http://www.sm-201.org/a/index.php?title=Special:NewPages&feed=atom&hideredirs=1&limit=50&offset=&namespace=0&username=&tagfilter=&size-mode=max&size=0Robin's SM-201 Website - New pages [en]2024-03-28T20:04:37ZFrom Robin's SM-201 WebsiteMediaWiki 1.39.3http://www.sm-201.org/a/Lost_filmLost film2024-03-28T16:22:50Z<p>Robinr78: </p>
<hr />
<div>{{Header|Lost film 03/24}}<br />
{{abridged|03/24|history of films}}<br />
[[File:Lon_Chaney_Bat_Cape.jpg|thumb|right| [[Lon Chaney]] in ''London After Midnight'' (1927), whose last known print was destroyed in the [[1965 MGM vault fire]]. A set of film production stills survives.]]<br />
A '''lost film''' is a feature or short film in which the original negative or copies are not known to exist in any studio archive, private collection, or public archive. Films can be wholly or partially lost for a number of reasons. Early films were not thought to have value beyond their theatrical run, so many were discarded afterward. Nitrate film used in early pictures was highly flammable and susceptible to degradation. The Library of Congress began acquiring copies of American films in 1909, but not all were kept. Due to improvements in film technology and recordkeeping, few films produced in the 1950s or beyond have been lost.<br />
<br />
== Conditions ==<br />
During most of the 20th century, U.S. copyright law required at least one copy of every American film to be deposited at the Library of Congress at the time of copyright registration, but the Librarian of Congress was not required to retain those copies: "Under the provisions of the act of March 4, 1909, authority is granted for the return to the claimant of copyright of such copyright deposits as are not required by the Library."<br />
<br />
A report by Library of Congress film historian and archivist David Pierce estimates that:<br />
<br />
* around 75% of original silent-era films have perished;<br />
* only 14% of the 10,919 silent films released by major studios exist in their original 35 mm or other formats;<br />
* 11% survive only in full-length foreign versions or film formats of lesser image quality.<br />
* Of the American sound films made from 1927 to 1950, an estimated half have been lost.<br />
<br />
The phrase "lost film" can also be used for instances where footage of deleted scenes, unedited, and alternative versions of feature films are known to have been created but can no longer be accounted for. Sometimes, a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a partially lost film. For example, the 1922 film Sherlock Holmes was considered lost but eventually rediscovered with some of the original footage missing.<br />
<br />
== Stills ==<br />
Many film studios hired a still photographer to take pictures during production for potential publicity use. Some are produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines, and have subsequently preserved imagery from otherwise lost films.<br />
<br />
In some cases, such as London After Midnight, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene from still photographs. Stills have been used to stand in for missing footage when making new preservation prints of partially lost films: for example, with the [[Gloria Swanson]] picture ''Sadie Thompson''.<br />
<br />
== External links ==<br />
* [https://lostmediawiki.com/Category:Lost_films List of Lost Films] article category section on the Lost Media Wiki<br />
* [http://www.silentera.com/lost/index.html Presumed Lost] list at SilentEra<br />
* [http://www.lost-films.eu International Lost Films Database]<br />
* [http://allanellenberger.com/historic-fires-at-universal-studios/ ''Historic Fires at Universal Studios''] essay<br />
* [http://www.alostfilm.com/ A Lost Film] blog about lost films, outtakes, etc.<br />
* [https://silentology.wordpress.com/2015/01/05/how-do-silent-films-become-lost/ "How Do Silent Films Become "Lost"?"] essay at Silent-ology<br />
* [https://web.archive.org/web/20060213050328/http://www.pimpadelicwonderland.com/lost.html The Lost Movies] list of 1970s titles at the [[Wayback Machine]]<br />
* [http://filmthreat.com/uncategorized/film-threats-top-50-lost-films-of-all-time/ Film Threat's Top 50 Lost Films of All Time] and [http://filmthreat.com/uncategorized/the-top-50-lost-films-of-all-time-v2-0/ Version 2.0]<br />
* [https://www.youtube.com/watch?v=3TEgrdAlofk ''Lost Forever: The Art of Film Preservation''] (2013) documentary<br />
* [http://lcweb2.loc.gov/diglib/ihas/html/silentfilms/silentfilms-home.html American Silent Feature Film Database] at the Library of Congress<br />
* [https://www.loc.gov/programs/static/national-film-preservation-board/documents/lost_silent.pdf List of 7200 Lost U.S. Silent Feature Films 1912-29] at the Library of Congress<br />
* [http://www.picking.com/vitaphone.html Vitaphone Project] finds and restores [[Vitaphone]] films and their soundtrack discs<br />
{{wr}}<br />
<br />
{{footer}}<br />
<br />
{{cat|Lost films}}</div>Robinr78http://www.sm-201.org/a/Her_Gilded_CageHer Gilded Cage2024-03-28T16:07:57Z<p>Robinr78: Created page with "{{Header|Her Gilded Cage 03/24}} {{Infobox film | name = Her Gilded Cage | image = Her-gilded-cage-1922.jpg | caption = Film poster | director = Sam Wood | writer = Percy Heath | based_on = ''The Love Dreams''|Elmer Harris and Anne Nichols | starring = Gloria Swanson | cinematography = Alfred Gilks | distributor = Paramount Pictures | released = {{film date|1922|4|5}} | runti..."</p>
<hr />
<div>{{Header|Her Gilded Cage 03/24}}<br />
{{Infobox film<br />
| name = Her Gilded Cage<br />
| image = Her-gilded-cage-1922.jpg<br />
| caption = Film poster<br />
| director = Sam Wood<br />
| writer = Percy Heath<br />
| based_on = ''The Love Dreams''|[[Elmer Blaney Harris|Elmer Harris]] and [[Anne Nichols]]<br />
| starring = [[Gloria Swanson]]<br />
| cinematography = Alfred Gilks<br />
| distributor = [[Paramount Pictures]]<br />
| released = {{film date|1922|4|5}}<br />
| runtime = 60 minutes<br />
| country = United States<br />
| language = Silent (English [[intertitle]]s)<br />
}}<br />
'''Her Gilded Cage''' is a 1922 American silent drama film directed by Sam Wood and starring [[Gloria Swanson]]. The film was based on the play "The Love Dreams" by Elmer Harris and Anne Nichols.<br />
<br />
== Plot ==<br />
As described in a film magazine review, in order to support her crippled sister Jacqueline and possibly finance a cure, Suzanne Ornoff accepts a position as a [[cabaret|cabaret dancer]]. An American traveling in Paris falls in love with her, but when he learns of her profession, he will have nothing to do with her. Broken hearted, she goes to the United States were she meets his brother, and the brother falls in love with her, too. Although he is warned that the young woman is not worthy, he disregards his brother's warning, and continues his romance with her. When it is discovered that Suzanne is doing all of this for her sister, the objections are overcome and it ends happily for all persons concerned.<br />
<br />
==Cast==<br />
* [[Gloria Swanson]] as Suzanne Ornoff<br />
* David Powell as Arnold Pell<br />
* Harrison Ford (silent film actor) as Lawrence Pell<br />
* Anne Cornwall as Jacqueline Ornoff<br />
* Walter Hiers as Bud Walton<br />
* Charles A. Stevenson as Gaston Petitfils<br />
<br />
<gallery mode="packed" heights="200px" caption="from '' Her Gilded Cage''"> <br />
file:GloriaSwanson_HerGildedCage.jpg<br />
file:HerGildedCage-01.jpg<br />
file:HerGildedCage-02.jpg<br />
</gallery><br />
<br />
==Preservation==<br />
With no prints of ''Her Gilded Cage'' located in any film archives,<ref>[http://lcweb2.loc.gov/diglib/ihas/loc.mbrs.sfdb.6061/default.html The Library of Congress American Silent Feature Film Survival Catalog: ''Her Gilded Cage'']</ref> it is a [[lost film]].<br />
<br />
==References==<br />
{{reflist}}<br />
<br />
== External links ==<br />
*{{Imdb title|id=0013229|title=Her Gilded Cage}}<br />
*{{AllMovie title|94871|Her Gilded Cage}}<br />
*[http://gswanson.weebly.com/her-gilded-cage.html Film stills] at Glorious Gloria Swanson website<br />
*[https://www.hollywoodpinups.com/products/gloria-swanson-her-gilded-cage-1922 Still with Swanson] at www.hollywoodpinups.com<br />
<br />
<br />
{{Footer}}<br />
<br />
{{cat|Lost flms|Silent films}}</div>Robinr78http://www.sm-201.org/a/I._Stanford_JolleyI. Stanford Jolley2024-03-27T03:15:34Z<p>Robinr78: </p>
<hr />
<div>{{Header|I. Stanford Jolley 03/24}}{{DEFAULTSORT:Jolley, I. Stanford}}<br />
{{stack|<br />
{{Infobox person<br />
| color = lightblue<br />
| name = I. Stanford Jolley<br />
| image = ViolentYears_IS_Jolley.jpg<br />
| caption = Jolley in ''The Violent Years'' (1956)<br />
| birthname = Isaac Stanford Jolley<br />
| birthdate = {{dob|1900|10|24|mf=yes}}<br />
| birthplace = Elizabeth, New Jersey, U.S.<br />
| deathdate = {{dod|1978|12|07|1900|10|24|mf=yes}}<br />
| deathplace = Woodland Hills, California, U.S.<br />
| buried = Forest Lawn Memorial Park (Hollywood Hills)<br />
| occupation = Actor<br />
| years_active = 1936&ndash;1976<br />
| spouse = Nancy Ellen Hazeltine<br />
<ref>{{Cite news|url=https://www.newspapers.com/newspage/385760271/|title=Stanford Jolley Jr., Nancy Hazeltine Wed|first=Cordell|last=Hicks|work=Los Angeles Times|location=[[Los Angeles, California]]|date=July 21, 1952|access-date=March 5, 2022|page=47|via=Newspapers.com}}</ref><br>Emily Jolley<ref name="b">{{Cite news|url=https://www.newspapers.com/clip/96657569/i-stanford-jolley-actor-dies-former/|title=I. Stanford Jolley, Actor, Dies; Former Morristown Resident|work=Daily Record (Morris County, New Jersey)|location=[[Morristown, New Jersey]]|date=December 8, 1978|access-date=March 5, 2022|page=4|via=[[Newspapers.com]]}}</ref><br />
| children = 2; including {{wl|Stan Jolley}}<ref>{{Cite web|url=https://www.latimes.com/local/obituaries/la-me-stan-jolley-20120610-story.html|title=Stan Jolley dies at 86; one of Disneyland's original designers|first=Dennis|last=McMellan|work=[[Los Angeles Times]]|date=June 10, 2012|access-date=March 5, 2022}}</ref><br />
}}<br />
[[File:Jolley_circus.jpg|300px|{{bc|Newspaper birth announcement}}]]<br />
}}<br />
'''Isaac Stanford Jolley''' ({{star}}October 24, 1900 – {{dag}}December 7, 1978) was an American film and television actor. He starred in the 1946 film serial The Crimson Ghost, in which he played the role of Doctor Blackton and also voiced the title character.<br />
<br />
== Life and career ==<br />
Jolley was born in Elizabeth, New Jersey, and was raised in Morristown. He attended high school and worked with his father in his business, Jolley Electric and Radio Store. His father also co-owned a circus. Jolley performed as a vaudevillian in the 1920s. In 1935, he settled in Hollywood, California. He started his screen career with small roles in the film Front Page Woman and the 1937 serial film Dick Tracy.<br />
<br />
== Filmography ==<br />
Jolley appeared in over 400 films and television productions in his career. His film appearances included Fighting Bill Carson, Arizona Roundup, Land of the Lawless, Woman Against Woman, Wild Horse Stampede, Fury at Gunsight Pass, The Private Lives of Elizabeth and Essex, The Whispering Skull, Death Rides the Plains, Calamity Jane and Sam Bass, A Christmas Carol, The Kid Rides Again, Murder in the Big House, Midnight Limited, Bad Men of Thunder Gap, Gangsters of the Frontier, Mr. Muggs Rides Again, and Black Arrow.<br />
<br />
Television<br />
His television appearances included Space Patrol (1950 TV series), Gunsmoke, The Restless Gun ("The Gold Star"), Bonanza, F Troop, Man with a Camera, Rawhide, 26 Men, The Life and Legend of Wyatt Earp, The Fugitive, The Big Valley, Fury, Tales of Wells Fargo, Death Valley Days, The Virginian, Trackdown, The Rifleman, Maverick, Perry Mason, and Wagon Train. He appeared in S2 E15 of "Wanted:Dead or Alive" as Charlie Mann in "Chain Gang" which aired 12/10/1959. He retired in 1976. His final credit was from the western television series The Quest.<br />
<br />
Death<br />
Jolley died in December 1978 of arteriosclerotic heart disease and heart failure at Motion Picture & Television Fund cottages in Woodland Hills, California, at the age of 78. He was buried in Forest Lawn Memorial Park.<br />
<br />
== References ==<br />
<References /><br />
{{cowboys}}<br />
<br />
== External links ==<br />
*{{Imdb name|0427157}}<br />
*{{Tcmdb|96188}}<br />
*{{AllMovie name|36012}}<br />
*[https://www.rottentomatoes.com/celebrity/stan_jolly/ Rotten Tomatoes profile]<br />
{{wr}}<br />
{{Footer}}{{cat|Circuses}}</div>Robinr78http://www.sm-201.org/a/List_of_Western_subgenresList of Western subgenres2024-03-26T15:42:33Z<p>Robinr78: </p>
<hr />
<div>{{Header|List of Western subgenres 03/24}}<br />
The '''Western''' is a genre [[Setting (narrative)|set]] in the American frontier and commonly associated with Americana (culture) folk tales of the Western and the Southwestern United States, as well as Northern Mexico and Western Canada. It is commonly referred to as the "Old West" or the "Wild West" and depicted in Western media as a hostile, sparsely populated American frontier in a state of near-total lawlessness patrolled by outlaws, sheriffs, and numerous other gunslinger characters. Western narratives often concern the gradual attempts to tame the crime-ridden American West using wider themes of justice, freedom, rugged individualism, manifest destiny, and the national history and identity of the United States.<br />
<br />
Within the larger scope of the Western genre, there are several recognized subgenres. Some subgenres, such as spaghetti Westerns, maintain standard Western settings and plots, while others take the Western theme and archetype into different supergenres, such as neo-Westerns or space Westerns.<br />
<br />
For a time, Westerns made in countries other than the United States were often labeled by foods associated with the culture, such as spaghetti Westerns (Italy), meat pie Westerns (Australia), ramen Westerns (Asia), and masala Westerns (India).<ref>{{Cite book |last=Groves |first=Derham |url=https://books.google.com/books?id=h6CYEAAAQBAJ |title=Australian Westerns in the Fifties: Kangaroo, Hopalong Cassidy on Tour, and Whiplash |date=2022-10-28 |publisher=Springer Nature |isbn=978-3-031-12883-7 |page=xii |language=en}}</ref><br />
<br />
==Acid Western==<br />
{{wikimain|Acid Western}}<br />
Film critic Jonathan Rosenbaum refers to a makeshift 1960s and 1970s genre called the acid Western, associated with Dennis Hopper, Jim McBride, and Rudy Wurlitzer, as well as films such as Monte Hellman's The Shooting (1966), Alejandro Jodorowsky's bizarre experimental film El Topo (1970 film)(The Mole) (1970),[2] and Robert Downey Sr.'s Greaser's Palace (1972).[2] The 1970 film El Topo is an allegorical cult Western and underground film about the eponymous character, a violent black-clad gunfighter, and his quest for enlightenment. The film is filled with bizarre characters and occurrences, use of maimed and dwarf performers, and heavy doses of Christian symbolism and Eastern philosophy. Some spaghetti Westerns also crossed over into the acid Western genre, such as Enzo G. Castellari's mystical Keoma (1976), a Western reworking of Ingmar Bergman's The Seventh Seal (1957).<br />
<br />
More recent acid Westerns include Alex Cox's Walker (1987) and Jim Jarmusch's Dead Man (1995). Rosenbaum describes the acid Western as "formulating a chilling, savage frontier poetry to justify its hallucinated agenda"; ultimately, he says, the acid Western expresses a counterculture sensibility to critique and replace capitalism with alternative forms of exchange.[3]<br />
<br />
== Australian Western or meat pie Western ==<br />
The Australian Western genre or meat pie Western is set in Australia, especially the Australian Outback or the Australian Bush.[2] The genre borrows from US traditions.<br />
<br />
The Tracker is an archetype in this form of Australian Western, with signature scenes of harsh desert environments, and exploration of the themes of rough justice, exploitation of the Aboriginals, and the thirst for justice at all costs. Others in this category include Rangle River (1936), Kangaroo, The Kangaroo Kid (1950),The Sundowners (1960), Quigley Down Under (1990), Ned Kelly (1970), The Man from Snowy River (1982), The Proposition, Lucky Country, and Sweet Country.[3]<br />
<br />
Mystery Road is an example of a modern Australian Western, and Mad Max has inspired many futurist dystopian examples of the Australian Western such as The Rover.<br />
<br />
== Blaxploitation Western ==<br />
Many blaxploitation films, particularly ones involving Fred Williamson, have incorporated a Western setting within them, with examples such as Soul Soldier (1970), Buck and the Preacher (1972), The Legend of Nigger Charley (1972), The Soul of Nigger Charley (1973), Thomasine & Bushrod (1974), Boss Nigger (1975), Adiós Amigo (1975), and Posse (1993).<br />
<br />
== Charro, cabrito, or chili Westerns ==<br />
Charro Westerns, often featuring musical stars, as well as action, have been a standard feature of Mexican cinema since the 1930s. In the 1930s and 1940s, these were typically films about horsemen in rural Mexican society, displaying a set of cultural concerns very different from the Hollywood metanarrative, but the overlap between "charro" movies and Westerns became more apparent in the 1950s, '60s, and '70s. Some examples are Ismael Rodríguez's Los Hermanos del Hierro (1961), Jorge Fons's Cinco Mil Dólares de Recompensa, and Arturo Ripstein's Tiempo de morir. The most important is Alberto Mariscal, great author of El tunco Maclovio, Todo por nada, Los marcados, El juez de la soga, and La chamuscada.[4][5]<br />
<br />
== Chinese Western ==<br />
The Western is a popular genre in the Asian film industry.[6]Template:Rp<br />
<br />
== Comedy Western ==<br />
This subgenre is imitative in style to mock, comment on, or trivialize the Western genre's established traits, subjects, auteurs' styles, or some other target by means of humorous, satiric, or ironic imitation or parody. A prime example of comedy Western includes The Paleface (1948), which makes a satirical effort to "send up Owen Wister's novel The Virginian and all the cliches of the Western from the fearless hero to the final shootout on Main Street". The Paleface "features a cowardly hero known as "Painless" Peter Potter (Bob Hope), an inept dentist, who often entertains the notion that he is a crack sharpshooter and accomplished Indian fighter".[7]<br />
<br />
=== Other examples include: ===<br />
* Along Came Jones (1945), in which Gary Cooper spoofed his Western persona<br />
* The Sheepman (1958), with Glenn Ford poking fun at himself<br />
* Cat Ballou (1965), with a drunk Lee Marvin atop a drunk horse<br />
* The Hallelujah Trail (1965)<br />
