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▁at ▁Florence , ▁San ▁G im ign ano , ▁Nap les ▁and ▁elsewhere . ▁It ▁is ▁still ▁the ▁mother ▁house ▁of ▁the ▁order ▁or ▁con greg ation . ▁▁ ▁After ▁the ▁arrival ▁of ▁a ▁number ▁of ▁new ▁follow ers , ▁the ▁nas cent ▁community ▁adopted ▁the ▁Rule ▁of ▁St . ▁Bened ict ▁and ▁was ▁recogn ised ▁by ▁Pope ▁Clement ▁VI ▁in ▁ 1 3 4 4 . ▁In ▁ 1 4 0 8 ▁Gregory ▁XII ▁gave ▁them ▁the ▁ext inct ▁monaster y ▁of ▁St . ▁Just ina ▁at ▁Pad ua , ▁which ▁they ▁occupied ▁until ▁the ▁institution ▁there ▁of ▁the ▁Bened ict ine ▁reform . ▁ ▁Today ▁Un like ▁many ▁other ▁Bened ict ine ▁con greg ations , ▁the ▁Oliv et ans ▁have ▁a ▁central ized ▁structure , ▁super vised ▁by ▁the ▁ab bot ▁general ▁at ▁Monte ▁Oliv eto ▁Mag giore . ▁Oliv et an ▁Bened ict ines ▁wear ▁a ▁white ▁habit . ▁▁ ▁The ▁Oliv et an ▁mon ks ▁run ▁B ec ▁Ab bey ▁in ▁France , ▁which ▁was ▁left ▁in ▁ru ins ▁in ▁ 1 7 9 2 ▁by ▁the ▁French ▁Revolution . ▁In ▁ 1 9 4 8 ▁Oliv et ans ▁from ▁the ▁Mon aster y ▁of ▁Our ▁Lady ▁of ▁Holy ▁Hope ▁at ▁Mes nil - Saint - L oup ▁and ▁the ▁Mon aster y ▁of ▁the ▁Virgin ▁Mary ▁at ▁C orm e illes - en - Par isis ▁re - est ab lished ▁the ▁monaster y ▁at ▁B ec . ▁▁ ▁In ▁ 1 9 5 5 , ▁Bened |
ict ine ▁mon ks ▁from ▁St . ▁Bened ict ' s ▁Ab bey ▁in ▁Wisconsin ▁took ▁over ▁the ▁former ▁Tra pp ist ▁monaster y ▁of ▁Our ▁Lady ▁of ▁Gu ad alu pe ▁Ab bey ▁in ▁P ec os , ▁New ▁Mexico . ▁In ▁ 1 9 8 5 , ▁the ▁monaster y ▁became ▁part ▁of ▁the ▁Oliv et an ▁con greg ation . ▁The ▁ab bey ▁offers ▁retre ats ▁and ▁spiritual ▁direction . ▁ ▁The ▁Mon aster y ▁of ▁Christ ▁Our ▁Sav iour ▁was ▁founded ▁in ▁ 1 9 8 0 ▁in ▁the ▁village ▁of ▁Tur vey ▁Ab bey , ▁Bed ford shire . ▁Ad j acent ▁to ▁the ▁monaster y ▁is ▁the ▁Pri ory ▁of ▁Our ▁Lady ▁of ▁Peace ▁of ▁Oliv et an ▁Bened ict ine ▁n uns . ▁The ▁monaster y ▁and ▁the ▁pri ory ▁share ▁worship ▁services . ▁While ▁the ▁mon ks ▁have ▁no ▁outside ▁apost olate , ▁guests ▁are ▁welcome . ▁The ▁pri ory ▁is ▁not ▁open ▁to ▁the ▁public , ▁but ▁the ▁chap el ▁is ▁open ▁and ▁visitors ▁are ▁welcome . ▁ ▁The ▁Cong reg ation ▁also ▁maintain ▁ab be ys ▁and ▁prior al ▁churches ▁in ▁Italy , ▁the ▁United ▁Kingdom , ▁Ireland , ▁Belg ium , ▁Switzerland , ▁Israel , ▁Korea , ▁Mexico , ▁Gu atem ala ▁and ▁Brazil . ▁In ▁ 1 9 6 0 ▁they ▁formed ▁the ▁Oliv et an ▁Cong reg ation ▁within ▁the ▁Bened ict ine ▁Confeder ation . ▁ ▁Oliv et an ▁Bened ict ine ▁Women ▁Oliv et an ▁n uns ▁are |
▁distinguished ▁from ▁the ▁sister s ▁in ▁that ▁the ▁n uns ▁focus ▁primarily ▁on ▁the ▁Div ine ▁Office ▁according ▁to ▁the ▁Rule ▁of ▁Saint ▁Bened ict , ▁while ▁the ▁sister s ▁eng age ▁in ▁outside ▁apost ol ates ▁such ▁as ▁religious ▁education ▁or ▁past oral ▁care , ▁and ▁therefore ▁follow ▁a ▁modified ▁form ▁of ▁the ▁rule . ▁ ▁In ▁ 1 8 7 4 , ▁Bened ict ine ▁sister s ▁from ▁the ▁Con vent ▁of ▁Maria ▁R icken bach ▁in ▁the ▁C anton ▁of ▁Unter wal den , ▁Switzerland , ▁arrived ▁as ▁teachers ▁in ▁Mary ville , ▁Missouri . ▁Short ly ▁there after ▁some ▁of ▁the ▁sister s ▁were ▁sent ▁to ▁Ark ansas . ▁In ▁ 1 8 9 3 ▁the ▁Ark ansas ▁community ▁affili ated ▁with ▁the ▁Oliv et ans . ▁In ▁ 1 9 0 0 , ▁they ▁opened ▁St . ▁Bernard ' s ▁Hospital ▁in ▁Jones bor o . ▁ ▁In ▁popular ▁culture ▁The ▁Prop he cy ▁of ▁St . ▁Mal ach y ▁is ▁a ▁supposed ▁list ▁of ▁ 1 1 2 ▁pop es ▁beginning ▁in ▁ 1 1 4 3 ▁with ▁Pope ▁Cel est ine ▁II ▁and ▁continu ing ▁apparently ▁to ▁the ▁end ▁of ▁time . ▁It ▁was ▁alleg edly ▁discovered ▁around ▁ 1 5 9 5 ▁by ▁Bened ict ine ▁mon k ▁Arnold ▁de ▁Wy on , ▁who ▁attributes ▁it ▁to ▁the ▁ 1 2 th ▁century ▁Mal ach y ▁of ▁Arm agh . ▁Each ▁po pe ▁is ▁identified ▁with ▁a ▁short ▁crypt ic ▁mot to . ▁The ▁next |
▁to ▁last ▁po pe ▁has ▁the ▁mot to ▁Gl oria ▁o li u æ ▁( G l ory ▁of ▁the ▁o live ). ▁ ▁After ▁the ▁election ▁of ▁Joseph ▁R atz inger ▁to ▁the ▁pap acy ▁in ▁ 2 0 0 5 , ▁pro ponents ▁of ▁the ▁prop he cy ▁connected ▁him ▁to ▁the ▁entry ▁for ▁the ▁next ▁to ▁last ▁po pe : ▁R atz inger ▁chose ▁the ▁name ▁Bened ict ; ▁one ▁of ▁the ▁Bened ict ine ▁con greg ations ▁is ▁the ▁Oliv et ans , ▁thus , ▁Gl oria ▁o li u æ . ▁ ▁However , ▁there ▁is ▁no ▁particular ▁connection ▁between ▁the ▁Oliv et an ▁Order ▁and ▁Pope ▁Bened ict ▁XVI . ▁In ▁ 1 1 3 9 , ▁Mal ach y ▁visited ▁Rome , ▁stopping ▁at ▁Cla ir v aux ▁Ab bey ▁both ▁on ▁the ▁way ▁and ▁on ▁his ▁return . ▁His ▁contemporary , ▁Bernard ▁of ▁Cla ir v aux ▁wrote ▁a ▁vita ▁of ▁St . ▁Mal ach y , ▁providing ▁many ▁interesting ▁an ec d otes , ▁but ▁does ▁not ▁mention ▁any ▁prop he cy . ▁Re put able ▁church ▁histor ians ▁since ▁the ▁ 1 8 th ▁century ▁have ▁considered ▁" The ▁Prop he cy ▁of ▁St . ▁Mal ach y " ▁a ▁forg ery , ▁most ▁likely ▁written ▁around ▁ 1 5 9 0 . ▁Most ▁sch ol ars ▁consider ▁the ▁document ▁a ▁ 1 6 th - century ▁elaborate ▁ho ax , ▁bearing ▁similar ities ▁to ▁a ▁ 1 5 5 7 ▁history ▁of |
▁the ▁pop es ▁by ▁On of rio ▁Pan vin io , ▁including ▁mistakes . ▁ ▁Thomas ▁Gro ome , ▁of ▁Boston ▁College ▁said , ▁"... the ▁' Prop he cies ▁of ▁St . ▁Mal ach y ' ▁are ▁a ▁grand ▁old ▁fun ▁tale ▁that ▁have ▁about ▁as ▁much ▁reli ability ▁as ▁the ▁morning ▁hor os cope ". ▁ ▁References ▁ ▁S ources ▁ ▁Giuseppe ▁Pic asso . ▁" La ▁spiritual ità ▁dell ' ant ico ▁mon aches imo ▁alle ▁orig ini ▁di ▁Monte ▁Oliv eto ," ▁in ▁Gian car lo ▁And en na ▁/ ▁Mir ko ▁Bre iten stein ▁/ ▁G ert ▁Mel ville ▁( eds .): ▁Char is ma ▁und ▁relig i ö se ▁G emein schaften ▁im ▁Mittel alter . ▁A kten ▁des ▁ 3 . ▁International en ▁Kong ress es ▁des ▁" Ital ien isch - deutsch en ▁Zent rum s ▁für ▁Ver gleich ende ▁Ord ens geschichte ". ▁Mün ster ▁/ ▁Hamburg ▁/ ▁Berlin ▁/ ▁London : ▁L IT ▁ 2 0 0 5 ▁( V ita ▁regular is . ▁Or dn ungen ▁und ▁De ut ungen ▁religios en ▁Lebens ▁im ▁Mittel alter , ▁ 2 6 ), ▁ 4 4 3 – 4 6 1 . ▁ ▁External ▁links ▁ ▁Monte ▁Oliv eto ▁Mag giore ▁ ▁Order ▁of ▁St . ▁Bened ict ▁Pope ▁John ▁Paul ▁II . ▁" Let ter ▁to ▁the ▁Oliv et an ▁Bened ict ines ▁on ▁the ▁ 6 5 0 th ▁anni versary ▁of ▁the ▁death ▁of ▁Bernard ▁Tol ome i ", ▁ 1 |
▁August ▁ 1 9 9 8 ▁▁ ▁Category : C atholic ▁orders ▁and ▁soci eties ▁▁ ▁Category : B ened ict ine ▁con greg ations ▁Category : 1 3 1 3 ▁establish ments ▁in ▁Europe ▁Category : 1 4 th - century ▁establish ments ▁in ▁Italy ▁Category : Rel ig ious ▁organizations ▁established ▁in ▁the ▁ 1 3 1 0 s ▁Category : C atholic ▁religious ▁orders ▁established ▁in ▁the ▁ 1 4 th ▁century ▁Category : C atholic ▁mon astic ▁orders <0x0A> </s> ▁Sir ▁Ad olph us ▁O ug ht on , ▁ 1 st ▁Baron et ▁of ▁T ach bro ok , ▁War wick shire ▁( c . ▁ 1 6 8 5 ▁– ▁ 4 ▁September ▁ 1 7 3 6 ), ▁was ▁a ▁British ▁Army ▁officer ▁and ▁politician . ▁ ▁O ug ht on ▁was ▁the ▁son ▁of ▁Ad olph us ▁O ug ht on ▁and ▁Mary ▁Sam well , ▁daughter ▁of ▁Richard ▁Sam well , ▁of ▁U pton , ▁North am pt ons hire . ▁and ▁educated ▁at ▁Tr inity ▁College , ▁Oxford ▁and ▁the ▁Middle ▁Temple ▁( 1 7 0 3 ). ▁ ▁He ▁joined ▁the ▁British ▁Army ▁and ▁was ▁a ▁captain ▁and ▁lieutenant - col onel ▁in ▁the ▁ 1 st ▁Foot ▁Gu ards ▁( 1 7 0 6 ), ▁a ▁ 1 st ▁major ▁and ▁colon el ▁in ▁the ▁Cold stream ▁Gu ards ▁( 1 7 1 5 ) ▁and ▁a ▁lieutenant - col onel ▁( 1 7 1 7 ) ▁in ▁the ▁ 8 |
th ▁Drag o ons , ▁of ▁which ▁regiment ▁he ▁assumed ▁the ▁colon el cy ▁in ▁ 1 7 3 3 . ▁He ▁was ▁promoted ▁brig ad ier - general ▁in ▁ 1 7 3 5 . ▁He ▁was ▁Gro om ▁of ▁the ▁Bed ch am ber ▁to ▁the ▁Prince ▁of ▁Wales ▁from ▁ 1 7 1 4 ▁to ▁ 1 7 1 7 . ▁ ▁He ▁sat ▁as ▁Member ▁of ▁Parliament ▁for ▁Cov entry ▁between ▁ 1 7 1 5 ▁and ▁ 1 7 3 6 . ▁In ▁ 1 7 1 8 ▁he ▁was ▁created ▁a ▁baron et , ▁of ▁T etch bro ok ▁in ▁the ▁County ▁of ▁War wick . ▁ ▁He ▁died ▁in ▁September ▁ 1 7 3 6 . ▁He ▁had ▁first ▁married ▁his ▁cousin , ▁Frances ▁W ag st aff e , ▁daughter ▁and ▁he ir ▁of ▁Sir ▁Thomas ▁W ag st aff e ▁and ▁the ▁wid ow ▁of ▁Sir ▁Edward ▁Bag ot , ▁ 4 th ▁Baron et , ▁M . P ., ▁of ▁Bl ith field , ▁Staff ord shire . ▁He ▁second ly ▁married ▁Elizabeth , ▁the ▁daughter ▁of ▁John ▁Bab er ▁of ▁Sun ning hill , ▁Ber k shire . ▁He ▁had ▁no ▁legit imate ▁children ▁and ▁thus ▁the ▁baron et cy ▁became ▁ext inct , ▁although ▁he ▁did ▁however ▁leave ▁an ▁il leg it imate ▁son , ▁James ▁Ad olph us ▁Dick enson ▁O ug ht on , ▁who ▁became ▁a ▁lieutenant - general ▁in ▁the ▁British ▁Army . ▁ ▁References ▁ ▁Category |
: 1 7 3 6 ▁death s ▁Category : Al umn i ▁of ▁Tr inity ▁College , ▁Oxford ▁Category : M embers ▁of ▁the ▁Middle ▁Temple ▁Category : Bar on ets ▁in ▁the ▁Baron et age ▁of ▁Great ▁Britain ▁Category : Year ▁of ▁birth ▁uncertain ▁Category : B rit ish ▁Army ▁officers ▁Category : M embers ▁of ▁the ▁Parliament ▁of ▁Great ▁Britain ▁for ▁English ▁constitu encies ▁Category : B rit ish ▁MP s ▁ 1 7 1 5 – 1 7 2 2 ▁Category : B rit ish ▁MP s ▁ 1 7 2 2 – 1 7 2 7 ▁Category : B rit ish ▁MP s ▁ 1 7 2 7 – 1 7 3 4 ▁Category : B rit ish ▁MP s ▁ 1 7 3 4 – 1 7 4 1 ▁Category : Fre em asons ▁of ▁the ▁Premier ▁Grand ▁L odge ▁of ▁England ▁Category : M embers ▁of ▁Parliament ▁for ▁Cov entry <0x0A> </s> ▁This ▁is ▁a ▁list ▁of ▁nick names ▁in ▁the ▁sports ▁of ▁American ▁football ▁and ▁Canadian ▁football . ▁ ▁Play ers ▁▁▁ ▁" A - Tra in " ▁– ▁Mike ▁Al st ott , ▁running ▁back ▁ ▁" All ▁Day " ▁– ▁Ad rian ▁Pet erson , ▁running ▁back ▁ ▁" The ▁Ass ass in " ▁- ▁Jack ▁T atum , ▁Oak land ▁Ra iders , ▁safety ▁ ▁" A vat ar " ▁– ▁Jimmy ▁Graham , ▁tight ▁end ▁ ▁" Bad ▁Moon " ▁- ▁Andre ▁R ison , ▁many ▁teams , ▁wide ▁receiver ▁ ▁" |
B agg ad on uts " ▁- ▁Frank ▁Winter s , ▁Green ▁Bay ▁Pack ers , ▁center ▁ ▁" The ▁Be arded ▁P ony " ▁- ▁Andrew ▁L uck , ▁Indian apolis ▁Col ts , ▁named ▁for ▁his ▁amaz ing ▁be ard ▁and ▁the ▁fact ▁that ▁he ▁plays ▁for ▁the ▁Col ts . ▁▁ ▁" Be ast ▁Mode " ▁– ▁Marsh awn ▁Lyn ch , ▁Seattle ▁Se ah aw ks , ▁named ▁for ▁his ▁violent ▁running ▁style ▁and ▁unusual ▁ability ▁to ▁break ▁tack les ▁▁ ▁" Big ▁Dick ▁Nick " ▁- ▁Nick ▁F oles , ▁Philadelphia ▁E ag les ▁quarter back ▁ ▁" Big ▁Phil " ▁- ▁Phil ▁Load hol t , ▁ ▁Minnesota ▁Vik ings ▁off ensive ▁tack le ▁ ▁" B lo od " ▁- ▁John ▁Mc N ally , ▁Green ▁Bay ▁Pack ers , ▁running ▁back ▁ ▁" Bo ob " ▁- ▁Bernard ▁Dar ling , ▁Green ▁Bay ▁Pack ers , ▁center ▁ ▁" Bo omer " - ▁Bob ▁Brown , ▁tack le ▁ ▁" B road way ▁Joe " ▁- ▁Joe ▁Nam ath , ▁New ▁York ▁J ets , ▁quarter back ▁ ▁" B uck ets " ▁- ▁Charles ▁Golden berg , ▁Green ▁Bay ▁Pack ers , ▁guard / running ▁back ▁ ▁" The ▁Bus " ▁- ▁Jer ome ▁B ett is , ▁Pitts burgh ▁Ste el ers , ▁running ▁back ▁ ▁" Capt ain ▁Com eb ack " ▁- ▁Roger ▁Sta ub ach , ▁Dallas ▁Cow bo ys , ▁quarter back ▁ ▁" The ▁Clay maker " ▁– |
▁Clay ▁Matt he ws ▁III ▁ ▁" C ool ▁Bre es " ▁– ▁D rew ▁Bre es ▁ ▁" The ▁Cow boy " ▁– ▁Justin ▁Smith ▁ ▁" Cur ly " ▁ ▁- ▁Earl ▁Louis ▁Lam be au , ▁Green ▁Bay ▁Pack ers , ▁founder , ▁half back ▁and ▁coach ▁ ▁" Dan imal " ▁– ▁Dan ▁Ham pton ▁ ▁" De acon " ▁- ▁David ▁Jones , ▁Los ▁Angeles ▁R ams , ▁def ensive ▁end ▁ ▁" The ▁Dies el " ▁- ▁John ▁R igg ins , ▁Washington ▁Red sk ins , ▁running ▁back ▁ ▁" Dir ty ▁Do zen " ▁= ▁ 1 9 7 5 ▁Dallas ▁Cow bo ys ▁team ▁ ▁" The ▁D od ger " ▁– ▁Roger ▁Sta ub ach , ▁quarter back ▁ ▁" The ▁D ome ▁Pat rol " ▁– ▁the ▁New ▁Orleans ▁Sain ts ▁football ▁team ' s ▁line back er ▁corps ▁of ▁the ▁late ▁ 1 9 8 0 s ▁and ▁the ▁early ▁ 1 9 9 0 s . ▁The ▁D ome ▁Pat rol ▁was ▁r ated ▁by ▁NFL ▁Network ▁as ▁the ▁# 1 ▁line back er ▁corps ▁of ▁all - time . ▁ ▁" E asy ▁E " ▁– ▁Eli ▁Mann ing , ▁quarter back , ▁named ▁for ▁his ▁relax ed ▁de mean or ▁even ▁in ▁pressure ▁situations ▁ ▁" F am ous ▁J ame is " ▁- ▁J ame is ▁W inst on , ▁T ampa ▁Bay ▁Bu cc ane ers , ▁quarter back ▁ ▁" F at so " - |
▁Art ▁Don ovan , ▁def ensive ▁tack le ▁ ▁" The ▁Fre ak " ▁- ▁Je von ▁K ear se , ▁Tennessee ▁Tit ans , ▁def ensive ▁end ▁ ▁" The ▁F ridge " ▁– ▁William ▁Perry ▁( American ▁football ), ▁def ensive ▁tack le ▁ ▁" The ▁Ghost " ▁- ▁Dave ▁Cas per , ▁T ight ▁End ▁who ▁participated ▁in ▁two ▁famous ▁Oak land ▁Ra iders ▁Pl ays : ▁ ▁" G host ▁to ▁the ▁Post " ▁& ▁" H oly ▁Rol ler ▁( American ▁football )" ▁ ▁" The ▁Gray ▁Ghost ▁of ▁Gonz aga " - ▁Tony ▁C ana de o , ▁half back ▁ ▁" The ▁G uns ling er " ▁– ▁Bre tt ▁F av re , ▁quarter back ▁ ▁" C ra zy ▁Leg s " ▁– ▁El roy ▁Hir sch , ▁running ▁back / wide ▁receiver ▁ ▁" G old en ▁Boy " ▁- ▁Paul ▁Horn ung , ▁Green ▁Bay ▁Pack ers , ▁half ▁back / k icker ▁ ▁" Gre asy " - ▁Ear le ▁Ne ale , ▁Co ach ▁ ▁" The ▁H ogs " ▁– ▁ 1 9 8 0 ' s / 1 9 9 0 ' s ▁Washington ▁Red sk ins ▁off ensive ▁line ▁ ▁" High way ▁ 6 3 " ▁- ▁Gene ▁U ps h aw , ▁Hall ▁of ▁Fame ▁Guard ▁who ▁won ▁two ▁Super ▁Bow ls ▁with ▁the ▁Oak land ▁Ra iders ▁ ▁" The ▁Kra ken " ▁- ▁Greg ▁Hard y ▁Def ensive ▁End ▁ ▁" The ▁H |
ang man " - ▁Chris ▁Han burger - ▁line back er ▁ ▁" John ny ▁Football " ▁- ▁Johnny ▁Man ziel , ▁quarter back ▁ ▁" The ▁Ju ice " ▁– ▁O . ▁J . ▁Sim pson , ▁running ▁back ▁ ▁" J J ▁" Sw att " ▁– ▁J . ▁J . ▁W att , ▁Houston ▁Tex ans , ▁named ▁for ▁his ▁ability ▁to ▁bat ▁down ▁passes ▁at ▁the ▁line ▁of ▁sc rim m age ▁ ▁" J ug " ▁- ▁Fran cs ▁Louis ▁Ear p , ▁Green ▁Bay ▁Pack ers , ▁center ▁ ▁" Leg at ron " ▁– ▁Greg ▁Z uer lein , ▁St . ▁Louis ▁R ams ▁ ▁" Leg ion ▁of ▁Bo om ™ " ▁– ▁def ensive ▁back field ▁of ▁the ▁Seattle ▁Se ah aw ks ▁( Rich ard ▁Sh erman , ▁Kam ▁Chan cell or , ▁Earl ▁Thomas ), ▁named ▁for ▁their ▁hard - h itting ▁and ▁physical ▁style ▁of ▁play ▁ ▁" The ▁Lion " - ▁Leo ▁Nom ell ini , ▁def ensive ▁tack le ▁ ▁" The ▁Man ster " ▁– ▁R andy ▁White , ▁def ensive ▁tack le ▁ ▁" Me an ▁Joe " ▁- ▁Joe ▁Gre ene , ▁Pitts burgh ▁Ste el ers , ▁def ensive ▁end ▁ ▁" M eg at ron " ▁– ▁Cal vin ▁Johnson , ▁wide ▁receiver ▁ ▁" The ▁Minister ▁of ▁Def ense " ▁- ▁Reg gie ▁White , ▁Philadelphia ▁E ag les , ▁Green ▁Bay ▁Pack ers , ▁def ensive ▁end ▁ ▁" M init ron |
" ▁- ▁Julian ▁Ed el man , ▁wide ▁receiver ▁ ▁" M J D " ▁- ▁Maurice ▁Jones - D rew , ▁running ▁back ▁ ▁" The ▁Mus cle ▁Ham ster " ▁– ▁Doug ▁Martin , ▁running ▁back ▁ ▁" The ▁New ▁York ▁S ack ▁Exchange " ▁- ▁the ▁New ▁York ▁J ets ▁def ensive ▁line ▁during ▁the ▁early ▁ 1 9 8 0 s ▁ ▁" N ight ▁Train " ▁– ▁Dick ▁Lane , ▁a ▁reference ▁to ▁his ▁fear ▁of ▁flying ▁and ▁result ant ▁travel ▁to ▁road ▁games ▁on ▁night ▁trains . ▁ ▁" The ▁No ▁Fly ▁Zone " ▁– ▁def ensive ▁back field ▁of ▁the ▁Den ver ▁Bron cos ▁▁ ▁" O range ▁Cr ush " ▁– ▁the ▁ 3 – 4 ▁defense ▁of ▁the ▁Den ver ▁Bron cos ▁during ▁the ▁late ▁ 1 9 7 0 s ▁and ▁early ▁ 1 9 8 0 s ▁ ▁" Opt im us ▁Gr imes " ▁- ▁Br ent ▁Gr imes ▁Cor ner back ▁ ▁" The ▁P ocket ▁Her cules " ▁– ▁Maurice ▁Jones - D rew , ▁running ▁back ▁ ▁" P ot ▁Ro ast " ▁– ▁Ter rance ▁Knight on , ▁def ensive ▁tack le ▁ ▁" Prim etime " ▁– ▁De ion ▁Sand ers , ▁corner back ▁ ▁" P ur ple ▁Jesus " ▁- ▁Ad rian ▁Peters en , ▁Minnesota ▁Vik ings , ▁running ▁back ▁ ▁" The ▁Pur ple ▁People ▁E aters " ▁- ▁the ▁Minnesota ▁Vik ings ▁def ensive ▁line ▁during ▁the ▁ 1 9 7 |
