big Black, and Foetus. Nine Inch Nails popularized industrial rock in the US with the release of "Pretty Hate Machine" and "The Downward Spiral". Industrial metal evolved from the scene, and is practiced by groups such as Ministry, Godflesh, and Fear Factory.
Japanoise.
Japanoise (a blend of the words "Japanese" and "noise") is the noise music scene of Japan. Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of Hanatarash and its subsequent psychedelic Boredoms evolutions, to the tabletop electronics of Incapacitants and Merzbow. The scene was initially inspired by power electronics and sometimes deals with BDSM themes. Nonetheless, Japanoise is often less serious than other post-industrial styles, and some musicians, such as Aube, are also inspired by psychedelia or space rock.
Neofolk.
Neofolk is the music of artists like Douglas Pearce of Death In June, Tony Wakeford of Sol Invictus, and David Tibet of Current 93, who had collaborated with one another. These musicians comprised a post-industrial music circle who incorporated folk music based on traditional European elements. Neofolk can be solely acoustic folk music or a blend of acoustic folk instrumentation with accompanying sounds, such as pianos, strings or elements of industrial music and experimental music. The genre encompasses an assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other genres such as martial industrial. "Apocalyptic folk" predates "neofolk" and was used by David Tibet for the music of his band Current 93 during the late 1980s. Initially, Tibet did not intend to imply connection with the folk music genre; rather, that Current 93's music was made by "apocalyptic folk, or guys."
Power electronics.
Power electronics was originally coined by William Bennett for the noise music of his own project Whitehouse. It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply atonal, there are no conventional melodies or rhythms. Members of Whitehouse who began other projects, such as Sutcliffe Jügend, also practice power electronics. Death industrial is a similar style associated with groups such as The Grey Wolves, but the term first referred to artists such as Brighter Death Now. The Swedish label Cold Meat Industry issued the releases in this subgenre.
Power noise.
Power noise (also known as rhythmic noise) takes its inspiration from some of the more structured and distorted early industrial acts, such as Esplendor Geométrico. The Belgian group Dive also anticipated the style in the early '90s. Power noise groups meld noise music with various forms of electronic dance music. The term "power noise" was coined by Raoul Roucka of Noisex in 1997, with the track "United (Power Noise Movement)". Typically, power noise is based upon a distorted kick drum from a drum machine such as a Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is almost always secondary to the rhythm. Power noise tracks are typically structured and danceable, but are occasionally abstract. This genre is showcased at the annual Maschinenfest festival in Krefeld, Germany, as well as at Infest in Bradford, England. Other artists include Imminent Starvation, Axiome, Converter, and Terrorfakt. The German labels Ant-Zen and Hands Productions specialize in the style. "Technoid" grew out of the scene, taking inspiration from IDM, experimental techno and noise music. German label Hymen Records is responsible for the term and the style. Artists include Gridlock, Black Lung, Revolution State, and Xingu Hill.
Witch house.
Witch house is a debated term referring to a fusion genre of electronic music that features a prominent hip-hop influence, specifically the 1990s Houston chopped and screwed sound pioneered by DJ Screw. Witch house consists of applying techniques rooted in Swishahouse hip-hop – drastically slowed tempos with skipping, stop-timed beats – with signifiers of noise, drone, or shoegaze, the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere. Witch house is also influenced by hazy 1980s goth bands, including Cocteau Twins, The Cure and Dead Can Dance, as well as being heavily influenced by certain early industrial bands. The use of hip-hop drum machines, noise atmospherics, creepy samples, synthpop-influenced lead melodies, and heavily altered or distorted vocals is also common.
Sales.
The best-selling offshoots of industrial music are industrial rock and metal; Ministry and Nine Inch Nails both recorded platinum-selling albums. Their success led to an increase in commercial success for some other post-industrial musicians; the Nine Inch Nails remix album "Further Down the Spiral", for example, which included contributions from Foetus and Coil, was certified gold in 1996.