* Support Your Local Gunfighter (1971)<br />
* Blazing Saddles (1974)<br />
* Cannibal! The Musical (1993)[8]<br />
<br />
== Contemporary Western or neo-Western ==<br />
Contemporary Western (or neo-Westerns or urban Westerns) have contemporary settings and use Old West themes, archetypes, and motifs, such as a rebellious antihero, open plains and desert landscapes, or gunfights. This also includes the post-Western, with modern settings and "the cowboy cult" that involve the audience's feelings and understanding of Western movies.[9] This subgenre often features Old West-type characters struggling with displacement in a "civilized" world that rejects their outdated brand of justice. Some contemporary Westerns take place in the American West and reveal the progression of the Old West mentality into the late 20th and early 21st centuries; but the genre is not limited to the traditional American West setting. Coogan's Bluff and Midnight Cowboy are examples of urban Westerns set in New York City.[9]Template:Rp<br />
<br />
Typical themes of the neo-Western are the lack of rules, with morals guided by the character's or audience's instincts of right and wrong rather than by governance, characters searching for justice, and characters feeling remorse, connecting the neo-Western to the broader Western genre.[10] Other conventions of the genre include displays of competence, which in turn is measured in acts of violence.[11]<br />
<br />
Beginning in the postwar era, radio dramas such as Tales of the Texas Rangers (1950–1952), with Joel McCrea, a contemporary detective drama set in Texas, featured many of the characteristics of traditional Westerns.[12] In this period, post-Western precursors to the modern neo-Western films began to appear, such as Nicholas Ray's The Lusty Men (1952) and John Sturges's Bad Day at Black Rock (1955).[13]Template:Rp Examples of the modern "first phase" of neo-Westerns include films such as Lonely Are the Brave (1962) and Hud (1963).[13]Template:Rp The popularity of the subgenre has been resurgent since the release of Joel and Ethan Coen's No Country for Old Men (2007).[10]<br />
<br />
The subgenre can also be seen in television in shows such as Breaking Bad[14] and Justified.[15] Yellowstone, the American TV series, is referred to as an American neo-Western prime time television soap opera created by Taylor Sheridan and John Linson that premiered in 2018.<br />
<br />
== Dacoit Western ==<br />
{{wikimain|Dacoit Western}}<br />
The Bollywood film Sholay (1975) was often referred to as a "curry Western".[16] A more accurate genre label for the film is the "dacoit Western", as it combines the conventions of Indian dacoit films such as Mother India (1957) and Gunga Jumna (1961) with those of spaghetti Westerns. Sholay spawned its own genre of "dacoit Western" films in Bollywood during the 1970s.[17]<br />
<br />
The first Western films made in India – Kalam Vellum (1970, Tamil), Mosagallaku Mosagadu (1971, Telugu), Mappusakshi (Malayalam), Ganga (1972, Tamil), and Jakkamma (1972, Tamil) – were based on classic Westerns. Thazhvaram (1990), the Malayalam film directed by Bharathan and written by noted writer M. T. Vasudevan Nair, perhaps most resembles the spaghetti Westerns in terms of production and cinematic techniques. Earlier spaghetti Westerns laid the groundwork for such films as Adima Changala (1971) starring Prem Nazir, a hugely popular zapata spaghetti Western film in Malayalam, and Sholay (1975) Khote Sikkay (1973) and Thai Meethu Sathiyam (1978) are notable curry Westerns. Kodama Simham (1990), a Telugu action film, starring Chiranjeevi and Mohan Babu, was one more addition to the Indo Western genre that fared well at the box office. It was also the first South Indian movie to be dubbed in English as Hunters of the Indian Treasure[18]<br />
<br />
Takkari Donga (2002), starring Telugu actor Mahesh Babu, was applauded by critics, but was average at box office. Quick Gun Murugun (2009), an Indian comedy film that spoofs Indian Western movies, is based on a character created for television promotions at the time of the launch of the music network Channel [V] in 1994, which had cult following.[19] Irumbukkottai Murattu Singam (2010), a Western adventure comedy film, based on cowboy movies and paying homages to the John Wayne, Clint Eastwood, and Jaishankar, was made in Tamil. Laal Kaptaan (2019) is an IndoWestern starring Saif Ali Khan, which is set during the rise of the British Empire in India.<br />
<br />
== Documentary Western ==<br />
The documentary Western is a subgenre of Westerns that explore the nonfiction elements of the historical and contemporary American West. Ken Burns' The West is an example of a series based upon a historical storyline, whereas films such as Cowboys: A Documentary Portrait provide a nonfiction portrayal of modern working cowboys in the contemporary West.<br />
<br />
== Electric Western ==<br />
The 1971 film Zachariah starring John Rubinstein, Don Johnson, and Pat Quinn, was billed as the "first electric Western".[20] The film featured multiple performing rock bands in an otherwise American West setting.[20]<br />
<br />
Zachariah featured appearances and music supplied by rock groups from the 1970s, including the James Gang[20] and Country Joe and the Fish as "The Cracker Band".[20] Fiddler Doug Kershaw had a musical cameo[20] as does Elvin Jones as a gunslinging drummer named Job Cain.[20]<br />
<br />
The independent film Hate Horses starring Dominique Swain, Ron Thompson, and Paul Dooley billed itself as the "second electric Western".[21]<br />
<br />
== Epic Western ==<br />
The epic Western is a subgenre of the Western that emphasizes the story of the American Old West on a grand scale. Many epic Westerns are commonly set during a turbulent time, especially a war, as in Sergio Leone's The Good, the Bad and the Ugly (1966), set during the American Civil War, or Sam Peckinpah's The Wild Bunch (1969), set during the Mexican Revolution. One of the grandest films in this genre is Leone's Once Upon a Time in the West (1968), which shows many operatic conflicts centered on control of a town while using wide-scale shots of Monument Valley locations against a broad running-time.<br />
<br />
Other notable examples include The Covered Wagon (1923) with J. Warren Kerrigan, The Iron Horse (1924) with George O'Brien, Duel in the Sun (1946) with Joseph Cotten and Gregory Peck, The Searchers (1956) with John Wayne, Giant (1956) with Elizabeth Taylor and James Dean, The Big Country (1958) with Gregory Peck and Charlton Heston, Cimarron (1960) with Glenn Ford, How the West Was Won (1962) with James Stewart and Henry Fonda (among many others), Custer of the West (1967) with Robert Shaw, Duck, You Sucker! (1971) with Rod Steiger and James Coburn, Heaven's Gate (1980) with Isabelle Huppert, Dances with Wolves (1990) with Kevin Costner, The Assassination of Jesse James by the Coward Robert Ford (2007) with Brad Pitt, Django Unchained (2012) with Jamie Foxx, The Revenant (2015) with Leonardo DiCaprio, and the upcoming 2-parter Horizon: An American Saga (2024) also with Kevin Costner.<br />
<br />
== Euro-Western ==<br />
Template:Further Euro-Westerns are Western-genre films made in Western Europe. The term can sometimes include the spaghetti Western subgenre. One example of a Euro-Western is the Anglo-Spanish film The Savage Guns (1961). Several Euro-Western films, nicknamed sauerkraut Westerns[22] because they were made in Germany and shot in Yugoslavia, were derived from stories by novelist Karl May, and were film adaptations of May's work. One of the most popular German Western franchises was the Winnetou series, which featured a Native American Apache hero in the lead role. Also in Finland, only a few Western films have been made, the most notable of which could be the 1971 low-budget comedy The Unhanged, directed by, written by, and starring Spede Pasanen.<br />
<br />
Some new Euro-Westerns emerged in the 2010s, including Kristian Levring's The Salvation, Martin Koolhoven's Brimstone, and Andreas Prochaska's The Dark Valley.<br />
<br />
<br />
== Exploitation Western ==<br />
Exploitation Western is a subgenre of the Exploitation film, a genre characterized by "exploiting" lurid and graphic content throughout 1960s and 1970s up to the early 1980s. Examples of Exploitation Western films include Soldier Blue (1970), Cain's Cutthroats (1971), Cut-Throats Nine (1972) and Kid Vengeance (1977).<br />
<br />
== Fantasy Western ==<br />
Fantasy Westerns mixed in fantasy settings and themes, and may include fantasy mythology as background. Some famous examples are Stephen King's The Stand and The Dark Tower series of novels, the Vertigo comics series Preacher, and Keiichi Sigsawa's light novel series, Kino's Journey, illustrated by Kouhaku Kuroboshi.<br />
<br />
== Florida Western ==<br />
{{wikimain|Florida Western}}<br />
Florida Westerns, also known as cracker Westerns, are set in Florida during the Second Seminole War. An example is Distant Drums (1951) starring Gary Cooper.<br />
<br />
== Gaucho Western ==<br />
Gaucho Westerns are films set in the 18th century in South America's pampas following stories of gauchos, cowhands and swashbucklers getting into adventures akin to the cowboys portrayed in American movies of the era. Notable examples of gaucho Westerns include Nobleza gaucha (1915), The Gaucho (1927), The Gaucho War (1942), Way of a Gaucho (1952), Savage Pampas (1966), Don Segundo Sombra (1969), The Ardor (2014) and The Settlers (2023). An example of a gaucho neo-Western would be The Ones From Below (2023).[23]<br />
<br />
== Greek Western ==<br />
According to the naming conventions after spaghetti Western, in Greece they are also referred to as "fasolada Westerns" (Greek: φασολάδα = bean soup, i.e. one of the national dishes of Greece). A notable example is Blood on the Land (1966), which was nominated for the Academy Award for Best Foreign Language Film.[24]<br />
<br />
== Horror Western ==<br />
{{Wikimain|Horror Western|_}}<br />
The horror Western subgenre has roots in films such as Curse of the Undead (1959), Jesse James Meets Frankenstein's Daughter (1965), and Billy the Kid vs. Dracula (1966), which depicts the legendary outlaw Billy the Kid fighting against the notorious vampire. Another example is The Ghoul Goes West, an unproduced Ed Wood film to star Bela Lugosi as Dracula in the Old West. Newer examples include the films Near Dark (1987) directed by Kathryn Bigelow, which tells the story about a human falling in love with a vampire, From Dusk till Dawn (1996) by Robert Rodriguez deals with outlaws battling vampires across the border, Vampires (1998) by John Carpenter, which tells about a group of vampires and vampire hunters looking for an ancient relic in the west, Ravenous (1999), which deals with cannibalism at a remote US army outpost; The Burrowers (2008), about a band of trackers who are stalked by the titular creatures; and Abraham Lincoln: Vampire Hunter (2012). Undead Nightmare (2010), an expansion to Red Dead Redemption (2010) is an example of a video game in this genre, telling the tale of a zombie outbreak in the Old West. Bone Tomahawk (2015) received wide critical acclaim for its chilling tale of cannibalism, but like many other movies in the genre, it was not a commercial success. Jordan Peele's film Nope (2022) combines horror and science fiction with a neo-Western lens. It depicts two rancher siblings attempting to capture evidence of a UFO terrorizing their remote desert ranch.<br />
{{Wikimain|Hybrid Western|_}}<br />
A generic term for a Western which is combined with another genre such as horror, film noir or martial arts.[25] Dynamite Warrior is a martial arts fantasy Western set in Thailand.<br />
<br />
== Martial arts Western (Wuxia Western) ==<br />
While many of these mash-ups (e.g., Billy Jack (1971) and its sequel The Trial of Billy Jack (1974)) are cheap exploitation films, others are more serious dramas such as the Kung Fu TV series, which ran from 1972 to 1975. Comedy examples include the Jackie Chan and Owen Wilson collaboration Shanghai Noon (2000). Further subdivisions of this subgenre include Westerns based on ninjas and samurais (incorporating samurai cinema themes), such as Red Sun (1971) with Charles Bronson, Alain Delon, and Toshiro Mifune.<br />
<br />
== Musical ==<br />
There have been many musical films with a Western setting and many musicians have appeared in Western films, sometimes in non-musical roles. Singers Doris Day and Howard Keel worked together in Calamity Jane, a huge success on release which remains one of the most popular Western musicals. On the other hand, crooner Dean Martin and pop singer Ricky Nelson played the parts of gunfighters in Rio Bravo, which is not a musical, although they did combine to sing a couple of songs in the middle of the film while they were guarding the jailhouse.<br />
<br />
== Narco Western ==<br />
A subgenre that highlights Mexican narcoculture and portrays drug trafficking and traffickers (real or imagined).[26] Narco Westerns are typically set in Northern Mexico, the Southwest United States, or on the border between the two.[27] A relatively new genre, Hilario Peña states the narco Western is the Western for the "modern age," and that "instead of a horse, the character drives a truck, and instead of fighting Apaches, the character must defeat criminals and the federal police in the state of Sinaloa."[28][29] Examples of narco Westerns include the American television shows Breaking Bad and Better Call Saul, as well as the films Miss Bala, El Infierno and Heli.[30][27] They may also come in the form of literature or telenovelas. Narco Westerns often feature narratives of personal identity, usually the struggles of a cowboy-like anti-hero, while focusing on themes of life and death, love and loss, greed and desire, and hope and pain. Dry or dark humor is sometimes used. Most notably, Narco Westerns frequently showcase graphic portrayals of addiction, violence, and narcoterrorism.[31][27]<br />
<br />
== Northern ==<br />
{{Wikimain|Northern (genre)|_}}<br />
The Northern genre is a subgenre of Westerns taking place in Alaska or Western Canada. Examples include several versions of the Rex Beach novel, The Spoilers (including 1930's The Spoilers, with Gary Cooper, and 1942's The Spoilers, with Marlene Dietrich, Randolph Scott, and Wayne); The Far Country (1954) with James Stewart; North to Alaska (1960) with Wayne; Death Hunt (1981) with Charles Bronson; and The Grey Fox (1983) with Richard Farnsworth.<br />
<br />
== Ostern ==<br />
{{Wikimain|Ostern|_}}<br />
Ostern films were Western-style films produced in the Soviet Union and Socialist Eastern Europe. They were popular in Communist Eastern European countries and were a particular favorite of Joseph Stalin. Osterns are typically divided between "Easterns", which sought to portray an Eastern European analogue to the Wild West set in frontier regions across Eurasia, and "Red Westerns", which were set in the American West but sought to subvert the ideas of manifest destiny and other narratives typical of Hollywood Westerns in favor of Marxist ideals of proletarian internationalism and class consciousness.<br />
<br />
Red Western films usually portrayed the American Indians sympathetically, as oppressed people fighting for their rights, in contrast to American Westerns of the time, which frequently portrayed them as villains. Osterns frequently featured Gypsy or Turkic people in the role of the Indians, due to the shortage of authentic Native Americans in Eastern Europe.<br />
<br />
Gojko Mitic portrayed righteous, kind-hearted, and charming Indian chiefs (e.g., in Die Söhne der großen Bärin (1966), directed by Josef Mach). He became honorary chief of the Sioux tribe when he visited the United States, in the 1990s, and the television crew accompanying him showed the tribe of one of his films. American actor and singer Dean Reed, an expatriate who lived in East Germany, also starred in several Ostern films.<br />
<br />
"Eastern" films typically replaced the Wild West setting with by an Eastern setting in the steppes of the Caucasus. Western stock characters, such as "cowboys and Indians", were also replaced by Caucasian stock characters, such as bandits and harems. A famous example of the genre was White Sun of the Desert, which was popular in the Soviet Union.[32]<br />
<br />
== Pornographic Western ==<br />
Pornographic Westerns use the Old West as a background for stories primarily focused on erotica. The three major examples of the porn Western film are Russ Meyer's nudie-cutie Wild Gals of the Naked West (1962), and the hardcore A Dirty Western (1975) and Sweet Savage (1979). Sweet Savage starred Aldo Ray, a veteran actor who had appeared in traditional Westerns, in a non-sex role. Among videogames, Custer's Revenge (1982) is an infamous example, considered to be one of the worst video games of all time.<br />
<br />
== Pre-Western ==<br />
Film critic Philip French includes a subgenre of "pre-Western" to describe films that include themes and characters reminiscent of cowboy pictures but are not strictly regarded as Westerns. This includes films with an early nineteenth century frontier setting with characters like James Fenimore Cooper's Natty Bumppo. It includes examples like The Alamo (1960).[33]<br />
<br />
== Ramen Western ==<br />
First used in the publicity of the film Tampopo, the term "ramen Western" also is a play on words using a national dish. The term is used to describe Western style films set in Asia. Examples include The Drifting Avenger, Break the Chain, Millionaires Express, East Meets West, Thai movies Tears of the Black Tiger and Dynamite Warrior, Let the Bullets Fly, Unforgiven, Marlina the Murderer in Four Acts, Buffalo Boys, The Good, the Bad and the Weird and Sukiyaki Western Django.[34]<br />
<br />
== Revisionist Western ==<br />
{{Wikimain|Revisionist Western|_}}<br />
In the 1960s and 1970s, the Western was reinvented with the revisionist Western.[35] After the early 1960s, many American filmmakers began to question and change many traditional elements of Westerns, and to make revisionist Westerns that encouraged audiences to question the simple hero-versus-villain dualism and the morality of using violence to test one's character or to prove oneself right. This is shown in Sam Peckinpah's The Wild Bunch (1969). One major revision was the increasingly positive representation of Native Americans, who had been treated as "savages" in earlier films. Examples of such revisionist Westerns include Ride the High Country (1962), Richard Harris' A Man Called Horse (1970), Little Big Man (1970), Soldier Blue (1970), Man in the Wilderness (1971), The Outlaw Josey Wales (1976), Dances with Wolves (1990), Unforgiven (1992), The Quick and the Dead (1995), and Dead Man (1995). A television miniseries, Godless (2016), also fits into this category. A few earlier revisionist Westerns gave women more powerful roles, such as Westward the Women (1951) starring Robert Taylor. Another earlier work encompassed all these features, The Last Wagon (1956). In it, Richard Widmark played a white man raised by Comanches and persecuted by Whites, with Felicia Farr and Susan Kohner playing young women forced into leadership roles.<br />