0 s ▁ ▁" The ▁Re fr iger ator " ▁- ▁William ▁Perry , ▁Chicago ▁B ears , ▁nose ▁tack le ▁ ▁" Rob o - s ack " ▁- ▁Rob ▁Johnson , ▁quarter back ▁known ▁for ▁a ▁reputation ▁of ▁being ▁s ack ed ▁frequently ▁ ▁" Sh ady " ▁– ▁Le Se an ▁Mc Co y , ▁running ▁back ▁ ▁" The ▁Sher iff " ▁– ▁P ey ton ▁Mann ing , ▁quarter back ▁a ▁reference ▁to ▁Mann ing ' s ▁pre - s nap ▁routine , ▁which ▁is ▁one ▁of ▁the ▁most ▁recogn izable ▁in ▁the ▁NFL . ▁▁ ▁" Show time " - ▁Patrick ▁Mah om es , ▁quarter back ▁ ▁" Sm oking " ▁– ▁Jay ▁C ut ler , ▁quarter back ▁ ▁" S n acks " ▁ ▁– ▁Dam on ▁Harrison , ▁Def ensive ▁T ack le . ▁▁ ▁" The ▁S nake " ▁- ▁Ken ny ▁St ab ler , ▁Hall ▁of ▁Fame ▁quarter back ▁who ▁won ▁Super ▁Bowl ▁XI ▁with ▁the ▁Oak land ▁Ra iders ▁ ▁" Ste el ▁Cur tain " ▁– ▁the ▁Pitts burgh ▁Ste el ers ▁def ensive ▁line ▁during ▁the ▁ 1 9 7 0 s ▁ ▁" The ▁St ork " ▁- ▁Ted ▁Hend r icks , ▁Hall ▁of ▁Fame ▁Line back er ▁who ▁won ▁Super ▁Bow ls ▁with ▁the ▁Baltimore ▁Col ts ▁and ▁Oak land ▁Ra iders ▁ ▁" Sw ede " ▁- ▁Ch ester ▁John ston , ▁Green ▁Bay ▁Pack ers , ▁running ▁back ▁ ▁" S weet |
ness " ▁– ▁Walter ▁Pay ton , ▁running ▁back ▁ ▁" T iny " ▁- ▁Paul ▁En ge bre ts en , ▁Green ▁Bay ▁Pack ers , ▁guard ▁ ▁" The ▁Tool box " ▁- ▁Ed ▁West , ▁Green ▁Bay ▁Pack ers , ▁tight ▁end ▁ ▁" The ▁Ty ler ▁Rose " ▁– ▁Earl ▁Campbell , ▁an ▁all usion ▁to ▁his ▁h omet own ▁Ty ler , ▁Texas ▁ ▁" White ▁Sho es " ▁– ▁Billy ▁Johnson , ▁wide ▁receiver ▁ ▁" World " ▁- ▁Jerry ▁R ice , ▁San ▁Francisco ▁ 4 9 ers , ▁wide ▁receiver ▁ ▁Teams ▁ ▁This ▁is ▁a ▁list ▁of ▁nick names ▁of ▁professional ▁and ▁college ▁football ▁teams . ▁Many ▁are ▁merely ▁abbre vi ations ▁or ▁dimin ut ives ▁of ▁the ▁team ' s ▁name ; ▁otherwise , ▁the ▁origin ▁of ▁the ▁nick name ▁( if ▁known ) ▁is ▁noted . ▁ ▁An ▁a ster isk ▁(* ) ▁after ▁a ▁nick name ▁indicates ▁that ▁the ▁name ▁is ▁pe jor ative , ▁ins ult ing , ▁or ▁has ▁at ▁least ▁a ▁negative ▁intent , ▁and ▁is ▁often ▁used ▁by ▁oppon ents ▁or ▁det ract ors ▁( including ▁fans ▁when ▁the ▁team ▁is ▁performing ▁poor ly ). ▁Note ▁on ▁abbre vi ations : ▁C FL ▁– ▁Canadian ▁Football ▁League ; ▁NFL ▁– ▁National ▁Football ▁League ; ▁NCAA ▁– ▁National ▁Colleg iate ▁Athlet ic ▁Association ▁ ▁American ▁football ▁▁ ▁By ▁nick name ▁ ▁" A in ' ts *" ▁– ▁New ▁Orleans ▁Sain ts , ▁NFL ; ▁rh ym ing |
▁play ▁on ▁the ▁non - standard ▁English ▁negative ▁ain ' t ▁ ▁" America ' s ▁Team " ▁– ▁Dallas ▁Cow bo ys , ▁by ▁sports ▁media ▁ ▁" B . I . L . L . S .* " ▁– ▁Buff alo ▁B ills , ▁by ▁det ract ors , ▁ac ron ym s ▁for ▁" Bo y ▁I ▁Love ▁Los ing ▁Super ▁Bow ls ", ▁in ▁reference ▁to ▁the ▁team ' s ▁failure ▁to ▁win ▁the ▁Super ▁Bowl ▁in ▁four ▁straight ▁tries ▁during ▁the ▁early ▁ 1 9 9 0 s ▁ ▁" Big ▁Blue ▁( W reck ing ▁C rew )" ▁– ▁New ▁York ▁Gi ants , ▁NFL ; ▁from ▁the ▁color ▁of ▁their ▁j er se ys , ▁influenced ▁by ▁the ▁nick name ▁of ▁IBM ▁ ▁" The ▁Black ▁and ▁Gold " ▁– ▁Pitts burgh ▁Ste el ers , ▁NFL ; ▁from ▁their ▁uniform ▁colors ▁ ▁" Black ▁and ▁Blue ▁Division " ▁– ▁N FC ▁North , ▁NFL ; ▁from ▁the ▁division ' s ▁rug ged ▁style ▁of ▁play ▁in ▁the ▁ 2 0 th ▁century ▁( also ▁" F rost b ite ▁Division ") ▁ ▁" The ▁Blue ▁Gi ants " ▁– ▁U sed ▁for ▁New ▁York ▁Gi ants ▁because ▁of ▁the ▁team ▁color ▁ ▁" B ol ts " ▁– ▁Los ▁Angeles ▁Ch arg ers , ▁NFL ; ▁from ▁the ▁light ning ▁b olt ▁design ▁on ▁their ▁hel m ets ▁ ▁" B uc s / B uck ies " ▁– ▁T ampa ▁Bay ▁Bu cc ane |
ers , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" The ▁B ung les " ▁– ▁C inc inn ati ▁Beng als , ▁NFL ; ▁formerly ▁used ▁by ▁det ract ors ▁ ▁The ▁Card iac ▁C ats ▁– ▁Carolina ▁Pan thers , ▁co ined ▁in ▁ 2 0 0 3 ▁due ▁to ▁their ▁frequent ▁ 4 th - qu arter ▁com eb acks ▁and / or ▁losses ▁ ▁" Che ese head s " ▁– ▁Nick name ▁used ▁for ▁residents ▁of ▁Wisconsin ▁in ▁reference ▁to ▁the ▁state ' s ▁large ▁da iry ▁industry . ▁ ▁Sometimes ▁employed ▁der og ator ily ▁by ▁neighbor ing ▁states , ▁the ▁mon iker ▁was ▁ ▁emb rac ed ▁by ▁residents , ▁particularly ▁Green ▁Bay ▁Pack ers ▁fans , ▁and ▁has ▁become ▁syn onymous ▁with ▁Wisconsin ' s ▁football ▁culture . ▁( Wh ile ▁the ▁state ▁is ▁presently ▁known ▁for ▁che ese ▁production , ▁the ▁Pack ers ▁team ▁itself ▁was ▁originally ▁named ▁for ▁the ▁Indian ▁meat ▁pack ing ▁company ▁in ▁Green ▁Bay , ▁W I .) ▁ ▁" Che atri ots " ▁- New ▁England ▁Patri ots , N FL ; ▁U sed ▁by ▁det ract ors ▁as ▁a ▁reference ▁to ▁the ▁Patri ots ▁che ating ▁alleg ations ▁during ▁Bill ▁Bel ich ick ▁and ▁Tom ▁Br ady ▁era ▁ ▁" The ▁Che fs " ▁– ▁Kansas ▁City ▁Chief s , ▁NFL ; ▁origin ▁S nick ers ▁c andy ▁bar ▁commercial ; ▁however , ▁the ▁NFL ▁has ▁lic ensed ▁official ▁" K ansas ▁City ▁Chief ▁Head ▁Che f |
▁Cook ie ▁J ars " ▁ ▁" The ▁Ch es ape ake ▁W aters hed ▁Region ▁Ind igen ous ▁Pers ons " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁translation ▁of ▁team ▁name ▁into ▁polit ically ▁correct ▁terms ▁It ▁was ▁later ▁changed ▁to ▁" P ot om ac ▁D rain age ▁Bas in ▁Ind igen ous ▁Pers ons " ▁( see ▁below ) ▁since ▁the ▁Baltimore ▁Rav ens ▁also ▁share ▁the ▁Ch es ape ake ▁Bay ▁region . ▁ ▁" C low ns " ▁- ▁Cleveland ▁Brow ns , ▁NFL ; ▁used ▁by ▁det ract ors . ▁ ▁The ▁Cow g irls ▁- ▁Dallas ▁Cow bo ys , ▁by ▁det ract ors . ▁ ▁" Da ▁Ra id ah s " ▁– ▁Las ▁Veg as ▁Ra iders , ▁NFL ; ▁The ▁way ▁Chris ▁B erman ▁of ▁ESP N ▁says , ▁" The ▁Ra iders ", ▁a ▁spo of ▁of ▁Ra iders ▁team ▁owner ▁Al ▁Davis ' ▁acc ent . ▁ ▁" D aw gs " ▁– ▁Cleveland ▁Brow ns , ▁NFL ; ▁according ▁to ▁Han ford ▁D ixon , ▁then ▁a ▁corner back ▁with ▁the ▁original ▁Art ▁Mod ell - owned ▁Brow ns , ▁he ▁gave ▁his ▁def ensive ▁team m ates ▁this ▁nick name ▁to ▁insp ire ▁them ▁before ▁the ▁ 1 9 8 5 ▁season ▁ ▁" D ead S kins " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁rh ym ing ▁play ▁on ▁team ▁name ; ▁used ▁by ▁det ract ors ▁or ▁dis gr unt led ▁fans . |
▁ ▁" Det roit ▁Lie - down s " ▁– ▁Detroit ▁L ions , ▁NFL ; ▁ ▁so ▁called ▁because ▁they ▁just ▁lie ▁down ▁and ▁let ▁other ▁teams ▁run ▁over ▁them . ▁ ▁" The ▁D irty ▁Bird s " ▁– ▁Atlanta ▁Fal cons , ▁NFL ; ▁team ▁dub bed ▁themselves ▁by ▁this ▁name ▁during ▁their ▁race ▁to ▁Super ▁Bowl ▁XXX III ▁ ▁" The ▁Dol ts " ▁– ▁Indian apolis ▁Col ts , ▁NFL ; ▁rh ym ing ▁play ▁on ▁name ▁with ▁a ▁term ▁for ▁" idi ot "; ▁by ▁det ract ors ▁ ▁" The ▁Don ks " ▁- ▁Den ver ▁Bron cos , ▁used ▁by ▁det ract ors . ▁ ▁" The ▁Empire " ▁- ▁U sed ▁by ▁det ract ors ▁to ▁refer ▁to ▁either ▁the ▁Dallas ▁Cow bo ys , ▁due ▁to ▁their ▁reputation ▁of ▁having ▁a ▁large ▁fan base , ▁lots ▁of ▁money , ▁and ▁several ▁Super ▁Bowl ▁rings , ▁and ▁the ▁New ▁England ▁Patri ots , ▁due ▁to ▁their ▁own ▁reputation ▁of ▁also ▁being ▁one ▁of ▁the ▁most ▁h ated ▁teams ▁in ▁the ▁NFL ▁and ▁being ▁the ▁de ▁fact o ▁villa in ▁for ▁the ▁league , ▁and ▁because ▁of ▁their ▁recent ▁Super ▁Bowl ▁dynast y . ▁ ▁The ▁" role " ▁of ▁the ▁Emperor ▁is ▁usually ▁filled ▁by ▁Jerry ▁Jones ▁or ▁Bill ▁Bel ich ick . ▁ ▁" The ▁Fl aming ▁Th um bt acks " ▁– ▁Tennessee ▁Tit ans , ▁NFL ; ▁a ▁hum orous ▁interpretation ▁of ▁their ▁team ▁logo , ▁actually ▁a ▁fl aming ▁st |
yl ized ▁letter ▁" T " ▁ ▁" The ▁F ins " ▁– ▁Miami ▁Dol ph ins , ▁NFL ; ▁play ▁on ▁abbre viation ▁of ▁name ▁with ▁the ▁append ages ▁of ▁a ▁dol ph in ▁ ▁" The ▁Fish " ▁– ▁Miami ▁Dol ph ins , ▁NFL ; ▁while ▁the ▁mas cot ▁and ▁team ▁logo ▁of ▁bott len ose ▁dol ph ins ▁are ▁not ▁fish , ▁but ▁m amm als . ▁ ▁The ▁rh yme ▁det ract ors ▁used ▁when ▁they ▁played ▁in ▁the ▁Orange ▁Bowl ▁was , ▁" squ ish ▁the ▁fish ▁in ▁the ▁Orange ▁D ish ." ▁Now ▁rarely ▁used ▁due ▁to ▁the ▁Florida ▁Mar l ins , ▁who ▁are ▁also ▁called ▁" The ▁Fish ". ▁ ▁" The ▁Fort y - Wh in ers / The ▁Wh in ers " ▁- ▁San ▁Francisco ▁ 4 9 ers , ▁used ▁by ▁det ract ors . ▁ ▁" G - Men " ▁– ▁New ▁York ▁Gi ants , ▁NFL ; ▁initial ▁of ▁team ▁name , ▁possibly ▁a ▁play ▁on ▁the ▁term ▁for ▁a ▁government ▁( e . g ., ▁F BI ) ▁agent ▁ ▁" Go ats " ▁– ▁Los ▁Angeles ▁R ams , ▁NFL ; ▁when ▁playing ▁poor ly ▁ ▁" I gg les " ▁– ▁Philadelphia ▁E ag les , ▁NFL ; ▁reference ▁to ▁how ▁some ▁Philadel phi ans ▁pron ounce ▁" E ag les " ▁ ▁" J ags " ▁– ▁Jackson ville ▁J agu ars , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" G ang ▁Green |
" ▁– ▁New ▁York ▁J ets , ▁NFL ; ▁used ▁by ▁supp or ters ▁( reference ▁to ▁medical ▁condition ▁that ▁is ▁difficult ▁to ▁overcome )( Green ▁Bay ▁Pack ers ), ▁NFL ; ▁used ▁by ▁supp or ters ▁since ▁the ▁mid - 1 9 7 0 s ; ▁also ▁the ▁name ▁of ▁the ▁uno fficial ▁team ▁mas cot ▁who ▁is ▁given ▁home ▁field ▁credentials . ▁ ▁" J est " ▁– ▁New ▁York ▁J ets , ▁NFL ; ▁hum orous ▁miss p elling ▁of ▁team ▁name ; ▁used ▁when ▁team ▁is ▁performing ▁poor ly ▁ ▁" J ints " ▁– ▁New ▁York ▁Gi ants , ▁NFL ; ▁used ▁occasionally ▁by ▁local ▁media , ▁as ▁eye ▁dialect ▁for ▁the ▁team ' s ▁name . ▁Also ▁used ▁for ▁the ▁baseball ▁team ▁while ▁it ▁was ▁in ▁New ▁York . ▁ ▁" J ok eland ▁( F aders / Tra itors )" * ▁– ▁Las ▁Veg as ▁Ra iders , ▁by ▁det ract ors ▁ ▁" L amb s " ▁– ▁Los ▁Angeles ▁R ams , ▁NFL ; ▁a ▁l amb ▁being ▁a ▁soft , ▁c ud d ly , ▁me ek ▁baby ▁sheep ▁( as ▁opposed ▁to ▁a ▁ram , ▁being ▁an ▁ag gress ive ▁full - g rown ▁male ▁sheep ); ▁rh ym ing ▁nick name ▁used ▁by ▁det ract ors ▁when ▁team ▁performs ▁poor ly ▁ ▁" Mon sters ▁of ▁the ▁Mid way " ▁– ▁Chicago ▁B ears , ▁NFL ; ▁originally ▁applied ▁to ▁the ▁University ▁of ▁Chicago ▁" Mar o ons ", ▁a ▁strong |
▁( former ) ▁college ▁football ▁team ; ▁" M id way " ▁refers ▁to ▁the ▁Mid way ▁P lais ance , ▁a ▁long , ▁green ▁sw ath ▁of ▁bou lev ard ▁space ▁border ing ▁the ▁southern ▁end ▁of ▁the ▁campus . ▁The ▁University ▁dis cont in ued ▁its ▁football ▁program ▁in ▁ 1 9 3 9 , ▁and ▁the ▁B ears ▁adopted ▁the ▁nick name . ▁ ▁"' N in ers " ▁– ▁San ▁Francisco ▁ 4 9 ers , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" The ▁O ilers " ▁– ▁Tennessee ▁Tit ans , ▁NFL ; ▁a ▁reference ▁of ▁the ▁team ' s ▁name ▁before ▁it ▁moved ▁to ▁Tennessee , ▁the ▁Houston ▁O ilers ▁ ▁" The ▁Tennessee ▁T itan ics " * ▁– ▁NFL , ▁reference ▁given ▁to ▁the ▁team ▁after ▁their ▁ 0 – 6 ▁start ▁in ▁ 2 0 0 9 ▁including ▁a ▁ 5 9 – 0 ▁loss ▁to ▁the ▁Patri ots , ▁this ▁after ▁going ▁ 1 3 – 3 ▁in ▁ 2 0 0 8 ▁ ▁" The ▁Pack " ▁– ▁Green ▁Bay ▁Pack ers , ▁NFL ; ▁abbre viation ▁of ▁name , ▁and ▁a ▁play ▁on ▁the ▁collect ive ▁term ▁for ▁a ▁group ▁of ▁animals ▁such ▁as ▁dogs ▁or ▁wol ves ▁ ▁" P ats " ▁– ▁New ▁England ▁Patri ots , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" The ▁P ats ies " ▁– ▁New ▁England ▁Patri ots , ▁NFL ; ▁play ▁on ▁nick name ▁" P ats " |
▁( above ) ▁and ▁the ▁term ▁p ats y , ▁" a ▁person ▁who ▁is ▁easily ▁manip ulated ▁or ▁victim ized " ▁ ▁" The ▁Pot om ac ▁D rain age ▁Bas in ▁Ind igen ous ▁Pers ons " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁translation ▁of ▁team ▁name ▁into ▁polit ically ▁correct ▁terms , ▁popular ized ▁by ▁NFL ▁column ist ▁and ▁Washington , ▁D . C . ▁resident ▁Gre gg ▁E aster bro ok ▁in ▁his ▁week ly ▁column ▁T ues day ▁Mor ning ▁Qu arter back . ▁ ▁" Se ag ull s " ▁– ▁Seattle ▁Se ah aw ks , ▁term ▁often ▁said ▁by ▁det ract ors ▁when ▁Se ah aw ks ▁are ▁playing ▁poor ly . ▁ ▁" The ▁Silver ▁and ▁Black " ▁– ▁Las ▁Veg as ▁Ra iders , ▁NFL ; ▁from ▁the ▁colors ▁of ▁the ▁uniform s ▁ ▁" Sil ver ▁R ush " ▁– ▁Detroit ▁L ions ▁ ▁" S inners " ▁– ▁New ▁Orleans ▁Sain ts , ▁NFL ; ▁" s inner " ▁is ▁often ▁a ▁pa ired ▁opposite ▁of ▁" s aint "; ▁used ▁by ▁det ract ors , ▁but ▁also ▁as ▁a ▁result ▁of ▁New ▁Orleans ▁Sain ts ▁B ount y ▁Sc andal ▁ ▁"' S kins " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁"' St ill ers " ▁– ▁Pitts burgh ▁Ste el ers , ▁NFL ; ▁how ▁native ▁Pitts burgh ers ▁( P icks berg ers ) ▁pron ounce ▁the ▁name |
▁of ▁their ▁team ▁ ▁" T ennessee ▁Tra itors ▁" ▁* ▁– ▁Tennessee ▁Tit ans , ▁NFL ; ▁der is ive ▁nick name ▁of ▁the ▁former ▁Houston ▁O ilers , ▁usually ▁aim ed ▁at ▁owner ▁Bud ▁Adams ▁by ▁former ▁O ilers ▁fans ▁ ▁" V ikes " ▁– ▁Minnesota ▁Vik ings , ▁NFL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁Canadian ▁football ▁▁ ▁" Al s " ▁– ▁Montreal ▁Al ou ettes , ▁C FL ; ▁abbre viation ▁of ▁name ▁ ▁" Arg os " ▁– ▁Toronto ▁Arg onaut s , ▁C FL ; ▁abbre viation ▁of ▁name ▁ ▁" The ▁Blue ▁and ▁Gold " ▁– ▁W inn ip eg ▁Blue ▁Bom bers , ▁C FL ; ▁after ▁the ▁team ▁colours ▁ ▁" The ▁Bo at men " ▁– ▁Toronto ▁Arg onaut s , ▁C FL ; ▁in ▁reference ▁to ▁the ▁team ' s ▁foundation ▁by ▁the ▁Arg onaut ▁Row ing ▁Club ▁of ▁Toronto , ▁which ▁in ▁turn ▁was ▁derived ▁from ▁Jason ▁and ▁the ▁Arg onaut s , ▁myth ical ▁hero es ▁and ▁boat men ▁who ▁are ▁the ▁names ake ▁of ▁both ▁the ▁row ing ▁club ▁and ▁the ▁C FL ▁team ▁ ▁" B om bers " ▁– ▁W inn ip eg ▁Blue ▁Bom bers , ▁C FL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" The ▁Double ▁Blue " ▁– ▁Toronto ▁Arg onaut s , ▁C FL ; ▁in ▁reference ▁to ▁the ▁team ▁colours , ▁Oxford ▁blue ▁and ▁Cambridge ▁blue ▁ ▁" E sk s " ▁or ▁" E sk ies " |
▁– ▁Ed mont on ▁E skim os , ▁C FL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁"' G ades " ▁– ▁Ott awa ▁Ren eg ades , ▁C FL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" J olly ▁Green ▁Gi ants " ▁– ▁S ask atch ew an ▁R ough rid ers ▁for ▁the ▁colour ▁of ▁the ▁team ' s ▁uniform s ▁and ▁size ▁of ▁the ▁players ▁ ▁" Le os " ▁– ▁BC ▁L ions , ▁C FL ; ▁" Le o " ▁is ▁a ▁common ▁nick name ▁for ▁" l ion " ▁( from ▁Latin , ▁le o ) ▁ ▁" R ough ies ▁or ▁Green ▁R iders " ▁– ▁S ask atch ew an ▁R ough rid ers , ▁C FL ; ▁Green ▁R iders ▁to ▁differenti ate ▁team ▁from ▁the ▁now ▁def unct ▁Ott awa ▁team ▁of ▁the ▁same ▁name . ▁R ough ies ▁- ▁abbre viation ▁of ▁team ▁name ▁ ▁" St amps " ▁– ▁Cal g ary ▁St amp ed ers , ▁C FL ; ▁abbre viation ▁of ▁team ▁name ▁ ▁" T abb ies " ▁- ▁Hamilton ▁T iger - C ats ▁Tab by ▁is ▁a ▁type ▁of ▁domestic ▁cat ▁with ▁stri pes ▁ ▁" T i - c ats " ▁– ▁Hamilton ▁T iger - C ats , ▁C FL ; ▁teles cop ing ▁of ▁team ▁name ▁ ▁See ▁also ▁▁▁ ▁Nick name ▁ ▁List ▁of ▁NFL ▁nick names ▁ ▁List ▁of ▁baseball ▁nick names ▁ ▁List ▁of ▁basketball ▁nick names ▁ ▁List |
▁of ▁hockey ▁nick names ▁ ▁List ▁of ▁athlet es ▁by ▁nick name ▁ ▁List s ▁of ▁nick names ▁– ▁nick name ▁list ▁articles ▁on ▁Wikipedia ▁ ▁American ▁football ▁ ▁Canadian ▁football ▁ ▁References ▁▁ ▁Nick names ▁Nick names ▁Category : N ick names ▁in ▁sports ▁Category : Can ad ian ▁football <0x0A> </s> ▁Washington ▁H od ges ▁T imm erman ▁( May ▁ 2 9 , ▁ 1 8 3 2 ▁– ▁July ▁ 1 4 , ▁ 1 9 0 8 ) ▁was ▁an ▁ ▁American ▁politician . ▁Between ▁ 1 8 9 3 ▁and ▁ 1 8 9 7 ▁he ▁was ▁the ▁ 6 1 st ▁Lieutenant ▁Governor ▁of ▁the ▁ ▁State ▁of ▁South ▁Carolina . ▁ ▁Career ▁ ▁Washington ▁T imm erman ▁grew ▁up ▁in ▁Edge field ▁County . ▁After ▁subsequent ▁medical ▁studies ▁and ▁his ▁ad mission ▁as ▁a ▁doctor , ▁he ▁began ▁to ▁work ▁in ▁this ▁profession . ▁He ▁also ▁worked ▁as ▁a ▁far mer . ▁During ▁the ▁Civil ▁War ▁he ▁served ▁in ▁the ▁ ▁Confeder ate ▁Army , ▁where ▁he ▁rose ▁to ▁the ▁rank ▁of ▁captain . ▁Polit ically , ▁he ▁was ▁a ▁member ▁of ▁the ▁ ▁Democratic ▁Party . ▁He ▁served ▁in ▁both ▁the ▁House ▁of ▁Representatives ▁of ▁South ▁Carolina ▁and ▁the ▁Senate ▁of ▁South ▁Carolina , ▁where ▁he ▁served ▁as ▁President ▁Pro ▁Temp ore . ▁▁ ▁Following ▁the ▁res ignation ▁of ▁Lieutenant ▁Governor ▁Eug ene ▁B . ▁Gary , ▁who ▁res igned ▁to ▁serve ▁as ▁a ▁justice ▁at ▁the ▁South ▁Carolina ▁Supreme ▁Court , ▁T imm |