A Saintly Switch

A Saintly Switch is a 1999 American made-for-television comedy film directed by Peter Bogdanovich and produced by Walt Disney Entertainment, first exhibited on ABC's "The Wonderful World of Disney". The plot revolves around an aging NFL quarterback and his stay-at-home wife switching bodies. The resultant comedy focuses on family values as she has to handle the highly-physical job while he has to handle art classes, bonding with his children, and morning sickness.
Plot.
At the film's opening, Dan and Sara Anderson are experiencing marital fallout. According to their preteen children, Clark and Annette, they both underestimate each other's role in the family. When a new position with the Saints takes them to New Orleans, they purchase a dilapidated mansion. Upon arrival, they start fighting worse than ever. The children go up into the attic and discover a book of spells, finding out from their babysitter, the resident voodoo sorceress, that this house once belonged to the most powerful sorceress in the area. Desperate to save their parents marriage, they cast a spell which inadvertently switches their parents' bodies.
The next morning, Dan wakes up in Sara's body, and she vice versa. They try to act like nothing has changed, which means they must do each other's jobs. After managing for about a day or two, still trying to keep the children (who already know what's going on) from finding out, Dan (in Sara's body) goes to the doctor because he (she) is feeling sick and discovers that he (she) is pregnant. The rest of the movie continues in similar fashion: as they live life in the other's body they grow to understand one another.
Thanks to the secret coaching she is receiving from Dan, Sara starts to get better at football. Her nurturing nature leads to her/him implementing the sort of "reward" list and tactics usually expected in a classroom. Surprisingly, this encourages the team so much that they start winning match after match. On the other hand, Dan is learning how to keep house and, though still rather uncomfortable, is rather enjoying his/her pregnancy and getting closer to the children in the process. As time passes, both parents really begin to understand what the other was complaining about, commenting on this to one another and wondering if they'll ever switch back or if they'll be stuck in each other's bodies for the rest of their lives.
When the pregnancy is about nine months along, the Saints come to the final game against the Redskins. If they win, Dan and the team go to the Super Bowl, and Dan would never have to worry about money or moving around again. Exhilarated, he and Sara embrace each other at the table and shout jubilantly at each other. This is heard by the children, who use this opportunity to finally confess all to their parents. They try to undo the spell, but fail. They call the babysitter, who translates that the spell will reverse once its purpose is complete: when their parents truly understand each other, they will be restored to their rightful bodies. However, there is a warning clause that implies that unless they manage to undo the spell before the birth of the baby, it will be permanent.
After the babysitter leaves and the Andersons go to bed, Dan and Sara apologize to each other, then kiss, which turns out to be the necessary act of understanding. The next day is the big match, and Dan's teammates instantly notice the difference in his behavior. While Sara goes into labor, his attempts to motivate his teammates with insults causes them to start fumbling. Clark reminds him to forget his old methods of motivation and revert to the "touchy-feely stuff" Sara used. In the hospital, Sara is puffing, panting, swearing, and ordering the nurses to bring her a TV. Around the time Dan wins the championship game, she finally gives in to nature and gives birth to a son. Later on, Dan is offered another job, but turns it down for his family.
Background.
The film was dedicated to the memory of Dave Waymer by its writer and producer, Sally Hampton, whose experience as an NFL wife (Hampton and Waymer were married in 1981) was the inspiration behind the story. Hampton said she had loosely based the lead characters on their personalities and, ironically, the lead actor, David Alan Grier and Waymer share the same July 1 birthday and Hampton, was born late afternoon of July 29 making her birthday only hours away from the July 30 birthdays of lead actress, Vivica A. Fox and director Peter Bogdanovich. Adding to these coincidences, principal photography of the film began on June 29, 1998, what would have been the 17th wedding anniversary of Hampton's marriage to Waymer.
Filming took place in Toronto. The project was being called In Your Shoes during that time.
Reception.
"Variety" gave the film a positive review. Whilst noting plot similarities to "Freaky Friday", "Trading Places" and "The Parent Trap", as well as character stereotypes, Ray Richmond stated "there is so much to like about the genuinely canny show that all of the other stuff sounds nitpicky and harsh. Under Bogdanovich's sure hand, this is a stylish fantasy that leaves you with a smile."


List of New York State Historic Markers in Steuben County, New York

This is a complete list of New York State Historic Markers in Steuben County, New York.