<br />
== Science fiction Western ==<br />
{{Wikimain|Science fiction Western|_}}<br />
The science fiction Western places science fiction elements within a traditional Western setting.[36] Early examples are serial films such The Phantom Empire (1935) and Ghost Patrol (1936) which incorporated supernatural figures of science fiction fantasy into a Western setting.[36] An example of cross-over genre, the fantasy science fiction Western The Valley of Gwangi (1969) displayed cowboys fighting dinosaurs, a trend that took hold during the 1960s. John Jakes's Six Gun Planet takes place on a future planet colonized by people consciously seeking to recreate the Old West (with cowboys riding robot horses...). The movie Westworld (1973) and its sequel Futureworld (1976), Back to the Future Part III (1990), Wild Wild West (1999), and Cowboys & Aliens (2011), and the television series Westworld (2016, based on the movie). Fallout: New Vegas (2010) is an example of a video game that follows this format, with futuristic technology and genetic mutations placed among the Western themes and desert sprawl of the Mojave Wasteland.<br />
<br />
This subgenre also encompasses the post-apocalyptic Western,[37]Template:Rp an offshoot of the Western genre in which a future society, struggling to rebuild after a major catastrophe, is portrayed in a manner very similar to the 19th-century frontier.Template:Cn Examples include The Postman, the Mad Max series, The Rover, and the Fallout computer game series. Science fiction Westerns may also incorporate steampunk elements, giving rise to the steampunk Western.[38]<br />
<br />
== Singing cowboy Western ==<br />
{{Wikimain|Singing cowboy|_}}<br />
A singing cowboy was a subtype of the archetypal cowboy hero of early Western films. It references real-world campfire side ballads in the American frontier, the original cowboys sang of life on the trail with all the challenges, hardships, and dangers encountered while pushing cattle for miles up the trails and across the prairies.<br />
<br />
== Space Western ==<br />
{{Wikimain|Space Western|_}}<br />
The space Western is a subgenre of science fiction which uses the themes and tropes of Westerns within science-fiction stories. Subtle influences may include exploration of lawless frontiers in deep space, while more overt influences may feature literal cowboys in outer space who use ray guns and ride robotic horses. Examples include the American cartoon series BraveStarr (which aired original episodes from September 1987 to February 1988), the Japanese manga series Trigun (debuted in 1995), the Japanese anime series Cowboy Bebop (debuted in 1997), the American television series Firefly (created by Joss Whedon in 2002), and the films Battle Beyond the Stars (1980), which is a remake of The Magnificent Seven; Outland (1981), which is a remake of High Noon; and Serenity (2005, based on the Firefly TV series). The classic Western genre has also been a major influence on science-fiction films such as the original Star Wars movie of 1977, with 2018's Solo: A Star Wars Story and 2019's The Mandalorian more directly featuring Western tropes. Gene Roddenberry's concept of the TV show Star Trek was a "Wagon Train to the stars".[39]<br />
<br />
== Spaghetti Western ==<br />
{{Wikimain|Spaghetti Western|_}}<br />
File:Clint Eastwood - 1960s.JPG<br />
Clint Eastwood as the ambiguously named protagonist of the Dollars Trilogy (marketed as "the Man with No Name") in a publicity image of A Fistful of Dollars, a film by Sergio Leone<br />
During the 1960s and 1970s, a revival of the Western emerged in Italy with the "spaghetti Westerns", also known as "Italo-Westerns". The most famous of them is The Good, the Bad and the Ugly, the third film of the Dollars Trilogy. Many of these films are low-budget affairs, shot in locations (for example, the Spanish desert region of Almería) chosen for their inexpensive crew and production costs, as well as their similarity to landscapes of the Southwestern United States. Spaghetti Westerns were characterized by the presence of more action and violence than the Hollywood Westerns. Also, the protagonists usually acted out of more selfish motives (money or revenge being the most common) than in the classical Westerns.[40] Some spaghetti Westerns demythologized the American Western tradition, and some films from the genre are considered revisionist Westerns. For example, the Dollars Trilogy itself has much different tropes compared to standard Westerns, demythologizing the Sheriff figure (in A Fistful of Dollars and For a Few Dollars More), putting both the Union and the Confederacy in ambiguously moral positions (The Good, the Bad and the Ugly), and not featuring Native Americans (except for a brief mention in A Fistful of Dollars).<br />
<br />
The Western films directed by Sergio Leone were felt by some to have a different tone from the Hollywood Westerns.[41] Veteran American actors Charles Bronson, Lee Van Cleef, and Clint Eastwood[41] became famous by starring in spaghetti Westerns, although the films also provided a showcase for other noted actors such as James Coburn, Henry Fonda, Rod Steiger, Klaus Kinski, Jason Robards, Gian Maria Volonte and Eli Wallach. Eastwood, previously the lead in the television series Rawhide, unexpectedly found himself catapulted into the forefront of the film industry by Leone's A Fistful of Dollars (the first in the Dollars Trilogy).[41]<br />
<br />
== Weird Western ==<br />
{{Wikimain|Weird West|_}}<br />
The weird Western combines elements of the classic Western with those of other genres, particularly fantasy, horror and science fiction. This subgenre includes the steampunk Western subvariant, which incorporates the retrofuturistic elements of steampunk. The Wild Wild West television series, television movies, and 1999 film adaptation blend the Western with steampunk. The Jonah Hex franchise also blends the Western with superhero elements. The film Western Religion (2015), by writer and director James O'Brien, introduces the devil into a traditional Wild West setting. The Old Man Logan (2008–2009) graphic novel combines the elements of superhero and post apocalyptic fiction with Westerns.<br />
<br />
==References==<br />
{{reflist}}<br />
<br />
<!-- {{sa-western genres}} --><br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/James_DruryJames Drury2024-03-26T14:34:07Z<p>Robinr78: Created page with "{{Header|James Drury 03/24}}{{DEFAULTSORT:Drury, James}} {{Infobox person | name = James Drury | color = lightblue | image = James_Drury_The_Virginian_1971.jpg | imagesize = | caption = James Drury in a publicity photo for ''The Virginian'' (1971) | birthname = James Child Drury Jr. | birthdate = {{dob|1934|04|18|mf=y}} | birthplace = New York City, U.S. | deathdate = {{dod|2020|04|06|1934|04|18}} | deathplac..."</p>
<hr />
<div>{{Header|James Drury 03/24}}{{DEFAULTSORT:Drury, James}}<br />
{{Infobox person<br />
| name = James Drury<br />
| color = lightblue<br />
| image = James_Drury_The_Virginian_1971.jpg<br />
| imagesize = <br />
| caption = James Drury in a publicity photo for ''[[The Virginian (TV series)|The Virginian]]'' (1971)<br />
| birthname = James Child Drury Jr.<br />
| birthdate = {{dob|1934|04|18|mf=y}}<br />
| birthplace = New York City, U.S.<br />
| deathdate = {{dod|2020|04|06|1934|04|18}}<br />
| deathplace = Houston, Texas, U.S.<br />
| deathcause = Natural causes<br />
| occupation = Actor<br />
| yearsactive = 1955–2014<br />
| alma_mater = New York University<br />University of California, Los Angeles (UCLA)<br />
| spouse = {{plainlist|{{marriage|Cristall Orton|1957|1964|reason=divorced}}|{{marriage|Phyllis Mitchell|1968|1979|reason=divorced}}|{{marriage|Carl Ann Head|1979|2019|reason=her death}}}}<br />
| children = 2 sons (including [[Timothy Drury]]), a stepdaughter and 2 stepsons<ref name="NYT 2020">{{cite news| title=James Drury, Taciturn Star of 'The Virginian,' Dies at 85| newspaper=[[The New York Times]]| date=April 6, 2020| url=https://www.nytimes.com/2020/04/06/arts/television/james-drury-dies.html| access-date=August 29, 2020| url-access=subscription}}</ref><br />
| parents = <br />
}}<br />
'''James Child Drury Jr.''' ({{star}}April 18, 1934&nbsp;– {{dag}}April 6, 2020) was an American actor. He is best known for having played the title role in the 90-minute weekly [[Western (genre)|Western]] [[television series]] ''The Virginian'', which was broadcast on NBC from 1962 to 1971.<br />
<br />
== Early years ==<br />
Drury was born in New York City, the son of James Child Drury and Beatrice Crawford Drury. His father was a New York University professor of marketing. He grew up between New York City and Salem, Oregon, where his mother owned a farm. Drury contracted polio at the age of 10.<br />
<br />
He studied drama at New York University and took additional classes at UCLA to complete his degree after he began acting in films at [[MGM]].<br />
<br />
== Career ==<br />
Drury's professional acting career began when he was 12 years old, when he performed in a road company's production of ''Life with Father''.<br />
<br />
He signed a film contract with MGM in 1954 and appeared in bit parts in films. After he went to 20th Century Fox, he appeared in ''Love Me Tender'' (1956) and ''Bernardine'' (1957).<br />
<br />
In 1959, Drury was cast as Harding, Jr., in the episode "Murder at the Mansion" on "Richard Diamond, Private Detective". On May 9, 1959, early in his career, Drury appeared as Neal Adams in the episode "Client Neal Adams" of ABC's Western series Black Saddle.<br />
<br />
On Christmas Eve 1959, Drury appeared in "Ten Feet of Nothing" on the syndicated anthology series, "Death Valley Days", hosted by Stanley Andrews. Drury portrayed a young miner, Joe Plato.<br />
<br />
In 1960, Drury appeared in different roles in two episodes, "Fair Game" and "Vindication", of another ABC Western series, ''The Rebel'', starring Nick Adams as a Confederate adventurer roaming through the post-Civil War American West. On November 16, 1960, Drury played young pioneer Justin Claiborne in the episode "The Bleymier Story" of NBC's "Wagon Train". He was also cast in the 1960 Disney movie, ''Pollyanna'' as George Dodds, the love interest of Nancy Olson.<br />
<br />
In 1960, Drury portrayed Joe Darle in the episode "Wall of Silence" of the ABC/Warner Bros. detective series, "Bourbon Street Beat". He made a guest appearance on the CBS drama series Perry Mason in 1961 in the role of musician and defendant Eddy King in "The Case of the Missing Melody".<br />
<br />
He appeared in secondary roles for Disney. In 1962, he was cast in a substantial role as a lascivious gold prospector in the early Sam Peckinpah Western ''Ride the High Country'' (1962) opposite [[Randolph Scott]] and Joel McCrea. On April 11, 1962, Drury played the title role in an episode of Wagon Train, "The Cole Crawford Story".<br />
<br />
Around the same time, Drury landed the top-billed leading role of the ranch foreman on The Virginian, a lavish series that ran for nine seasons until 1971. Drury was put under a 7-year contract with Universal in 1962, and was the front-runner for the role, but he still had to audition three separate times and was required to lose 30 pounds in 30 days to secure the part. Drury reported that he had based his performance of the Virginian on character elements of his maternal grandfather, with whom he had spent much of his childhood.<br />
<br />
Drury and his 'Wilshire Boulevard Buffalo Hunters band' performed 54 [[USO]]-sponsored shows for troops in Vietnam in three weeks in April 1966.<br />
<br />
Drury continued his title role in The Virginian after it was reformatted as ''The Men from Shiloh'' on NBC (1970–1971). He had the lead role of Captain Spike Ryerson in the drama series "Firehouse" on ABC television in 1974.<br />
<br />
In 1993, Drury had a guest-starring role as Captain Tom Price on the first three episodes of 'Walker, Texas Ranger', opposite Chuck Norris and Clarence Gilyard. Drury also had a cameo role in the 2000 TV movie of ''The Virginian'' starring Bill Pullman. The film followed Wister's novel more closely than had the television series. Drury appeared in a number of films and other television programs, including ''The Young Warriors'' and the TV cowboy reunion movie The Gambler Returns: ''The Luck of the Draw'' with Doug McClure, who played the character Trampas on The Virginian.<br />
<br />
In 1991, Drury was inducted into the Hall of Great Western Performers at the National Cowboy & Western Heritage Museum in Oklahoma City. In 1997 and 2003, he was a guest at the Western Film Fair in Charlotte, North Carolina.<br />
<br />
==Personal life and death==<br />
On February 7, 1957, Drury married Cristall Othones, and fathered two sons, Timothy and James III. The couple divorced on November 23, 1964, and on April 27, 1968, he married Phyllis Jacqueline Mitchell; the marriage ended in divorce on January 30, 1979. His third marriage was to Carl Ann Head on July 30, 1979; it lasted until her death on August 25, 2019. Drury had three stepchildren from his previous marriages, a stepdaughter, Rhonda Brown, and two stepsons, Frederick Drury and Gary Schero.<ref name="NYT 2020" /> His son, [[Timothy Drury]], is a keyboardist, guitarist, and vocalist who has played with the rock groups [[Eagles (band)]] and [[Whitesnake]].<ref>{{cite web| url=http://www.610wtvn.com/pages/producertom.html| title=Producer Tom| website=Radio 610 WTVN| access-date=June 21, 2017| url-status=dead| archive-url=https://web.archive.org/web/20130624011710/http://www.610wtvn.com/pages/producertom.html| archive-date=June 24, 2013}}</ref><br />
<br />
Drury supported Barry Goldwater in the 1964 United States presidential election.<ref>{{cite book| url=https://books.google.com/books?id=QfHXAAAAQBAJ&q=drury| title=When Hollywood Was Right: How Movie Stars, Studio Moguls, and Big Business Remade American Politics| isbn=978-1-1076-5028-2| last1=Critchlow| first1=Donald T.| date=October 21, 2013| publisher=Cambridge University Press}}</ref><br />
<br />
Drury was in the oil and natural gas business in Houston, Texas in the late 20th century.<br />
<br />
Drury died from natural causes on April 6, 2020, 12 days short of his 86th birthday.<ref name=Obit>{{cite news| url=https://www.hollywoodreporter.com/news/james-drury-dead-star-virginian-was-85-1039156| title=James Drury, Star of 'The Virginian,' Dies at 85| first=Mike| last=Barnes| newspaper=[[the Hollywood Reporter]]| date=April 6, 2020| access-date=June 2, 2022}}</ref><br />
<br />
{{wikisec|Filmography}}<br />
<br />
== Narrator ==<br />
• River Invaders: The Scourge of Zebra Mussels (1994) — PBS special — host/narrator<br />
• Sturgeon: Ancient Survivors of the Deep (1995) — PBS special — host/narrator<br />
• A Vanishing Melody: The Call of the Piping Plover (1997) — PBS special<br />
<br />
== References ==<br />
<References /><br />
<br />
{{cowboys}}<br />
<br />
== External links ==<br />
*[http://www.thevirginian.net James Drury: ''The Virginian'' Official Website]<br />
*{{Imdb name|0238628|James Drury}}<br />
*[https://www.thevirginian.net/ The Virginian Website]<br />
*[http://photos.salemhistory.net/cdm4/item_viewer.php?CISOROOT=/mchs&CISOPTR=258&REC=12 Picture of Drury in Oregon]<br />
*[http://www.kirbyjonas.com/articles/drury-jonas_interview.html Interview with Kirby Jonas and James Drury]<br />
*[http://newsok.com/actor-james-drury-tells-of-next-generation-virginian/article/4964389#! Actor James Drury tells of next generation ''Virginian''], newsok.com, June 26, 2014; accessed June 21, 2017. <br />
* [http://www.classicfilmtvcafe.com/2013/06/james-drury-chats-with-cafe-about.html Interview with James Drury at Classic Film & TV Cafe]<br />
* {{Find a grave|id=208775006|name=James Drury}}<br />
{{wr}}<br />
<br />
{{Footer}}<br />
<br />
{{cat|}}</div>Robinr78http://www.sm-201.org/a/Timothy_DruryTimothy Drury2024-03-26T14:05:35Z<p>Robinr78: </p>
<hr />
<div>{{Infobox musical artist<br />
| color = lightblue<br />
| instrument = {{hlist|Keyboards|guitar|vocals}}<br />
| name = Timothy Drury<br />
| image = Timothy Drury (2480202175).jpg<br />
| caption = Drury in 2008<br />
| birthdate = {{dob|1961|07|5}}<br />
| birthplace = Los Angeles, California, U.S.<br />
| genre = {{hlist|[[Hard rock]]|[[blues rock]]}}<br />
| background = {{hlist|[[Whitesnake]]|[[Eagles (band)|Eagles]]|[[The Mob (American rock band)|The Mob]]}}<br />
| yearsactive = 1989–present<br />
| parents = [[James Drury]]<br />
| homepage = {{url|timothydrury.com}}<br />
}}<br />
<br />
'''Timothy Drury''' (born July 5, 1961) is an American composer, keyboardist, guitarist, vocalist, and songwriter.<ref name="BraveWords">{{cite web | author=BraveWords | title=WHITESNAKE Keyboardist Timothy Drury Leaves Band To Pursue Solo Career | website=bravewords.com | date=September 13, 2010 | url=http://bravewords.com/news/whitesnake-keyboardist-timothy-drury-leaves-band-to-pursue-solo-career | access-date=August 29, 2020}}</ref> His breakthrough came in 1989 when {{wl|Don Henley}} invited him to join "The End of the Innocence" tour as his pianist, keyboardist and backup vocalist.<ref name="Silverman 1989">{{cite web | last=Silverman | first=David | title=FED-UP DON HENLEY SERVES UP A FULL MENU OF CYNICISM IN CONCERT | website=chicagotribune.com | date=August 14, 1989 | url=https://www.chicagotribune.com/news/ct-xpm-1989-08-14-8901040541-story.html | access-date=August 29, 2020}}</ref> A few years later, he was back on tour playing keyboard, guitar and singing backup vocals with the [[Eagles (band)|Eagles]] for their "Hell Freezes Over" reunion, a tour that lasted from 1994 to 2000.<ref name="Warm 106.9">{{cite web | title=Seattle | website=Warm 106.9 | date=August 3, 2020 | url=https://live.warm1069.com/listen/artist/f46bd570-5768-462e-b84c-c7c993bbf47e | access-date=August 29, 2020}}</ref> He toured for seven years with the rock band [[Whitesnake]], and with a friendly departure in September 2010, he left the band to pursue a solo career.<ref name="BraveWords" /> As a composer, lyricist and songwriter, Drury has several co-writes to his credit, including music with guitarist Don Felder, formerly with the Eagles, songs with Henley and Scott F. Crago, and with [[Stevie Nicks]] and Crago. His father is the late [[James Drury]], best known for his starring role in the TV series, ''The Virginian'' (TV series).<ref name="NYT 2020">{{cite web | title=James Drury, Taciturn Star of 'The Virginian,' Dies at 85 | website=The New York Times | date=April 6, 2020 | url=https://www.nytimes.com/2020/04/06/arts/television/james-drury-dies.html | access-date=August 29, 2020}}</ref><ref name="Bicks 2020 @5:00">{{cite web | last=Bicks | first=Emily | title=Drury's Son Timothy Drury Is Musician & Songwriter Who's Toured With The Eagles, Whitesnake & More | work=James Drury Dead: 'The Virginian' TV Star Dies at 85 | date=April 6, 2020 | url=https://heavy.com/entertainment/2020/04/james-drury-death/ | access-date=August 29, 2020}}</ref><br />