erman ▁was ▁forced ▁to ▁assume ▁the ▁vac ated ▁office ▁of ▁Lieutenant ▁Governor , ▁in ▁accord ance ▁with ▁the ▁state ▁constitution ▁as ▁" Pres ident ▁Pro ▁Temp ore " ▁of ▁the ▁State ▁Senate . ▁He ▁was ▁later ▁officially ▁elected . ▁This ▁position ▁he ▁held ▁between ▁ 1 8 9 3 ▁and ▁ 1 8 9 8 . ▁He ▁was ▁a ▁deput y ▁to ▁the ▁ ▁Governor ▁and ▁F ormal ▁Chair man ▁of ▁the ▁Senate . ▁Until ▁ 1 8 9 4 ▁he ▁offici ated ▁under ▁Governor ▁Benjamin ▁Till man ▁and ▁then ▁under ▁his ▁successor ▁John ▁Gary ▁Evans . ▁In ▁ 1 8 9 5 ▁T imm erman ▁participated ▁as ▁a ▁delegate ▁to ▁a ▁constitution al ▁convention ▁of ▁his ▁state . ▁He ▁was ▁also ▁twice ▁Secretary ▁of ▁State ▁of ▁South ▁Carolina ▁as ▁State ▁Tre as urer . ▁He ▁died ▁on ▁July ▁ 1 4 , ▁ 1 9 0 8 . ▁ ▁S ources ▁ ▁References ▁ ▁Category : S outh ▁Carolina ▁state ▁sen ators ▁Category : M embers ▁of ▁the ▁South ▁Carolina ▁House ▁of ▁Representatives ▁Category : L ie utenant ▁Govern ors ▁of ▁South ▁Carolina ▁Category : S outh ▁Carolina ▁Democr ats ▁Category : ▁ 1 8 3 2 ▁birth s ▁Category : ▁ 1 9 0 8 ▁death s <0x0A> </s> ▁The ▁Museo ▁di ▁Pal azzo ▁M oc en igo ▁( aka ▁Pal azzo ▁M oc en igo ▁di ▁San ▁St ae ) ▁is ▁a ▁pal azzo ▁near ▁the ▁Church ▁of ▁San ▁St ae , ▁south ▁of ▁the ▁Grand ▁Canal ▁in ▁the ▁s |
est iere ▁of ▁Santa ▁Cro ce ▁in ▁Ven ice , ▁Italy . ▁It ▁is ▁now ▁a ▁museum ▁of ▁fab rics ▁and ▁cost umes , ▁run ▁by ▁the ▁F ond azione ▁Muse i ▁C iv ici ▁di ▁Venez ia . ▁ ▁Building ▁ ▁The ▁pal azzo ▁is ▁a ▁large ▁building ▁in ▁the ▁g oth ic ▁style . ▁It ▁was ▁re built ▁extens ively ▁at ▁the ▁start ▁of ▁the ▁ 1 7 th ▁century . ▁From ▁this ▁time , ▁the ▁pal azzo ▁was ▁the ▁residence ▁of ▁the ▁San ▁St ae ▁branch ▁of ▁the ▁M oc en igo ▁family , ▁one ▁of ▁the ▁most ▁important ▁Ven et ian ▁families . ▁Seven ▁members ▁of ▁the ▁family ▁were ▁Dog es ▁of ▁Ven ice . ▁ ▁Museum ▁ ▁The ▁ ▁Pal azzo ▁M oc en igo ▁was ▁be que athed ▁to ▁the ▁city ▁of ▁Ven ice ▁by ▁Al v ise ▁Nicol ò ▁M oc en igo ▁in ▁ 1 9 4 5 . ▁He ▁was ▁the ▁last ▁desc endant ▁of ▁the ▁family ▁and ▁intended ▁the ▁pal azzo ▁to ▁be ▁used ▁" as ▁a ▁Gallery ▁of ▁Art , ▁to ▁supp lement ▁Museo ▁Cor rer ". ▁In ▁ 1 9 8 5 , ▁the ▁pal azzo ▁was ▁designated ▁as ▁the ▁Museum ▁and ▁Study ▁Centre ▁of ▁the ▁History ▁of ▁Fab rics ▁and ▁Cost umes . ▁The ▁museum ▁contains ▁collections ▁of ▁text iles ▁and ▁cost umes , ▁mainly ▁from ▁the ▁Cor rer , ▁G ug gen heim , ▁and ▁C ini ▁collections , ▁as ▁well ▁as ▁the ▁Pal azzo ▁Gr ass i . |
▁Pal azzo ▁M oc en igo ▁also ▁has ▁a ▁library ▁on ▁the ▁first ▁floor ▁covering ▁the ▁history ▁of ▁cost umes , ▁fab rics , ▁and ▁fashion , ▁especially ▁from ▁the ▁ 1 8 th ▁century . ▁ ▁The ▁palace ▁was ▁fres co ed ▁by ▁ 1 8 th - century ▁artists ▁including ▁Gi amb att ista ▁Canal , ▁Giovanni ▁S ca jar o , ▁and ▁Jac opo ▁Gu ar ana . ▁ ▁See ▁also ▁▁ ▁Pal az zi ▁M oc en igo ▁on ▁the ▁Grand ▁Canal ▁ ▁References ▁ ▁External ▁links ▁▁▁ ▁Museum ▁website ▁▁ ▁Category : M useum s ▁established ▁in ▁ 1 9 8 5 ▁M oc en igo ▁Category : M useum s ▁in ▁Ven ice ▁Category : F ashion ▁museum s ▁in ▁Italy ▁Category : Text ile ▁museum s <0x0A> </s> ▁Ul has n agar ▁Vid han ▁Sab ha ▁constitu ency ▁is ▁one ▁of ▁the ▁ 2 8 8 ▁Vid han ▁Sab ha ▁( Leg isl ative ▁Assembly ) ▁constitu encies ▁of ▁Mah ar as ht ra ▁state ▁in ▁western ▁India . ▁The ▁constitu ency ▁is ▁domin ated ▁by ▁S ind hi ▁community . ▁ ▁Over view ▁Ul has n agar ▁constitu ency ▁is ▁one ▁of ▁the ▁ 1 8 ▁Vid han ▁Sab ha ▁constitu encies ▁located ▁in ▁Th ane ▁district . ▁It ▁compr ises ▁part ▁of ▁the ▁Ul has n agar ▁Municipal ▁Corporation ▁and ▁parts ▁of ▁Ul has n agar ▁and ▁Kal yan ▁te hs ils ▁of ▁the ▁district . ▁ ▁U lah sn agar ▁is ▁part ▁of |
▁the ▁Kal yan ▁Lok ▁Sab ha ▁constitu ency ▁along ▁with ▁five ▁other ▁Vid han ▁Sab ha ▁segments , ▁namely , ▁M um bra - K al wa , ▁Am bern ath , ▁Kal yan ▁East , ▁Kal yan ▁R ural ▁and ▁D omb ival i ▁in ▁Th ane ▁district . ▁ ▁M embers ▁of ▁Legisl ative ▁Assembly ▁ ▁E lection ▁results ▁ ▁Assembly ▁E lections ▁ 1 9 6 2 ▁ ▁Assembly ▁E lections ▁ 1 9 6 7 ▁ ▁Assembly ▁E lections ▁ 1 9 7 2 ▁ ▁Assembly ▁E lections ▁ 1 9 7 8 ▁ ▁Assembly ▁E lections ▁ 1 9 8 0 ▁ ▁Assembly ▁E lections ▁ 1 9 8 5 ▁ ▁Assembly ▁E lections ▁ 1 9 9 0 ▁ ▁Assembly ▁E lections ▁ 1 9 9 5 ▁ ▁Assembly ▁E lections ▁ 1 9 9 9 ▁ ▁Assembly ▁E lections ▁ 2 0 0 4 ▁ ▁Assembly ▁E lections ▁ 2 0 0 9 ▁ ▁Assembly ▁E lections ▁ 2 0 1 4 ▁ ▁Assembly ▁E lections ▁ 2 0 1 9 ▁ ▁See ▁also ▁ ▁Ul has n agar ▁▁ ▁List ▁of ▁constitu encies ▁of ▁Mah ar as ht ra ▁Vid han ▁Sab ha ▁ ▁References ▁ ▁Category : Assembly ▁constitu encies ▁of ▁Th ane ▁district ▁Category : U l has n agar ▁Category : Assembly ▁constitu encies ▁of ▁Mah ar as ht ra <0x0A> </s> ▁St alk er ▁() ▁is ▁a ▁ 1 9 7 9 ▁Soviet ▁science ▁fiction ▁art ▁film ▁directed ▁by ▁And rei |
▁T ark ov sky ▁with ▁a ▁screen play ▁written ▁by ▁Bor is ▁and ▁Ark ady ▁Str ug at sky , ▁lo os ely ▁based ▁on ▁their ▁ 1 9 7 2 ▁novel ▁Road side ▁Pic nic . ▁The ▁film ▁comb ines ▁elements ▁of ▁science ▁fiction ▁with ▁dram atic ▁philosoph ical ▁and ▁psych ological ▁them es . ▁Modern ▁reviews ▁of ▁St alk er ▁have ▁been ▁highly ▁positive . ▁ ▁The ▁film ▁tells ▁the ▁story ▁of ▁an ▁expedition ▁led ▁by ▁a ▁figure ▁known ▁as ▁the ▁" St alk er " ▁( Alex ander ▁Ka idan ov sky ), ▁who ▁takes ▁his ▁two ▁clients — a ▁mel anch ol ic ▁writer ▁( An atol y ▁Sol on its yn ) ▁seeking ▁insp iration , ▁and ▁a ▁professor ▁( N ik ol ai ▁Gr ink o ) ▁seeking ▁scientific ▁discovery — to ▁a ▁myster ious ▁restricted ▁site ▁known ▁simply ▁as ▁the ▁" Zone ", ▁where ▁there ▁supposed ly ▁exists ▁a ▁room ▁which ▁gr ants ▁a ▁person ' s ▁inn erm ost ▁des ires . ▁The ▁tri o ▁travel ▁through ▁un ner ving ▁areas ▁filled ▁with ▁the ▁de br is ▁of ▁modern ▁society ▁while ▁eng aging ▁in ▁many ▁arguments . ▁ ▁Title ▁The ▁meaning ▁of ▁the ▁word ▁" st alk " ▁was ▁derived ▁from ▁its ▁use ▁by ▁the ▁Str ug at sky ▁brothers ▁in ▁their ▁novel ▁Road side ▁Pic nic , ▁on ▁which ▁the ▁movie ▁is ▁based . ▁In ▁Road side ▁Pic nic , ▁" St alk er " ▁was ▁a ▁common ▁nick name ▁for ▁men ▁engaged ▁in |
▁the ▁illegal ▁enter prise ▁of ▁prospect ing ▁for ▁and ▁sm ugg ling ▁al ien ▁artifact s ▁out ▁of ▁the ▁" Zone ". ▁The ▁common ▁English ▁definition ▁of ▁the ▁term ▁" st alk ing " ▁was ▁also ▁c ited ▁by ▁And rei ▁T ark ov sky . ▁In ▁the ▁film , ▁a ▁" st alk er " ▁is ▁a ▁professional ▁guide ▁to ▁the ▁Zone , ▁someone ▁having ▁the ▁ability ▁and ▁desire ▁to ▁cross ▁the ▁border ▁into ▁the ▁dangerous ▁and ▁forb idden ▁place ▁with ▁a ▁specific ▁goal . ▁ ▁Plot ▁In ▁the ▁distant ▁future , ▁the ▁protagon ist ▁( Alex ander ▁Ka idan ov sky ) ▁works ▁in ▁an ▁un named ▁location ▁as ▁a ▁" St alk er " ▁who ▁leads ▁people ▁through ▁the ▁" Zone ", ▁an ▁area ▁in ▁which ▁the ▁normal ▁laws ▁of ▁reality ▁do ▁not ▁apply ▁and ▁rem n ants ▁of ▁seem ingly ▁extr ater rest rial ▁activity ▁lie ▁und ist urbed ▁among ▁its ▁ru ins . ▁The ▁Zone ▁contains ▁a ▁place ▁called ▁the ▁" Ro om ", ▁said ▁to ▁grant ▁the ▁wishes ▁of ▁anyone ▁who ▁steps ▁inside . ▁The ▁area ▁containing ▁the ▁Zone ▁is ▁shr oud ed ▁in ▁secre cy , ▁se aled ▁off ▁by ▁the ▁government ▁and ▁surrounded ▁by ▁o min ous ▁ha z ards . ▁ ▁At ▁home ▁with ▁his ▁wife ▁and ▁daughter , ▁the ▁St alk er ' s ▁wife ▁( Al isa ▁Fre ind lich ) ▁beg s ▁him ▁not ▁to ▁go ▁into ▁the ▁Zone , ▁but ▁he ▁dismiss ively ▁reject s ▁her ▁ple as . ▁In |
▁a ▁rund own ▁bar , ▁the ▁St alk er ▁meets ▁his ▁next ▁clients ▁for ▁a ▁trip ▁into ▁the ▁Zone , ▁the ▁W riter ▁( An atol y ▁Sol on its yn ) ▁and ▁the ▁Professor ▁( N ik ol ai ▁Gr ink o ). ▁ ▁They ▁e va de ▁the ▁military ▁block ade ▁that ▁gu ards ▁the ▁Zone ▁by ▁following ▁a ▁train ▁inside ▁the ▁gate ▁and ▁ride ▁into ▁the ▁heart ▁of ▁the ▁Zone ▁on ▁a ▁railway ▁work ▁car . ▁The ▁St alk er ▁tells ▁his ▁clients ▁they ▁must ▁do ▁exactly ▁as ▁he ▁says ▁to ▁surv ive ▁the ▁d angers ▁which ▁lie ▁ahead ▁and ▁explains ▁that ▁the ▁Zone ▁must ▁be ▁respect ed ▁and ▁the ▁straight est ▁path ▁is ▁not ▁always ▁the ▁short est ▁path . ▁The ▁St alk er ▁tests ▁for ▁various ▁" tra ps " ▁by ▁throwing ▁metal ▁n uts ▁tied ▁to ▁stri ps ▁of ▁cloth ▁ahead ▁of ▁them . ▁He ▁refers ▁to ▁a ▁previous ▁St alk er ▁named ▁" P or cup ine ", ▁who ▁had ▁led ▁his ▁brother ▁to ▁his ▁death ▁in ▁the ▁Zone , ▁visited ▁the ▁Room , ▁came ▁into ▁possession ▁of ▁a ▁large ▁sum ▁of ▁money , ▁and ▁shortly ▁afterwards ▁committed ▁suic ide . ▁The ▁W riter ▁is ▁ske pt ical ▁of ▁any ▁real ▁danger , ▁but ▁the ▁Professor ▁generally ▁follows ▁the ▁St alk er ' s ▁advice . ▁ ▁As ▁they ▁travel , ▁the ▁three ▁men ▁discuss ▁their ▁reasons ▁for ▁wanting ▁to ▁visit ▁the ▁Room . ▁The ▁W riter ▁express es ▁his ▁fear ▁of ▁losing ▁his ▁insp iration |
. ▁The ▁Professor ▁seems ▁less ▁anxious , ▁though ▁he ▁ins ists ▁on ▁carrying ▁along ▁a ▁small ▁back pack . ▁The ▁Professor ▁adm its ▁he ▁hopes ▁to ▁win ▁a ▁Nobel ▁Prize ▁for ▁scientific ▁analysis ▁of ▁the ▁Zone . ▁The ▁St alk er ▁ins ists ▁he ▁has ▁no ▁mot ive ▁beyond ▁the ▁al tr u istic ▁aim ▁of ▁a iding ▁the ▁des perate ▁to ▁their ▁des ires . ▁ ▁After ▁travel ing ▁through ▁the ▁t unn els , ▁the ▁three ▁finally ▁reach ▁their ▁destination : ▁a ▁decay ed ▁and ▁decre pit ▁industrial ▁building . ▁In ▁a ▁small ▁an tech am ber , ▁a ▁phone ▁rings . ▁The ▁surprised ▁Professor ▁dec ides ▁to ▁use ▁the ▁phone ▁to ▁tele phone ▁a ▁colle ague . ▁As ▁the ▁tri o ▁approach ▁the ▁Room , ▁the ▁Professor ▁reve als ▁his ▁true ▁intent ions ▁in ▁undert aking ▁the ▁journey . ▁The ▁Professor ▁has ▁brought ▁a ▁ 2 0 - kil ot on ▁bomb ▁with ▁him , ▁and ▁he ▁int ends ▁to ▁destroy ▁the ▁Room ▁to ▁prevent ▁its ▁use ▁by ▁evil ▁men . ▁The ▁three ▁men ▁enter ▁a ▁physical ▁and ▁ver bal ▁st ando ff ▁just ▁outside ▁the ▁Room ▁that ▁leaves ▁them ▁exha usted . ▁ ▁The ▁W riter ▁real izes ▁that ▁when ▁Por cup ine ▁met ▁his ▁goal , ▁despite ▁his ▁conscious ▁mot ives , ▁the ▁room ▁ful filled ▁Por cup ine ' s ▁secret ▁desire ▁for ▁wealth ▁rather ▁than ▁bring ▁back ▁his ▁brother ▁from ▁death . ▁This ▁prompt ed ▁the ▁gu ilt - rid den ▁Por cup ine ▁to ▁commit |
▁suic ide . ▁The ▁W riter ▁tells ▁them ▁that ▁no ▁one ▁in ▁the ▁whole ▁world ▁is ▁able ▁to ▁know ▁their ▁true ▁des ires ▁and ▁as ▁such ▁it ▁is ▁impossible ▁to ▁use ▁the ▁Room ▁for ▁self ish ▁reasons . ▁The ▁Professor ▁gives ▁up ▁on ▁his ▁plan ▁of ▁destroy ing ▁the ▁Room . ▁Instead , ▁he ▁dis ass emb les ▁his ▁bomb ▁and ▁sc at ters ▁its ▁pieces . ▁ ▁The ▁St alk er , ▁the ▁W riter , ▁and ▁the ▁Professor ▁are ▁met ▁back ▁at ▁the ▁bar ▁by ▁the ▁St alk er ' s ▁wife ▁and ▁daughter . ▁After ▁returning ▁home , ▁the ▁St alk er ▁tells ▁his ▁wife ▁how ▁human ity ▁has ▁lost ▁its ▁faith ▁and ▁belief ▁needed ▁for ▁both ▁travers ing ▁the ▁Zone ▁and ▁living ▁a ▁good ▁life . ▁As ▁the ▁St alk er ▁sle eps , ▁his ▁wife ▁cont em plates ▁their ▁relationship ▁in ▁a ▁mon olog ue ▁delivered ▁directly ▁to ▁the ▁camera . ▁In ▁the ▁last ▁scene ▁" Mart y sh ka ", ▁the ▁couple ' s ▁de formed ▁daughter , ▁s its ▁alone ▁in ▁the ▁kitchen ▁reading ▁as ▁a ▁love ▁poem ▁by ▁F y odor ▁Ty ut chev ▁is ▁rec ited . ▁She ▁appears ▁to ▁use ▁psych ok ines is ▁to ▁push ▁three ▁drink ing ▁glass es ▁across ▁the ▁table . ▁A ▁train ▁passes ▁by ▁where ▁the ▁St alk er ' s ▁family ▁lives ▁and ▁the ▁entire ▁a partment ▁sh akes . ▁ ▁Cast ▁ ▁Alexander ▁Ka idan ov sky ▁as ▁the ▁st alk er ▁ ▁An atol y |
▁Sol on its yn ▁as ▁the ▁writer ▁ ▁Al isa ▁Fre ind lich ▁as ▁the ▁st alk er ' s ▁wife ▁ ▁Nikol ai ▁Gr ink o ▁as ▁the ▁Professor ▁( vo iced ▁by ▁Serge i ▁Y akov lev ) ▁ ▁Nat asha ▁Abr am ova ▁as ▁Mart iš ka , ▁the ▁st alk er ' s ▁daughter ▁ ▁Fa ime ▁J urn o ▁as ▁the ▁writer ' s ▁girl friend ▁ ▁E . ▁Kost in ▁as ▁Ly ug er , ▁the ▁ca fe ▁owner ▁ ▁Ray mo ▁R endi ▁as ▁the ▁pat rol man ▁ ▁Vladimir ▁Zam ans ky ▁as ▁the ▁voice ▁on ▁the ▁phone ▁conversation ▁with ▁the ▁Professor ▁ ▁Production ▁ ▁Writing ▁After ▁reading ▁the ▁novel , ▁Road side ▁Pic nic , ▁by ▁Bor is ▁and ▁Ark ady ▁Str ug at sky , ▁T ark ov sky ▁initially ▁recommended ▁it ▁to ▁a ▁friend , ▁the ▁film ▁director ▁Mik h ail ▁Kal ato z ov , ▁thinking ▁Kal ato z ov ▁might ▁be ▁interested ▁in ▁adapt ing ▁it ▁into ▁a ▁film . ▁Kal ato z ov ▁abandoned ▁the ▁project ▁when ▁he ▁could ▁not ▁obtain ▁the ▁rights ▁to ▁the ▁novel . ▁T ark ov sky ▁then ▁became ▁very ▁interested ▁in ▁adapt ing ▁the ▁novel ▁and ▁expand ing ▁its ▁concepts . ▁He ▁hoped ▁it ▁would ▁allow ▁him ▁to ▁make ▁a ▁film ▁which ▁con forms ▁to ▁the ▁classical ▁Arist ot elian ▁unity ; ▁a ▁single ▁action , ▁on ▁a ▁single ▁location , ▁within ▁ 2 4 ▁hours ▁( single ▁point ▁in ▁time ). ▁ ▁T |
ark ov sky ▁viewed ▁the ▁idea ▁of ▁the ▁Zone ▁as ▁a ▁dram atic ▁tool ▁to ▁draw ▁out ▁the ▁personal ities ▁of ▁the ▁three ▁protagon ists , ▁particularly ▁the ▁psych ological ▁damage ▁from ▁everything ▁that ▁happens ▁to ▁the ▁ideal istic ▁views ▁of ▁the ▁St alk er ▁as ▁he ▁finds ▁himself ▁unable ▁to ▁make ▁others ▁happy . ▁" This , ▁too , ▁is ▁what ▁St alk er ▁is ▁about : ▁the ▁hero ▁goes ▁through ▁moments ▁of ▁desp air ▁when ▁his ▁faith ▁is ▁sh aken ; ▁but ▁every ▁time ▁he ▁comes ▁to ▁a ▁renew ed ▁sense ▁of ▁his ▁voc ation ▁to ▁serve ▁people ▁who ▁have ▁lost ▁their ▁hopes ▁and ▁ill us ions ." ▁The ▁film ▁dep arts ▁consider ably ▁from ▁the ▁novel . ▁According ▁to ▁an ▁interview ▁with ▁T ark ov sky ▁in ▁ 1 9 7 9 , ▁the ▁film ▁has ▁basically ▁nothing ▁in ▁common ▁with ▁the ▁novel ▁except ▁for ▁the ▁two ▁words ▁" St alk er " ▁and ▁" Zone ". ▁ ▁Yet , ▁several ▁similar ities ▁remain ▁between ▁the ▁novel ▁and ▁the ▁film . ▁In ▁both ▁works , ▁the ▁Zone ▁is ▁guard ed ▁by ▁a ▁police ▁or ▁military ▁guard , ▁apparently ▁author ized ▁to ▁use ▁dead ly ▁force . ▁The ▁St alk er ▁in ▁both ▁works ▁tests ▁the ▁safety ▁of ▁his ▁path ▁by ▁toss ing ▁n uts ▁and ▁bol ts ▁tied ▁with ▁scra ps ▁of ▁cloth , ▁ver ifying ▁that ▁gravity ▁is ▁working ▁as ▁usual . ▁A ▁character ▁named ▁H edge h og / P or cup ine ▁is ▁a ▁ment or ▁to |
▁St alk er . ▁In ▁the ▁novel , ▁frequent ▁vis its ▁to ▁the ▁Zone ▁increase ▁the ▁lik elihood ▁of ▁ab normal ities ▁in ▁the ▁visitor ' s ▁off spring . ▁In ▁the ▁book , ▁the ▁St alk er ' s ▁daughter ▁has ▁light ▁hair ▁all ▁over ▁her ▁body , ▁while ▁in ▁the ▁film ▁she ▁is ▁cri pp led . ▁Ne ither ▁in ▁the ▁novel ▁nor ▁in ▁the ▁film ▁do ▁the ▁women ▁enter ▁the ▁Zone . ▁Finally , ▁the ▁target ▁of ▁the ▁expedition ▁in ▁both ▁works ▁is ▁a ▁wish - gr ant ing ▁device . ▁ ▁In ▁Road side ▁Pic nic , ▁the ▁site ▁was ▁specifically ▁described ▁as ▁the ▁site ▁of ▁al ien ▁visit ation ; ▁the ▁name ▁of ▁the ▁novel ▁der ives ▁from ▁a ▁met ap hor ▁proposed ▁by ▁a ▁character ▁who ▁comp ares ▁the ▁visit ▁to ▁a ▁road side ▁pic nic . ▁The ▁closing ▁mon olog ue ▁by ▁the ▁St alk er ' s ▁wife ▁at ▁the ▁end ▁of ▁the ▁film ▁has ▁no ▁equivalent ▁in ▁the ▁novel . ▁An ▁early ▁draft ▁of ▁the ▁screen play ▁was ▁published ▁as ▁a ▁novel ▁St alk er ▁that ▁diff ers ▁substantial ly ▁from ▁the ▁finished ▁film . ▁ ▁Production ▁In ▁an ▁interview ▁on ▁the ▁M K 2 ▁DVD , ▁the ▁production ▁designer , ▁R ash it ▁Saf i ull in , ▁re called ▁that ▁T ark ov sky ▁spent ▁a ▁year ▁shooting ▁a ▁version ▁of ▁the ▁out door ▁scenes ▁of ▁St alk er . ▁However , ▁when ▁the ▁crew ▁returned ▁to ▁Moscow , ▁they ▁found ▁that |