Alexander Cooke

Alexander Cooke (died February 1614) was an actor in the King's Men and the Lord Chamberlain's Men, the acting companies of William Shakespeare, John Heminges and Richard Burbage.
Cooke was most likely introduced to the theatre by John Heminges, to whom he was apprenticed under the Grocer's Guild on 26 January 1597. While guild records state that his indenture was to last seven years, Cooke was not freed until 22 March 1609. Cooke bound Walter Haynes under the same guild on 28 March 1610.
Cooke's full name first appears in the plot for Ben Jonson's "Sejanus" (1603) in which he is listed as a "principle tragedian". This might indicate that he was a young actor in a prominent female role, perhaps Agrippina. He became a shareholder in the King's Men in 1604 when the number of shareholders was expanded to twelve. He was also cast in "Volpone" (1605), in which he may have been Lady Would-be; Jonson's "The Alchemist" (1610); "" (1611) and Beaumont and Fletcher's "The Captain" (c. 1612). Edmond Malone introduced the hypothesis, still current though far from certain, that Cooke as a boy actor originally played many of Shakespeare's principal female roles. Indeed, Cooke is listed as a principal player in the First Folio, indicating that he was involved in many of William Shakespeare's plays. Cooke acted until 1612 when he may have become ill. He wrote his will on 3 January 1614 and was buried inside St. Saviour's church, now Southwark Cathedral, on 25 February. Around the time of his death Cooke had resided in Goat Yard, in the parish of St. Saviour's, Southwark
In his will, Cooke names John Heminges and Henry Condell as trustees of his children – his sons Francis (born in 1605) and Alexander (1614), and daughters Rebecca (1607) and Alice (1611). Cooke's wife acted as his executrix.
Alexander Cooke had a brother John; John Payne Collier speculated that this John Cooke was the author of "Greene's Tu Quoque."
Edmond Malone and David Kathman speculated that Cooke was the "Saunder" who appeared in the plot of Part 2 of "The Seven Deadly Sins". The existing plot is believed to be from a 1597-8 revival of the play, which was first performed in 1585. Kathman's argument that the plot is from a revival is based on the fact that Thomas Belte-a contemporary of Cooke-may also appear on the plot. In addition, records show that Cooke was at some point referred to as "Saunder"; he is listed under this name on his daughter's baptismal record.
In Gary Blackwood's 1998 novel "The Shakespeare Stealer", Cooke is portrayed as the hero's best friend, Sander.


Frisco Sally Levy

Frisco Sally Levy (a.k.a. "Véspera de Natal") is a lost 1927 comedy silent film directed by William Beaudine and starring Sally O'Neil and Roy D'Arcy, which was released on April 2, 1927.
Plot.
Colleen Lapidowitz (O'Neil) falls in love with an Irish police officer named Patrick Sweeney (Delaney), which is a relief to her Jewish father Isaac (Holtz) and Irish mother Bridget (Price) who have tried to discourage her interest in a sleazy lounge lizard named Stuart Gold (D'Arcy).


Roshal

Roshal, a Jewish surname (from , "Rabbi Shlomo Luria")