<br />
== Biography ==<br />
Drury was born and raised in Los Angeles, California.<ref name="TDrury">{{cite web|url=https://timothydrury.com/career%2F-experience|title=Timothy Drury-Taking you on an atmospheric journey of imagery, music, and mentoring. | access-date=August 29, 2020}}</ref> He is the son of actor James Drury and Cristall Orton Drury, and has an older brother, James III.<ref name="NYT 2020" /> His interest in music began when he was a small boy, and by the age of 5 he was taking piano lessons on a spinet piano his maternal grandmother had purchased. By the age of 11, he was writing his first songs and melodies. Through the years, he honed his skills as a writer and secured a position as a staff writer at Warner Chappell Music.<ref name="Loeffler 2017">{{cite web | last=Loeffler | first=Russ | title=Making Better Art – Timothy Drury Combines His Love of Music and Visual Art | website=Harmony Central | date=January 2, 2017 | url=https://www.harmonycentral.com/articles/live-sound/making-better-art-%E2%80%93-timothy-drury-combines-his-love-of-music-and-visual-art-r722/ | access-date=August 29, 2020}}</ref><br />
<br />
His big break in the music industry came in 1989 when he was asked to join Don Henley's ensemble as keyboardist for ''The End of the Innocence'' tour. The ''Chicago Tribune'' described the tour as a chance for Henley "to ponder the enormity of it all: life, death, love, government, deceit and a growing social malaise" and that "little was lost to ''The End of the Innocence`s'' stage version, fueled by Tim Drury's piano."<ref name="Silverman 1989" /> Following that tour, Drury worked with many other famous musicians and bands, such as the Eagles, Don Felder, [[Bryan Adams]], Melissa Etheridge, [[Stevie Nicks]] and Whitesnake.<br />
<br />
As a songwriter, Drury co-wrote "Everything is Different Now" with Henley and Scott F. Crago. It was included on the album ''Inside Job'' which was released in May 2000, and debuted at No. 7 on the ''Billboard'' 200.<ref name="Billboard 2013">{{cite magazine | title=Henley Continues 'Inside Job' Trek | magazine=Billboard | date=January 3, 2013 | url=http://www.billboard.com/articles/news/80774/henley-continues-inside-job-trek | access-date=August 29, 2020}}</ref> At the time, it was Henley's highest charting album.<ref>{{cite magazine |url=https://books.google.com/books?id=mg8EAAAAMBAJ&pg=PA106 |title=New Heights for Henley, 20, Womack |magazine=Billboard |date=June 10, 2000 |page=106 }}</ref> He later co-wrote together with Stevie Nicks and Crago, the single "That Made Me Stronger", sung by Nicks. The song is included on Nicks' 2001 album ''Trouble in Shangri-La''.<ref>{{cite web|url=http://www.buckinghamnicks.net/sn/tisl/thatmademestronger.html|title=That Made Me Stronger – Trouble in Shangri-La|publisher=Buckinghamnicks.net|accessdate=May 24, 2014}}</ref><br />
<br />
Drury released a self-titled album in 1996.<br />
<br />
Drury was a member of supergroup The Mob featuring Doug Pinnick of King's X, Reb Beach of Winger (band) and [[Whitesnake]], Kip Winger, and Kelly Keagy of Night Ranger. The Mob released a self-titled album in 2005.<br />
<br />
Drury toured as a member of Whitesnake on their extensive world tour to promote their record, ''Good to Be Bad''. He performed on their 2011 album ''Forevermore (Whitesnake album)''. He toured as a keyboardist for Don Felder and performed on Felder's 2012 record, ''Road to Forever'', and co-wrote nine of the songs on that album.<ref>{{cite web|url=http://www.americansongwriter.com/2012/10/don-felder-road-to-forever|title=Don Felder: Road To Forever |publisher=American Songwriter|date=October 15, 2012 |accessdate=May 24, 2014}}</ref><ref>[http://www.felderfans.com/index.php/road-to-forever-info] {{webarchive|url=https://web.archive.org/web/20130525043624/http://www.felderfans.com/index.php/road-to-forever-info|date=May 25, 2013}}</ref><br />
<br />
== References ==<br />
{{Reflist}}<br />
<br />
== External links ==<br />
* [http://www.timothydrurymusic.com/ Official site]<br />
<br />
{{footer}}<br />
<br />
{{cat|Musicians}}</div>Robinr78http://www.sm-201.org/a/Eagles_(band)Eagles (band)2024-03-26T13:51:17Z<p>Robinr78: Created page with "{{Header|Eagles (band) 03/24}} The '''Eagles''' are an American rock band formed in Los Angeles in 1971. With five number-one singles and six number-one albums, six Grammy Awards and five American Music Awards, the Eagles were one of the most successful musical acts of the 1970s in North America and are one of the world's best-selling bands, having sold more than 200 million records worldwide, including 100 million sold in the US alone. They were inducted into the Rock a..."</p>
<hr />
<div>{{Header|Eagles (band) 03/24}}<br />
The '''Eagles''' are an American rock band formed in Los Angeles in 1971. With five number-one singles and six number-one albums, six Grammy Awards and five American Music Awards, the Eagles were one of the most successful musical acts of the 1970s in North America and are one of the world's best-selling bands, having sold more than 200 million records worldwide, including 100 million sold in the US alone. They were inducted into the Rock and Roll Hall of Fame in 1998 and were ranked number 75 on Rolling Stone's 2004 list of the "100 Greatest Artists of All Time". Founding members Glenn Frey (guitars, vocals), Don Henley (drums, vocals), Bernie Leadon (guitars, vocals), and Randy Meisner (bass guitar, vocals) were recruited by Linda Ronstadt as band members, some touring with her, and all playing on her third solo album, before venturing out on their own on David Geffen's new Asylum Records label.<br />
<br />
Their debut album, ''Eagles (1972)'', spawned two Top-20 singles in the US and Canada: "Take It Easy" and "Witchy Woman". The next year's follow-up album, Desperado, peaked at only number 41 in the US, although the song "Desperado" became a popular track. In 1974, guitarist Don Felder joined, and On the Border produced the Top-40 hit "Already Gone" and the Eagles' first number-one song in the US and Canada, "Best of My Love", which made the top 15 in Australia, their first hit overseas. In 1975, the album One of These Nights became their first number-one album in the US and a top-10 album in many countries. It included the US number-one hit "One of These Nights", which was their first top-10 hit outside of North America, and US Top-5 songs "Lyin' Eyes" and "Take It to the Limit". Also in 1975, Leadon left the band and was replaced by guitarist and vocalist Joe Walsh.<br />
<br />
Their ''Greatest Hits (1971–1975) (1976)'' is the best-selling album in the United States, with 38 million copies sold, and primed the public for the late 1976 release of Hotel California, which would sell more than 26 million copies in the US (ranking third all-time for US sales), and more than 32 million copies worldwide. The album yielded two number-one singles in the US and Canada, "New Kid in Town" and "Hotel California", the latter of which became their only Top-10 hit in the United Kingdom, while also reaching the top 10 in New Zealand and many European countries, including number two in France.<br />
<br />
Meisner was replaced by Timothy B. Schmit in 1977. The Eagles released their last studio album for nearly 28 years in 1979 with The Long Run, spawning the North American number-one song "Heartache Tonight", which became their biggest hit in Australia (number 13), and the North American Top-10 hits "The Long Run" and "I Can't Tell You Why". The Eagles broke up in 1980 but reunited in 1994 for the album Hell Freezes Over, a mix of live and new studio tracks, and toured consistently. In 2007, the Eagles released Long Road Out of Eden, their sixth number-one album in the US, and in 2008 launched the Long Road Out of Eden Tour. In 2013, they began the extended History of the Eagles Tour in conjunction with the documentary release, History of the Eagles. Following Frey's death in January 2016, the Eagles re-formed in 2017, with Glenn's son Deacon Frey and country singer Vince Gill sharing lead vocals for Frey's songs. Deacon Frey left the band in 2022,[5] but returned in 2023 to participate in the band's ongoing final tour. Founding member Meisner died in 2023.<br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}<br />
<br />
{{cat|Musical groups}}</div>Robinr78http://www.sm-201.org/a/HemlineHemline2024-03-26T05:18:30Z<p>Robinr78: </p>
<hr />
<div>{{Header|Hemline 03/24}}<br />
[[Image:Preprom.jpg|thumb|Prom dresses, with hemlines varying from above-the-ankle (tea length) to floor length]]<br />
The '''hemline''' is the line formed by the lower Hem (edge) of a [[clothing|garment]], such as a [[skirt]], [[dress]] or coat, measured from the floor.<ref>{{Cite web|url=http://www.encyclopedia.com/article-1G2-3427500297/hemlines.html|title=Hemlines - Encyclopedia of Clothing and Fashion {{!}} Encyclopedia.com|website=www.encyclopedia.com|access-date=2016-09-21}}</ref><br />
<br />
The hemline is perhaps the most variable style line in [[fashion]], changing shape and ranging in height from [[hip]]-high to floor-length. What is a fashionable style and height of hemline has varied considerably throughout the years, and has also depended on a number of factors such as the age of the wearer, the occasion for which the garment is worn and the choice of the individual.<br />
<br />
==Types==<br />
[[File:1817-accidents-in-quadrille-dancing.jpg|thumb|1817 caricature with ruffled hemlines (the dresses are shown as shorter than they would have been in real life).]]<br />
Similar to [[neckline]]s and [[waistline]]s, hemlines can be grouped by their height and shape:<br />
* floor-length hemlines<br />
* ankle hemlines<br />
* midcalf hemlines<br />
* below-knee hemlines<br />
* above-knee hemlines<br />
* mid-thigh hemlines<br />
* hip-high hemlines<br />
* handkerchief hemlines<br />
* diagonal or asymmetric hemlines<br />
* high-low hemlines, usually short in front and dipping behind<br />
* other hemlines, such as modern-cut hemlines<br />
Dresses and skirts are also classified in terms of their length: <br />
* [[Miniskirt|mini]]<br />
* [[Ballet tutu|ballerina length]]<br />
* midi<br />
* tea length<br />
* [[full length]]<br />
* [[Maxiskirt|maxi]]<br />
* [[Intermission length]]<br />
<br />
==History==<br />
[[Image:Hemline (skirt height) overview chart 1805-2005.svg|thumb|Overview chart of changes in hemline height (skirt length), 1805-2005]]<br />
In the [[history of Western fashion]], the ordinary public clothes of upper- and middle-class women varied only between floor-length and slightly above ankle-length for many centuries before World War I. Skirts of lower-calf or mid-calf length were associated with the practical working garments of lower-class women or [[American pioneer]] women, while even shorter skirt lengths were seen only in certain specialized and restricted contexts (e.g. sea-bathing costumes, or outfits worn by ballerinas on stage). <br />
<br />
It was not until the mid-1910s that hemlines began to rise significantly (with many variations in height thereafter). Skirts rose all the way from floor-length to near knee-length in little more than fifteen years (from late in the decade of the 1900s to the mid-1920s). Between 1919 and 1923 they changed considerably, being almost to the floor in 1919, rising to the mid-calf in 1920, before dropping back to the ankles by 1923.<ref name="tuscaloosa">[https://news.google.com/newspapers?nid=1817&dat=19540401&id=ey0eAAAAIBAJ&sjid=N5gEAAAAIBAJ&pg=4871,3624456 "Hemline Changes Mild Now," ''Tuscaloosa'' (Ala.) ''News'', 1 April 1954], accessed 1 March 2014. United Press syndicated article, summarizing the rise and fall of hemlines from 1900 to 1954.</ref> 1927 saw "[[flapper]] length" skirts at the kneecap and higher before shifting down again in the 1930s.<ref name="tuscaloosa" /><br />
<br />
From World War I to roughly 1970, women were under social pressure to wear skirts near to the currently fashionable length or be considered unstylish, but since the 1970s, women's options have widened and there is no longer only one single fashionable skirt-length at a time.<br />
<br />
Another theorized influence on the length of a woman's skirt is the [[hemline index]], which, oversimplified, states that hemlines rise and fall in sync with the stock market. The term was brought up by Wharton Business School Professor [[George W. Taylor (professor)|George Taylor]] in 1926 at a time when hemlines rose with flapper dresses during the so-called Roaring '20s. The Great Depression subsequently set in and hemlines fell to the floor once again.<br />
<br />
<br />
== References ==<br />
<References /><br />
<br />
<br />
{{Sa-sewing}}<br />
{{Sa-clothing parts}}<br />
{{Sa-clothing}}<br />
== External links ==</div>Robinr78http://www.sm-201.org/a/HangingHanging2024-03-26T04:43:07Z<p>Robinr78: </p>
<hr />
<div>{{Header|Hanging 03/24}}<br />
{{working}}<br />
== Hanging ==<br />
'''Hanging''' is killing a person by suspending them from the neck with a noose or ligature. Hanging has been a common method of capital punishment since the Middle Ages, and is the primary execution method in numerous countries and regions. The first known account of execution by hanging is in Homer's Odyssey. Hanging is also a method of suicide.<br />
<br />
The past and past participle of hang in this sense is '''hanged''', not hung.<br />
<br />
==Methods of judicial hanging==<br />
There are numerous methods of hanging in execution which instigate death either by [[cervical fracture]] or by [[Strangling|strangulation]].<br />
<br />
===Short drop===<br />
[[File:Biskupia Gorka executions - 14 - Barkmann, Paradies, Becker, Klaff, Steinhoff (left to right).jpg|thumb|Execution of guards and [[kapo]]s of the [[Stutthof concentration camp]] on 4 July 1946 by short-drop hanging. In the foreground are the female overseers: [[Jenny-Wanda Barkmann]], [[Ewa Paradies]], [[Elisabeth Becker]], [[Wanda Klaff]], [[Gerda Steinhoff]] (left to right)]]<br />
The short drop is a method of hanging in which the condemned prisoner stands on a raised support such as a stool, ladder, cart, or other vehicle, with the noose around the neck. The support is then moved away, leaving the person dangling from the rope.<ref name="Hughes2012">{{cite book |last=Hughes |first=Robert |title=The Fatal Shore: The epic of Australia's founding|url=https://books.google.com/books?id=fv_X8HYL4QQC&pg=PA33 |access-date=29 September 2014 |date=11 January 2012 |publisher=Knopf Doubleday |isbn=978-0-307-81560-6 |pages=33ff |quote=Before the invention of the hinged trapdoor through which the victim was dropped, he or she was 'turned off' or 'twisted' by the hangman who pulled the ladder away.|archive-date=6 May 2016|archive-url=https://web.archive.org/web/20160506184941/https://books.google.com/books?id=fv_X8HYL4QQC&pg=PA33|url-status=live}}</ref><ref name="Potter1965">{{cite book|last=Potter|first=John Deane|title=The Art of Hanging|url=https://books.google.com/books?id=snRAAAAAMAAJ&q=%22turned%20off%22&pg=PA23|access-date=29 September 2014|year=1965|publisher=A. S. Barnes|page=23|isbn=9780498073878|quote=...&nbsp;condemned persons still mounted a ladder which was turned round, leaving them dangling. This led to the phrase 'turned off'—they were literally turned off the ladder.|archive-date=26 April 2016|archive-url=https://web.archive.org/web/20160426072557/https://books.google.com/books?id=snRAAAAAMAAJ&pg=PA23&q=%22turned%20off%22|url-status=live}}</ref><br />
<br />
Suspended by the neck, the weight of the body tightens the noose around the neck, effecting [[strangulation]] and death. This typically takes 10–20 minutes.<ref>{{cite journal |title= Agonal Sequences in a Filmed Suicidal Hanging: Analysis of Respiratory and Movement Responses to Asphyxia by Hanging |journal=Journal of Forensic Sciences |volume=52 |issue=4 |pages=957–959 |doi=10.1111/j.1556-4029.2007.00459.x |pmid=17524058 |year=2007 |last1=Sauvageau |first1=Anny |last2=Racette |first2=Stéphanie |s2cid=32188375 }}</ref><br />
<br />
Before 1850, the short drop was the standard method of hanging, and it is still common in [[suicides]] and extrajudicial hangings (such as [[lynchings]] and [[summary execution]]s) which do not benefit from the specialised equipment and [[Official Table of Drops|drop-length calculation tables]] used in the newer methods.<br />
<br />
==== Pole method ====<br />
[[File:Hromadná poprava Srbů.jpg|thumb|Mass execution of Serbs by the [[Austro-Hungarian army]] in 1916]]<br />
A short-drop variant is the [[Austro-Hungarian]] "pole" method, called {{lang|de|Würgegalgen}} (literally: strangling gallows), in which the following steps take place:<br />
<br />
# The condemned is made to stand before a specialized vertical pole or pillar, approximately {{convert|3|metres|ft}} in height.<br />
# A rope is attached around the condemned's feet and routed through a pulley at the base of the pole.<br />
# The condemned is hoisted to the top of the pole by means of a sling running across the chest and under the armpits.<br />
# A narrow-diameter noose is looped around the prisoner's neck, then secured to a hook mounted at the top of the pole.<br />
# The chest sling is released, and the prisoner is rapidly jerked downward by the assistant executioners via the foot rope.<br />
# The executioner stands on a stepped platform approximately {{convert|1.2| metres|ft}} high beside the condemned. The executioner would place the heel of his hand beneath the prisoner's jaw to increase the force on the neck vertebrae at the end of the drop, then manually dislocate the condemned's neck by forcing the head to one side while the neck vertebrae were under traction.<br />
<br />