▁all ▁of ▁the ▁film ▁had ▁been ▁impro per ly ▁developed ▁and ▁their ▁foot age ▁was ▁unus able . ▁The ▁film ▁had ▁been ▁shot ▁on ▁new ▁K od ak ▁ 5 2 4 7 ▁stock ▁with ▁which ▁Soviet ▁labor ator ies ▁were ▁not ▁very ▁familiar . ▁Even ▁before ▁the ▁film ▁stock ▁problem ▁was ▁discovered , ▁relations ▁between ▁T ark ov sky ▁and ▁St alk ers ▁first ▁cinemat ograph er , ▁Georg y ▁R er berg , ▁had ▁d eter ior ated . ▁After ▁seeing ▁the ▁poor ly ▁developed ▁material , ▁T ark ov sky ▁fired ▁R er berg . ▁By ▁the ▁time ▁the ▁film ▁stock ▁defect ▁was ▁discovered , ▁T ark ov sky ▁had ▁shot ▁all ▁the ▁out door ▁scenes ▁and ▁had ▁to ▁abandon ▁them . ▁Saf i ull in ▁cont ends ▁that ▁T ark ov sky ▁was ▁so ▁des pond ent ▁that ▁he ▁wanted ▁to ▁abandon ▁further ▁work ▁on ▁the ▁film . ▁ ▁After ▁the ▁loss ▁of ▁the ▁film ▁stock , ▁the ▁Soviet ▁film ▁bo ards ▁wanted ▁to ▁shut ▁the ▁film ▁down , ▁but ▁T ark ov sky ▁came ▁up ▁with ▁a ▁solution : ▁he ▁asked ▁to ▁be ▁allowed ▁to ▁make ▁a ▁two - part ▁film , ▁which ▁meant ▁additional ▁dead lines ▁and ▁more ▁funds . ▁T ark ov sky ▁ended ▁up ▁res ho oting ▁almost ▁all ▁of ▁the ▁film ▁with ▁a ▁new ▁cinemat ograph er , ▁Alexander ▁K ny az hin sky . ▁According ▁to ▁Saf i ull in , ▁the ▁finished ▁version ▁of ▁St alk er ▁is ▁completely ▁different ▁from ▁the |
▁one ▁T ark ov sky ▁originally ▁shot . ▁ ▁The ▁document ary ▁film ▁R er berg ▁and ▁T ark ov sky : ▁The ▁Re verse ▁Side ▁of ▁" St alk er " ▁by ▁Ig or ▁May bor oda ▁offers ▁a ▁different ▁interpretation ▁of ▁the ▁relationship ▁between ▁R er berg ▁and ▁T ark ov sky . ▁R er berg ▁felt ▁that ▁T ark ov sky ▁was ▁not ▁ready ▁for ▁this ▁script . ▁He ▁told ▁T ark ov sky ▁to ▁rewrite ▁the ▁script ▁in ▁order ▁to ▁achieve ▁a ▁good ▁result . ▁T ark ov sky ▁ignored ▁him ▁and ▁continued ▁shooting . ▁After ▁several ▁arguments , ▁T ark ov sky ▁sent ▁R er berg ▁home . ▁Ult imately , ▁T ark ov sky ▁shot ▁St alk er ▁three ▁times , ▁cons uming ▁over ▁ ▁of ▁film . ▁People ▁who ▁have ▁seen ▁both ▁the ▁first ▁version ▁shot ▁by ▁R er berg ▁( as ▁Director ▁of ▁Phot ography ) ▁and ▁the ▁final ▁the atr ical ▁release ▁say ▁that ▁they ▁are ▁almost ▁identical . ▁T ark ov sky ▁sent ▁home ▁other ▁crew ▁members ▁in ▁addition ▁to ▁R er berg ▁and ▁ex cluded ▁them ▁from ▁the ▁cred its ▁as ▁well . ▁ ▁The ▁central ▁part ▁of ▁the ▁film , ▁in ▁which ▁the ▁characters ▁travel ▁within ▁the ▁Zone , ▁was ▁shot ▁in ▁a ▁few ▁days ▁at ▁two ▁desert ed ▁hydro ▁power ▁plants ▁on ▁the ▁J äg ala ▁river ▁near ▁T all inn , ▁Est onia . ▁The ▁shot ▁before ▁they ▁enter ▁the ▁Zone ▁is ▁an ▁old ▁Flora ▁chemical ▁factory ▁in ▁the |
▁center ▁of ▁T all inn , ▁next ▁to ▁the ▁old ▁Rot ermann ▁salt ▁storage ▁( now ▁Museum ▁of ▁Est onian ▁Architecture ), ▁and ▁the ▁former ▁T all inn ▁power ▁plant , ▁now ▁T all inn ▁Creative ▁Hub ▁where ▁a ▁mem orial ▁plate ▁of ▁the ▁film ▁was ▁set ▁up ▁in ▁ 2 0 0 8 . ▁Some ▁sh ots ▁within ▁the ▁Zone ▁were ▁fil med ▁in ▁Ma ard u , ▁next ▁to ▁the ▁I ru ▁power ▁plant , ▁while ▁the ▁shot ▁with ▁the ▁gates ▁to ▁the ▁Zone ▁was ▁fil med ▁in ▁Las nam ä e , ▁next ▁to ▁P un ane ▁Street ▁behind ▁the ▁Id akes k us . ▁Other ▁sh ots ▁were ▁fil med ▁near ▁the ▁T all inn – N ar va ▁highway ▁bridge ▁on ▁the ▁Pir ita ▁River . ▁ ▁Several ▁people ▁involved ▁in ▁the ▁film ▁production , ▁including ▁T ark ov sky , ▁died ▁from ▁causes ▁that ▁some ▁crew ▁members ▁attributed ▁to ▁the ▁film ' s ▁long ▁shooting ▁schedule ▁in ▁to xic ▁locations . ▁Sound ▁designer ▁Vladimir ▁Sh ar un ▁re called : ▁ ▁Style ▁Like ▁T ark ov sky ' s ▁other ▁films , ▁St alk er ▁re lies ▁on ▁long ▁takes ▁with ▁slow , ▁subt le ▁camera ▁movement , ▁reject ing ▁the ▁use ▁of ▁rapid ▁mont age . ▁The ▁film ▁contains ▁ 1 4 2 ▁sh ots ▁in ▁ 1 6 3 ▁minutes , ▁with ▁an ▁average ▁shot ▁length ▁of ▁more ▁than ▁one ▁minute ▁and ▁many ▁sh ots ▁last ing ▁for ▁more ▁than ▁four ▁minutes . ▁Al most |
▁all ▁of ▁the ▁scenes ▁not ▁set ▁in ▁the ▁Zone ▁are ▁in ▁Sep ia ▁or ▁a ▁similar ▁high - contr ast ▁brown ▁mon och rome . ▁ ▁Sound track ▁ ▁The ▁St alk er ▁film ▁score ▁was ▁composed ▁by ▁Edu ard ▁Ar tem ye v , ▁who ▁had ▁also ▁composed ▁the ▁scores ▁for ▁T ark ov sky ' s ▁previous ▁films ▁Sol aris ▁and ▁The ▁Mir ror . ▁For ▁St alk er ▁Ar tem ye v ▁composed ▁and ▁recorded ▁two ▁different ▁versions ▁of ▁the ▁score . ▁The ▁first ▁score ▁was ▁done ▁with ▁an ▁or chestra ▁alone ▁but ▁was ▁rejected ▁by ▁T ark ov sky . ▁The ▁second ▁score ▁that ▁was ▁used ▁in ▁the ▁final ▁film ▁was ▁created ▁on ▁a ▁synth es izer ▁along ▁with ▁traditional ▁instruments ▁that ▁were ▁manip ulated ▁using ▁sound ▁effects . ▁In ▁the ▁final ▁film ▁score ▁the ▁boundaries ▁between ▁music ▁and ▁sound ▁were ▁bl ur red , ▁as ▁natural ▁sounds ▁and ▁music ▁interact ▁to ▁the ▁point ▁where ▁they ▁are ▁ind ist ingu ish able . ▁In ▁fact , ▁many ▁of ▁the ▁natural ▁sounds ▁were ▁not ▁production ▁sounds ▁but ▁were ▁created ▁by ▁Ar tem ye v ▁on ▁his ▁synth es izer . ▁For ▁T ark ov sky ▁music ▁was ▁more ▁than ▁just ▁a ▁parallel ▁illustr ation ▁of ▁the ▁visual ▁image . ▁He ▁believed ▁that ▁music ▁dist ort s ▁and ▁changes ▁the ▁emot ional ▁tone ▁of ▁a ▁visual ▁image ▁while ▁not ▁changing ▁the ▁meaning . ▁He ▁also ▁believed ▁that ▁in ▁a ▁film ▁with ▁complete ▁theoretical ▁consist ency ▁music ▁will ▁have ▁no ▁place ▁and |
▁that ▁instead ▁music ▁is ▁replaced ▁by ▁sounds . ▁According ▁to ▁T ark ov sky , ▁he ▁aim ed ▁at ▁this ▁consist ency ▁and ▁moved ▁into ▁this ▁direction ▁in ▁St alk er ▁and ▁N ost alg h ia . ▁ ▁In ▁addition ▁to ▁the ▁original ▁mon oph onic ▁sound track , ▁the ▁Russian ▁Cinema ▁Council ▁( R usc ico ) ▁created ▁an ▁alternative ▁ 5 . 1 ▁surr ound ▁sound ▁track ▁for ▁the ▁ 2 0 0 1 ▁DVD ▁release . ▁In ▁addition ▁to ▁rem ix ing ▁the ▁mon o ▁sound track , ▁music ▁and ▁sound ▁effects ▁were ▁removed ▁and ▁added ▁in ▁several ▁scenes . ▁Music ▁was ▁added ▁to ▁the ▁scene ▁where ▁the ▁three ▁are ▁travel ing ▁to ▁the ▁Zone ▁on ▁a ▁motor ized ▁dra is ine . ▁In ▁the ▁opening ▁and ▁the ▁final ▁scene ▁Be eth oven ' s ▁N inth ▁Sym phony ▁was ▁removed ▁and ▁in ▁the ▁opening ▁scene ▁in ▁St alk er ' s ▁house ▁ambient ▁sounds ▁were ▁added , ▁changing ▁the ▁original ▁sound track , ▁in ▁which ▁this ▁scene ▁was ▁completely ▁silent ▁except ▁for ▁the ▁sound ▁of ▁a ▁train . ▁ ▁Film ▁score ▁ ▁Initial ly , ▁T ark ov sky ▁had ▁no ▁clear ▁understanding ▁of ▁the ▁musical ▁atmosphere ▁of ▁the ▁final ▁film ▁and ▁only ▁an ▁approximate ▁idea ▁where ▁in ▁the ▁film ▁the ▁music ▁was ▁to ▁be . ▁Even ▁after ▁he ▁had ▁shot ▁all ▁the ▁material ▁he ▁continued ▁his ▁search ▁for ▁the ▁ideal ▁film ▁score , ▁wanting ▁a ▁combination ▁of ▁Oriental ▁and ▁Western ▁music . ▁In ▁a ▁conversation ▁with ▁Ar |
tem ye v ▁he ▁explained ▁that ▁he ▁needed ▁music ▁that ▁reflect s ▁the ▁idea ▁that ▁although ▁the ▁East ▁and ▁the ▁West ▁can ▁co exist , ▁they ▁are ▁not ▁able ▁to ▁understand ▁each ▁other . ▁One ▁of ▁T ark ov sky ' s ▁ideas ▁was ▁to ▁perform ▁Western ▁music ▁on ▁Oriental ▁instruments , ▁or ▁vice ▁vers a , ▁performing ▁Oriental ▁music ▁on ▁European ▁instruments . ▁Ar tem ye v ▁proposed ▁to ▁try ▁this ▁idea ▁with ▁the ▁mot et ▁Pul ch err ima ▁Rosa ▁by ▁an ▁anonymous ▁ 1 4 th ▁century ▁Italian ▁composer ▁dedicated ▁to ▁the ▁Virgin ▁Mary . ▁In ▁its ▁original ▁form ▁T ark ov sky ▁did ▁not ▁perce ive ▁the ▁mot et ▁as ▁suitable ▁for ▁the ▁film ▁and ▁asked ▁Ar tem ye v ▁to ▁give ▁it ▁an ▁Oriental ▁sound . ▁Later , ▁T ark ov sky ▁proposed ▁to ▁inv ite ▁mus icians ▁from ▁Armen ia ▁and ▁A zer ba ij an ▁and ▁to ▁let ▁them ▁improv ise ▁on ▁the ▁mel ody ▁of ▁the ▁mot et . ▁A ▁music ian ▁was ▁invited ▁from ▁A zer ba ij an ▁who ▁played ▁the ▁main ▁mel ody ▁on ▁a ▁tar ▁based ▁on ▁m ug ham , ▁accompanied ▁by ▁orch est ral ▁background ▁music ▁written ▁by ▁Ar tem ye v . ▁T ark ov sky , ▁who , ▁unus ually ▁for ▁him , ▁attended ▁the ▁full ▁recording ▁session , ▁rejected ▁the ▁final ▁result ▁as ▁not ▁what ▁he ▁was ▁looking ▁for . ▁ ▁R eth inking ▁their ▁approach ▁they ▁finally ▁found ▁the ▁solution ▁in ▁a ▁theme ▁that ▁would |
▁create ▁a ▁state ▁of ▁inner ▁calm ness ▁and ▁inner ▁satisfaction , ▁or ▁as ▁T ark ov sky ▁said ▁" space ▁fro zen ▁in ▁a ▁dynamic ▁equilibrium ." ▁Ar tem ye v ▁knew ▁about ▁a ▁musical ▁piece ▁from ▁Indian ▁classical ▁music ▁where ▁a ▁prolong ed ▁and ▁un changed ▁background ▁tone ▁is ▁performed ▁on ▁a ▁tamb ura . ▁As ▁this ▁gave ▁Ar tem ye v ▁the ▁impression ▁of ▁fro zen ▁space , ▁he ▁used ▁this ▁insp iration ▁and ▁created ▁a ▁background ▁tone ▁on ▁his ▁synth es izer ▁similar ▁to ▁the ▁background ▁tone ▁performed ▁on ▁the ▁tamb ura . ▁The ▁tar ▁then ▁impro vised ▁on ▁the ▁background ▁sound , ▁together ▁with ▁a ▁fl ute ▁as ▁a ▁European , ▁Western ▁instrument . ▁To ▁mask ▁the ▁obvious ▁combination ▁of ▁European ▁and ▁Oriental ▁instruments ▁he ▁passed ▁the ▁for eground ▁music ▁through ▁the ▁effect ▁channels ▁of ▁his ▁SY N TH I ▁ 1 0 0 ▁synth es izer . ▁These ▁effects ▁included ▁mod ulating ▁the ▁sound ▁of ▁the ▁fl ute ▁and ▁lower ing ▁the ▁speed ▁of ▁the ▁tar , ▁so ▁that ▁what ▁Ar tem ye v ▁called ▁" the ▁life ▁of ▁one ▁string " ▁could ▁be ▁heard . ▁T ark ov sky ▁was ▁amaz ed ▁by ▁the ▁result , ▁especially ▁lik ing ▁the ▁sound ▁of ▁the ▁tar , ▁and ▁used ▁the ▁theme ▁without ▁any ▁alter ations ▁in ▁the ▁film . ▁ ▁Sound ▁design ▁The ▁title ▁sequence ▁is ▁accompanied ▁by ▁Ar tem ye v ' s ▁main ▁theme . ▁The ▁opening ▁sequence ▁of ▁the ▁film ▁showing ▁St alk er ' s |
▁room ▁is ▁mostly ▁silent . ▁Period ically ▁one ▁he ars ▁what ▁could ▁be ▁a ▁train . ▁The ▁sound ▁becomes ▁l ou der ▁and ▁clearer ▁over ▁time ▁until ▁the ▁sound ▁and ▁the ▁v ibr ations ▁of ▁objects ▁in ▁the ▁room ▁give ▁a ▁sense ▁of ▁a ▁train ' s ▁passing ▁by ▁without ▁the ▁train ' s ▁being ▁visible . ▁This ▁a ural ▁impression ▁is ▁quickly ▁sub vert ed ▁by ▁the ▁m uff led ▁sound ▁of ▁Be eth oven ' s ▁N inth ▁Sym phony . ▁The ▁source ▁of ▁this ▁music ▁is ▁unclear , ▁thus ▁setting ▁the ▁tone ▁for ▁the ▁bl urr ing ▁of ▁reality ▁in ▁the ▁film . ▁For ▁this ▁part ▁of ▁the ▁film ▁T ark ov sky ▁was ▁also ▁considering ▁music ▁by ▁Richard ▁Wagner ▁or ▁the ▁Marse illa ise . ▁ ▁In ▁an ▁interview ▁with ▁Ton ino ▁Guerra ▁in ▁ 1 9 7 9 , ▁T ark ov sky ▁said ▁that ▁he ▁wanted ▁" music ▁that ▁is ▁more ▁or ▁less ▁popular , ▁that ▁express es ▁the ▁movement ▁of ▁the ▁masses , ▁the ▁theme ▁of ▁human ity ' s ▁social ▁dest iny ." ▁He ▁added , ▁" But ▁this ▁music ▁must ▁be ▁bare ly ▁heard ▁beneath ▁the ▁noise , ▁in ▁a ▁way ▁that ▁the ▁spect ator ▁is ▁not ▁aware ▁of ▁it ." ▁In ▁one ▁scene , ▁the ▁sound ▁of ▁a ▁train ▁becomes ▁more ▁and ▁more ▁distant ▁as ▁the ▁sounds ▁of ▁a ▁house , ▁such ▁as ▁the ▁cre aking ▁floor , ▁water ▁running ▁through ▁pip es , ▁and ▁the ▁hum ming ▁of ▁a ▁he ater ▁become |
▁more ▁prominent ▁in ▁a ▁way ▁that ▁psych olog ically ▁sh ifts ▁the ▁audience . ▁While ▁the ▁St alk er ▁leaves ▁his ▁house ▁and ▁wand ers ▁around ▁an ▁industrial ▁landscape , ▁the ▁audience ▁he ars ▁industrial ▁sounds ▁such ▁as ▁train ▁wh ist les , ▁ship ▁fog horn s , ▁and ▁train ▁whe els . ▁When ▁the ▁St alk er , ▁the ▁W riter , ▁and ▁the ▁Professor ▁set ▁off ▁from ▁the ▁bar ▁in ▁an ▁off - road ▁vehicle , ▁the ▁engine ▁noise ▁mer ges ▁into ▁an ▁electronic ▁tone . ▁The ▁natural ▁sound ▁of ▁the ▁engine ▁falls ▁off ▁as ▁the ▁vehicle ▁reaches ▁the ▁horizon . ▁Initial ly ▁almost ▁in aud ible , ▁the ▁electronic ▁tone ▁emer ges ▁and ▁rep laces ▁the ▁engine ▁sound ▁as ▁if ▁time ▁has ▁fro zen . ▁ ▁The ▁journey ▁to ▁the ▁Zone ▁on ▁a ▁motor ized ▁dra is ine ▁features ▁a ▁dis connection ▁between ▁the ▁visual ▁image ▁and ▁the ▁sound . ▁The ▁presence ▁of ▁the ▁dra is ine ▁is ▁registered ▁only ▁through ▁the ▁cl ank ing ▁sound ▁of ▁the ▁whe els ▁on ▁the ▁tracks . ▁Ne ither ▁the ▁dra is ine ▁nor ▁the ▁scen ery ▁passing ▁by ▁is ▁shown , ▁since ▁the ▁camera ▁is ▁focused ▁on ▁the ▁faces ▁of ▁the ▁characters . ▁This ▁dis connection ▁draw s ▁the ▁audience ▁into ▁the ▁inner ▁world ▁of ▁the ▁characters ▁and ▁transform s ▁the ▁physical ▁journey ▁into ▁an ▁inner ▁journey . ▁This ▁effect ▁on ▁the ▁audience ▁is ▁rein for ced ▁by ▁Ar tem ye v ' s ▁synth es izer ▁effects , ▁which ▁make ▁the |
▁cl ank ing ▁whe els ▁sound ▁less ▁and ▁less ▁natural ▁as ▁the ▁journey ▁progress es . ▁When ▁the ▁three ▁arrive ▁in ▁the ▁Zone ▁initially , ▁it ▁appears ▁to ▁be ▁silent . ▁Only ▁after ▁some ▁time , ▁and ▁only ▁slightly ▁aud ibly ▁can ▁one ▁hear ▁the ▁sound ▁of ▁a ▁distant ▁river , ▁the ▁sound ▁of ▁the ▁blow ing ▁wind , ▁or ▁the ▁occas ional ▁cry ▁of ▁an ▁animal . ▁These ▁sounds ▁grow ▁rich er ▁and ▁more ▁aud ible ▁while ▁the ▁St alk er ▁makes ▁his ▁first ▁vent ure ▁into ▁the ▁Zone , ▁initially ▁leaving ▁the ▁professor ▁and ▁the ▁writer ▁behind , ▁and ▁as ▁if ▁the ▁sound ▁draw s ▁him ▁towards ▁the ▁Zone . ▁The ▁sp ars eness ▁of ▁sounds ▁in ▁the ▁Zone ▁draw s ▁attention ▁to ▁specific ▁sounds , ▁which , ▁as ▁in ▁other ▁scenes , ▁are ▁largely ▁dis connected ▁from ▁the ▁visual ▁image . ▁Anim als ▁can ▁be ▁heard ▁in ▁the ▁distance ▁but ▁are ▁never ▁shown . ▁A ▁b ree ze ▁can ▁be ▁heard , ▁but ▁no ▁visual ▁reference ▁is ▁shown . ▁This ▁effect ▁is ▁rein for ced ▁by ▁occas ional ▁synth es izer ▁effects ▁which ▁m eld ▁with ▁the ▁natural ▁sounds ▁and ▁bl ur ▁the ▁boundaries ▁between ▁artificial ▁and ▁al ien ▁sounds ▁and ▁the ▁sounds ▁of ▁nature . ▁ ▁After ▁the ▁three ▁travel ers ▁appear ▁from ▁the ▁tunnel , ▁the ▁sound ▁of ▁dri pping ▁water ▁can ▁be ▁heard . ▁While ▁the ▁camera ▁slowly ▁p ans ▁to ▁the ▁right , ▁a ▁water fall ▁appears . ▁While ▁the ▁visual ▁transition ▁of ▁the ▁p anning |
▁shot ▁is ▁slow , ▁the ▁a ural ▁transition ▁is ▁sudden . ▁As ▁soon ▁as ▁the ▁water fall ▁appears , ▁the ▁sound ▁of ▁the ▁dri pping ▁water ▁falls ▁off ▁while ▁the ▁th und ering ▁sound ▁of ▁the ▁water fall ▁emer ges , ▁almost ▁as ▁if ▁time ▁has ▁jump ed . ▁In ▁the ▁next ▁scene ▁T ark ov sky ▁again ▁uses ▁the ▁technique ▁of ▁dis connect ing ▁sound ▁and ▁visual ▁image . ▁While ▁the ▁camera ▁p ans ▁over ▁the ▁burning ▁as hes ▁of ▁a ▁fire ▁and ▁over ▁some ▁water , ▁the ▁audience ▁he ars ▁the ▁conversation ▁of ▁the ▁St alk er ▁and ▁the ▁W riter ▁who ▁are ▁back ▁in ▁the ▁tunnel ▁looking ▁for ▁the ▁professor . ▁F inding ▁the ▁Professor ▁outside , ▁the ▁three ▁are ▁surprised ▁to ▁realize ▁that ▁they ▁have ▁ended ▁up ▁at ▁an ▁earlier ▁point ▁in ▁time . ▁This ▁and ▁the ▁previous ▁dis connection ▁of ▁sound ▁and ▁the ▁visual ▁image ▁illustrate ▁the ▁Zone ' s ▁power ▁to ▁alter ▁time ▁and ▁space . ▁This ▁technique ▁is ▁even ▁more ▁evident ▁in ▁the ▁next ▁scene ▁where ▁the ▁three ▁travel ers ▁are ▁rest ing . ▁The ▁sounds ▁of ▁a ▁river , ▁the ▁wind , ▁dri pping ▁water , ▁and ▁fire ▁can ▁be ▁heard ▁in ▁a ▁dis continu ous ▁way ▁that ▁is ▁now ▁partially ▁dis connected ▁from ▁the ▁visual ▁image . ▁When ▁the ▁Professor , ▁for ▁example , ▁ex ting u ishes ▁the ▁fire ▁by ▁throwing ▁his ▁coffee ▁on ▁it , ▁all ▁sounds ▁but ▁that ▁of ▁the ▁dri pping ▁water ▁fall ▁off . ▁Similarly , ▁we ▁can ▁hear |
▁and ▁see ▁the ▁St alk er ▁and ▁the ▁river . ▁Then ▁the ▁camera ▁cut s ▁back ▁to ▁the ▁Professor ▁while ▁the ▁audience ▁can ▁still ▁hear ▁the ▁river ▁for ▁a ▁few ▁more ▁seconds . ▁This ▁impression ist ▁use ▁of ▁sound ▁prepar es ▁the ▁audience ▁for ▁the ▁dream ▁sequences ▁accompanied ▁by ▁a ▁variation ▁of ▁the ▁St alk er ▁theme ▁that ▁has ▁been ▁already ▁heard ▁during ▁the ▁title ▁sequence . ▁ ▁During ▁the ▁journey ▁in ▁the ▁Zone , ▁the ▁sound ▁of ▁water ▁becomes ▁more ▁and ▁more ▁prominent , ▁which , ▁combined ▁with ▁the ▁visual ▁image , ▁presents ▁the ▁Zone ▁as ▁a ▁d rench ed ▁world . ▁In ▁an ▁interview ▁T ark ov sky ▁dismiss ed ▁the ▁idea ▁that ▁water ▁has ▁a ▁symbol ic ▁meaning ▁in ▁his ▁films , ▁saying ▁that ▁there ▁was ▁so ▁much ▁rain ▁in ▁his ▁films ▁because ▁it ▁is ▁always ▁ra ining ▁in ▁Russia . ▁In ▁another ▁interview , ▁on ▁the ▁film ▁N ost alg h ia , ▁however , ▁he ▁said ▁" W ater ▁is ▁a ▁myster ious ▁element , ▁a ▁single ▁mole c ule ▁of ▁which ▁is ▁very ▁phot ogen ic . ▁It ▁can ▁convey ▁movement ▁and ▁a ▁sense ▁of ▁change ▁and ▁flux ." ▁Emer ging ▁from ▁the ▁tunnel ▁called ▁the ▁meat ▁gr inder ▁by ▁the ▁St alk er ▁they ▁arrive ▁at ▁the ▁entrance ▁of ▁their ▁destination , ▁the ▁room . ▁Here , ▁as ▁in ▁the ▁rest ▁of ▁the ▁film , ▁sound ▁is ▁constantly ▁changing ▁and ▁not ▁necessarily ▁connected ▁to ▁the ▁visual ▁image . ▁The ▁journey ▁in ▁the ▁Zone ▁ends ▁with ▁the |