Farrelly

O'Farrelly () is an Irish surname for those who were historically the Abbots of Drumlane. The name means "descendant of Faircellach", who was made the first Abbot of Drumlane by Saint Máedóc of Ferns in the 7th century and who was himself a descendant of Niall, High King of Ireland. The O'Farrellys of County Cavan were Abbots of Drumlane through to the 15th century, when David O'Farrelly was elevated as Bishop of Kilmore. The name was anglicised as Farrelly and in some cases Farley.
History.
According to the "Life of Máedóc of Ferns", one Urcain Mac Ailill was baptised and renamed Faircellach by Saint Máedóc of Ferns in the 7th century. Faircellach's descent from King Niall of the Nine Hostages is documented in the "Life" as: "Urcain, son of Ailill, son of Rechtaide, son of Eitin, son of Felim, son of Caol, son of Áed, son of Ailill, son of Erc, son of Eógan, son of Niall of the Nine Hostages." In the year 624, Saint Máedóc made Faircellach the first Abbot of Drumlane and anointed Faircellach's line as his hereditary heirs to the chief priesthood of Drumlane. The earliest mention of the name in the Annals of the Four Masters is at 1025: "Duibhinsi Ua Faircheallaigh, Abbot of Druim-leathan, died".
The "Life" states: "Once when Máedóc was at Ferns at the end of his time, the angel of the Lord revealed to him that the term of his days and the end of his life was now approaching and drawing nigh, and bade him go to the place of his resurrection, and to the site of his burial, and to leave his churches and noble annoits, and his chosen sanctuaries, to their native gentry and to their proper heirs after him. Máedóc did so. He left Ferns and its lands under the authority of Cele and Aedan, and with their race and descendants, together with the perpetual obligation of levying and collecting the tribute dues of Leinster, and of dividing them impartially among his churches and coarbs, as we said above. He went thence to Drumlane, and did the same in that church. He left the headship and coarbship of that church with Urcain, son of Ailill, who was called Faircellach. Máedóc had baptized this man, Urcain, and given him the name of Faircellach; for these were the two first attendants that Máedóc had, viz. Faircellach and Fergus his brother, two sons of Ailill."
The descendants of Faircellach were thereafter called the Ó Faircellach and from that time onwards were the abbots of Drumlane Abbey in County Cavan, Ireland. According to the "Life", Faircellach's other brother, Fergus, was made erenagh of Rossinver Church in County Leitrim. He is described as: "Máedóc's own dear faithful foster-child and equal-aged companion". The "Life" then gives the succession of the O'Farrellys up to the time of Fergal ua Ruairc, King of Connacht from 956 to 967: "When fierce Maedoc died, both wall and great garden, the church with its horned cattle, were entrusted by him to Faircellach. After Faircellach died, the protection of the church was entrusted to the welcoming countenance which never refused a company, to the noble man, to Maelchiaráin. Cúduilig, short was his activity, after forcible Maelchiaráin; Three years were these two undoubtedly in the coarbship after one another. Maelbrigde of the melodious voice, Concobar was his son; Maelbrigde did not succeed to the fair church, but his son Concobar succeeded."
Modern Era.
Several O'Farrellys are mentioned in the Fiants of 19 January 1586 when Queen Elizabeth I of England granted them pardons for fighting against the Queen's forces. The 1882 transcription of the Fiants misspells the name as Irielli by leaving out the initial 'F' (Page 143, Document 4813): "Pardon to Hugh, son of Hugh, son of William Firielli of Droumlain; Patrick son of Hugh, son of William Firielli of same; Moyle-Shaughelen, son of Gillpatrick, son of William Firielli; John, son of Gillpatrick, son of William Firielli; Henry, son of Gillpatrick, son of William Firielli; Donel, son of Gillpatrick, son of Hugh Firielli; Edmond, son of Hugh, son of Hugh Firielli; Gillpatrick, son of Thomas, son of Gillpatrick Firielli; Shane, son of Morrish, son of Mahowne Firielli." In the Census of Ireland, 1911 there were 1,075 Farrellys recorded in County Cavan.


Julius Stern

Julius Stern (8 August 1820 – 27 February 1883) was a Jewish German musical pedagogue and composer.
Biography.
Stern was born at Breslau. He received his elementary education in music from the violinist Peter Lüstner, and at the age of nine played at concerts. In 1832 his parents removed to Berlin, where Stern studied first under Ludwig Wilhelm Maurer, Moritz Ganz, and , and later under Rungenhagen at the Königliche Akademie der Künste. As a result of several compositions which he had written while a pupil of the academy, King Frederick William IV of Prussia, who was an ardent lover of art, granted Stern a stipend which enabled him to pursue his studies. He went to Dresden, where he received instruction from Johann Aloys Miksch; and thence to Paris, where he subsequently was appointed leader of the Deutscher Gesangverein Society. While in the latter city he conducted, among other works, the incidental music by Mendelssohn to Sophocles' "Antigone".
In 1846 Stern returned to Berlin, where, in the following year, he founded the Stern Gesangverein. The first performance of Mendelssohn's oratorio "Elijah" (October 1847) established Stern's reputation as one of the foremost conductors of his day, and his choir constantly increased in size and efficiency, so that the repertoire of the society soon embraced not only the standard works of Handel, Haydn, and Bach, but also those of contemporary composers. In 1872 the Gesangverein celebrated its twenty-fifth anniversary amid great enthusiasm; two years later Stern was compelled to resign his directorship on account of ill health.
Of even greater importance for the development of music was the Stern Conservatory, founded conjointly in 1850 by Stern, Theodor Kullak and Adolf Bernhard Marx. On the resignation of Kullak in 1855, and of Marx in 1857, Stern became sole proprietor of the institution, which he managed until his death. From 1869 to 1871 he conducted the Berlin Symphony Orchestra, and from 1873 to 1874 the concerts in the Reichshalle, where he found an opportunity of carrying out his favorite idea of bringing the works of talented young musicians before the public. In 1849 he received the title of "Royal Musical Director," and in 1860 that of "Professor."
Stern died at Berlin in 1883, aged 62.


The Demi-Bride

The Demi-Bride is a 1927 American comedy film directed by Robert Z. Leonard, depicting the naughtiness synonymous with Paris at the time. The film is considered lost.
Synopsis.
Criquette (Norma Shearer) is Madame Girard (Carmel Myers)'s stepdaughter who blackmailed Philippe (Lew Cody) into marriage.