This method was later also adopted by the successor states, most notably by [[Czechoslovakia]], where the "pole" method was used as the single type of execution from 1918 until the [[Capital punishment in the Czech Republic|abolition of capital punishment]] in 1990. Nazi war criminal [[Karl Hermann Frank]], executed in 1946 in [[Prague]], was among approximately 1,000 condemned people executed in this manner in Czechoslovakia.<ref name="KHF">{{cite web|url=http://www.executedtoday.com/2009/05/22/1946-karl-hermann-frank/|title=1946: Karl Hermann Frank|date=22 May 2009|website=Executedtoday.com|access-date=8 October 2017|archive-date=19 October 2017|archive-url=https://web.archive.org/web/20171019024441/http://www.executedtoday.com/2009/05/22/1946-karl-hermann-frank/|url-status=live}}</ref><br />
<br />
===Standard drop===<br />
[[File:Execution of Henry Wirz.jpg|thumb|upright=1.1|The execution of [[Henry Wirz]] in 1865 near the U.S. Capitol; Wirz was given a standard drop, which did not break his neck]]<br />
The standard drop involves a drop of between {{convert|4|and(-)|6|ft}} and came into use from 1866, when the scientific details were published by Irish doctor [[Samuel Haughton]]. Its use rapidly spread to English-speaking countries and those with judicial systems of English origin.<br />
<br />
It was considered a humane improvement on the short drop because it was intended to be enough to [[cervical fracture|break the person's neck]], causing immediate unconsciousness and rapid brain death.<ref>{{cite web|title=How Does Death by Hanging Work?|work=How Stuff Works|url=https://health.howstuffworks.com/diseases-conditions/death-dying/death-by-hanging.htm|date=2007-01-04|access-date=30 January 2019|archive-date=25 January 2022|archive-url=https://web.archive.org/web/20220125084920/https://health.howstuffworks.com/diseases-conditions/death-dying/death-by-hanging.htm|url-status=live}}</ref><ref>{{cite journal |title=Cause of death in judicial hanging: a review and case study |journal=Medicine, Science, and the Law |volume=49 |issue=1 |pages=18–26 |pmid=19306616 |year=2009 |last1=Hellier |first1=C. |last2=Connolly |first2=R. |doi=10.1258/rsmmsl.49.1.18 |s2cid=34469210 }}</ref><br />
<br />
This method was used to execute condemned [[Nazism|Nazis]] under United States jurisdiction after the [[Nuremberg Trials]], including [[Joachim von Ribbentrop]] and [[Ernst Kaltenbrunner]].<ref>Report by Kingsbury Smith, International News Service, 16 October 1946.</ref>{{nonspecific|date=January 2023}} In the execution of Ribbentrop, historian Giles MacDonogh records that: "The hangman botched the execution and the rope throttled the former foreign minister for 20 minutes before he expired."<ref>MacDonogh G., ''After the Reich'' [[John Murray (publishing house)|John Murray]], London (2008) p. 450.</ref> A ''[[Life (magazine)|Life]]'' magazine report on the execution merely says: "The trap fell open and with a sound midway between a rumble and a crash, Ribbentrop disappeared. The rope quivered for a time, then stood tautly straight."<ref>[https://books.google.com/books?id=iU0EAAAAMBAJ&pg=PA42 "The Gallows Chamber"]. ''Life'', 28 October 1946. {{Webarchive|url=https://web.archive.org/web/20160512222220/https://books.google.com/books?id=iU0EAAAAMBAJ&pg=PA42 |date=12 May 2016 }}.</ref><br />
<br />
===Long drop===<br />
{{See also|Official Table of Drops}}<br />
[[File:KetchumDecapitated.jpg|left|thumb|Sepia-tone photo from a contemporary 1901 postcard showing [[Tom Ketchum]]'s decapitated body following a botched execution by long-drop hanging. Caption reads "Body of Black Jack after the hanging showing head snapped off."]]<br />
[[File:Karl Morgenschweis prays for condemned prisoner.jpg|thumb|upright|Execution of an unidentified Nazi war criminal after [[World War II]]]]<br />
The long-drop process, also known as the measured drop, was introduced to Britain in 1872 by [[William Marwood]] as a scientific advance on the standard drop. Instead of everyone falling the same standard distance, the person's height and weight<ref>{{cite web|url=http://www.capitalpunishmentuk.org/hanging1.html|title=History of British judicial hanging|website=Capital Punishment UK|access-date=8 October 2017|archive-date=27 August 2013|archive-url=https://www.webcitation.org/6JBOzgVZL?url=http://www.capitalpunishmentuk.org/hanging1.html|url-status=live}}</ref> were used to determine how much slack would be provided in the rope so that the distance dropped would be enough to ensure that the neck was broken, but not so much that the person was decapitated. Careful placement of the eye or knot of the noose (so that the head was jerked back as the rope tightened) contributed to breaking the neck.<br />
<br />
Prior to 1892, the drop was between four and ten feet (about one to three metres), depending on the weight of the body, and was calculated to deliver an energy of {{convert|1,260|ft.lbf|lk=on}}, which fractured the neck at either the 2nd and 3rd or 4th and 5th [[cervical vertebrae]]. This force resulted in some decapitations, such as the infamous case of [[Tom Ketchum|Black Jack Ketchum]] in [[New Mexico Territory]] in 1901, owing to a significant weight gain while in custody not having been factored into the drop calculations. Between 1892 and 1913, the length of the drop was shortened to avoid decapitation. After 1913, other factors were also taken into account, and the energy delivered was reduced to about {{convert|1,000|ft.lbf}}.<br />
<br />
{| class="wikitable" style="text-align:center"<br />
|-<br />
! colspan=1 |weight of prisoner<ref>{{cite web | url=https://www.capitalpunishmentuk.org/hanging2.html#causes | title=Hanged by the neck until dead. The process of judicial hanging }}</ref><br />
! colspan=1 | 1892 drop(ft & inches)<br />
! colspan=1 | Ft.lbs energy developed<br />
! colspan=1 | 1913 drop(feet & inches)<br />
! colspan=1 | Ft.lbs energy developed<br />
|-<br />
|105 and under||8'0"||840||-||-<br />
|-<br />
|110||7'10"||862||-||-<br />
|-<br />
|115||7'3"||834||8'6" ||1003<br />
|-<br />
|120||7'0"||840||8'4"||1000<br />
|-<br />
|125||6'9"||844||8'0"||1000<br />
|- <br />
|130||6'5"||834||7'8" ||996<br />
|-<br />
|135||6'2"||833||7'5"||1001<br />
|-<br />
|140||6'0"||840||7'2" ||1003<br />
|-<br />
|145||5'9"||834||6'11" ||1003<br />
|-<br />
|150||5'7"||838||6'8"||999<br />
|-<br />
|155||5'5"||840||6'5"||995<br />
|-<br />
|160||5'3"||853||6'3"||1000<br />
|-<br />
|165||5'1"||839||6'1"||1004<br />
|-<br />
|170||4'11"||836||5'10"||992<br />
|-<br />
|175||4'9"||831||5'8"||991<br />
|-<br />
|180||4'8"||839||5'7" ||1005<br />
|-<br />
|185||4'7"||848||5'5" ||1002<br />
|-<br />
|190||4'5"||839||5'3"||993<br />
|-<br />
|195||4'4"||844||5'2" ||1008<br />
|-<br />
|200 and over||4'2" ||833||5'0"||1008 <br />
|-<br />
|}<br />
<br />
The decapitation of [[Eva Dugan]] during a botched hanging in 1930 led the state of [[Arizona]] to switch to the [[gas chamber]] as its primary execution method, on the grounds that it was believed more humane.<ref>[https://query.nytimes.com/gst/fullpage.html?res=9E0CE5D7113BF936A15757C0A964958260 "Gruesome death in gas chamber pushes Arizona towards injections"]. ''[[The New York Times]]'', 25 April 1992. {{Webarchive|url=https://web.archive.org/web/20110103182212/http://query.nytimes.com/gst/fullpage.html?res=9E0CE5D7113BF936A15757C0A964958260 |date=3 January 2011 }}. Retrieved 7 January 2008.</ref> One of the more recent decapitations as a result of the long drop occurred when [[Barzan Ibrahim al-Tikriti]] was hanged in Iraq in 2007.<ref>{{citation |url=http://news.bbc.co.uk/2/hi/middle_east/6261965.stm |title=Saddam Hussein's top aides hanged |date=15 January 2007 |work=BBC News |access-date=6 December 2011 |archive-date=2 March 2016 |archive-url=https://web.archive.org/web/20160302020820/http://news.bbc.co.uk/2/hi/middle_east/6261965.stm |url-status=live }}</ref> Accidental decapitation also occurred during the 1962 hanging of [[Arthur Lucas]], one of the last two individuals to be put to death in Canada.<ref><br />
<br />
== As suicide ==<br />
=== Suicide by hanging ===<br />
Hanging is a common suicide method. The materials necessary for suicide by hanging are readily available to the average person, compared with firearms or poisons. Full suspension is not required, and for this reason, hanging is especially commonplace among suicidal prisoners (see suicide watch). A type of hanging comparable to full suspension hanging may be obtained by self-strangulation using a ligature around the neck and the partial weight of the body (partial suspension) to tighten the ligature. When a suicidal hanging involves partial suspension the deceased is found to have both feet touching the ground, e.g., they are kneeling, crouching or standing. Partial suspension or partial weight-bearing on the ligature is sometimes used, particularly in prisons, mental hospitals or other institutions, where full suspension support is difficult to devise, because high ligature points (e.g., hooks or pipes) have been removed.[19]<br />
<br />
In Canada, hanging is the most common method of suicide,[20] and in the U.S., hanging is the second most common method, after self-inflicted gunshot wounds.[21] In the United Kingdom, where firearms are less easily available, in 2001 hanging was the most common method among men and the second most commonplace among women (after poisoning).[22]<br />
<br />
Those who survive a suicide-via-hanging attempt, whether due to breakage of the cord or ligature point, or being discovered and cut down, face a range of serious injuries, including cerebral anoxia (which can lead to permanent brain damage), laryngeal fracture, cervical spine fracture (which may cause paralysis), tracheal fracture, pharyngeal laceration, and carotid artery injury.[23]<br />
<br />
=== As human sacrifice ===<br />
There are some suggestions that the Vikings practiced hanging as human sacrifices to Odin, to honour Odin's own sacrifice of hanging himself from Yggdrasil.[24] In Northern Europe, it is widely speculated that the Iron Age bog bodies, many who show signs of having been hanged were examples of human sacrifice to the gods.[25]<br />
<br />
=== Medical effects ===<br />
<br />
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (October 2010) (Learn how and when to remove this template message)<br />
<br />
Anoxic brain injury following a hanging. The loss of grey white matter differentiation and small ventricles due to brain swelling are visible.<br />
A hanging may induce one or more of the following medical conditions, some leading to death:<br />
<br />
* Closure of carotid arteries causing cerebral hypoxia[1]<br />
* Closure of the jugular veins<br />
* Breaking of the neck (cervical fracture) causing traumatic spinal cord injury or even unintended decapitation<br />
* Closure of the airway[1]<br />
The cause of death in hanging depends on the conditions related to the event. When the body is released from a relatively high position, the major cause of death is severe trauma to the upper cervical spine. The injuries produced are highly variable. One study showed that only a small minority of a series of judicial hangings produced fractures to the cervical spine (6 out of 34 cases studied), with half of these fractures (3 out of 34) being the classic "hangman's fracture" (bilateral fractures of the pars interarticularis of the C2 vertebra).[26] The location of the knot of the hanging rope is a major factor in determining the mechanics of cervical spine injury, with a submental knot (hangman's knot under the chin) being the only location capable of producing the sudden, straightforward hyperextension injury that causes the classic "hangman's fracture".<br />
<br />
According to Historical and biomechanical aspects of hangman's fracture, the phrase in the usual execution order, "hanged by the neck until dead", was necessary.[1] By the late 19th century that methodical study enabled authorities to routinely employ hanging in ways that would predictably kill the victim quickly.<br />
<br />
The side, or subaural knot, has been shown to produce other, more complex injuries, with one thoroughly studied case producing only ligamentous injuries to the cervical spine and bilateral vertebral artery disruptions, but no major vertebral fractures or crush injuries to the spinal cord.[27] Death from a "hangman's fracture" occurs mainly when the applied force is severe enough to also cause a severe subluxation of the C2 and C3 vertebra that crushes the spinal cord and/or disrupts the vertebral arteries. Hangman's fractures from other hyperextension injuries (the most common being unrestrained motor vehicle accidents and falls or diving injuries where the face or chin suddenly strike an immovable object) are frequently survivable if the applied force does not cause a severe subluxation of C2 on C3.<br />
<br />
<br />
John Ogilvie, who in 1615 was hanged and disembowelled after torture for his refusal to give up the Catholic faith and convert to Protestantism<br />
In the absence of fracture and dislocation, occlusion of blood vessels becomes the major cause of death, rather than asphyxiation. Obstruction of venous drainage of the brain via occlusion of the internal jugular veins leads to cerebral oedema and then cerebral ischemia. The face will typically become engorged and cyanotic (turned blue through lack of oxygen). Compromise of the cerebral blood flow may occur by obstruction of the carotid arteries, even though their obstruction requires far more force than the obstruction of jugular veins, since they are seated deeper and they contain blood in much higher pressure compared to the jugular veins.[28]<br />
<br />
When cerebral circulation is severely compromised by any mechanism, arterial or venous, death occurs over four or more minutes from cerebral hypoxia, although the heart may continue to beat for some period after the brain can no longer be resuscitated. The time of death in such cases is a matter of convention. In judicial hangings, death is pronounced at cardiac arrest, which may occur at times from several minutes up to 15 minutes or longer after hanging.[citation needed]<br />
<br />
Sphincters will relax spontaneously and urine and faeces will be evacuated. Forensic experts may often be able to tell if hanging is suicide or homicide, as each leaves a distinctive ligature mark. One of the hints they use is the hyoid bone. If broken, it often means the person has been murdered by manual strangulation.[citation needed]</div>Robinr78http://www.sm-201.org/a/Cervical_fractureCervical fracture2024-03-26T04:42:00Z<p>Robinr78: Created page with "{{Header|Cervical fracture 03/24}} A '''cervical fracture''', commonly called a '''broken neck''', is a fracture of any of the seven cervical vertebrae in the neck. Examples of common causes in humans are traffic collisions and diving into shallow water. Abnormal movement of neck bones or pieces of bone can cause a spinal cord injury, resulting in loss of sensation, paralysis, or usually death soon thereafter (~1 min.), primarily via compromising neurological supply..."</p>
<hr />
<div>{{Header|Cervical fracture 03/24}}<br />
A '''cervical fracture''', commonly called a '''broken neck''', is a fracture of any of the seven cervical vertebrae in the [[neck]]. Examples of common causes in humans are traffic collisions and diving into shallow water. Abnormal movement of neck bones or pieces of bone can cause a spinal cord injury, resulting in loss of sensation, paralysis, or usually death soon thereafter (~1 min.), primarily via compromising neurological supply to the respiratory muscles as well as innervation to the heart.<br />
<br />
<br />
==Causes==<br />
Considerable force is needed to cause a cervical fracture. Vehicle collisions and falls are common causes. A severe, sudden twist to the neck or a severe blow to the head or neck area can cause a cervical fracture.<br />
<br />
Although high energy trauma is often associated with cervical fractures in the younger population, low energy trauma is more common in the geriatric population. In a study from Norway the most common cause was falls and the relative incidence of CS-fx increased significantly with age.<ref>{{cite journal | vauthors = Fredø HL, Rizvi SA, Lied B, Rønning P, Helseth E | title = The epidemiology of traumatic cervical spine fractures: a prospective population study from Norway | journal = Scandinavian Journal of Trauma, Resuscitation and Emergency Medicine | volume = 20 | issue = 1 | pages = 85 | date = December 2012 | pmid = 23259662 | pmc = 3546896 | doi = 10.1186/1757-7241-20-85 | doi-access = free }}</ref><br />
<br />
Sports that involve violent physical contact carry a risk of cervical fracture, including American football, association football (especially the goalkeeper), ice hockey, rugby, and [[wrestling]]. Spearing an opponent in football or rugby, for instance, can cause a broken neck. Cervical fractures may also be seen in some non-contact sports, such as gymnastics, skiing, diving, surfing, powerlifting, equestrianism, mountain biking, and motor racing.<br />
<br />
Certain penetrating neck injuries can also cause cervical fracture which can also cause internal bleeding among other complications.<br />
<br />
Execution by [[hanging]] is intended to cause a fatal cervical fracture. The [[Hangman's knot|knot]] in the noose is placed to the left of the condemned, so that at the end of the drop, the head is jolted sharply upwards and to the right. The force breaks the neck, causing an immediate loss of consciousness and death within a few minutes.<br />
<br />
{{wikisec|Diagosis}}<br />
<br />
==Treatment==<br />
Complete immobilization of the head and neck should be done as early as possible and before moving the patient. Immobilization should remain in place until movement of the head and neck is proven safe. ''In the presence of severe head trauma, cervical fracture must be presumed until ruled out.'' Immobilization is imperative to minimize or prevent further spinal cord injury. The only exceptions are when there is imminent danger from an external cause, such as becoming trapped in a burning building.<br />
<br />
NSAIDs (Non-steroidal anti-inflammatory drugs), such as [[Aspirin]] or Ibuprofen, are contraindicated because they interfere with bone healing. Paracetamol is a better option. Patients with cervical fractures will likely be prescribed medication for pain control.<br />
<br />
In the long term, physical therapy will be given to build strength in the muscles of the neck to increase stability and better protect the cervical spine.<br />
<br />
Cervical collars, traction and surgery can be used to immobilize and stabilize the neck after a cervical fracture.<br />
<br />
===Cervical collar===<br />
Minor fractures can be immobilized with a cervical collar without need for traction or surgery. A soft collar is fairly flexible and is the least limiting but can carry a high risk of further neck damage in patients with osteoporosis. It can be used for minor injuries or after healing has allowed the neck to become more stable.<br />
<br />