▁three ▁sitting ▁in ▁the ▁room , ▁silent , ▁with ▁no ▁aud ible ▁sound . ▁When ▁the ▁sound ▁res umes , ▁it ▁is ▁again ▁the ▁sound ▁of ▁water ▁but ▁with ▁a ▁different ▁tim bre , ▁so fter ▁and ▁gent ler , ▁as ▁if ▁to ▁give ▁a ▁sense ▁of ▁c ath ars is ▁and ▁hope . ▁The ▁transition ▁back ▁to ▁the ▁world ▁outside ▁the ▁Zone ▁is ▁supported ▁by ▁sound . ▁While ▁the ▁camera ▁still ▁shows ▁a ▁pool ▁of ▁water ▁inside ▁the ▁Zone , ▁the ▁audience ▁begins ▁to ▁hear ▁the ▁sound ▁of ▁a ▁train ▁and ▁R avel ' s ▁Bol éro , ▁rem in is cent ▁of ▁the ▁opening ▁scene . ▁The ▁sounds cape ▁of ▁the ▁world ▁outside ▁the ▁Zone ▁is ▁the ▁same ▁as ▁before , ▁character ized ▁by ▁train ▁whe els , ▁fog horn s ▁of ▁a ▁ship ▁and ▁train ▁wh ist les . ▁The ▁film ▁ends ▁as ▁it ▁began , ▁with ▁the ▁sound ▁of ▁a ▁train ▁passing ▁by , ▁accompanied ▁by ▁the ▁m uff led ▁sound ▁of ▁Be eth oven ' s ▁N inth ▁sym phony , ▁this ▁time ▁the ▁O de ▁to ▁Joy ▁from ▁the ▁final ▁moments ▁of ▁the ▁sym phony . ▁As ▁in ▁the ▁rest ▁of ▁the ▁film ▁the ▁dis connect ▁between ▁the ▁visual ▁image ▁and ▁the ▁sound ▁leaves ▁the ▁audience ▁unclear ▁whether ▁the ▁sound ▁is ▁real ▁or ▁an ▁ill usion . ▁ ▁Re ception ▁ ▁Crit ical ▁response ▁Upon ▁its ▁release ▁the ▁film ' s ▁reception ▁was ▁less ▁than ▁favor able . ▁Official s ▁at ▁G os k ino , ▁a |
▁government ▁group ▁otherwise ▁known ▁as ▁the ▁State ▁Committee ▁for ▁Cin emat ography , ▁were ▁critical ▁of ▁the ▁film . ▁On ▁being ▁told ▁that ▁St alk er ▁should ▁be ▁faster ▁and ▁more ▁dynamic , ▁T ark ov sky ▁replied : ▁ ▁The ▁G os k ino ▁representative ▁then ▁stated ▁that ▁he ▁was ▁trying ▁to ▁give ▁the ▁point ▁of ▁view ▁of ▁the ▁audience . ▁T ark ov sky ▁supposed ly ▁ret orted : ▁ ▁More ▁recently , ▁reviews ▁of ▁the ▁film ▁have ▁been ▁highly ▁positive . ▁It ▁earned ▁a ▁place ▁in ▁the ▁British ▁Film ▁Institute ' s ▁" 5 0 ▁Great est ▁Films ▁of ▁All ▁Time " ▁poll ▁conducted ▁for ▁S ight ▁& ▁Sound ▁in ▁September ▁ 2 0 1 2 . ▁The ▁group ' s ▁critics ▁listed ▁St alk er ▁at ▁# 2 9 , ▁tied ▁with ▁the ▁ 1 9 8 5 ▁film ▁Sho ah . ▁Crit ic ▁D erek ▁Adams ▁of ▁the ▁Time ▁Out ▁Film ▁Guide ▁has ▁compared ▁St alk er ▁to ▁Francis ▁Ford ▁Co pp ola ' s ▁Ap ocal yp se ▁Now , ▁also ▁released ▁in ▁ 1 9 7 9 , ▁and ▁argued ▁that ▁" as ▁a ▁journey ▁to ▁the ▁heart ▁of ▁darkness " ▁St alk er ▁looks ▁" a ▁good ▁deal ▁more ▁persu as ive ▁than ▁Co pp ola ' s ." ▁Sl ant ▁Magazine ▁rev iewer ▁Nick ▁Sch ager ▁has ▁pra ised ▁the ▁film ▁as ▁an ▁" end lessly ▁p li able ▁alleg ory ▁about ▁human ▁conscious ness ". ▁In ▁Sch ager ' s ▁view ▁St alk |
er ▁shows ▁" something ▁a kin ▁to ▁the ▁ess ence ▁of ▁what ▁man ▁is ▁made ▁of : ▁a ▁tang led ▁kn ot ▁of ▁mem ories , ▁fear s , ▁fant as ies , ▁night mar es , ▁par ado x ical ▁imp uls es , ▁and ▁a ▁year ning ▁for ▁something ▁that ' s ▁simultaneously ▁beyond ▁our ▁reach ▁and ▁yet ▁intr insic ▁to ▁every ▁one ▁of ▁us ." ▁ ▁On ▁review ▁aggreg ator ▁Rotten ▁Tomatoes , ▁the ▁film ▁is ▁r ated ▁at ▁ 1 0 0 % ▁based ▁on ▁ 3 7 ▁reviews ▁with ▁an ▁average ▁rating ▁of ▁ 8 . 4 6 / 1 0 . ▁Its ▁critical ▁cons ensus ▁states , ▁" St alk er ▁is ▁a ▁complex , ▁ob lique ▁par able ▁that ▁draw s ▁un for get table ▁images ▁and ▁philosoph ical ▁mus ings ▁from ▁its ▁sci - fi / th r iller ▁setting ." ▁ ▁Box ▁office ▁St alk er ▁sold ▁ 4 . 3 ▁million ▁tick ets ▁in ▁the ▁Soviet ▁Union . ▁ ▁Awards ▁The ▁film ▁was ▁awarded ▁the ▁Prize ▁of ▁the ▁E c umen ical ▁J ury ▁at ▁the ▁C annes ▁Film ▁Festival , ▁and ▁the ▁A udi ence ▁J ury ▁Award ▁- ▁Special ▁M ention ▁at ▁Fant as port o , ▁Portugal . ▁ ▁Home ▁media ▁ ▁In ▁East ▁Germany , ▁DE FA ▁did ▁a ▁complete ▁German ▁dub bed ▁version ▁of ▁the ▁movie ▁which ▁was ▁shown ▁in ▁cinema ▁in ▁ 1 9 8 2 . ▁This ▁was ▁used ▁by ▁I c est orm ▁Entertainment ▁on |
▁a ▁DVD ▁release , ▁but ▁was ▁heavily ▁critic ized ▁for ▁its ▁lack ▁of ▁the ▁original ▁language ▁version , ▁subt it les ▁and ▁had ▁an ▁overall ▁bad ▁image ▁quality . ▁ ▁R US C IC O ▁produced ▁a ▁version ▁for ▁the ▁international ▁market ▁containing ▁the ▁film ▁on ▁two ▁DVD s ▁with ▁rem aster ed ▁audio ▁and ▁video . ▁It ▁contains ▁the ▁original ▁Russian ▁audio ▁in ▁an ▁en hanced ▁Dol by ▁Digital ▁ 5 . 1 ▁rem ix ▁as ▁well ▁as ▁the ▁original ▁mon o ▁version . ▁The ▁DVD ▁also ▁contains ▁subt it les ▁in ▁ 1 3 ▁languages ▁and ▁inter views ▁with ▁cam er aman ▁Alexander ▁K ny az hin sky , ▁painter ▁and ▁production ▁designer ▁R ash it ▁Saf i ull in ▁and ▁composer ▁Edu ard ▁Ar tem ye v . ▁ ▁C riter ion ▁Collection ▁released ▁a ▁rem aster ed ▁edition ▁DVD ▁and ▁Bl u - R ay ▁on ▁ 1 7 ▁July ▁ 2 0 1 7 . ▁In cluded ▁in ▁the ▁special ▁features ▁is ▁an ▁interview ▁with ▁film ▁critic ▁Geoff ▁D yer , ▁author ▁of ▁the ▁book ▁Z ona : ▁A ▁Book ▁About ▁a ▁Film ▁About ▁a ▁J our ney ▁to ▁a ▁Room . ▁ ▁In flu ence ▁In ▁the ▁song ▁D iss idents ▁from ▁the ▁ 1 9 8 4 ▁album ▁The ▁Fl at ▁Earth ▁by ▁Thomas ▁Dol by , ▁the ▁bridge ▁between ▁two ▁vers es ▁includes ▁a ▁narr ative ▁from ▁the ▁film . ▁ ▁The ▁Ch ern ob yl ▁dis aster , ▁which ▁occurred ▁seven ▁years ▁after ▁the |
▁film ▁was ▁made , ▁led ▁to ▁dep op ulation ▁in ▁the ▁surrounding ▁area — o fficial ly ▁called ▁the ▁" Ex clusion ▁Zone " — m uch ▁like ▁the ▁" Zone " ▁of ▁the ▁film . ▁Some ▁of ▁the ▁people ▁employed ▁to ▁take ▁care ▁of ▁the ▁abandoned ▁nuclear ▁power ▁plant ▁refer ▁to ▁themselves ▁as ▁" st alk ers ". ▁St alk er ▁was ▁the ▁insp iration ▁for ▁the ▁ 1 9 9 5 ▁album ▁of ▁the ▁same ▁title ▁by ▁Robert ▁Rich ▁and ▁B . ▁L ust m ord , ▁which ▁has ▁been ▁noted ▁for ▁its ▁eer ie ▁sound sc apes ▁and ▁dark ▁amb ience . ▁The ▁Pro dig y ' s ▁music ▁video ▁" Bre at he " ▁is ▁heavily ▁inf uen ced ▁by ▁film ' s ▁visual s ▁and ▁cinemat ography . ▁In ▁ 2 0 0 7 , ▁the ▁Ukrain ian ▁video - game ▁developer ▁G SC ▁Game ▁World ▁published ▁S . T . A . L . K . E . R .: ▁Sh adow ▁of ▁Ch ern ob yl , ▁an ▁open - world , ▁first - person ▁shoot er ▁lo os ely ▁based ▁on ▁both ▁the ▁film ▁and ▁the ▁original ▁novel . ▁In ▁ 2 0 1 2 , ▁the ▁English ▁writer ▁Geoff ▁D yer ▁published ▁Z ona : ▁A ▁Book ▁About ▁a ▁Film ▁About ▁a ▁J our ney ▁to ▁a ▁Room ▁drawing ▁together ▁his ▁personal ▁observations ▁as ▁well ▁as ▁critical ▁ins ights ▁about ▁the ▁film ▁and ▁the ▁experience ▁of ▁watching ▁it . ▁The ▁ 2 0 1 |
2 ▁film ▁Ch ern ob yl ▁Di aries ▁also ▁involves ▁a ▁tour ▁guide , ▁similar ▁to ▁a ▁st alk er , ▁giving ▁groups ▁" ext reme ▁t ours " ▁of ▁the ▁Ch ern ob yl ▁area . ▁The ▁lyr ics ▁of ▁the ▁ 2 0 1 3 ▁album ▁Pel ag ial ▁by ▁the ▁progress ive ▁metal ▁band ▁The ▁Ocean ▁are ▁inspired ▁by ▁the ▁film . ▁Jonathan ▁N olan , ▁co - cre ator ▁of ▁West world , ▁c ites ▁St alk er ▁as ▁an ▁influence ▁on ▁his ▁work ▁for ▁the ▁H BO ▁series . ▁In ▁the ▁ 2 0 1 7 ▁film ▁At omic ▁Bl onde , ▁the ▁protagon ist ▁Lor raine ▁Br ought on ▁goes ▁into ▁an ▁East ▁Berlin ▁the ater ▁showing ▁St alk er . ▁Metro ▁Ex od us ▁vide og ame ▁include ▁location ▁re construct ed ▁from ▁the ▁movie . ▁( The ▁whole ▁Metro ▁vide og ame ▁series ▁are ▁partly ▁inf uen ced ▁by ▁Road side ▁Pic nic ▁novel ▁which ▁movie ▁is ▁based ▁on .) ▁ ▁An nih ilation , ▁a ▁ 2 0 1 8 ▁science ▁fiction ▁psych ological ▁horror ▁film , ▁written ▁and ▁directed ▁by ▁Alex ▁Gar land , ▁though ▁based ▁on ▁the ▁e pon ym ous ▁novel ▁by ▁Jeff ▁V ander Me er , ▁for ▁some ▁critics ▁bet ray s ▁obvious ▁similar ities ▁with ▁the ▁Road side ▁Pic nic ▁and ▁St alk er . ▁While ▁N erd ist ▁Indust ries ' ▁K yle ▁Anderson ▁notes ▁even ▁stronger ▁res embl ance ▁with ▁the ▁ 1 9 2 7 |
▁short ▁story ▁" The ▁Col our ▁Out ▁of ▁Space " ▁by ▁H . ▁P . ▁Love craft ▁( also ▁adapted ▁for ▁the ▁screen ▁as ▁Color ▁Out ▁of ▁Space ▁in ▁ 2 0 1 9 ), ▁about ▁a ▁meteor ite ▁that ▁lands ▁in ▁a ▁sw amp ▁and ▁un le ash es ▁a ▁mut agen ic ▁pl ague , ▁Chris ▁Mc Co y ▁of ▁the ▁M emph is ▁Fly er ▁found ▁the ▁film ▁( An nih ilation ) ▁rem in is cent ▁both ▁of ▁" The ▁Col our ▁Out ▁of ▁Space ", ▁as ▁well ▁as ▁the ▁novel ▁( Ro ad side ▁Pic nic ) ▁and ▁its ▁film ▁adaptation ▁( St alk er ). ▁However , ▁such ▁not ions ▁prompt ed ▁the ▁author ▁of ▁the ▁An nih ilation ▁novel , ▁upon ▁which ▁the ▁movie ▁is ▁based , ▁to ▁state ▁that ▁his ▁story ▁" is ▁ 1 0 0 % ▁NOT ▁a ▁t ribute ▁to ▁Pic nic / St alk er " ▁via ▁his ▁official ▁twitter ▁account . ▁ ▁Notes ▁ ▁References ▁ ▁External ▁links ▁▁▁▁▁▁▁▁ ▁St alk er , ▁released ▁on ▁official ▁Mos film ▁YouTube ▁channel , ▁with ▁subt it les ▁in ▁multiple ▁languages ▁ ▁St alk er ▁at ▁N ost alg h ia . com , ▁a ▁website ▁dedicated ▁to ▁T ark ov sky , ▁featuring ▁inter views ▁with ▁members ▁of ▁the ▁production ▁team ▁ ▁Ge ope it us . ee ▁– ▁film ing ▁locations ▁of ▁St alk er ▁▁ ▁A ▁unique ▁perspective ▁on ▁the ▁making ▁of ▁St alk er : ▁The ▁testim ony ▁of |
▁a ▁mechan ic ▁to iling ▁away ▁under ▁T ark ov sky ' s ▁guidance ▁– ▁article ▁on ▁the ▁production ▁of ▁St alk er ▁St alk er : ▁Mean ing ▁and ▁M aking ▁an ▁ess ay ▁by ▁Mark ▁Le ▁F anu ▁at ▁the ▁C riter ion ▁Collection ▁ ▁Category : 1 9 7 0 s ▁avant - gar de ▁and ▁experimental ▁films ▁Category : 1 9 7 0 s ▁drama ▁films ▁Category : 1 9 7 0 s ▁science ▁fiction ▁films ▁Category : 1 9 7 9 ▁films ▁Category : Fil ms ▁about ▁religion ▁Category : Fil ms ▁based ▁on ▁Russian ▁nov els ▁Category : Fil ms ▁based ▁on ▁science ▁fiction ▁nov els ▁Category : Fil ms ▁based ▁on ▁works ▁by ▁Ark ady ▁and ▁Bor is ▁Str ug at sky ▁Category : Fil ms ▁directed ▁by ▁And rei ▁T ark ov sky ▁Category : Fil ms ▁scored ▁by ▁Edu ard ▁Ar tem ye v ▁Category : Fil ms ▁shot ▁in ▁Est onia ▁Category : Fil ms ▁partially ▁in ▁color ▁Category : Met aph ys ical ▁fiction ▁films ▁Category : M os film ▁films ▁Category : R ail ▁transport ▁films ▁Category : Russ ian - language ▁films ▁Category : S ov iet ▁avant - gar de ▁and ▁experimental ▁films ▁Category : S ov iet ▁drama ▁films ▁Category : S ov iet ▁films ▁Category : S ov iet ▁science ▁fiction ▁films <0x0A> </s> ▁Or n ith ich n ites ▁is ▁an ▁ich not ax on ▁of ▁m amm al ▁foot print . ▁The ▁name ▁was ▁originally |
▁used ▁by ▁Edward ▁H itch cock ▁as ▁a ▁higher ▁group ▁name ▁rather ▁than ▁a ▁specific ▁ich n ogen us , ▁and ▁thus ▁the ▁name ▁does ▁not ▁have ▁priority ▁over ▁specific ▁ich nog ener ic ▁names ▁even ▁if ▁they ▁were ▁first ▁identified ▁as ▁Or n ith ich n ites . ▁ ▁References ▁ ▁Category : Trace ▁foss ils <0x0A> </s> ▁Su è v res ▁() ▁is ▁a ▁commune ▁of ▁the ▁Lo ir - et - Ch er ▁department ▁in ▁central ▁France . ▁ ▁Population ▁ ▁See ▁also ▁Comm unes ▁of ▁the ▁Lo ir - et - Ch er ▁department ▁ ▁Category : Comm unes ▁of ▁Lo ir - et - Ch er <0x0A> </s> ▁Long ▁Sem ado ▁( also ▁known ▁as ▁Sem ado , ▁Long ▁Sem ado h ▁or ▁Long ▁Sem ab o ) ▁is ▁a ▁settlement ▁in ▁the ▁Law as ▁division ▁of ▁Sar aw ak , ▁Malays ia . ▁It ▁lies ▁approximately ▁ ▁east - n orth - east ▁of ▁the ▁state ▁capital ▁K uch ing . ▁▁ ▁Ne igh bour ing ▁settlement s ▁include : ▁Long ▁Sem ado ▁Nas ab ▁ ▁sout heast ▁Long ▁Tan id ▁ ▁south ▁Long ▁Kin oman ▁ ▁n ortheast ▁P un ang ▁Ter us an ▁ ▁n ortheast ▁Long ▁Lap uk an ▁ ▁west ▁Long ▁Bel uy u ▁ ▁south ▁Long ▁Kar ab ang an ▁ ▁south west ▁Long ▁L op eng ▁ ▁west ▁Long ▁Mer ar ap ▁ ▁north west ▁Long ▁U g ong ▁ ▁south ▁ ▁References ▁ ▁Category : Pop ulated ▁places ▁in ▁Sar |
aw ak <0x0A> </s> ▁Beg onia ▁nap o ensis ▁is ▁a ▁species ▁of ▁plant ▁in ▁the ▁family ▁Beg onia ceae . ▁It ▁is ▁en demic ▁to ▁E cuador . ▁ ▁Its ▁natural ▁habit ats ▁are ▁subt rop ical ▁or ▁tropical ▁mo ist ▁mont ane ▁for ests ▁and ▁subt rop ical ▁or ▁tropical ▁high - alt itude ▁shr ub land . ▁ ▁References ▁ ▁nap o ensis ▁Category : End em ic ▁fl ora ▁of ▁E cuador ▁Category : V ul ner able ▁plants ▁Category : T ax onomy ▁articles ▁created ▁by ▁Pol bot <0x0A> </s> ▁M VM ' s ▁P and it ra o ▁Ag as he ▁School ▁or ▁P and it ra o ▁Ag as he ▁School , ▁is ▁a ▁private , ▁co - ed uc ational ▁day ▁school ▁located ▁at ▁Law ▁College ▁Road ▁in ▁P une , ▁India . ▁The ▁institution ▁is ▁a ▁part ▁of ▁the ▁Mah ar as ht ra ▁Vid h ya ▁Mand al . ▁Mah ar as ht ra ▁Vid h ya ▁Mand al ▁was ▁founded ▁in ▁ 1 9 5 7 ▁. ▁He ▁was ▁the ▁one ▁of ▁the ▁first ▁Mah ar as ht rian ▁in ▁P une ▁to ▁start ▁an ▁English ▁Med ium ▁School . ▁He ▁is ▁also ▁ren owned ▁for ▁his ▁English ▁into ▁Mar ath i ▁and ▁Mar ath i ▁into ▁English ▁diction aries . ▁The ▁school ▁cat ers ▁to ▁pup ils ▁from ▁kind erg arten ▁up ▁to ▁class ▁ 1 0 ▁and ▁the ▁medium ▁of ▁instruction ▁is ▁the ▁English ▁language . ▁The ▁school ▁is ▁affili |
ated ▁to ▁the ▁Mah ar as ht ra ▁State ▁Board ▁of ▁Second ary ▁and ▁High er ▁Second ary ▁Education , ▁P une ▁which ▁conduct s ▁the ▁SS C ▁Ex amin ations ▁at ▁the ▁close ▁of ▁class ▁ 1 0 . ▁The ▁school ▁is ▁divided ▁into ▁three ▁sections ▁viz . ▁pre - primary , ▁primary ▁and ▁secondary . ▁ ▁P and it ra o ▁Ag as he ▁ ▁The ▁school ' s ▁name ▁sake ▁is ▁Jag d ish ▁" P and it ra o " ▁Ag as he ▁( 1 9 3 6 ▁– ▁ 1 9 8 3 ) ▁the ▁elder ▁brother ▁of ▁the ▁late ▁business ▁magn ate ▁Sh ri . ▁D ny an esh war ▁Ag as he , ▁el dest ▁son ▁of ▁industrial ist ▁Sh ri . ▁Ch and ras he k har ▁Ag as he . ▁He ▁served ▁as ▁the ▁man aging ▁director ▁of ▁the ▁B ri han ▁Mah ar as ht ra ▁Sug ar ▁Sy nd icate ▁Ltd . ▁after ▁his ▁father . ▁ ▁See ▁also ▁List ▁of ▁schools ▁in ▁P une ▁ ▁References ▁ ▁External ▁links ▁ ▁Category : Sch ools ▁in ▁P une ▁Category : E du c ational ▁institutions ▁established ▁in ▁ 1 9 5 7 ▁Category : 1 9 5 7 ▁establish ments ▁in ▁India ▁Category : Private ▁schools ▁in ▁Mah ar as ht ra <0x0A> </s> ▁" My ▁M ist akes " ▁is ▁a ▁song ▁by ▁UK ▁gr ime ▁artist ▁W iley , ▁featuring ▁guest ▁vocals ▁from ▁M anga ▁and ▁Little ▁De e . |
▁It ▁was ▁released ▁as ▁the ▁second ▁single ▁from ▁his ▁third ▁studio ▁album , ▁Play time ▁Is ▁Over , ▁on ▁ 6 ▁April ▁ 2 0 0 7 . ▁ ▁Music ▁video ▁ ▁W iley ▁is ▁in ▁front ▁of ▁a ▁tower ▁ra pping . ▁There ▁are ▁two ▁big ▁screens ▁and ▁you ▁can ▁see ▁W iley ▁ra pping . ▁W iley ▁is ▁on ▁a ▁P SP ▁ra pping . ▁There ▁are ▁his ▁gang ▁friends ▁with ▁him ▁at ▁the ▁end . ▁ ▁Track ▁list ings ▁Digital ▁download ▁▁ ▁" My ▁M ist akes " ▁- ▁ 2 : 4 9 ▁ ▁Cred its ▁and ▁personnel ▁▁ ▁Le ad ▁vocals – ▁W iley , ▁Little ▁De e , ▁M anga ▁ ▁Produ cer – ▁B less ▁Be ats ▁ ▁L yr ics – ▁Richard ▁C owie , ▁Little ▁De e , ▁M anga ▁ ▁Label : ▁Big ▁D ada ▁ ▁Release ▁history ▁ ▁References ▁▁ ▁Category : 2 0 0 7 ▁singles ▁Category : W iley ▁( rapper ) ▁songs ▁Category : S ongs ▁written ▁by ▁W iley ▁( rapper ) ▁Category : 2 0 0 7 ▁songs <0x0A> </s> ▁Catal ina ▁Air ▁L ines ▁was ▁a ▁se ap lane ▁air line ▁founded ▁in ▁ 1 9 4 0 ▁as ▁Catal ina ▁Air ▁Transport , ▁and ▁was ▁based ▁in ▁Long ▁Beach , ▁California . ▁ ▁History ▁In ▁ 1 9 5 3 , ▁it ▁became ▁A val on ▁Air ▁Transport , ▁named ▁after ▁the ▁city ▁of ▁A val on , ▁California , ▁located ▁on |