A range of manufactured rigid collars are also used, usually comprising a firm plastic bi-valved shell secured with [[Velcro]] straps and removable padded liners. The most frequently prescribed are the [[Aspen collar|Aspen]], Malibu, Miami J, and Philadelphia collars. All these can be used with additional chest and head extension pieces to increase stability.<br />
<br />
===Rigid braces===<br />
Rigid braces that support the head and chest are also prescribed.<ref>[http://emedicine.medscape.com/article/314921-overview Spinal Orthotics]| Shantanu S Kulkarni, DO and Robert H Meier III, "Spinal Orthotics", '''Medscape Reference'''}}.</ref> Examples include the Sterno-Occipital Mandibular Immobilization Device (SOMI), Lerman Minerva and Yale types. Special patients, such as very young children or non-cooperative adults, are sometimes still immobilized in medical plaster of paris casts, such as the [[Orthopedic cast#Other casts|Minerva cast]].<br />
<br />
===Traction===<br />
Traction can be applied by free weights on a pulley or a halo type brace. The halo brace is the most rigid cervical brace, used when limiting motion to the minimum that is essential, especially with unstable cervical fractures. It can provide stability and support during the time (typically 8–12 weeks) needed for the cervical bones to heal.<br />
<br />
===Surgery===<br />
Surgery may be needed to stabilize the neck and relieve pressure on the spinal cord. A variety of surgeries are available depending on the injury. Surgery to remove a damaged intervertebral disc may be done to relieve pressure on the spinal cord. The discs are cushions between the vertebrae. After the disc is removed, the vertebrae may be fused together to provide stability. Metal plates, screws, or wires may be needed to hold vertebrae or pieces in place.<br />
<br />
==History==<br />
Arab physician and surgeon [[Ibn al-Quff]] (d. 1286 CE) described a treatment of cervical fractures through the oral route in his book ''Kitab al-ʿUmda fı Ṣinaʿa al-Jiraḥa'' (Book of Basics in the Art of Surgery).<ref>{{cite journal | vauthors = Aciduman A, Belen D | title = An Early Description of Using Oral Route for the Management of Cervical Vertebra Fracture by Ibn al-Quff in the Thirteenth Century | journal = World Neurosurgery | volume = 120 | pages = 476–484 | date = December 2018 | pmid = 30205224 | doi = 10.1016/j.wneu.2018.09.005 | s2cid = 52187620 }}</ref><br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}<br />
<br />
{{cat|Punishments}}</div>Robinr78http://www.sm-201.org/a/Public_humiliationPublic humiliation2024-03-26T04:24:55Z<p>Robinr78: </p>
<hr />
<div>{{Header|Public humiliation 03/24}}<br />
[[File:Lee Jung-jae being shame-paraded.jpg|thumb|South Korean gang leader Lee Jung-jae being shame-paraded by Park Chung Hee's military regime (1961).]]<br />
<br />
'''Public humiliation''' or '''public shaming''' is a form of [[punishment]] whose main feature is [[dishonor]]ing or disgracing a person, usually an offender or a [[prisoner]], especially in a public place. It was regularly used as a form of judicially sanctioned punishment in previous centuries, and is still practiced by different means in the modern era.<br />
<br />
In the United States, it was a common punishment from the beginning of European colonization of the Americas through the 19th century. It fell out of common use in the 20th century, though it has seen a revival starting in the 1990s.<ref>{{Cite web |url=http://articles.chicagotribune.com/2000-04-12/news/0004120235_1_unusual-punishment-humiliation-sentencing |title=Shame Returns As Punishment |last=Deardorff |first=Julie |date=April 20, 2000}}</ref> With the rise of the social media, public shaming moved to the digital sphere, exposing and humiliating people daily, sometimes without their knowledge <ref>Pundak C, Steinhart Y, Goldenberg J. Nonmaleficence in Shaming: The Ethical Dilemma Underlying Participation in Online Public Shaming. J Consum Psychol. 2021; 31: 478–500. https://doi.org/10.1002/jcpy.1227.</ref><br />
<br />
== Shameful exposure ==<br />
[[File:Pillory_9105377.jpg|thumb|[[Pillory|Pillories]] were a common form of punishment.]]<br />
Public humiliation exists in many forms. In general, a criminal sentenced to one of many forms of this punishment could expect themselves be placed (restrained) in a central, public, or open location so that their fellow citizens could easily witness the sentence and, in some cases, participate as a form of "[[mob justice]]".<ref name="Frevert_2020_book">{{cite book |last1=Frevert |first1=Ute |title=The politics of humiliation: a modern history |date=2020 |publisher=Oxford University Press |location=Oxford New York, NY |isbn=9780198820314 |pages=48,103 |edition=First}}</ref><br />
<br />
Just like painful forms of [[corporal punishment]], it has parallels in educational and other rather private punishments (but with some audience), in school or domestic disciplinary context, and as a [[rite of passage]]. Physical forms include being forced to wear some sign such as "donkey ears" (simulated in paper, as a sign one is—or at least behaved—proverbially stupid), wearing a [[dunce cap]], having to stand, kneel or bend over in a corner, or repeatedly write something on a blackboard ("I will not spread rumors", for example). Here different levels of physical discomfort can be added, such as having to hold heavy objects, or kneeling on an uneven surface. Like physical punishment and harsh hazing, these have become controversial in most modern societies, in many cases leading to legal restrictions and/or (sometimes voluntary) abolishment.<br />
<br />
[[File:Bundesarchiv_Bild.jpg|thumb|left|{{bc|Paris, 1944: French women accused of collaboration with Nazis had their heads shaved and were paraded through the streets barefoot.}}]]<br />
<br />
[[Head shaving]] can be a humiliating punishment prescribed in law,<ref>[http://www.wluml.org/node/3908 "Article 87 ... shall be sentenced to flogging, having his head shaven, and one year of exile..."] {{Webarchive|url=https://web.archive.org/web/20170826193816/http://www.wluml.org/node/3908 |date=2017-08-26 }}, Islamic Penal Code of the Islamic Republic of Iran</ref> but also something done as "mob justice"—a stark example of which was the thousands of European women who had their heads shaved in front of cheering crowds in the wake of [[World War II]],<ref name="GuardianShaving">{{Cite web |url=https://www.theguardian.com/lifeandstyle/2009/jun/05/women-victims-d-day-landings-second-world-war |title=An Ugly Carnival |last=Beevor |first=Antony |date=2009-06-05 |website=[[The Guardian]] |access-date=2014-07-13 |df=dmy-all}}</ref><ref name="ShornWomen">''Shorn Women: Gender and Punishment in Liberation France'', {{ISBN|978-1-85973-584-8}}</ref> as punishment for associating with occupying [[Nazism|Nazis]] during the war. Public shaving was applied to (true or alleged) collaborators after the [[Allies of World War II|Allied liberated]] occupied territories from the Sturmabteilung (NAZI Storm Troopers).<ref name=GuardianShaving /><ref name=ShornWomen /><br />
<br />
Further means of public humiliation and degradation consist in forcing people to wear typifying clothes, which can be penitential garb or [[prison]] [[uniform]]s.<ref name="HolocaustEncyclopedia">{{cite web |title=Public Humiliation |url=https://encyclopedia.ushmm.org/content/en/article/public-humiliation |website=encyclopedia.ushmm.org |access-date=20 May 2023 |language=en}}</ref><ref name="Vinciguerra_2000">{{cite news |last1=Vinciguerra |first1=Thomas |title=The Clothes That Make The Inmate |url=https://www.nytimes.com/2000/10/01/weekinreview/the-clothes-that-make-the-inmate.html |access-date=20 May 2023 |work=The New York Times |date=1 October 2000}}</ref> Forcing arrestees or prisoners to wear restraints (such as [[handcuffs]] or [[fetters|shackles]]) may also increase public humiliation. In countries such as Japan, France, and South Korea,<ref name="Ordo_2022">{{cite news |title=Why the media in Japan, France and South Korea blur the handcuffs on the hands of suspects |url=https://ordonews.com/why-the-media-in-japan-france-and-south-korea-blur-the-handcuffs-on-the-hands-of-suspects/ |access-date=20 May 2023 |work=ORDO News |date=9 April 2022}}</ref> handcuffs on arrested persons are blurred in media broadcasts and hidden wherever possible to prevent feelings of "personal shame" in the accused and to make the public more likely to maintain a presumption of innocence before trial.<ref name="Borowiec_2017">{{cite news |last1=Borowiec |first1=Steven |title=South Korean Perp Walks: What's Up With the Blurred Handcuffs? |url=https://koreaexpose.com/south-korea-perp-walks-blurred-handcuffs/ |access-date=20 May 2023 |work=KOREA EXPOSÉ |date=3 November 2017}}</ref><br />
<br />
Forcing people to go [[barefoot#Imprisonment and slavery|barefoot]] has been used as a more subtle form of humiliation in past and present cultures. The exposure of bare feet has served as an indicator for [[imprisonment]] and [[slavery]] throughout ancient and modern history.<ref name="WCG">{{Cite web |url=http://www.westerncape.gov.za/eng/pubs/public_info/P/82884/3/ |title=Cape Town and Surrounds. |website=westerncape.gov.za |publisher=Government of South Africa |access-date=July 18, 2012 |df=dmy-all}}</ref> Even today prisoners officially have to go barefoot in many countries of the world and are also presented in court and in public unshod.<ref>{{Cite web |url=http://edition.cnn.com/2013/01/23/world/asia/thailand-activist-prison-sentence/ |title=Thai court sentences activist to 10 years in prison for insulting king - CNN.com |last=Olarn |first=Kocha |date=23 January 2013 |website=[[CNN]] |df=dmy-all}}</ref><ref>{{Cite web |url=http://www.taipeitimes.com/News/world/archives/2008/07/29/2003418810 |title=Extradition hearing for arms dealer postponed |date=2008-07-29 |website=[[Taipei Times]] |df=dmy-all}}</ref><br />
<br />
== References ==<br />
<References /><br />
<br />
{{sa-entertainment}}<br />
{{sa-punishments}}<br />
== See also ==<br />
* [[Humiliation|Erotic humiliation]]<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Head_shavingHead shaving2024-03-26T04:21:43Z<p>Robinr78: </p>
<hr />
<div>{{Header| 03/24}}<br />
[[File:Monk_shaves_off_the_head_gives.jpg|right|thumb|200px|A Thai Buddhist monk shaving the head of a man preparing to also become a Buddhist monk; this is known as [[tonsure]]]]<br />
'''Head shaving''' is a form of [[body modification]] which involves shaving the hair from a person's head. People throughout history have shaved all or part of their heads for diverse reasons: including aesthetics, convenience, culture, fashion, practicality, punishment, a rite of passage, religion, or style.<br />
<br />
== Early history ==<br />
The earliest historical records describing head shaving are from ancient Mediterranean cultures such as Egypt, Greece, and Rome. The Egyptian priest class ritualistically removed all hair from head to toe by plucking it.<br />
<br />
== As a symbol of subordination ==<br />
=== Enslaved peoples ===<br />
French women accused of collaborating with the Nazis being paraded through the streets barefoot, shaved, and with swastikas burned on their faces in 1944<br />
In many cultures throughout history, cutting or shaving the hair on men has been seen as a sign of subordination. In ancient Greece and much of Babylon, long hair was a symbol of economic and social power, while a shaved head was the sign of a slave. This was a way of the slave-owner establishing the slave's body as their property by literally removing a part of their personhood and individuality.<br />
<br />
=== Military ===<br />
The practice of shaving heads has been widely used in the military. Although sometimes explained as being for hygiene reasons, the image of strict and disciplined conformity is also accepted as a factor. Upon the Allied invasion of Normandy during [[World War II]], many soldiers chose to have their heads completely shaved in order to deny any Nazis the opportunity to grab it if they engaged in hand-to-hand combat. For the new military recruit, it can be a rite of passage, and variations of it have become a badge of honor.<br />
<br />
=== Prison and punishment ===<br />
Prisoners commonly have their heads shaven to prevent the spread of lice, but it may also be used as a demeaning measure. Having the head shaved can be a punishment prescribed in law. Nazis punished people accused of racial mixing by parading them through the streets with shaved heads and placards around their necks detailing their acts.<br />
<br />
During and after World War II, thousands of French women had their heads shaved in front of cheering crowds as punishment for either collaborating with the Nazis or having sexual relationships with Nazi soldiers during the war. Some Finnish women also had their heads shaved for allegedly having relationships with Soviet prisoners of war during the war.<br />
<br />
== Practicality ==<br />
=== Sport ===<br />
Competitive swimmers, sprinters, and joggers sometimes seek to gain an advantage by completely removing all hair from their entire body to reduce drag while competing.<br />
<br />
=== Baldness ===<br />
People experiencing hair loss may shave their heads in order to look more presentable, for convenience, or to adhere to a certain style or fashion movement. Those with alopecia areata or androgenetic alopecia often choose to shave their heads, which has rapidly become a common choice since the 1990s. It has also become more common for bald men to accessorize with small hoop or stud earrings, a look famously adopted by figures such as basketball player Michael Jordan and professional wrestler "Stone Cold" Steve Austin upon shaving their heads in the 1990s.<br />
<br />
== Notable people ==<br />
<br />
Actor Yul Brynner popularized a shaved head in the 1950s...<br />
<br />
...as did basketball player Michael Jordan in the 1990s...<br />
<br />
...alongside professional wrestler "Stone Cold" Steve Austin.<br />
=== Real people ===<br />
This list includes only notable people for whom a shaved head is an important and recognizable part of their public image; it is not a list of every celebrity who has shaved their head at some point in their life.<br />
<div style='-moz-column-count:3; column-count:3;'><br />
* Andre Agassi, American tennis player<br />
* Kurt Angle, American professional wrestler and Olympian<br />
* "Stone Cold" Steve Austin, American professional wrestler<br />
* Charles Barkley, American basketball player<br />
* David Bateson, English actor<br />
* Howie Mandel, Canadian comedian, television personality, actor, and producer<br />
* Jeff Bezos, American entrepreneur<br />
* Christopher Reeve, American actor, film director, author, and activist<br />
* Kobe Bryant, American basketball player<br />
* Yul Brynner, Russian-American actor<br />
* Bill Burr, American comedian<br />
* Dave Chappelle, American comedian<br />
* Michael Chiklis, American actor<br />
* Phil Collins, English musician<br />
* Common, American rapper<br />
* Billy Corgan, American musician<br />
* Terry Crews, American actor<br />
* Chris Daughtry, American musician<br />
* Vin Diesel, American actor<br />
* Taye Diggs, American actor<br />
* Domenico Dolce, Italian fashion designer<br />
* Anthony Fantano, American music critic<br />
* George Foreman, American boxer<br />
* Tyson Fury, English boxer<br />
* Peter Gabriel, English musician<br />
* Tyrese Gibson, American actor<br />
* Bill Goldberg, American professional wrestler and former football player.<br />
* Pep Guardiola, Spanish soccer manager<br />
* Rob Halford, English musician<br />
* Steve Harvey, American television host and actor<br />
* Phil Heath, American bodybuilder<br />
* Evander Holyfield, American boxer<br />
* LL Cool J, American rapper and actor<br />
* Samuel L. Jackson, American actor<br />
* Dwayne Johnson, American actor and professional wrestler<br />
* Magic Johnson, American basketball player<br />
* Michael Jordan, American basketball player<br />
* Keegan-Michael Key, American comedian<br />
* Ben Kingsley, English actor<br />
* Anton LaVey, American author and Satanic Church founder<br />
* Kyle Macy, American basketball commentator<br />
* John Malkovich, American actor<br />
* Floyd Mayweather, American boxer<br />
* Moby, American musician<br />
* Dean Norris, American actor<br />
* Shaquille O'Neal, American basketball player<br />
* Pitbull, American rapper<br />
* Ving Rhames, American actor<br />
* Flo Rida, American rapper<br />
* Joe Rogan, American podcast host<br />
* Rick Ross, American rapper<br />
* Telly Savalas, American actor<br />
* Tupac Shakur, American rapper<br />
* Brian Shaw, American strongman<br />
* Big Show, American professional wrestler<br />
* Johnny Sins, American pornographic actor<br />
* Chris Slade, Welsh drummer known for his tenure in the rock band AC/DC.<br />
* Kelly Slater, American surfer<br />
* Jason Statham, English actor<br />
* Patrick Stewart, English actor<br />
* Michael Stipe, American musician<br />
* Corey Stoll, American actor<br />
* Mark Strong, English actor<br />
* Stanley Tucci, American actor<br />
* Matthew West, American Cop and Relationship Expert<br />
* Dana White, American entrepreneur and UFC president<br />
* Bruce Willis, American actor<br />
</div><br />
=== Fictional ===<br />
In modern fiction, shaved heads are often associated with characters who display a stern and disciplined or hardcore attitude. Examples include characters played by Yul Brynner, Vin Diesel, Samuel L. Jackson, Telly Savalas, Sigourney Weaver, and Bruce Willis, as well as characters such as Agent 47 (whose physical appearance was based on his actor, the aforementioned David Bateson), Mr. Clean, Kratos, Saitama, and Walter White. Baldness is sometimes an important part of these characters' biographies; for example, Saitama wanted to be a superhero and lost all of his hair in exchange for receiving superpowers. Shaved heads are also often associated with villains in fiction, such as Ernst Stavro Blofeld, Colonel Kurtz, Lex Luthor, and Alex Macqueen's version of the Master. A notable exception is Daddy Warbucks.<br />
<br />
A goatee, usually of the Van Dyke variety, is often worn to complement the look or add sophistication; this look was widely popularized in the mid-to-late 1990s by professional wrestler "Stone Cold" Steve Austin. For the majority of the crime drama series Breaking Bad, often regarded as one of the greatest TV series of all time, the aforementioned Walter White (played by Bryan Cranston) wore a Van Dyke with a shaved head, contributing to the character's iconic status.<br />
<br />
In futuristic settings, shaved heads are often associated with bland uniformity, especially in sterile settings such as V for Vendetta and THX 1138. In the 1927 sci-fi film Metropolis, hundreds of extras had their heads shaved to represent the oppressed masses of a future dystopia.<br />