▁Santa ▁Catal ina ▁Island ▁( Cal iforn ia ). ▁In ▁ 1 9 6 3 , ▁it ▁became ▁Catal ina ▁Air ▁L ines . ▁ ▁The ▁air line ▁was ▁acquired ▁by ▁Golden ▁West ▁Airlines ▁in ▁ 1 9 6 9 ▁which ▁then ▁operated ▁se ap lane ▁fl ights ▁as ▁Catal ina ▁Golden ▁West . ▁ ▁Catal ina ▁Air ▁L ines ▁served ▁Catal ina ▁Airport ▁in ▁A val on , ▁California ▁on ▁Santa ▁Catal ina ▁Island ▁with ▁fl ights ▁to ▁several ▁locations ▁on ▁the ▁southern ▁California ▁main land ▁including ▁Long ▁Beach ▁Airport ▁( L GB ) ▁in ▁Long ▁Beach , ▁California ▁and ▁the ▁Catal ina ▁Air ▁Terminal ▁located ▁at ▁the ▁Long ▁Beach ▁Har bor . ▁ ▁There ▁were ▁also ▁several ▁other ▁air ▁carri ers ▁that ▁used ▁the ▁name ▁" C atal ina ▁Airlines " ▁and ▁served ▁Santa ▁Catal ina ▁Island ▁with ▁scheduled ▁passenger ▁fl ights ▁including ▁Catal ina ▁Airlines ▁with ▁fl ights ▁operated ▁with ▁de ▁Hav ill and ▁D ove ▁p ist on ▁engine ▁tw in ▁prop ▁aircraft ▁from ▁the ▁Catal ina ▁Airport ▁as ▁well ▁as ▁another ▁Catal ina ▁Airlines ▁which ▁operated ▁tur bine ▁power ed ▁S ikor sky ▁S - 5 8 T ▁and ▁S ikor sky ▁S - 6 2 ▁hel ic op ters . ▁ ▁Fle et ▁Catal ina ▁operated ▁the ▁following ▁am ph ib ious ▁se ap lane ▁aircraft : ▁Gr um man ▁G - 2 1 ▁Go ose ▁S ikor sky ▁S - 4 3 ▁S ikor sky ▁VS - 4 4 A ▁ ▁See ▁also ▁▁ ▁List ▁of |
▁def unct ▁air lines ▁of ▁the ▁United ▁States ▁ ▁References ▁ ▁Category : Def unct ▁regional ▁air lines ▁of ▁the ▁United ▁States ▁Category : A viation ▁in ▁California ▁Category : S anta ▁Catal ina ▁Island , ▁California ▁Category : Transport ation ▁in ▁Los ▁Angeles ▁County , ▁California ▁Category : Transport ation ▁companies ▁based ▁in ▁California ▁Category : Comp an ies ▁based ▁in ▁Los ▁Angeles ▁County , ▁California ▁Category : American ▁companies ▁established ▁in ▁ 1 9 4 0 ▁ ▁Category : A irl ines ▁established ▁in ▁ 1 9 4 0 ▁ ▁Category : A irl ines ▁dis est ab lished ▁in ▁ 1 9 6 9 ▁Category : 1 9 4 0 ▁establish ments ▁in ▁California ▁Category : 1 9 6 9 ▁dis est ab lish ments ▁in ▁California ▁Category : Def unct ▁companies ▁based ▁in ▁Gre ater ▁Los ▁Angeles ▁Category : G old en ▁West ▁Airlines ▁Category : Def unct ▁se ap lane ▁operators ▁Category : 1 9 6 9 ▁mer gers ▁and ▁ac quis itions <0x0A> </s> ▁He ▁Was ▁King ▁is ▁an ▁album ▁recorded ▁by ▁Felix ▁da ▁House cat , ▁released ▁world wide ▁just ▁two ▁days ▁before ▁his ▁ 3 8 th ▁birth day ▁on ▁August ▁ 2 5 , ▁ 2 0 0 9 ▁via ▁N ett werk ▁Records . ▁ ▁The ▁album ▁was ▁described ▁by ▁Felix ▁as ▁follows , ▁" Where as ▁K itten z ▁and ▁The e ▁Gl itz ▁was ▁straight ▁up ▁electro , ▁He ▁Was ▁King ▁is ▁straight ▁Felix ▁da ▁House cat ▁pop ▁with ▁a ▁nice |
▁electronic ▁feel ." ▁ ▁The ▁first ▁single ▁released ▁from ▁the ▁album ▁was ▁" K ick d rum ", ▁released ▁as ▁a ▁digital ▁download ▁in ▁May ▁ 2 0 0 9 . ▁ ▁The ▁second ▁single , ▁" We ▁All ▁W anna ▁Be ▁Prince " ▁featured ▁a ▁rem ix ▁contest ▁prior ▁to ▁its ▁release ▁in ▁July . ▁ ▁Re ception ▁ ▁Initial ▁critical ▁response ▁to ▁He ▁Was ▁King ▁was ▁average . ▁At ▁Met ac rit ic , ▁which ▁assign s ▁a ▁normal ized ▁rating ▁out ▁of ▁ 1 0 0 ▁to ▁reviews ▁from ▁main stream ▁critics , ▁the ▁album ▁has ▁received ▁an ▁average ▁score ▁of ▁ 6 3 , ▁based ▁on ▁nine ▁reviews . ▁ ▁Track ▁listing ▁All ▁songs ▁written ▁by ▁Felix ▁da ▁House cat ▁( F el ix ▁St all ings ). ▁ ▁" We ▁All ▁W anna ▁Be ▁Prince " ▁— ▁( 3 : 3 3 ) ▁ ▁" Pl ast ik ▁Fant ast ik " ▁— ▁( 3 : 2 9 ) ▁ ▁" K ick d rum " ▁— ▁( 3 : 4 9 ) ▁ ▁" Do ▁We ▁Move ▁Your ▁World " ▁— ▁( 4 : 3 5 ) ▁ ▁" We " ▁— ▁( 4 : 2 0 ) ▁ ▁" Sp ank ▁U ▁Very ▁Much " ▁— ▁( 2 : 3 2 ) ▁ ▁" Do ▁Not ▁Try ▁This ▁at ▁Home " ▁— ▁( 4 : 0 8 ) ▁ ▁" Turn ▁Me ▁on ▁a ▁Summer ▁Sm ile " ▁— ▁( 3 : 3 9 ) ▁ |
▁" El vi $ " ▁— ▁( 6 : 0 6 ) ▁ ▁" LA ▁Ra vers " ▁— ▁( 3 : 4 7 ) ▁ ▁" Machine " ▁— ▁( 3 : 3 1 ) ▁ ▁" He ▁Was ▁King " ▁— ▁( 3 : 2 3 ) ▁ ▁References ▁ ▁External ▁links ▁▁▁ ▁Category : F el ix ▁da ▁House cat ▁albums ▁Category : 2 0 0 9 ▁albums <0x0A> </s> ▁Amb ly se ius ▁ar ar atic us ▁is ▁a ▁species ▁of ▁m ite ▁in ▁the ▁family ▁Ph y to se i idae . ▁ ▁References ▁ ▁Category : A ra chn ids ▁Category : Art icles ▁created ▁by ▁Q bug bot ▁Category : Anim als ▁described ▁in ▁ 1 9 7 2 <0x0A> </s> ▁The ▁W alls ▁of ▁Lima ▁were ▁a ▁fort ification ▁consisting ▁mainly ▁of ▁walls ▁and ▁bast ions ▁whose ▁purpose ▁was ▁to ▁defend ▁the ▁city ▁of ▁Lima ▁from ▁exterior ▁attacks . ▁It ▁was ▁built ▁between ▁ 1 6 8 4 ▁and ▁ 1 6 8 7 , ▁during ▁the ▁Vic ero y ▁Mel chor ▁de ▁Navar ra ▁y ▁Roc af ull ▁( D u ke ▁of ▁Pal ata )' s ▁government . ▁ ▁The ▁wall ▁was ▁located ▁on ▁the ▁present ▁streets ▁of ▁Alfonso ▁U gar te , ▁P ase o ▁Col ón ▁and ▁Gra u ▁and ▁the ▁left ▁bank ▁of ▁R ím ac ▁River . ▁Under ▁Luis ▁Cast an eda ▁L oss io ' s ▁management , ▁he ▁recovered ▁a ▁section ▁of ▁the ▁remains ▁of ▁the ▁left |
▁bank ▁of ▁the ▁R ím ac ▁River , ▁which ▁are ▁now ▁visible ▁as ▁a ▁part ▁of ▁the ▁group ▁known ▁as ▁" Par que ▁de ▁la ▁M ural la ," ▁although ▁these ▁are ▁probably ▁from ▁a ▁previous ▁construction ▁known ▁as ▁" T aj amar ▁de ▁San ▁Francisco ." ▁The ▁Santa ▁Luc ía ▁bast ion ▁is ▁a ▁sector ▁of ▁the ▁wall ▁located ▁on ▁the ▁edge ▁of ▁Bar rios ▁Alt os ▁and ▁El ▁Ag ust ino ▁that ▁still ▁stands ▁. ▁ ▁History ▁ ▁The ▁old ▁wall ▁was ▁built ▁around ▁the ▁city ▁to ▁protect ▁it ▁from ▁pir ates ▁attacks ▁and ▁other ▁enemies ▁of ▁the ▁Spanish ▁crown ▁in ▁the ▁ 1 7 th ▁century . ▁The ▁wall ▁had ▁ 1 0 ▁exit ▁and ▁entry ▁gates : ▁Martin ete , ▁Mar av illas , ▁Barb ones , ▁C och arc as , ▁Santa ▁Catal ina , ▁Gu ad alu pe , ▁Juan ▁Sim ón , ▁San ▁Jac into , ▁Cal la o , ▁Mon ser rate ▁and ▁the ▁gate ▁of ▁la ▁Gu ía ▁en ▁el ▁Bar rio ▁de ▁San ▁L áz aro ▁( now ▁the ▁R ím ac ▁district ). ▁ ▁As ▁part ▁of ▁urban ▁expansion ▁programs ▁and ▁construction ▁of ▁new ▁a ven ues , ▁the ▁wall ▁was ▁demol ished ▁in ▁ 1 8 6 8 ▁under ▁José ▁Bal ta ' s ▁government . ▁The ▁wall ▁never ▁served ▁the ▁purpose ▁for ▁which ▁it ▁was ▁built , ▁to ▁the ▁point ▁that ▁Ra úl ▁Por ras ▁Bar rene che a ▁mentioned ▁that ▁" it ▁died ▁a ▁vir gin ▁of ▁gun pow |
der ." ▁ ▁Current ▁status ▁Part ▁of ▁the ▁sea ▁wall ▁has ▁been ▁restored ▁at ▁the ▁back ▁of ▁the ▁Church ▁of ▁San ▁Francisco , ▁near ▁the ▁Government ▁Palace , ▁which ▁has ▁created ▁a ▁public ▁space ▁named ▁Par que ▁de ▁la ▁M ural la ▁( The ▁Wall ▁Park ). ▁In ▁this ▁park , ▁the ▁rem n ants ▁of ▁the ▁found ations ▁that ▁had ▁been ▁the ▁se aw all ▁are ▁visible , ▁which ▁was ▁done ▁by ▁the ▁Francis c ans ▁in ▁ 1 6 1 0 . ▁The ▁a for ement ioned ▁park ▁has ▁a ▁restaurant ▁and ▁a ▁shop ▁s elling ▁hand - made ▁items ▁from ▁different ▁areas ▁of ▁the ▁country . ▁The ▁park ▁contains ▁a ▁statue ▁of ▁Francisco ▁P izar ro , ▁which ▁used ▁to ▁be ▁in ▁the ▁" P la za ▁Perú ," ▁located ▁next ▁to ▁the ▁Government ▁Palace . ▁There ▁is ▁also ▁a ▁museum ▁exhib iting ▁arch ae ological ▁pieces ▁found ▁in ▁the ▁area . ▁ ▁Const ruction ▁of ▁an ▁express way ▁on ▁Gra u ▁Avenue ▁un cover ed ▁some ▁of ▁the ▁wall ' s ▁remains . ▁ ▁In ▁Bar rios ▁Alt os , ▁the ▁remains ▁of ▁the ▁walls ▁near ▁the ▁Pla z uela ▁del ▁C erc ado ▁is ▁in ▁good ▁condition . ▁The ▁cam al ▁de ▁Con ch uc os , ▁which ▁was ▁the ▁bast ion ▁of ▁Santa ▁Luc ía , ▁one ▁of ▁the ▁surve ill ance ▁points ▁of ▁the ▁wall , ▁is ▁now ▁a ▁sports ▁complex . ▁ ▁The ▁wall ▁was ▁not ▁a ▁par agon ▁of ▁beauty . ▁Ex cept ▁for |
▁the ▁port als ▁of ▁Mar av illas ▁( 1 8 0 7 ) ▁in ▁the ▁Bar rios ▁Alt os ▁and ▁El ▁Cal la o , ▁the ▁other ▁gates , ▁as ▁told ▁by ▁the ▁painter ▁Juan ▁Manuel ▁U gar te , ▁" had ▁no ▁great ▁art istic ▁appeal . ▁It ▁is ▁one ▁of ▁the ▁most ▁important ▁tour ist ▁attra ctions , ▁besides ▁the ▁houses , ▁among ▁others . ▁ ▁See ▁also ▁ ▁Wall ▁of ▁Tru j illo ▁ ▁Def ensive ▁wall ▁ ▁Notes ▁ ▁Bibli ography ▁▁▁▁▁ ▁Category : City ▁walls ▁in ▁Peru ▁Category : Build ings ▁and ▁structures ▁completed ▁in ▁ 1 6 8 7 ▁Category : Col onial ▁Peru ▁Category : Build ings ▁and ▁structures ▁in ▁Lima ▁Category : T our ist ▁attra ctions ▁in ▁Lima ▁Category : Span ish ▁Col onial ▁architecture ▁in ▁Peru ▁Category : 1 6 8 7 ▁establish ments ▁in ▁the ▁Spanish ▁Empire <0x0A> </s> ▁Dim as ▁L ara ▁Barb osa ▁( born ▁April ▁ 1 , ▁ 1 9 5 6 ) ▁is ▁a ▁pre late ▁of ▁the ▁Roman ▁Catholic ▁Church . ▁He ▁served ▁as ▁auxili ary ▁bishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Janeiro ▁from ▁ 2 0 0 3 ▁till ▁ 2 0 1 1 , ▁when ▁he ▁became ▁arch bishop ▁of ▁Cam po ▁Grande . ▁ ▁Life ▁ ▁Born ▁in ▁Bo a ▁Es per ança , ▁L ara ▁Barb osa ▁was ▁ord ained ▁to ▁the ▁priest hood ▁on ▁December ▁ 3 , ▁ 1 9 8 8 , ▁serving ▁in ▁São ▁José ▁dos |
▁Cam pos . ▁ ▁On ▁June ▁ 1 1 , ▁ 2 0 0 3 , ▁he ▁was ▁appointed ▁auxili ary ▁bishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Janeiro ▁and ▁tit ular ▁bishop ▁of ▁Meg al opol is ▁in ▁Pro cons ular i . ▁L ara ▁Barb osa ▁received ▁his ▁epis cop al ▁consec r ation ▁on ▁the ▁following ▁August ▁ 2 ▁from ▁E us éb io ▁Oscar ▁Sche id , ▁arch bishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Janeiro , ▁with ▁the ▁bishop ▁of ▁São ▁José ▁dos ▁Cam pos , ▁José ▁Nelson ▁West ru pp , ▁and ▁the ▁auxili ary ▁bishop ▁of ▁Bras ília , ▁Ray m undo ▁Dam asc eno ▁Ass is , ▁serving ▁as ▁co - con sec rat ors . ▁ ▁On ▁May ▁ 4 , ▁ 2 0 1 1 , ▁he ▁was ▁appointed ▁arch bishop ▁of ▁Cam po ▁Grande . ▁He ▁was ▁installed ▁on ▁the ▁following ▁July ▁ 1 0 . ▁ ▁External ▁links ▁▁ ▁Entry ▁about ▁Dim as ▁L ara ▁Barb osa ▁at ▁c atholic - h ier archy . org ▁ ▁Category : 1 9 5 6 ▁birth s ▁Category : 2 1 st - century ▁Roman ▁Catholic ▁b ish ops ▁Category : B raz ilian ▁Roman ▁Catholic ▁arch b ish ops ▁Category : L iving ▁people <0x0A> </s> ▁The ▁Cub an ▁Order ▁of ▁Naval ▁Mer it ▁( First ▁Class ) ▁was ▁a ▁medal ▁of ▁special ▁mer it . ▁The ▁Cub an ▁Order ▁of ▁Naval ▁Mer it ▁was ▁a ▁state ▁order ▁of ▁ch |
ival ry ▁or ▁mer it . ▁Its ▁med als , ▁awarded ▁by ▁the ▁Cub an ▁government ▁from ▁the ▁ 1 9 2 0 s ▁through ▁the ▁ 1 9 5 0 s , ▁were ▁made ▁by ▁the ▁Cub an ▁firm ▁D ator ▁Plus ▁Al tra ▁and ▁were ▁made ▁of ▁ster ling ▁silver ▁and ▁en am el . ▁ ▁Notable ▁U . S . ▁Re cip ients ▁William ▁H alse y , ▁Jr ., ▁Fle et ▁Admir al ▁( Un ited ▁States ) ▁ ▁Thomas ▁Hol comb , ▁General ▁& ▁Command ant ▁( US MC ) ▁Ernest ▁King , ▁Fle et ▁Admir al ▁( US N ) ▁Richard ▁R . ▁Mc N ulty , ▁R ear ▁Admir al ▁( US N ) ▁Pedro ▁del ▁Valle ▁Lieutenant ▁General ▁( US MC ) ▁ ▁References ▁ ▁Category : C ub an ▁awards ▁Category : 1 9 2 0 s ▁establish ments ▁in ▁Cuba ▁Category : 1 9 5 0 s ▁dis est ab lish ments ▁in ▁Cuba <0x0A> </s> ▁Sc op aria ▁f um ata ▁is ▁a ▁species ▁of ▁moth ▁in ▁the ▁family ▁Cr amb idae . ▁It ▁is ▁en demic ▁in ▁New ▁Zealand . ▁ ▁Tax onomy ▁ ▁It ▁was ▁described ▁by ▁Alfred ▁Phil p ott ▁in ▁ 1 9 1 5 . ▁However ▁the ▁pla cement ▁of ▁this ▁species ▁within ▁the ▁genus ▁Sc op aria ▁is ▁in ▁doubt . ▁As ▁a ▁result , ▁this ▁species ▁has ▁also ▁been ▁referred ▁to ▁as ▁Sc op aria ▁( s . l .) ▁f um ata . ▁ |
▁Description ▁ ▁The ▁wings pan ▁is ▁ 2 0 – 2 3 mm . ▁The ▁for ew ings ▁are ▁pale ▁fus c ous - b rown ▁with ▁dark ▁fus c ous ▁mark ings . ▁The ▁h ind w ings ▁are ▁grey , ▁t ing ed ▁with ▁och re ous ▁and ▁with ▁a ▁dark er ▁sub term inal ▁line . ▁Ad ult s ▁have ▁been ▁recorded ▁on ▁wing ▁in ▁December . ▁ ▁References ▁ ▁Category : M oth s ▁described ▁in ▁ 1 9 1 5 ▁Category : M oth s ▁of ▁New ▁Zealand ▁Category : Sc op ari inae ▁Category : End em ic ▁fa una ▁of ▁New ▁Zealand <0x0A> </s> ▁Cole op hora ▁k asz abi ▁is ▁a ▁moth ▁of ▁the ▁family ▁Cole op hor idae . ▁It ▁is ▁found ▁in ▁Mong olia . ▁ ▁The ▁lar va e ▁feed ▁on ▁Car ag ana ▁pyg ma ea ▁and ▁Car ag ana ▁b unge i . ▁They ▁feed ▁on ▁the ▁leaves ▁of ▁their ▁host ▁plant . ▁ ▁References ▁ ▁k asz abi ▁Category : M oth s ▁of ▁Mong olia ▁Category : M oth s ▁described ▁in ▁ 1 9 7 4 <0x0A> </s> ▁The ▁J C ▁Ra ul ston ▁Ar bor et um ▁is ▁a ▁ ▁ar bor et um ▁and ▁botan ical ▁garden ▁admin ister ed ▁by ▁North ▁Carolina ▁State ▁University , ▁and ▁located ▁at ▁ 4 4 1 5 ▁B ery l ▁Road , ▁R ale igh , ▁North ▁Carolina . ▁It ▁is ▁open ▁daily ▁to ▁the ▁public ▁without |
▁charge . ▁ ▁History ▁▁ ▁The ▁Ar bor et um ▁was ▁established ▁in ▁ 1 9 7 6 ▁by ▁h ort icult ur ist ▁James ▁Ch ester ▁Ra ul ston ▁and ▁named ▁after ▁him . ▁ ▁Plant ▁collections ▁▁ ▁The ▁ar bor et um ▁has ▁a ▁collection ▁of ▁plants ▁from ▁over ▁ 5 0 ▁countries . ▁Its ▁plant ▁collections ▁now ▁include ▁over ▁ 6 , 0 0 0 ▁total ▁tax a ▁of ▁annual s , ▁per enn ial s , ▁bul bs , ▁v ines , ▁ground ▁covers , ▁shr ubs , ▁and ▁trees , ▁with ▁significant ▁collections ▁of : ▁A cer ▁( map le ) ▁A es cul us ▁( bu ck ey e ) ▁Ber ber is ▁( bar berry ) ▁B ux us ▁( box wood ) ▁Cer cis ▁( red bud ) ▁Con if ers ▁I lex ▁( hol ly ) ▁Magn olia ▁( m agn olia ) ▁Mah onia ▁( gra pe hol ly ) ▁N and ina ▁( he aven ly ▁b am bo o ) ▁Qu erc us ▁( o ak ) ▁St y rac aceae ▁( sil ver bell ▁family ) ▁V ib urn um ▁W ister ia ▁ ▁The ▁major ▁gard ens ▁▁ ▁Ann ual ▁Color ▁Tri als ▁— ▁an ▁official ▁All - America ▁Se lections ▁( A AS ) ▁testing ▁site , ▁evalu ating ▁over ▁ 7 0 0 ▁different ▁annual s ▁and ▁tender ▁per enn ial s ▁each ▁year . ▁ ▁Entry ▁Garden ▁— ▁more ▁than ▁ 1 0 0 ▁types ▁of |
▁tender ▁per enn ial s , ▁mostly ▁tropical . ▁ ▁Fin ley - Not ting ham ▁Rose ▁Garden ▁— ▁over ▁ 2 0 0 ▁ros es ▁representing ▁over ▁ 1 2 0 ▁tax a , ▁including ▁hy brid ▁te as , ▁hy brid ▁mus k ▁ros es , ▁David ▁Austin ▁ros es , ▁and ▁clim bing ▁ros es . ▁ ▁Japanese ▁Garden ▁— ▁Japanese ▁plants ▁with ▁a ▁ra ked - stone ▁Z en ▁garden ; ▁plants ▁include ▁A cer ▁pal mat um ▁‘ K iy oh ime ’ , ▁A cer ▁pal mat um ▁‘ Se iry u ’ , ▁Ch ama ec y par is ▁obt usa ▁‘ N ana ▁G rac ilis ’ , ▁L ager st ro emia ▁fa ur iei , ▁N and ina ▁dom est ica ▁f . ▁cap ill aris ▁cultiv ars , ▁and ▁P inus ▁ta eda ▁‘ N ana ’ . ▁ ▁Klein - Pr ing le ▁White ▁Garden ▁— ▁white - flow ered ▁plants ▁and ▁plants ▁with ▁gray , ▁white , ▁or ▁silver ▁fol i age , ▁inspired ▁by ▁the ▁famous ▁White ▁Garden ▁at ▁S iss ing h urst ▁Castle ▁Garden ; ▁plants ▁include ▁ ▁A cer ▁pal mat um , ▁L ager st ro emia ▁‘ N atch ez ’ , ▁Magn olia ▁× ▁lo eb ner i ▁‘ M err ill ’ , ▁St y ra x ▁jap onic us ▁‘ E mer ald ▁P ag oda ’ , ▁and ▁V ib urn um ▁‘ M oh awk ’ . ▁ ▁L |
ath ▁House ▁— ▁over ▁ 7 0 0 ▁kinds ▁of ▁sh ade - lo ving ▁plants , ▁including ▁A can th us ▁sp inos us , ▁Corn us ▁controvers a ▁' Var ieg ata ', ▁Far f ug ium ▁jap onic um ▁' A ure om ac ul atum ', ▁Gent iana ▁sap on aria , ▁H yd range a ▁macro ph yl la ▁‘ P ia ’ , ▁Pier is ▁japon ica ▁‘ S ho jo ’ , ▁and ▁Tro chod end ron ▁ar al io ides . ▁ ▁M ixed ▁Border ▁— ▁a ▁large ▁border ▁plant ing ▁( 3 0 0 ▁× ▁ 1 5 ▁feet ) ▁( 9 1 ▁× ▁ 4 . 6 ▁m ) ▁of ▁trees , ▁shr ubs , ▁ground co vers , ▁per enn ial s , ▁and ▁bul bs ; ▁plants ▁include ▁Cam ps is ▁grand if l ora ▁' Mor ning ▁Cal m ', ▁Ch ama ec y par is ▁th yo ides ▁' R ub icon ', ▁C lem atis ▁' B et ty ▁Cor ning ', ▁Corn us ▁ser ice a ▁' Sil ver ▁and ▁Gold ', ▁and ▁Ham am el is ▁× ▁inter media ▁‘ J el ena ’ . ▁ ▁Model ▁Gard ens ▁— ▁home ▁demonstr ation ▁gard ens . ▁ ▁Parad ise ▁Garden ▁— ▁for ▁the ▁sens es ▁of ▁sight , ▁sound , ▁taste , ▁touch , ▁and ▁sm ell ; ▁plants ▁include ▁Alo ys ia ▁tri ph yl la , ▁C ory lus ▁av ell ana ▁‘ Cont |