<br />
It is less common for female characters to have shaved heads, though some actresses have shaved their heads or used bald caps for roles.<br />
<br />
== Modern subcultures ==<br />
=== Skinheads ===<br />
In the 1960s, some British working-class youths developed the skinhead subculture, whose members were distinguished by short cropped hair (although they did not shave their heads down to the scalp at the time). This look was partly influenced by the Jamaican rude boy style. It was not until the skinhead revival in the late 1970s—with the appearance of punk-influenced Oi! skinheads—that many skinheads started shaving their hair right down to the scalp. Head shaving has also appeared in other youth-oriented subcultures such as the hardcore, black metal, metalcore, nu metal, hip hop, techno, and neo-nazi scenes.<br />
<br />
=== Sexuality and gender ===<br />
A sexual fetish involving head shaving is called Haircut Fetishism. While a shaved head on a man is often seen as a sign of authority and virility, a shaved head on a woman typically connotes androgyny, especially when combined with traditionally feminine signifiers. Drag queens have sometimes adopted shaved heads to express a genderqueer image. In the BDSM community, shaving a submissive or slave's head is often used to demonstrate powerlessness or submission to the will of a dominant.<br />
<br />
== Fundraising and support ==<br />
=== Cancer ===<br />
Baldness is perhaps the most famous side effect of the chemotherapy treatment for cancer, and some people shave their heads before undergoing such treatment or after the hair loss starts to become apparent; some people chose to shave their heads in solidarity with cancer sufferers, especially as part of a fundraising effort.<br />
<br />
=== Covhead-19 Challenge ===<br />
During the early days of the COVID-19 pandemic in 2020, many countries imposed strict lockdown procedures and actively encouraged members of the public to self-isolate. Many people, particularly men, began to shave their heads during lockdown due to boredom and being unable to have their hair cut as barbershops were forced to stay closed. In the UK, a fundraising effort began to support its National Health Service, which suffered from the enormous pressure of the pandemic. The effort was started on Just Giving with a goal of £100,000; it encouraged people to shave their heads whilst also donating money to the NHS and was dubbed the "Covhead-19 Challenge". Various celebrities also took part.<br />
<br />
== References ==<br />
<References /><br />
<br />
{{sa-bodymod}}<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Mob_ruleMob rule2024-03-26T03:59:54Z<p>Robinr78: Created page with "{{Header|Mob rule 03/24}} '''Mob rule''' or '''ochlocracy''' is a pejorative term describing an oppressive majoritarian form of government controlled by the common people through the intimidation of more legitimate authorities. Ochlocracy is distinguished from democracy or similarly legitimate and representative governments by the absence or impairment of a procedurally civil process reflective of the entire polity. == Names == '''Ochlocracy''' comes from Latin ochlocra..."</p>
<hr />
<div>{{Header|Mob rule 03/24}}<br />
'''Mob rule''' or '''ochlocracy''' is a pejorative term describing an oppressive majoritarian form of government controlled by the common people through the intimidation of more legitimate authorities. Ochlocracy is distinguished from democracy or similarly legitimate and representative governments by the absence or impairment of a procedurally civil process reflective of the entire polity.<br />
<br />
== Names ==<br />
'''Ochlocracy''' comes from Latin ochlocratia, from Greek ὀχλοκρατία (okhlokratía), from ὄχλος (ókhlos, "mass", "mob", or "common people") and κράτος (krátos, "rule").[2][3] An ochlocrat is one who is an advocate or partisan of ochlocracy. The adjective may be either ochlocratic or ochlocratical.<br />
<br />
Ochlocracy is synonymous in meaning and usage to mob rule or mobocracy, which was coined in the 18th century from the sense of "mob" meaning the common rabble that arose from the Latin phrase mobile vulgus ("the fickle crowd") in the 1680s during disputes over the United Kingdom's Glorious Revolution.<br />
<br />
== Origin ==<br />
<br />
Polybius appears to have coined the term ochlocracy in his 2nd-century BCE work Histories (6.4.6). He uses it to name the "pathological" version of popular rule, in opposition to the good version, which he refers to as democracy. There are numerous mentions of the word "ochlos" in the Talmud, in which "ochlos" refers to anything from "mob", "populace", to "armed guard", as well as in the writings of Rashi, a Jewish commentator on the Bible. The word was first recorded in English in 1584, derived from the French ochlocratie (1568), which stems from the original Greek okhlokratia, from okhlos ("mob") and kratos ("rule", "power", "strength").<br />
<br />
Ancient Greek political thinkers regarded ochlocracy as one of the three "bad" forms of government (tyranny, oligarchy, and ochlocracy) as opposed to the three "good" forms of government: monarchy, aristocracy, and democracy. They distinguished "good" and "bad" according to whether the government form would act in the interest of the whole community ("good") or in the exclusive interests of a group or individual at the expense of justice ("bad").<br />
<br />
Polibius' predecessor, Aristotle, distinguished between different forms of democracy, stating that those disregarding the rule of law devolved into ochlocracy.[6] Aristotle's teacher, Plato, considered democracy itself to be a degraded form of government and the term is absent from his work.<br />
<br />
The threat of "mob rule" to a democracy is restrained by ensuring that the rule of law protects minorities or individuals against short-term demagoguery or moral panic.[8] However, considering how laws in a democracy are established or repealed by the majority, the protection of minorities by rule of law is questionable. Some authors, like the Bosnian political theoretician Jasmin Hasanović, connect the emergence of ochlocracy in democratic societies with the decadence of democracy in neoliberalism in which "the democratic role of the people has been reduced mainly to the electoral process".<br />
<br />
== History ==<br />
<br />
During the late 17th and the early 18th centuries, English life was very disorderly. Although the Duke of Monmouth's rising of 1685 was the last rebellion, there was scarcely a year in which London or the provincial towns did not see aggrieved people breaking out into riots. In Queen Anne's reign (1702–14) the word "mob", first heard of not long before, came into general use. With no police force, there was little public order. Several decades later, the anti-Catholic Gordon Riots swept through London and claimed hundreds of lives; at the time, a proclamation painted on the wall of Newgate prison announced that the inmates had been freed by the authority of "His Majesty, King Mob".<br />
<br />
The Salem Witch Trials in colonial Massachusetts during the 1690s, in which the unified belief of the townspeople overpowered the logic of the law, also has been cited by one essayist as an example of mob rule.<br />
<br />
In 1837, Abraham Lincoln wrote about lynching and "the increasing disregard for law which pervades the country – the growing disposition to substitute the wild and furious passions in lieu of the sober judgment of courts, and the worse than savage mobs for the executive ministers of justice."<br />
<br />
Mob violence played a prominent role in the early history of the Latter Day Saint movement. Examples include the expulsions from Missouri, the Haun's Mill massacre, the death of Joseph Smith, the expulsion from Nauvoo, the murder of Joseph Standing, and the Cane Creek Massacre. In an 1857 speech, Brigham Young gave an address demanding military action against "mobocrats."<br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat}}</div>Robinr78http://www.sm-201.org/a/Public_punishmentPublic punishment2024-03-26T03:30:23Z<p>Robinr78: Created page with "{{Header|Public punishment 03/24}} Ticket for the execution of [[Jonathan Wild (1725)]] == Public punishment == Although most forms of entertainment have evolved and continued over time, some once-popular forms are no longer as acceptable. For example, during earlier centuries in Europe, watching or participating in the punishment of criminals or social outcasts was an accepted and popular form of entertainment..."</p>
<hr />
<div>{{Header|Public punishment 03/24}}<br />
[[File:Ticket_for_the_execution_of_Jonathan_Wild.jpg|thumb|Ticket for the execution of [[Jonathan Wild]] (1725)]]<br />
== Public punishment ==<br />
Although most forms of entertainment have evolved and continued over time, some once-popular forms are no longer as acceptable. For example, during earlier centuries in Europe, watching or participating in the punishment of criminals or social outcasts was an accepted and popular form of entertainment. Many forms of [[public humiliation]] also offered local entertainment in the past. Even capital punishment such as [[hanging]] and [[Decapitation|beheading]], offered to the public as a warning, were also regarded partly as entertainment. Capital punishments that lasted longer, such as [[stoning]] and [[Hanged, drawn and quartered|drawing and quartering]], afforded a greater public spectacle. "A hanging was a carnival that diverted not merely the unemployed but the unemployable. Good bourgeois or curious aristocrats who could afford it watched it from a carriage or rented a room."<ref name=Gay /> Public punishment as entertainment lasted until the 19th century by which time "the awesome event of a public hanging aroused the[ir] loathing of writers and philosophers".<ref name=Gay>{{cite book|author-link=Peter Gay|last=Gay|first=Peter|title=Schnitzler's Century – The making of middle-class culture 1815–1914|year=2002|publisher=W.W. Norton & Co|location=New York; London|isbn=978-0-393-32363-4|page=121}}</ref> Both Charles Dickens and William Makepeace Thackeray wrote about a hanging in Newgate Prison in 1840, and "taught an even wider public that executions are obscene entertainments".<ref name=Gay /><br />
== References ==<br />
<References /><br />
<br />
{{sa-entertainment}}<br />
<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Hong_Kong_handover_ceremonyHong Kong handover ceremony2024-03-26T00:27:08Z<p>Robinr78: Created page with "{{Header|Hong Kong handover ceremony 03/24}} The '''handover ceremony of Hong Kong in 1997''' officially marked the transfer of sovereignty over Hong Kong from the United Kingdom of Great Britain and Northern Ireland to the People's Republic of China. It was an internationally televised event with the ceremony commencing on the night of 30 June 1997 and finishing on the morning of 1 July 1997. The ceremony was held at the new wing of the Hong Ko..."</p>
<hr />
<div>{{Header|Hong Kong handover ceremony 03/24}}<br />
The '''handover ceremony of [[Hong Kong]] in 1997''' officially marked the transfer of sovereignty over [[Hong Kong]] from the [[UK|United Kingdom of Great Britain and Northern Ireland]] to the [[China|People's Republic of China]]. It was an internationally televised event with the ceremony commencing on the night of 30 June 1997 and finishing on the morning of 1 July 1997. The ceremony was held at the new wing of the Hong Kong Convention and Exhibition Centre (HKCEC) in Wan Chai.<br />
<br />
==Representatives==<br />
{| class="wikitable" style="margin: auto; height: 150px; width: 95%; vertical-al:top;" <br />
!colspan="2"| Representatives for the Handover Cermony<br />
|-<br />
|width="50%" |For the [[China|People's Republic of China]]<br />
* Jiang Zemin, General Secretary of the Communist Party and President of China<br />
* Li Peng, Premier of the State Council<br />
* Qian Qichen, Minister of Foreign Affairs and 3rd Vice Premier of the State Council<br />
* General Zhang Wannian, Vice Chairman of the Central Military Commission<br />
* Tung Chee-hwa, Chief Executive of Hong Kong<br />
<br />
|width="50%" | For the [[UK|United Kingdom of Great Britain and Northern Ireland]]<br />
* The Prince of Wales (later King Charles III) (representing Queen Elizabeth II)<br />
* Tony Blair, Prime Minister and First Lord of the Treasury<br />
* Margaret Thatcher, former Prime Minister<br />
* Robin Cook, Secretary of State for Foreign and Commonwealth Affairs<br />
* Chris Patten, Governor of Hong Kong<br />
* General Sir Charles Guthrie, Chief of the Defence Staff<br />
|}<br />
<br />
=== Other guests: ===<br />
*{{flagicon|Australia}} Alexander Downer, Minister for Foreign Affairs (Australia)|Australian Foreign Minister<ref name="aus">{{cite web|title= Australia to attend handover ceremony|url= https://www.scmp.com/article/199784/australia-attend-bodys-swearing|date=1997-06-13}}</ref><br />
*{{flagicon|Japan}} Yukihiko Ikeda, Foreign Minister of Japan<ref name="jap">{{cite web|title= Ministry of Foreign Affairs, Japan|url= https://www.mofa.go.jp/announce/press/1997/6/629.html}}</ref><br />
*{{flagicon|New Zealand}} Winston Peters, Deputy Prime Minister of New Zealand <ref name="aus"></ref><br />
*{{flagicon|USA}} Madeleine Albright, Secretary of State of the United States of America <ref name="jap"></ref><br />
<br />
and representatives from more than 40 other countries and dozens of international organizations.<br />
<br />
==Order of events==<br />
<br />
===Monday, 30 June 1997===<br />
[[File:Flag_of_Hong_Kong_(1959–1997).svg.png|thumb|Flag of Hong Kong (British Crown colony and British Dependent Territory)]]<br />
* ('''15:00 (HKT)/07:00 (GMT)''') – Beijing Police cleared more than 60,000 people off Tiananmen Square for the final preparations of the all-night official celebration gala to mark the handover of Hong Kong to the People's Republic of China.<br />
* ('''16:30 Hong Kong Time/08:30 London Time''') – Governor Chris Patten departed from Government House for HMY ''Britannia'' after the flag-lowering ceremony of the Governor of Hong Kong. The bugle call "Last Post" and Patten's favorite pipe tune, "Highland Cathedral," was played during the ceremony.<ref>[http://www.bbc.co.uk/politics97/news/06/0630/hk2.shtml The Governor's Last Farewell]</ref><br />
* ('''17:30 Hong Kong Time/09:30 London Time''') – President Jiang Zemin and Premier Li Peng arrived in Hong Kong by Air China Boeing 747 from Shenzhen. <br />
* ('''18:15 Hong Kong Time/10:15 London Time''') – Sunset farewell ceremony featuring East Tamar Garrison parade on Hong Kong waterfronts. Chris Patten began his final speech as a governor of Hong Kong with "Today is a day of celebration, not sorrow". The bugle call "Sunset" was played for the final time to mark the end of official duties of the British Forces Overseas Hong Kong ''Auld Lang Syne'' and Rod Stewart's ''Rhythm of My Heart'' was also performed during the ceremony.<ref>{{cite web|url=https://www.youtube.com/watch?v=9G3SZuJ-Elo&t=40m47s |archive-url=https://ghostarchive.org/varchive/youtube/20211221/9G3SZuJ-Elo |archive-date=2021-12-21 |url-status=live|title=Hong Kong Handover Sunset Farewell Ceremony & Parade|author=Martin4Peters|website=[[YouTube]] |date=25 January 2017|access-date=19 September 2018}}</ref><br />
* ('''18:30 Hong Kong Time/10:30 London Time''') – Chinese Foreign Minister Qian Qichen met with British Foreign Secretary Robin Cook.<br />
* ('''20:45 Hong Kong Time/12:45 London Time''') – Prime Minister Tony Blair meets for summit talks with President Jiang Zemin.<br />
* ('''21:00 Hong Kong Time/13:00 London Time''') – About 500 People's Liberation Army (PLA) vehicles crossed the border from China to Hong Kong. Pro-democracy advocates protest at the Legislative Council of Hong Kong in preparation of Chinese rule.<br />
* ('''21:30 Hong Kong Time/13:30 London Time''') – Cocktail reception for 4,000 guests at Hong Kong Convention and Exhibition Centre.<br />
* ('''22:00 Hong Kong Time/14:00 London Time''') – Beijing celebrations including live performances and fireworks were expected to run for 7 hours. The theme of '''Beijing Blesses you Hong Kong''' was under preparation.<br />
* ('''23:45 Hong Kong Time/15:45 London Time''') – Handover Ceremony officially begins. The Prince of Wales reads a farewell speech on behalf of Queen Elizabeth II.<br />
* ('''23:59:00-23:59:47 Hong Kong Time/15:59:00-15:59:47 London Time''') – Exactly one minute before midnight the Flag of the United Kingdom and the Flag of British Hong Kong (1959–1997) were slowly lowered to the British national anthem "God Save the King", symbolizing the end of British colonial rule in Hong Kong as very final and last time. A hiatus of exactly twelve seconds occurred between the British and the Chinese anthems due to a timing misunderstanding.<ref>{{Cite web |url=https://fridayeveryday.com/the-man-who-got-the-brits-to-release-hong-kong-early/ |title=The missing ten seconds during the Hong Kong Handover |first=Emily |last=Zhou |publisher=Friday Everyday |date=2022-06-30 |accessdate=2024-03-10}}</ref><ref>{{cite web|url=http://www.chinanews.com/ga/2017/06-22/8257874.shtml|title=解放军三军仪仗队原大队长追忆香港回归前的最后12秒|work=[[China News Service]]|date=2017-06-22|accessdate=2019-10-14}}</ref><br />
<br />
===Tuesday, 1 July 1997===<br />
[[File:Flag_of_Hong_Kong.svg.png|thumb|Flag of Hong Kong (Special Administrative Region)]]<br />
* ('''00:00:00 (HKT) (same as Beijing Time)''') – Sovereignty of Hong Kong is officially transferred from the United Kingdom to the People's Republic of China. The Flag of the People's Republic of China and the new Hong Kong regional flag were simultaneously raised to the Chinese national anthem "March of the Volunteers", to officially mark the beginning of the Chinese rule in Hong Kong. Chinese leader Jiang Zemin gave a speech expressing his optimism for the "one country, two systems" implementation. Grand celebrations begin in the mainland with fireworks displays over Tiananmen Square.<br />
* ('''00:15 (HKT)''') – Charles, Prince of Wales and Governor Chris Patten with his family, bid the citizens of Hong Kong farewell at the Tamar site. They boarded HMY ''Britannia'' and sailed to Manila in the [[Philippines]] before heading back to the United Kingdom. They were escorted by {{HMS|Chatham|F87|6}}. Prime Minister Tony Blair and other British officials flew out by a British Airways Boeing 777-200ER from Kai Tak Airport to London's Heathrow Airport.<ref>{{cite web|title=How Hong Kong Changed Countries|url=https://www.youtube.com/watch?v=69EVxLLhciQ |archive-url=https://ghostarchive.org/varchive/youtube/20211214/69EVxLLhciQ |archive-date=2021-12-14 |url-status=live|website=youtube.com|accessdate=23 October 2019}}</ref><br />