ort a ’ , ▁H osta ▁‘ Sum ▁and ▁Sub st ance ’ , ▁and ▁Z izi ph us ▁ju j uba ▁‘ In erm is ’ . ▁ ▁Per enn ial ▁Border ▁— ▁nearly ▁ 1 , 0 0 0 ▁plants ▁in ▁a ▁large ▁border ▁plant ing ▁( 4 5 0 ▁× ▁ 1 8 ▁feet ) ▁( 1 4 0 ▁× ▁ 5 . 5 ▁m ), ▁with ▁color ▁scheme ▁based ▁upon ▁a ▁plan ▁by ▁Ger tr ude ▁J ek yll . ▁ ▁South all ▁Memorial ▁Garden ▁— ▁a ▁hem lock ▁tree ▁gro ve , ▁with ▁mixed ▁plant ings ▁and ▁an ▁open ▁grass y ▁area ▁for ▁gather ings . ▁ ▁X er ic ▁Garden ▁— ▁plants ▁from ▁Mexico ▁and ▁the ▁American ▁South west , ▁including ▁Ag ave , ▁Das yl ir ion , ▁E chin oc act us , ▁H esper alo e , ▁N ol ina , ▁Op unt ia , ▁and ▁Yu cca . ▁ ▁Winter ▁Garden ▁— ▁plants ▁at ▁their ▁best ▁in ▁winter , ▁including ▁C rypt om eria , ▁Ch ama ec y par is , ▁Corn us ▁offic inal is ▁' K into ki ', ▁Ed gew orth ia ▁ch rys anth a , ▁Ep im ed ium , ▁Ham am el is , ▁H elle bor us ▁× ▁hy brid us , ▁I lex , ▁I ris ▁un gu icular is , ▁Pr un us ▁m ume ▁' R ose ▁G low ', ▁and ▁Yu cca . ▁ ▁See ▁also ▁▁ ▁J C ▁Ra ul |
ston ▁Ar bor et um ▁website ▁ ▁Ph oto ▁Walk ing ▁Tour ▁of ▁J C ▁Ra ul ston ▁Ar bor et um ▁ ▁List ▁of ▁botan ical ▁gard ens ▁in ▁the ▁United ▁States ▁ ▁References ▁ ▁Category : Ar bor eta ▁in ▁North ▁Carolina ▁Category : B ot an ical ▁gard ens ▁in ▁North ▁Carolina ▁Category : N orth ▁Carolina ▁State ▁University ▁Category : P arks ▁in ▁R ale igh , ▁North ▁Carolina ▁Category : 1 9 7 6 ▁establish ments ▁in ▁North ▁Carolina <0x0A> </s> ▁The ▁Battle ▁of ▁J iny ang ▁() ▁was ▁fought ▁between ▁the ▁el ite ▁families ▁of ▁the ▁State ▁of ▁Jin , ▁the ▁house ▁of ▁Z ha o ▁and ▁the ▁house ▁of ▁Z hi ▁( 智 ), ▁in ▁the ▁Spring ▁and ▁Aut umn ▁period ▁of ▁China . ▁The ▁other ▁houses ▁of ▁Wei ▁and ▁Han ▁first ▁participated ▁in ▁the ▁battle ▁in ▁al liance ▁with ▁the ▁Z hi , ▁but ▁later ▁defect ed ▁to ▁al ly ▁with ▁Z ha o ▁to ▁anni h il ate ▁the ▁Z hi ▁house . ▁This ▁event ▁was ▁a ▁catal yst ▁to ▁the ▁Tri partition ▁of ▁Jin ▁in ▁ 4 3 4 ▁BC , ▁the ▁forming ▁of ▁the ▁three ▁states ▁of ▁Z ha o , ▁Wei , ▁and ▁Han , ▁and ▁the ▁start ▁to ▁the ▁W arring ▁States ▁period . ▁It ▁is ▁the ▁first ▁battle ▁described ▁in ▁the ▁Song ▁D ynast y ▁history ▁comp end ium ▁Z iz hi ▁T ong j ian . ▁ ▁Background ▁By ▁ 4 9 0 ▁BC , ▁after ▁the ▁destruction |
▁of ▁the ▁houses ▁of ▁F an ▁( <0xE8> <0x8C> <0x83> ) ▁and ▁Zh ong hang ▁( 中 行 ), ▁control ▁of ▁the ▁State ▁of ▁Jin , ▁then ▁the ▁largest ▁state ▁in ▁China , ▁was ▁cont ested ▁by ▁four ▁el ite ▁families : ▁Z hi , ▁Wei , ▁Z ha o , ▁and ▁Han . ▁With ▁multiple ▁military ▁vict ories ▁under ▁his ▁bel t , ▁Z hi ▁Y ao ▁( or ▁Z hi ▁Bo ▁Y ao ▁ 智 <0xE4> <0xBC> <0xAF> <0xE7> <0x91> <0xA4> ) ▁of ▁the ▁house ▁of ▁Z hi ▁ex ert ed ▁the ▁most ▁influence ▁in ▁the ▁Jin ▁court ▁– ▁all ▁dec isions ▁of ▁the ▁state ▁had ▁to ▁pass ▁through ▁him . ▁He ▁also ▁controlled ▁the ▁most ▁territory ▁within ▁the ▁state . ▁The ▁reign ing ▁du ke ▁of ▁Jin , ▁Duke ▁A i , ▁was ▁power less ▁to ▁rest rain ▁him . ▁So ▁Z hi ▁Y ao , ▁in ▁his ▁pride , ▁began ▁to ▁demand ▁lands ▁from ▁the ▁other ▁three ▁houses . ▁The ▁houses ▁of ▁Wei ▁and ▁Han ▁rel uct antly ▁comp lied ▁to ▁e va de ▁Z hi ' s ▁wr ath , ▁but ▁Z ha o ▁X i ang zi ▁( <0xE8> <0xB6> <0x99> <0xE8> <0xA5> <0x84> 子 ) ▁refused ▁to ▁c ede ▁the ▁territ ories ▁of ▁Lin ▁( <0xE8> <0x97> <0xBA> ) ▁and ▁Ga ol ang ▁( <0xE7> <0x9A> <0x8B> <0xE7> <0x8B> <0xBC> ), ▁both ▁in ▁modern - day ▁L ishi , ▁to ▁Z hi . ▁Z hi , ▁in ▁ret ribution , ▁formed ▁a ▁secret ▁al liance ▁with |
▁the ▁houses ▁of ▁Wei ▁and ▁Han ▁to ▁attack ▁Z ha o . ▁ ▁Z ha o ▁X i ang zi ▁sus pected ▁an ▁attack ▁from ▁Z hi , ▁since ▁he ▁had ▁heard ▁that ▁Z hi ▁sent ▁en vo ys ▁to ▁Han ▁and ▁Wei ▁three ▁times , ▁but ▁never ▁to ▁Z ha o . ▁After ▁reject ing ▁suggestions ▁to ▁move ▁to ▁Z hang zi ▁or ▁Hand an ▁out ▁of ▁concern ▁for ▁the ▁people ▁there , ▁Z ha o ▁X i ang zi ▁asked ▁his ▁minister ▁Z hang ▁M eng tan ▁( 張 <0xE5> <0xAD> <0x9F> <0xE8> <0xAB> <0x87> ) ▁where ▁he ▁could ▁prepare ▁his ▁defence , ▁and ▁Z hang ▁M eng tan ▁suggested ▁J iny ang ▁because ▁J iny ang ▁had ▁been ▁well - g overn ed ▁for ▁gener ations . ▁Z ha o ▁agreed , ▁and ▁sum mon ed ▁Yan ling ▁Sh eng ▁( <0xE5> <0xBB> <0xB6> <0xE9> <0x99> <0xB5> 生 ) ▁to ▁lead ▁the ▁army ▁carri ages ▁and ▁caval ry ▁ahead ▁to ▁J iny ang , ▁Z ha o ▁himself ▁to ▁follow ▁later . ▁Once ▁in ▁J iny ang , ▁Z ha o ▁X i ang zi , ▁following ▁the ▁suggestions ▁of ▁Z hang ▁M eng tan , ▁issued ▁orders ▁to ▁ref ill ▁the ▁gran aries ▁and ▁the ▁tre as uries , ▁repair ▁walls , ▁make ▁ar rows , ▁and ▁m elt ▁co pper ▁pill ars ▁for ▁metal . ▁By ▁virtue ▁of ▁past ▁govern ance , ▁the ▁tre as uries , ▁gran aries , ▁and ▁ar sen als ▁were ▁filled ▁within ▁three |
▁days , ▁and ▁the ▁walls ▁rep a ired ▁within ▁five . ▁Thus ▁all ▁of ▁J iny ang ▁was ▁prepared ▁for ▁war . ▁ ▁Battle ▁ ▁When ▁the ▁three ▁arm ies ▁of ▁Z hi , ▁Wei , ▁and ▁Han ▁reached ▁J iny ang ▁in ▁ 4 5 5 ▁BC , ▁they ▁laid ▁sie ge ▁to ▁the ▁city , ▁but ▁for ▁three ▁months ▁they ▁could ▁not ▁take ▁the ▁city . ▁They ▁ ▁f anned ▁out ▁and ▁surrounded ▁the ▁city , ▁and ▁a ▁year ▁later ▁di vert ed ▁the ▁flow ▁of ▁the ▁Fen ▁River ▁to ▁in und ate ▁the ▁city . ▁All ▁buildings ▁under ▁three ▁stories ▁high ▁were ▁sub mer ged , ▁and ▁the ▁people ▁of ▁J iny ang ▁were ▁obliged ▁to ▁live ▁in ▁nest - like ▁per ches ▁above ▁the ▁water ▁and ▁hang ▁their ▁k ett les ▁from ▁the ▁sc aff old ing ▁in ▁order ▁to ▁cook . ▁ ▁By ▁the ▁third ▁year , ▁supplies ▁had ▁run ▁out ▁for ▁the ▁Z ha o , ▁dise ases ▁broke ▁out , ▁and ▁the ▁popul ace ▁were ▁reduced ▁to ▁e ating ▁each ▁other ' s ▁children . ▁Although ▁the ▁common ▁people ▁remained ▁firm ▁in ▁the ▁defence , ▁the ▁court ▁minister s ' ▁lo y alt ies ▁began ▁to ▁wa ver . ▁Z ha o ▁X i ang zi ▁asked ▁Z hang ▁M eng tan , ▁" O ur ▁prov isions ▁are ▁gone , ▁our ▁strength ▁and ▁resources ▁are ▁exha usted , ▁the ▁officials ▁are ▁star ving ▁and ▁ill , ▁and ▁I ▁fear ▁we ▁can ▁hold ▁out ▁no ▁longer |
. ▁I ▁am ▁going ▁to ▁surrender ▁the ▁city , ▁but ▁to ▁which ▁of ▁the ▁three ▁states ▁should ▁I ▁surrender ?" ▁Z hang ▁M eng tan , ▁much ▁al ar med , ▁persu aded ▁Z ha o ▁not ▁to ▁surrender ▁but ▁instead ▁send ▁him ▁out ▁to ▁negoti ate ▁with ▁the ▁houses ▁of ▁Wei ▁and ▁Han . ▁ ▁The ▁houses ▁of ▁Wei ▁and ▁Han ▁were ▁promised ▁an ▁even ▁split ▁of ▁Z ha o ' s ▁territ ories ▁when ▁the ▁battle ▁was ▁won , ▁however ▁both ▁the ▁Wei ▁and ▁Han ▁leaders ▁were ▁une asy , ▁since ▁they ▁understood ▁that ▁they ▁too ▁would ▁be ▁conquer ed ▁if ▁Z ha o ▁fell ▁to ▁Z hi . ▁Z hi ▁Y ao ' s ▁minister , ▁X i ▁Ci ▁( <0xE9> <0x83> <0xA4> <0xE7> <0x96> <0xB5> ), ▁war ned ▁Z hi ▁that ▁the ▁two ▁houses ▁were ▁going ▁to ▁revol t , ▁since ▁" the ▁men ▁and ▁horses ▁[ of ▁J iny ang ] ▁are ▁e ating ▁each ▁other ▁and ▁the ▁city ▁is ▁soon ▁to ▁fall , ▁yet ▁the ▁l ords ▁of ▁Han ▁and ▁Wei ▁show ▁no ▁signs ▁of ▁joy ▁but ▁instead ▁are ▁wor ried . ▁If ▁those ▁are ▁not ▁reb elli ous ▁signs , ▁then ▁what ▁are ▁they ?" ▁Z hi ▁paid ▁X i ▁Ci ▁no ▁he ed , ▁and ▁instead ▁told ▁the ▁l ords ▁of ▁Han ▁and ▁Wei ▁of ▁X i ' s ▁susp icion . ▁X i , ▁knowing ▁that ▁his ▁warning ▁fell ▁to ▁de af ▁ears , ▁exc used ▁himself ▁from ▁the ▁battle field ▁by ▁going ▁to |
▁the ▁State ▁of ▁Q i ▁as ▁an ▁en voy . ▁ ▁Indeed , ▁when ▁Z hang ▁M eng tan ▁secret ly ▁met ▁with ▁Wei ▁H uan - zi ▁and ▁Han ▁K ang zi ▁( <0xE9> <0x9F> <0x93> 康 子 ), ▁who ▁conf essed ▁that ▁they ▁were ▁secret ly ▁planning ▁to ▁mut iny ▁against ▁Z hi . ▁The ▁three ▁discussed ▁their ▁plans ▁and ▁settled ▁on ▁a ▁date ▁to ▁execute ▁the ▁plans . ▁Z hang ▁M eng tan ▁returned ▁to ▁J iny ang ▁to ▁report ▁back ▁to ▁Z ha o ▁X i ang zi , ▁and ▁Z ha o , ▁in ▁joy ▁and ▁app reh ension , ▁bow ed ▁to ▁Z hang ▁several ▁times ▁as ▁a ▁sign ▁of ▁great ▁rever ence . ▁ ▁One ▁of ▁Z hi ▁Y ao ' s ▁cl ans men , ▁Z hi ▁Gu o ▁( 智 <0xE9> <0x81> <0x8E> ), ▁by ▁happen st ance , ▁observed ▁the ▁leaders ▁of ▁Wei ▁and ▁Han ▁after ▁the ▁secret ▁meeting , ▁and ▁war ned ▁Z hi ▁Y ao ▁of ▁the ▁possibility ▁that ▁they ▁might ▁re bel , ▁jud ging ▁by ▁their ▁lack ▁of ▁rest raint s ▁like ▁before . ▁Z hi ▁again ▁chose ▁to ▁put ▁his ▁trust ▁in ▁his ▁two ▁al lies , ▁saying : ▁" Since ▁I ▁have ▁been ▁this ▁good ▁to ▁them , ▁they ▁would ▁surely ▁not ▁attack ▁or ▁dece ive ▁me . ▁Our ▁troops ▁have ▁inv ested ▁J iny ang ▁for ▁three ▁years . ▁Now ▁when ▁the ▁city ▁is ▁ready ▁to ▁fall ▁at ▁any ▁moment ▁and ▁we ▁are ▁about ▁to ▁enjoy |
▁the ▁spo ils , ▁what ▁reason ▁would ▁they ▁have ▁for ▁changing ▁their ▁minds ?" ▁Z hi ▁told ▁Wei ▁and ▁Han ▁what ▁Z hi ▁Gu o ▁said , ▁and ▁the ▁two ▁lear nt ▁to ▁be ▁c aut ious ▁when ▁they ▁saw ▁Z hi ▁Gu o ▁the ▁next ▁day . ▁Z hi ▁Gu o , ▁seeing ▁the ▁change ▁in ▁their ▁looks , ▁ins isted ▁to ▁Z hi ▁Y ao ▁that ▁the ▁two ▁ought ▁to ▁be ▁executed . ▁Z hi ▁Y ao ▁would ▁not ▁hear ▁of ▁it , ▁and ▁Z hi ▁Gu o ▁suggested ▁another ▁plan ▁to ▁buy ▁their ▁friendship : ▁to ▁b ri be ▁the ▁influ ential ▁minister s ▁Z ha o ▁J ia ▁( <0xE8> <0xB6> <0x99> <0xE8> <0x91> <0xAD> ) ▁of ▁Wei ▁and ▁Du an ▁G ui ▁( 段 <0xE8> <0xA6> <0x8F> ) ▁of ▁Han ▁with ▁en fe off ment ▁of ▁the ▁Z ha o ▁lands . ▁Z hi ▁Y ao ▁rejected ▁the ▁proposal ▁because ▁the ▁Z ha o ▁lands ▁were ▁going ▁to ▁split ▁in ▁three ▁already , ▁and ▁he ▁did ▁not ▁want ▁to ▁receive ▁less ▁than ▁one ▁third ▁of ▁the ▁event ual ▁spo ils . ▁Since ▁Z hi ▁Y ao ▁would ▁not ▁listen , ▁Z hi ▁Gu o ▁left ▁him ▁and ▁changed ▁his ▁surname ▁to ▁Fu ▁( <0xE8> <0xBC> <0x94> ) ▁as ▁a ▁pre ca ution . ▁ ▁H ear ing ▁this , ▁Z hang ▁M eng tan ▁ur ged ▁Z ha o ▁X i ang zi ▁to ▁take ▁action ▁immediately , ▁l est ▁Z hi ▁Y ao ▁changes ▁his ▁mind . |
▁Z ha o ▁then ▁dispatch ed ▁Z hang ▁M eng tan ▁to ▁the ▁cam ps ▁of ▁Wei ▁and ▁Han , ▁alert ing ▁them ▁of ▁the ▁time ▁of ▁the ▁final ▁attack . ▁On ▁the ▁night ▁of ▁May ▁ 8 , ▁ 4 5 3 ▁BC , ▁Z ha o ▁troops ▁killed ▁the ▁men ▁guard ing ▁the ▁d ams ▁of ▁the ▁Fen ▁River ▁and ▁let ▁the ▁river ▁flo od ▁the ▁Z hi ▁arm ies . ▁As ▁the ▁Z hi ▁arm ies ▁fell ▁into ▁cha os ▁trying ▁to ▁stop ▁the ▁water , ▁the ▁Wei ▁and ▁Han ▁arm ies ▁attacked ▁Z hi ▁from ▁the ▁sides ▁and ▁Z ha o ▁led ▁his ▁soldiers ▁in ▁a ▁front al ▁attack . ▁T ogether ▁they ▁inf lic ted ▁a ▁severe ▁defeat ▁on ▁Z hi ▁Y ao ' s ▁army ▁and ▁took ▁him ▁prisoner . ▁ ▁Z ha o ▁X i ang zi ▁had ▁a ▁grud ge ▁on ▁Z hi ▁Y ao ▁because ▁Z hi ▁had ▁often ▁hum ili ated ▁him ▁in ▁the ▁past , ▁thus ▁he ▁executed ▁Z hi ▁and ▁made ▁his ▁sk ull ▁into ▁a ▁wine cup . ▁No ▁one ▁in ▁the ▁house ▁of ▁Z hi ▁was ▁sp ared ▁except ▁for ▁Z hi ▁Gu o ' s ▁family , ▁who ▁had ▁already ▁changed ▁their ▁s urn ames ▁and ▁fled . ▁The ▁territ ories ▁of ▁Z hi ▁were ▁even ly ▁distributed ▁among ▁the ▁three ▁vict ors . ▁ ▁After math ▁With ▁the ▁elim ination ▁of ▁the ▁Z hi ▁house , ▁control ▁of ▁the ▁State ▁of ▁Jin ▁fell ▁to ▁the ▁remaining ▁three |
▁families , ▁their ▁powers ▁un checked ▁by ▁anyone ▁in ▁the ▁state . ▁In ▁ 4 3 4 ▁BC , ▁following ▁the ▁death ▁of ▁Duke ▁A i , ▁the ▁three ▁families ▁an nex ed ▁all ▁of ▁Jin ' s ▁lands , ▁leaving ▁only ▁the ▁capital ▁est ates ▁of ▁Ji ang ▁and ▁Qu wo ▁for ▁the ▁next ▁du ke ▁of ▁Jin . ▁In ▁ 4 0 3 ▁BC , ▁the ▁Wei , ▁Z ha o ▁and ▁Han ▁l ords ▁all ▁went ▁to ▁King ▁We il ie ▁of ▁Z hou ▁in ▁Lu oy ang ▁and ▁were ▁made ▁marqu ises ▁in ▁their ▁own ▁right , ▁establish ing ▁the ▁three ▁states ▁of ▁Z ha o , ▁Wei , ▁and ▁Han , ▁us her ing ▁in ▁the ▁beginning ▁of ▁the ▁W arring ▁States ▁period ▁by ▁S ima ▁Gu ang ' s ▁definition . ▁Most ▁histor ians , ▁when ▁referring ▁to ▁those ▁three ▁states , ▁call ▁them ▁the ▁" Three ▁J ins " ▁( 三 <0xE6> <0x99> <0x89> ). ▁The ▁State ▁of ▁Jin ▁continued ▁to ▁exist ▁with ▁a ▁tiny ▁piece ▁of ▁territory ▁until ▁ 3 7 6 ▁BC ▁when ▁the ▁rest ▁of ▁the ▁territory ▁was ▁partition ed ▁by ▁the ▁Three ▁J ins . ▁ ▁The ▁Leg al ist ▁think er ▁Han ▁Fe izi ▁of ▁the ▁late ▁W arring ▁States ▁period ▁used ▁this ▁battle ▁as ▁an ▁example ▁of ▁failure ▁via ▁gre ed ▁and ▁per vers ity , ▁one ▁of ▁the ▁" T en ▁F ault s " ▁that ▁a ▁r uler ▁should ▁not ▁have . ▁He ▁reason ed ▁that ▁because ▁Z |
hi ▁Y ao ▁was ▁too ▁fond ▁for ▁profit , ▁he ▁opened ▁himself ▁to ▁the ▁destruction ▁of ▁the ▁state ▁and ▁his ▁own ▁dem ise . ▁ ▁The ▁Song ▁D ynast y ▁states man ▁S ima ▁Gu ang , ▁in ▁his ▁Z iz hi ▁T ong j ian , ▁attribute ▁Z hi ▁Y ao ' s ▁failure ▁to ▁his ▁lack ing ▁virtue ▁compared ▁to ▁his ▁tal ents , ▁and ▁thus ▁invited ▁dis aster . ▁ ▁Notes ▁ ▁References ▁S ima ▁Gu ang , ▁Z iz hi ▁T ong j ian ▁S ima ▁Q ian , ▁Records ▁of ▁the ▁Grand ▁Histor ian ▁Li u ▁X i ang ▁et ▁al ., ▁Z han ▁Gu o ▁Ce ▁Watson , ▁Bur ton ▁( 2 0 0 3 ). ▁Han ▁Fe izi : ▁Basic ▁Writ ings . ▁New ▁York : ▁Columbia ▁University ▁Press . ▁. ▁ ▁Category : 4 5 5 ▁BC ▁Category : 4 5 3 ▁BC ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : 5 th ▁century ▁BC ▁in ▁China ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : J in ▁( Ch inese ▁state ) ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : H an ▁( state ) ▁Category : Z ha o ▁( state ) ▁Category : We i ▁( state ) <0x0A> </s> ▁The ▁ 1 9 9 7 ▁F i esta ▁Bowl ▁may ▁refer ▁to : ▁▁▁ 1 9 9 7 ▁F i esta ▁Bowl ▁( J anu ary ) ▁- ▁January ▁ 1 , ▁ 1 9 9 |
7 , ▁game ▁( after ▁the ▁ 1 9 9 6 ▁season ) ▁between ▁P enn ▁State ▁and ▁Texas ▁▁ 1 9 9 7 ▁F i esta ▁Bowl ▁( Dec ember ) ▁- ▁December ▁ 3 1 , ▁ 1 9 9 7 , ▁game ▁( after ▁the ▁ 1 9 9 7 ▁season ) ▁between ▁Kansas ▁State ▁and ▁Sy rac use <0x0A> </s> ▁Edu ardo ▁Miss oni ▁( born ▁July ▁ 3 1 , ▁ 1 9 5 4 ▁in ▁Rome ) ▁is ▁an ▁Italian ▁medical ▁doctor ▁who ▁has ▁been ▁active ▁in ▁numerous ▁social ▁causes . ▁He ▁was ▁appointed ▁as ▁the ▁Secretary ▁General ▁of ▁the ▁World ▁Organ ization ▁of ▁the ▁Sc out ▁Mov ement ▁from ▁April ▁ 1 , ▁ 2 0 0 4 ▁through ▁November ▁ 3 0 , ▁ 2 0 0 7 . ▁ ▁Life ▁ ▁Dr . ▁Miss oni ▁received ▁his ▁medical ▁training ▁and ▁special ty ▁in ▁tropical ▁medicine ▁from ▁Rome ▁University . ▁He ▁subsequently ▁obtained ▁a ▁master ' s ▁degree ▁from ▁the ▁London ▁School ▁of ▁H yg iene ▁& ▁Trop ical ▁Medicine . ▁He ▁is ▁a ▁professor ▁at ▁B oc con i ▁University ▁Management ▁School ▁in ▁Milan . ▁His ▁area ▁of ▁teaching ▁and ▁research ▁is ▁ ▁related ▁to ▁health ▁development ▁co operation ▁management ▁and ▁global ▁strateg ies ▁for ▁health . ▁ ▁He ▁began ▁his ▁career ▁as ▁a ▁volunte er ▁doctor ▁in ▁Nic ar agua . ▁He ▁was ▁later ▁employed ▁as ▁a ▁UN ICE F ▁officer ▁in ▁Mexico . ▁He ▁worked ▁for ▁the ▁Italian ▁government ▁in ▁the ▁capacity |
▁of ▁advis er ▁and ▁representative ▁for ▁health ▁co operation ▁programs ▁in ▁Latin ▁America ▁and ▁sub - S ah aran ▁Africa . ▁ ▁As ▁a ▁youth ▁in ▁Italy ▁Dr . ▁Miss oni ▁joined ▁the ▁Sc out ▁movement . ▁Later , ▁as ▁a ▁young ▁adult ▁he ▁became ▁a ▁Sc out ▁leader ▁and ▁remained ▁active ▁in ▁Sc out ing ▁until ▁he ▁left ▁for ▁his ▁medical ▁mission ▁in ▁Nic ar agua . ▁Many ▁years ▁later , ▁without ▁having ▁applied ▁for ▁the ▁position , ▁he ▁was ▁" head h unted " ▁on ▁beh alf ▁of ▁the ▁World ▁Sc out ▁Committee ▁and ▁was ▁selected ▁as ▁the ▁new ▁Secretary ▁General ▁of ▁W OS M . ▁He ▁took ▁office ▁April ▁ 1 , ▁ 2 0 0 4 . ▁ ▁W OS M ▁crisis ▁On ▁October ▁ 1 5 , ▁ 2 0 0 7 , ▁a ▁group ▁of ▁National ▁Sc out ing ▁Organ izations ▁wrote ▁an ▁open ▁letter ▁of ▁compla int ▁to ▁the ▁World ▁Sc out ▁Committee . ▁ ▁The ▁main ▁compla ints ▁were ▁that ▁the ▁World ▁Sc out ▁Bureau ▁was ▁not ▁foc using ▁on ▁National ▁Sc out ing ▁Organ izations , ▁especially ▁those ▁in ▁developing ▁countries ▁and ▁that ▁there ▁were ▁govern ance ▁and ▁management ▁issues ▁within ▁the ▁World ▁Sc out ▁Bureau . ▁ ▁Two ▁days ▁later , ▁the ▁Boy ▁Sc outs ▁of ▁America ▁sent ▁a ▁letter ▁to ▁the ▁W SC ▁re iter ating ▁their ▁position ▁and ▁stating ▁that ▁they ▁would ▁with hold ▁fund ing ▁to ▁the ▁W SB ▁until ▁the ▁current ▁Secretary ▁General ▁was ▁replaced ▁and ▁appropriate ▁processes ▁instit |
uted ▁to ▁restore ▁the ▁W SB ▁its ▁core ▁mission . ▁Svens ka ▁Sc out rå det ▁followed ▁with ▁a ▁similar ▁letter . ▁The ▁World ▁Sc out ▁Foundation , ▁which ▁had ▁been ▁instit uted ▁to ▁ins ure ▁a ▁reliable ▁fund ing ▁source ▁for ▁the ▁movement , ▁followed ▁suit . ▁ ▁The ▁World ▁Sc out ▁Committee ▁wrote ▁an ▁un cir cul ated ▁response ▁to ▁these ▁requests ▁on ▁October ▁ 2 4 . ▁ ▁Several ▁National ▁Sc out ▁Organ izations ▁expressed ▁concern ▁at ▁this ▁economic ▁co erc ion . ▁ ▁On ▁November ▁ 1 2 , ▁ 2 0 0 7 , ▁the ▁World ▁Sc out ▁Committee ▁met ▁in ▁C airo ▁and ▁rel ieved ▁Miss oni ▁from ▁his ▁position ▁as ▁Secretary ▁General , ▁despite ▁his ▁opposition ▁and ▁that ▁of ▁many ▁committee ▁members . ▁He ▁was ▁to ▁maintain ▁representative ▁duties ▁until ▁November ▁ 3 0 . ▁ ▁On ▁November ▁ 3 0 , ▁ 2 0 0 7 , ▁Edu ardo ▁Miss oni ▁wrote ▁a ▁chron ology ▁of ▁what ▁he ▁called ▁a ▁" put sch " ▁on ▁his ▁personal ▁web ▁page , ▁re le asing ▁many ▁documents ▁which ▁were ▁unknown ▁at ▁the ▁time ▁and ▁giving ▁his ▁point ▁of ▁view . ▁ ▁Awards ▁and ▁hon ors ▁ ▁Ast ero id ▁ 2 7 3 4 1 2 ▁Edu ard om iss oni , ▁discovered ▁by ▁Italian ▁amateur ▁astronom er ▁Sil vano ▁Cas ul li ▁in ▁ 2 0 0 6 , ▁was ▁named ▁in ▁his ▁honor . ▁The ▁official ▁ ▁was ▁published ▁by ▁the ▁Minor ▁Planet ▁Center ▁on |
▁May ▁ 2 9 , ▁ 2 0 1 8 ▁( ). ▁ ▁See ▁also ▁▁▁ ▁World ▁Organ ization ▁of ▁the ▁Sc out ▁Mov ement ▁ ▁References ▁ ▁External ▁links ▁▁ ▁Miss oni ▁Website ▁ ▁World ▁Organisation ▁of ▁the ▁Sc out ▁Mov ement : ▁Official ▁bi ography ▁ ▁Comment s ▁about ▁the ▁end ▁of ▁his ▁W OS M ▁mand ate ▁ ▁Category : World ▁Sc out ▁Committee ▁members ▁Category : 1 9 5 4 ▁birth s ▁Category : L iving ▁people ▁Category : Pe ople ▁from ▁Rome ▁Category : B oc con i ▁University ▁al umn i <0x0A> </s> ▁Bruno ▁Corn illet ▁( born ▁ 8 ▁February ▁ 1 9 6 3 ▁in ▁Lamb alle , ▁C ô tes - d ' Ar mor ) ▁is ▁a ▁French ▁former ▁professional ▁road ▁b icy cle ▁rac er . ▁ ▁Major ▁results ▁▁ 1 9 8 4 ▁▁ 1 st , ▁Over all , ▁Vol ta ▁a ▁la ▁Com unit at ▁Val enci ana ▁▁ 1 st , ▁Stage ▁ 1 ▁ 1 9 8 5 ▁▁ 1 st , ▁Stage ▁ 2 , ▁Paris – B our ges ▁ 1 9 8 6 ▁▁ 1 st , ▁Ch ate aur oux - L im og es ▁▁ 1 st , ▁Stage ▁ 4 , ▁Tour ▁de ▁Rom and ie ▁ 1 9 8 7 ▁▁ 1 st , ▁Stage ▁ 2 , ▁Crit éri um ▁du ▁D au ph iné ▁Lib éré ▁▁ 1 st , ▁Stage ▁ 3 , ▁Post gi rot ▁Open |
▁ 1 9 8 9 ▁▁ 1 st , ▁Stage ▁ 6 , ▁Post gi rot ▁Open ▁▁ 1 st , ▁Stage ▁ 4 , ▁Paris – N ice ▁( M t ▁F aron ) ▁ 1 9 9 0 ▁▁ 1 st , ▁GP ▁O uest - France ▁▁ 1 st , ▁Stage ▁ 2 b , ▁Tour ▁of ▁Ireland ▁ 1 9 9 1 ▁▁ 1 st , ▁A ▁Tra vers ▁le ▁Mor b ih an ▁▁ 1 st , ▁Over all , ▁Circ uit ▁de ▁la ▁S art he ▁▁ 1 st , ▁Stage ▁ 2 ▁▁ 1 st , ▁Stage ▁ 4 a ▁ 1 9 9 2 ▁▁ 1 st , ▁Tour ▁de ▁V end ée ▁ 1 9 9 3 ▁▁ 1 st , ▁Paris – B our ges ▁ ▁External ▁links ▁▁ ▁Category : 1 9 6 3 ▁birth s ▁Category : L iving ▁people ▁Category : Pe ople ▁from ▁Lamb alle ▁Category : F rench ▁male ▁cycl ists ▁Category : T our ▁de ▁France ▁cycl ists ▁Category : S ports people ▁from ▁C ô tes - d ' Ar mor <0x0A> </s> ▁C uff links ▁are ▁items ▁of ▁j ew el ry ▁that ▁are ▁used ▁to ▁secure ▁the ▁cu ff s ▁of ▁dress ▁sh ir ts . ▁C uff links ▁can ▁be ▁manufact ured ▁from ▁a ▁variety ▁of ▁different ▁materials , ▁such ▁as ▁glass , ▁stone , ▁le ather , ▁metal , ▁pre cious ▁metal ▁or ▁combinations ▁of ▁these . ▁Sec uring ▁of ▁the ▁cu |
ff links ▁is ▁usually ▁achieved ▁via ▁togg les ▁or ▁revers es ▁based ▁on ▁the ▁design ▁of ▁the ▁front ▁section , ▁which ▁can ▁be ▁fol ded ▁into ▁position . ▁There ▁are ▁also ▁variants ▁with ▁ch ains ▁or ▁a ▁rig id , ▁bent ▁rear ▁section . ▁The ▁front ▁sections ▁of ▁the ▁cu ff links ▁can ▁be ▁decor ated ▁with ▁gem st ones , ▁in l ays , ▁in set ▁material ▁or ▁en am el ▁and ▁designed ▁in ▁two ▁or ▁three - dimensional ▁form . ▁ ▁C uff links ▁are ▁designed ▁only ▁for ▁use ▁with ▁sh ir ts ▁which ▁have ▁cu ff s ▁with ▁button hol es ▁on ▁both ▁sides ▁but ▁no ▁buttons . ▁These ▁may ▁be ▁either ▁single ▁or ▁double - length ▁(" F rench ") ▁cu ff s , ▁and ▁may ▁be ▁worn ▁either ▁" k iss ing ", ▁with ▁both ▁edges ▁pointing ▁out ward , ▁or ▁" bar rel - style ", ▁with ▁one ▁edge ▁pointing ▁out ward ▁and ▁the ▁other ▁one ▁in ward ▁so ▁that ▁its ▁hem ▁is ▁over la pped . ▁In ▁the ▁US , ▁the ▁" bar rel - style " ▁was ▁popular ized ▁by ▁a ▁famous ▁ 1 9 th - century ▁ent ert ainer ▁and ▁c low n , ▁Dan ▁R ice ; ▁however , ▁" k iss ing " ▁cu ff s ▁are ▁usually ▁preferred . ▁ ▁Design ▁ ▁Cl osing ▁mechanism ▁ ▁C uff link ▁designs ▁vary ▁widely , ▁with ▁the ▁most ▁traditional ▁the ▁" double - panel ", ▁consisting ▁of ▁a ▁short ▁post ▁or ▁( |
more ▁often ) ▁chain ▁connecting ▁two ▁disc - sh aped ▁parts , ▁both ▁decor ated . ▁Wh ale - back ▁and ▁toggle - back ▁cu ff links ▁have ▁a ▁flat ▁decor ated ▁face ▁for ▁one ▁side , ▁while ▁the ▁other ▁side ▁shows ▁only ▁the ▁sw ivel - bar ▁and ▁its ▁post . ▁The ▁sw ivel ▁bar ▁is ▁placed ▁vert ically ▁( aligned ▁with ▁the ▁post ) ▁to ▁put ▁the ▁links ▁on ▁and ▁off , ▁then ▁hor izont ally ▁to ▁hold ▁them ▁in ▁place ▁when ▁worn . ▁The ▁decor ated ▁face ▁on ▁the ▁most ▁visible ▁side ▁is ▁usually ▁larger ; ▁a ▁variety ▁of ▁designs ▁can ▁connect ▁the ▁smaller ▁piece : ▁It ▁may ▁be ▁small ▁enough ▁to ▁fit ▁through ▁the ▁button ▁hole ▁like ▁a ▁button ▁would ; ▁it ▁may ▁be ▁separated ▁and ▁attached ▁from ▁the ▁other ▁side ; ▁or ▁it ▁may ▁have ▁a ▁portion ▁that ▁sw iv els ▁on ▁the ▁central ▁post , ▁align ing ▁with ▁the ▁post ▁while ▁the ▁link ▁is ▁thread ed ▁through ▁the ▁button - hole ▁and ▁sw ivel ing ▁into ▁a ▁position ▁at ▁right ▁angles ▁to ▁the ▁post ▁when ▁worn . ▁ ▁Link s ▁of ▁kn otted ▁bright ly ▁col oured ▁sil k ▁enjoyed ▁renew ed ▁popular ity ▁in ▁the ▁ 1 9 9 0 s , ▁joined ▁by ▁an ▁el astic ated ▁section . ▁ ▁Mot if ▁ ▁The ▁visible ▁part ▁of ▁a ▁cu ff link ▁is ▁often ▁mon ogram med ▁or ▁decor ated ▁in ▁some ▁way , ▁such ▁as ▁with ▁a ▁birth stone ▁or ▁something ▁which ▁reflect s ▁a |
▁h ob by ▁or ▁association . ▁There ▁are ▁numerous ▁styles ▁including ▁novel ty , ▁traditional , ▁or ▁contemporary . ▁ ▁C uff links ▁can ▁and ▁have ▁been ▁worn ▁with ▁cas ual ▁wear , ▁inform al ▁att ire ▁or ▁business ▁su its , ▁all ▁the ▁way ▁to ▁very ▁dress y ▁styles ▁such ▁as ▁semi - form al ▁( black ▁tie ▁or ▁St roller ), ▁and ▁formal ▁wear ▁( mor ning ▁dress ▁or ▁white ▁tie ), ▁where ▁they ▁become ▁essentially ▁required ▁and ▁are ▁matched ▁with ▁sh irt ▁stud s . ▁Col our ful ▁and ▁wh ims ical ▁cu ff link ▁designs ▁are ▁usually ▁only ▁suitable ▁for ▁cas ual ▁and ▁relatively ▁inform al ▁events , ▁and ▁signals ▁someone ▁who ▁is ▁fun - lo ving , ▁approach able , ▁and ▁friendly . ▁However , ▁formal ▁wear ▁has ▁str ic ter ▁expect ations , ▁with ▁p ear l ▁cu ff links ▁being ▁preferred ▁for ▁white ▁tie ▁events ▁ ▁Trad itionally ▁it ▁was ▁considered ▁important ▁to ▁coordinate ▁the ▁metal ▁of ▁one ' s ▁cu ff links ▁with ▁other ▁j ew el ry ▁such ▁as ▁watch ▁case , ▁bel t ▁bu ck le , ▁tie ▁bar ▁or ▁rings . ▁ ▁S art orial ▁exper ts ▁pres cribe ▁gold ▁to ▁be ▁worn ▁during ▁the ▁day time ▁and ▁silver ▁for ▁evening ▁wear , ▁but ▁neither ▁expectation ▁is ▁considered ▁as ▁critical ▁as ▁it ▁once ▁was . ▁ ▁Fab ric ▁cu ff links ▁ ▁An ▁alternative ▁type ▁of ▁cu ff link ▁is ▁the ▁che aper ▁sil k ▁kn ot ▁which ▁is ▁usually ▁two ▁con |
jo ined ▁mon key ' s ▁f ist ▁or ▁Turk ' s ▁head ▁kn ots . ▁The ▁Paris ▁sh irt maker ▁Char vet ▁is ▁cred ited ▁with ▁their ▁introduction ▁in ▁ 1 9 0 4 . ▁They ▁became ▁quickly ▁popular : ▁" Char vet ▁[ link ] ▁buttons ▁of ▁tw isted ▁bra id ▁are ▁quite ▁the ▁style " ▁noted ▁The ▁New ▁York ▁Times ▁in ▁ 1 9 0 8 . ▁French ▁cu ff ▁sh ir ts ▁are ▁often ▁accompanied ▁with ▁a ▁set ▁of ▁colour - co ordin ated ▁sil k ▁kn ots ▁instead ▁of ▁double - button ▁cu ff links . ▁They ▁are ▁now ▁often ▁not ▁from ▁sil k , ▁and ▁consist ▁of ▁a ▁fabric ▁over ▁an ▁el astic ated ▁core . ▁O wing ▁to ▁the ▁popular ity ▁of ▁this ▁fashion , ▁metal ▁cu ff links ▁sh aped ▁to ▁look ▁like ▁a ▁sil k ▁kn ot ▁are ▁also ▁worn . ▁ ▁Inter change able ▁cu ff links ▁ ▁Inter change able ▁cu ff links ▁have ▁started ▁to ▁come ▁back ▁in ▁to ▁the ▁market place ▁in ▁recent ▁years . ▁Cart ier ▁introduced ▁their ▁type ▁in ▁the ▁ 1 9 6 0 s ▁consisting ▁of ▁a ▁bar ▁with ▁a ▁loop ▁at ▁either ▁end ▁that ▁would ▁allow ▁a ▁mot if ▁to ▁be ▁inserted ▁at ▁either ▁end ▁per pend icular ▁to ▁the ▁bar . ▁ ▁Cart ier ▁referred ▁to ▁the ▁inter change able ▁mot ifs ▁as ▁bat ons . ▁ ▁A ▁set ▁including ▁the ▁bars ▁would ▁come ▁with ▁bat ons ▁made ▁from ▁cor al , ▁car nel |
ian , ▁la pis ▁la z uli , ▁rock ▁cry stal , ▁on y x , ▁t iger ' s ▁eye ▁and ▁mal ach ite . ▁ ▁B ars ▁would ▁have ▁been ▁made ▁from ▁st ain less ▁steel , ▁ster ling ▁silver ▁or ▁ 1 8 k ▁gold . ▁ ▁Cart ier ▁recently ▁re - int rodu ced ▁these ▁inter change able ▁cu ff links ▁with ▁bat ons ▁made ▁from ▁strip ed ▁ch al ced ony , ▁silver ▁obs id ian , ▁mal ach ite , ▁sod al ite , ▁and ▁red ▁t iger ' s ▁eye . ▁ ▁The ▁accomp any ing ▁bars ▁are ▁made ▁from ▁ 1 8 k ▁gold ▁or ▁p all ad ium ▁pl ated ▁ster ling ▁silver . ▁ ▁The ▁se cur ing ▁mechanism ▁is ▁the ▁same ▁for ▁either ▁series ▁using ▁a ▁small ▁sc rew ▁in set ▁in ▁to ▁the ▁loop ed ▁end ▁of ▁the ▁bar . ▁The ▁pressure ▁ex ert ed ▁a ▁by ▁the ▁sc rew ▁on ▁the ▁b aton ▁holds ▁them ▁in ▁place . ▁ ▁Another ▁type ▁of ▁inter change able ▁system ▁was ▁created ▁by ▁pr anga ▁& ▁co . ▁The ▁pat ent - p ending ▁cu ff link ▁system ▁comes ▁apart ▁allowing ▁the ▁mot if , ▁referred ▁to ▁as ▁an ▁an ker , ▁to ▁slide ▁on . ▁ ▁Put ting ▁the ▁cu ff link ▁back ▁together ▁sec ures ▁the ▁an ker ▁into ▁the ▁cu ff link ▁allowing ▁it ▁to ▁be ▁worn . ▁pr anga ▁& ▁co ' s ▁cu ff link ▁is ▁simple ▁and ▁similar |
▁in ▁concept ▁to ▁charm ▁bra ce let ▁be ad ▁systems ▁popular ized ▁by ▁companies ▁like ▁P and ora ▁Jew el ry . ▁ ▁The ▁an k ers ▁used ▁in ▁the ▁cu ff links ▁are ▁inter change able ▁with ▁various ▁charm ▁bra ce lets ▁systems ▁and ▁vis a - vers a . ▁ ▁History ▁Although ▁the ▁first ▁cu ff links ▁appeared ▁in ▁the ▁ 1 6 0 0 s , ▁they ▁did ▁not ▁become ▁common ▁until ▁the ▁end ▁of ▁the ▁ 1 8 th ▁century . ▁Their ▁development ▁is ▁closely ▁related ▁to ▁that ▁of ▁the ▁men ' s ▁sh irt . ▁Men ▁have ▁been ▁we aring ▁sh irt - like ▁items ▁of ▁cl othing ▁since ▁the ▁in vention ▁of ▁w oven ▁fabric ▁ 5 , 0 0 0 ▁years ▁BC . ▁Although ▁styles ▁and ▁methods ▁of ▁manufact uring ▁changed , ▁the ▁underlying ▁form ▁remained ▁the ▁same : ▁a ▁t unic ▁opened ▁to ▁the ▁front ▁with ▁sle e ves ▁and ▁col lar . ▁The ▁sh irt ▁was ▁worn ▁directly ▁next ▁to ▁the ▁skin , ▁it ▁was ▁was h able ▁and ▁thereby ▁protected ▁the ▁outer ▁gar ments ▁from ▁contact ▁with ▁the ▁body . ▁Con vers ely , ▁it ▁also ▁protected ▁the ▁skin ▁against ▁the ▁rough er ▁and ▁heav ier ▁fab rics ▁of ▁jack ets ▁and ▁co ats ▁by ▁covering ▁the ▁neck ▁and ▁w rist s . ▁ ▁The ▁early ▁form ▁of ▁cu ff links ▁called ▁linked ▁buttons , ▁sometimes ▁had ▁a ▁design ▁put ▁under ▁the ▁glass ▁of ▁the ▁cu ff link , ▁magn ifying ▁it ▁for |
▁others ▁to ▁see . ▁ ▁After ▁the ▁Middle ▁A ges ▁the ▁visible ▁areas ▁of ▁the ▁sh irt ▁( ne ck , ▁ch est ▁and ▁w rist s ) ▁became ▁sites ▁of ▁decor ative ▁elements ▁such ▁as ▁fr ills , ▁r uff s ▁and ▁emb roid ery . ▁The ▁cu ff s ▁were ▁held ▁together ▁with ▁rib b ons , ▁as ▁were ▁coll ars , ▁an ▁early ▁prec ursor ▁of ▁neck ties . ▁Fr ills ▁that ▁hung ▁down ▁over ▁the ▁w rist ▁were ▁worn ▁at ▁court ▁and ▁other ▁formal ▁settings ▁until ▁the ▁end ▁of ▁the ▁ 1 8 th ▁century , ▁whilst ▁in ▁the ▁every day ▁sh ir ts ▁of ▁the ▁time ▁the ▁sle e ves ▁ended ▁with ▁a ▁simple ▁rib bon ▁or ▁were ▁secured ▁with ▁a ▁button ▁or ▁a ▁connected ▁pair ▁of ▁buttons . ▁ ▁In ▁the ▁ 1 9 th ▁century ▁the ▁former ▁splend our ▁of ▁the ▁arist ocracy ▁was ▁su pers eded ▁by ▁the ▁b our ge ois ▁efficiency ▁of ▁the ▁new ▁employed ▁classes . ▁From ▁then ▁on ward ▁men ▁wore ▁a ▁highly ▁conventional ▁w ard ro be : ▁a ▁dark ▁suit ▁by ▁day , ▁a ▁dinner ▁jack et ▁or ▁tail co at ▁in ▁the ▁evening . ▁By ▁the ▁middle ▁of ▁the ▁ 1 9 th ▁century ▁the ▁modern ▁cu ff link ▁became ▁popular . ▁The ▁sh irt ▁front ▁as ▁well ▁as ▁col lar ▁and ▁cu ff s ▁covering ▁areas ▁of ▁the ▁most ▁wear ▁were ▁made ▁st urd ier . ▁This ▁was ▁practical ▁but ▁when ▁clean ▁and ▁st arch ed , |
▁coll ars ▁and ▁cu ff s ▁unders cor ed ▁the ▁formal ▁character ▁of ▁the ▁cl othing . ▁However , ▁they ▁could ▁be ▁too ▁st iff ▁to ▁secure ▁the ▁cu ff s ▁with ▁a ▁simple ▁button . ▁As ▁a ▁consequence , ▁from ▁the ▁mid ▁ 1 9 th ▁century ▁on ward ▁men ▁in ▁the ▁middle ▁and ▁upper ▁classes ▁wore ▁cu ff links . ▁The ▁industrial ▁revolution ▁meant ▁that ▁these ▁could ▁be ▁mass - produ ced , ▁making ▁them ▁available ▁in ▁every ▁price ▁category . ▁ ▁Col oured ▁cu ff links ▁made ▁from ▁gem st ones ▁were ▁initially ▁only ▁worn ▁by ▁men ▁with ▁a ▁great ▁deal ▁of ▁self - conf idence , ▁however . ▁This ▁situation ▁changed ▁when ▁the ▁Prince ▁of ▁Wales , ▁later ▁Edward ▁VII , ▁popular ised ▁colour ful ▁Fab erg é ▁cu ff links ▁in ▁the ▁ 1 9 th ▁century . ▁During ▁this ▁time ▁cu ff links ▁became ▁fashion ▁access ories ▁and ▁one ▁of ▁the ▁few ▁acceptable ▁items ▁of ▁j ew ell ery ▁for ▁men ▁in ▁Britain ▁and ▁the ▁U . S . ▁ ▁This ▁development ▁continued ▁into ▁the ▁early ▁ 1 9 0 0 s , ▁with ▁more ▁cu ff links ▁worn ▁than ▁ever ▁before . ▁These ▁were ▁available ▁in ▁every ▁type ▁of ▁form , ▁colour ▁and ▁material , ▁incorpor ating ▁both ▁gem st ones ▁and ▁less ▁pre cious ▁stones ▁and ▁glass ▁in ▁che aper ▁copies . ▁In tr icate ▁col oured ▁en am elled ▁cu ff links ▁in ▁every ▁conce iv able ▁geometric ▁pattern ▁were ▁especially ▁popular . ▁All |
▁of ▁these ▁were ▁of ▁equal ▁value , ▁as ▁C oco ▁Ch anel ▁had ▁made ▁fashion ▁j ew ell ery ▁acceptable ▁to ▁wear . ▁In ▁a ▁parallel ▁development , ▁however , ▁a ▁sport ier ▁style ▁of ▁sh irt ▁emer ged ▁with ▁un st arch ed ▁cu ff s ▁that ▁could ▁be ▁secured ▁with ▁simple ▁buttons . ▁ ▁This ▁spread ▁to ▁Europe ▁as ▁well ▁over ▁the ▁same ▁period . ▁In ▁Germany , ▁Id ar - O ber stein ▁and ▁P for z heim ▁were ▁key ▁cent res ▁of ▁cu ff link ▁production . ▁Wh ilst ▁in ▁Id ar - O ber stein ▁cu ff links ▁were ▁produced ▁using ▁simple ▁materials ▁for ▁the ▁more ▁mod est ▁budget , ▁the ▁P for z heim ▁j ew ell ery ▁manufact ur ers ▁produced ▁for ▁the ▁medium ▁and ▁upper ▁segments ▁using ▁genu ine ▁gold ▁and ▁silver . ▁In ▁P for z heim ▁prem ium ▁cu ff links ▁are ▁still ▁produced ▁today , ▁some ▁of ▁them ▁to ▁historic ▁patterns , ▁some ▁modern , ▁all ▁of ▁them ▁using ▁traditional ▁craft sm ans hip . ▁ ▁Following ▁the ▁end ▁of ▁short ages ▁related ▁to ▁the ▁Second ▁World ▁War , ▁into ▁the ▁ 1 9 5 0 s ▁a ▁gentleman ▁liked ▁to ▁ad orn ▁himself ▁with ▁a ▁whole ▁range ▁of ▁access ories , ▁compr ising ▁items ▁such ▁as ▁cig aret te ▁case , ▁l ighter , ▁tie ▁pin ▁or ▁tie ▁bar , ▁watch ▁( now ▁worn ▁mostly ▁on ▁the ▁w rist ▁instead ▁of ▁the ▁pocket ), ▁ring , ▁key ▁chain , ▁money ▁clip |
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