* ('''01:30 (HKT)''') – A swearing-in ceremony was held at the HKCEC for various HKSAR officials including Chief Executive Tung Chee-hwa, Chief Secretary for Administration Anson Chan, Financial Secretary Donald Tsang and Secretary for Justice Elsie Leung. <br />
* ('''02:45 (HKT)''') – The provisional legislature held its first meeting after the handover to adopt handover-related laws.<br />
* ('''06:00 (HKT)''') – 4,000-People's Liberation Army troops from the Hong Kong Garrison arrive by land, air and sea.<br />
* ('''10:00 (HKT)''') – The new Hong Kong government hosted a celebration for 4,600-guests. Newly appointed Chief Executive's Tung Chee-hwa makes his inaugural speech. <br />
* ('''16:00 (HKT)''') – Chinese Premier Li Peng makes a speech at a reception in the Great Hall of the People in Beijing.<br />
* ('''18:00 (HKT)''') – Festival Performance by [[Hong Kong]] mainland and international celebrities at the Hong Kong Coliseum.<br />
* ('''19:00 (HKT)''') – Grand convention and art spectacle begins at the Workers Stadium in Beijing.<br />
* ('''20:00 (HKT)''') – The '''1997 Hong Kong Spectacular''' across Victoria Harbour from Causeway Bay to Central, Hong Kong fireworks display begins.<br />
<br />
==Reactions==<br />
In 2005, the British newspaper ''Mail on Sunday'' revealed Prince Charles's memorandum, of which "Clarence House said only 11 copies were made, circulated to close friends",<ref>[https://www.theguardian.com/media/2005/nov/19/pressandpublishing.china "Charles sues Mail for printing his 'waxworks' jibe at Chinese leaders"], ''The Guardian'',, 19 November 2005</ref> where he referred to the transfer as the "Great Chinese Takeaway" and the Chinese officials as "appalling old waxworks". In another reported extract, Prince Charles described the ceremony as an "awful Soviet Union-style" performance and dismissed the speech by Chinese leader Jiang Zemin as "propaganda", complete with loud cheering "by the bussed-in party faithful at the suitable moment in the text." He also ridiculed the People's Liberation Army's goose-steps in the ceremony and claimed his trip on HMY ''Britannia'' out of Hong Kong was closely watched by Chinese warships.<br />
<br />
The 12-second silence between the British and Chinese anthems has been adapted into the 2019 film ''My People, My Country''.<ref>{{cite web|url=http://www.sohu.com/a/345060321_535321|title=《我和我的祖国》幕后全纪录:平民视角,以小见大|publisher=Sohu|date=2019-10-05|accessdate=2019-10-14}}</ref><br />
<br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat|History|United Kingdom|China|Hong Kong}}<br />
<br />
<br />
==References==<br />
{{Reflist}}</div>Robinr78http://www.sm-201.org/a/Court_EntertainmentCourt Entertainment2024-03-25T23:26:48Z<p>Robinr78: </p>
<hr />
<div>{{Header| 03/24}}<br />
== Court entertainment ==<br />
<br />
Imperial and royal courts have provided training grounds and support for professional entertainers, with different cultures using palaces, castles and forts in different ways. In the Maya city states, for example, "spectacles often took place in large plazas in front of palaces; the crowds gathered either there or in designated places from which they could watch at a distance."<ref name=Walthall>{{cite book|title=Servants of the Dynasty: Palace Women in World History|year=2008|publisher=University of California Press|location=London|isbn=978-0-520-25443-5|editor=Walthall, Anne|ref=CITEREFWalthall2008}} pp.&nbsp;4–5.</ref> Court entertainments also crossed cultures. For example, the durbar was introduced to India by the Mughal emperors<ref group="def">The emperors of the '''Mughal Empire''', who were all members of the Timurid dynasty, ruled over the empire from its inception in 1526 to its dissolution in 1857. </ref>, and passed onto the British Empire, which then followed Indian tradition: "institutions, titles, customs, ceremonies by which a Maharaja<ref group="def">'''Mahārāja''' is a Sanskrit title for a "great ruler", "great king", or "high king". A few ruled states informally called empires, including the ruler Raja Sri Gupta, founder of the ancient Indian Gupta Empire, and Chandragupta Maurya.</ref> or Nawab<ref group="def">'''Nawab''', also spelled Nawaab, Navaab, Navab, Nowab, Nabob, Nawaabshah, Nawabshah or Nobab, is a royal title indicating a sovereign ruler, often of a South Asian state, in many ways comparable to the western title of Prince. </ref> were installed&nbsp;... the exchange of official presents&nbsp;... the order of precedence", for example, were "all inherited from&nbsp;... the Emperors of Delhi".<ref name="Indian Princes">{{cite book|last1=Allen|first1=Charles|author-link = Charles Allen (writer)|last2 = Dwivedi|first2=Sharada|author-link2 = Sharada Dwivedi|title=Lives of the Indian Princes|year=1984|publisher=Century Publishing|location=London|isbn=978-0-7126-0910-4|page=210}}</ref> In Korea, the "court entertainment dance" was "originally performed in the palace for entertainment at court banquets." <ref name="Van Zile">{{cite book|last=Van Zile|first=Judy|title=Perspectives on Korean Dance|year=2001|publisher=Wesleyan University Press|location=Middletown, CN|isbn=978-0-8195-6494-8|url-access=registration|url=https://archive.org/details/perspectivesonko0000vanz}} p. 36.</ref><br />
<br />
Court entertainment often moved from being associated with the court to more general use among commoners<ref group="def">A '''commoner''', also known as the common man, commoners, the common people or the masses, was in earlier use an ordinary person in a community or nation who did not have any significant social status, especially a member of neither royalty, nobility, nor any part of the aristocracy.</ref>. This was the case with "masked dance-dramas" in Korea, which "originated in conjunction with village [[Shamanism|shaman]] rituals and eventually became largely an entertainment form for commoners". Nautch dancers in the Mughal Empire performed in Indian courts and palaces. Another evolution, similar to that from courtly entertainment to common practice, was the transition from religious ritual to secular entertainment, such as happened during the Goryeo dynasty <ref group="def">'''Goryeo''' was a Korean state founded in 918, during a time of national division called the Later Three Kingdoms period, that unified and ruled the Korean Peninsula until 1392. </ref>with the Narye festival. Originally "solely religious or ritualistic, a secular component was added at the conclusion".<ref group = "ref">Van Zile|2001|p=69</ref> Former courtly entertainments, such as [[jousting]], often also survived in children's games.<br />
<br />
In some courts, such as those during the [[Byzantine Empire]], the genders were segregated among the upper classes, so that "at least before the period of the Komnenoi" (1081–1185) men were separated from women at ceremonies where there was entertainment such as receptions and banquets.<ref name=Garland>{{cite book|last=Garland|first=Lynda|title=Byzantine Women: Varieties of Experience 800–1200|year=2006|publisher=Ashgate Publishing Limited|location=Aldershot, Hampshire|isbn=978-0-7546-5737-8|pages=177–178}}</ref><br />
<br />
Court ceremonies, palace banquets and the spectacles associated with them, have been used not only to entertain but also to demonstrate wealth and power. Such events reinforce the relationship between ruler and ruled; between those with power and those without, serving to "dramatise the differences between ordinary families and that of the ruler".<ref group = "ref">Walthall (2008)</ref> This is the case as much as for traditional courts as it is for contemporary ceremonials, such as the [[Hong Kong handover ceremony]] in 1997, at which an array of entertainments (including a banquet, a parade, fireworks, a festival performance and an art spectacle) were put to the service of highlighting a change in political power. Court entertainments were typically performed for royalty and courtiers as well as "for the pleasure of local and visiting dignitaries".<ref group = "ref">Van Zile (2001) p=6</ref> Royal courts, such as the Korean one, also supported traditional dances.<ref group = "ref">Van Zile (2001) p=6</ref> In Sudan, musical instruments such as the so-called "slit" or "talking" drums, once "part of the court orchestra of a powerful chief", had multiple purposes: they were used to make music; "speak" at ceremonies; mark community events; send long-distance messages; and call men to hunt or war.<br />
<ref group="ref">{{cite web|last=McGregor|first=Neil|title=Episode 94: Sudanese Slit Drum (Transcript)|url=https://www.bbc.co.uk/ahistoryoftheworld/about/transcripts/episode94/|work=History of the World in 100 Objects|publisher=BBC Radio 4/British Museum|access-date=6 February 2013|archive-date=15 June 2013|archive-url=https://web.archive.org/web/20130615000158/http://www.bbc.co.uk/ahistoryoftheworld/about/transcripts/episode94/|url-status=live}}</ref><ref group="ref">{{cite book|last=McGregor|first=Neil|title=A History of the World in 100 objects|year=2010|publisher=Allen Lane|location=London|isbn=978-1-84614-413-4|pages=613–}}</ref><ref group="ref">{{cite web| url = https://www.bbc.co.uk/ahistoryoftheworld/objects/FMgugdskR7eaWj_ST2fAeQ| title = British Museum catalogue image of Sudanese slit drum| access-date = 20 December 2019| archive-date = 27 December 2019| archive-url = https://web.archive.org/web/20191227151825/http://www.bbc.co.uk/ahistoryoftheworld/objects/FMgugdskR7eaWj_ST2fAeQ| url-status = live}}</ref><br />
<br />
Courtly entertainments also demonstrate the complex relationship between entertainer and spectator: individuals may be either an entertainer or part of the audience, or they may swap roles even during the course of one entertainment. In the court at the [[Palace of Versailles]], "thousands of courtiers, including men and women who inhabited its apartments, acted as both performers and spectators in daily rituals that reinforced the status hierarchy".<ref group = "ref">Walthall|2008</ref> <br />
<br />
Like court entertainment, royal occasions such as coronations and weddings provided opportunities to entertain both the aristocracy and the people. For example, the splendid 1595 [[Accession Day]] celebrations of Elizabeth I of England offered tournaments and jousting and other events performed "not only before the assembled court, in all their finery, but also before thousands of Londoners eager for a good day's entertainment. Entry for the day's events at the Tiltyard<ref group="def">A '''tiltyard''' (or tilt yard or tilt-yard) was an enclosed courtyard for jousting. Tiltyards were a common feature of Tudor era castles and palaces. The Horse Guards Parade in London was formerly the tiltyard constructed by Henry VIII as an entertainment venue adjacent to Whitehall Palace; it was the site of the Accession Day tilts in the reigns of Elizabeth I and James I.</ref> in [[Palace of Whitehall|Whitehall]] was set at 12d (12 pence)".<ref name=Bevington>{{cite book|title=The Politics of the Stuart Court Masque|year=1998|publisher=Cambridge University Press|isbn=978-0-521-59436-3|author=Holbrook, Peter|editor=Bevington, David|pages=42–43}}</ref><br />
<br />
<br />
<gallery mode="packed" heights="200px" caption="Tournaments"> <br />
File:Codex Manesse 192v - Albrecht von Rapperswil.jpg|Tournament before an audience and musicians (14th century)<br />
File:Ralph Hedley The tournament 1898.jpg|Ralph Hedley]] ''The Tournament'' (1898) Children adapting a courtly entertainment<br />
</gallery><br />
<br />
== References ==<br />
<References /><br />
=== Group Ref ===<br />
<references group="ref" /><br />
=== Definitions ===<br />
<references group="def" /><br />
<br />
<br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat|}}</div>Robinr78http://www.sm-201.org/a/BanquetsBanquets2024-03-25T22:41:14Z<p>Robinr78: </p>
<hr />
<div>{{Header|Banquets 03/24}}<br />
== Banquets ==<br />
'''Banquets''' have been a venue for [[amusement]], [[entertainment]] or [[pleasure]] since ancient times,<ref>{{Cite journal |last=Martin |first=Sandra Romano |date=2013 |title=Banqueting Gods in Valerius Flaccus Arg. 5.690–5 |journal=Mnemosyne |volume=66 |issue=4–5 |pages=666–681 |doi=10.1163/156852512X617641 |issn=0026-7074}}</ref> continuing into the modern era.<ref>{{Cite journal |last=Carson |first=Cary |title=Banqueting Houses and the "Need of Society" among Slave-Owning Planters in the Chesapeake Colonies |journal=The William and Mary Quarterly |publisher=The William and Mary quarterly, 2013, Vol. 70 (4) The Omohundro Institute of Early American History and Culture |year=2013 |volume=70 |issue=4 |location=Williamsburg |pages=725–780 |doi=10.5309/willmaryquar.70.4.0725 |issn=0043-5597}}</ref> until the 21st century when they are still being used for many of their original purposes to impress visitors, especially important ones; to show hospitality; as an occasion to showcase supporting entertainments such as music or dancing, or both. They were an integral part of court entertainments and helped entertainers develop their skills. They are also important components of celebrations such as coronations, weddings, birthdays civic or political achievements, military engagements or victories as well as religious obligations, one of the most famous being the {{wl|Banqueting House, Whitehall}} in London.<ref>{{Cite book |last=Charlton |first=John |title=The Banqueting House, Whitehall |publisher=Her Majesty's Stationery Office |year=1964 |isbn=978-0-11-671099-4 |location=London}}</ref><ref>{{Cite book |last=Palme |first=Per |title=Triumph of peace : a study of the Whitehall Banqueting House |publisher=Thames and Hudson |year=1957 |location=London}}</ref> In modern times, banquets are available privately, or commercially in restaurants, sometimes combined with a dramatic performance in [[Dinner Theater|dinner theaters]].<ref>{{Cite book |last=Solomon |first=Charmaine |title=Oriental banquets |publisher=Hamlyn |year=1993 |isbn=978-0-947334-46-8 |location=Port Melbourne}}</ref> Cooking by professional chefs has also become a form of entertainment as part of global competitions such as the [[Bocuse d'Or]].<ref>{{Cite book |last=Graham |first=Joan M. |title=Cooking for competition: what the judges are looking for |publisher=Ercildourne |year=1991 |isbn=978-0-646-05369-1 |location=Richmond, Victoria}}</ref><br />
<br />
<gallery class="center" caption="Banquets across centuries and cultures" widths="180" heights="150"><br />
File:An_Egyptian_Banquet (1).jpg| A banquet scene from [[Ancient Egypt]] (from a wall painting in Thebes, Egypt)<br />
File:Byzantine_Greek_Banquet_Alexander_Manuscript_(cropped).jpg| Byzantine banquet showing musicians and various musical instruments (1204–1453)<br />
File:Banquet_de_Charles_V_le_Sage (1).jpg| Jean Fouquet, ''Banquet for Charles V of France'' (1455–1460)<br />
File:A_banquet_for_Babur.jpg| A banquet including roast goose given for Babur by the Mirzas in 1507 (miniature {{circa|1590}})<br />
File:Helst,_Peace_of_Münster.jpg| Bartholomeus van der Helst, ''Peace of Münster'' <br />Amsterdam (1648)<br />
File:Victory_banquet_1788.jpg| Victory banquet by Emperor Qianlong to greet the officers who attended the Lin Shuangwen rebellion (campaign against Taiwan). (late 18th century)<br />
File:Wedding_in_Toropets_(landlords_coming_to_the_peasants’_wedding)..jpg| Landlords coming to the peasants' wedding banquet (late 18th century)<br />
File:The_banquet_hall_in_King_Sahla_Sellases_palace_colour.jpg| The banquet hall in the palace of King Sahle Selassie painting from a photo, Ethiopia (1852)<br />
File:George_IV_coronation_banquet.jpg| Coronation banquet of George IV of the United Kingdom in Westminster Hall (1821)<br />
File:Chinese_banquet_in_a_banquet_hall.JPG|Chinese banquet in a banquet hall given as a birthday celebration (2012)<br />
</gallery><br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat|}}</div>Robinr78http://www.sm-201.org/a/EntertainmentEntertainment2024-03-25T21:59:42Z<p>Robinr78: </p>
<hr />
<div>{{Header|Entertainment 03/24}}<br />
{{wip}}<br />
[[File:Symposium scene Nicias Painter MAN.jpg|thumb|upright=1.35|Banqueters playing Kottabos (game) and girl playing the aulos, Greece ({{circa|420&nbsp;[[Before common era|BCE]]}}). Banqueting and music have continued to be two important entertainments since ancient times.]]<br />
''' Entertainment''' is a form of activity that holds the attention and interest of an [[audience]] or gives pleasure and delight. It can be an idea or a task, but it is more likely to be one of the activities or events that have developed over thousands of years specifically to keep an audience's attention.<br />
<br />
Although people's attention is held by different things because individuals have different preferences, most forms of entertainment are recognizable and familiar. [[Storytelling]], [[music]], [[drama]], [[dance]], and different kinds of performance exist in all cultures, were supported in royal courts, and developed into sophisticated forms over time, becoming available to all citizens. The process has been accelerated in modern times by an entertainment industry that records and sells entertainment products. Entertainment evolves and can be adapted to suit any scale, ranging from an individual who chooses private entertainment from a now enormous array of pre-recorded products, to a banquet adapted for two, to any size or type of party with appropriate music and dance, to performances intended for thousands, and even for a global audience.<br />
<br />
The experience of being entertained has come to be strongly associated with [[amusement]], so that one common understanding of the idea is [[fun]] and laughter, although many entertainments have a serious purpose. This may be the case in various forms of [[ceremony]], celebration, religious festival, or [[satire]], for example. Hence, there is the possibility that what appears to be entertainment may also be a means of achieving insight or intellectual growth.<br />
<br />
An important aspect of entertainment is the audience, which turns a private recreation or leisure activity into entertainment. The audience may have a passive role, as in the case of people watching a play, opera, television show, or film; or the audience role may be active, as in the case of games, where the participant and audience roles may be routinely reversed. Entertainment can be public or private, involving formal, scripted performances, as in the case of theatre or concerts, or unscripted and spontaneous, as in the case of children's games. Most forms of entertainment have persisted over many centuries, evolving due to changes in culture, technology, and fashion, as with stage magic. Films and video games, although they use newer media, continue to tell stories, present drama, and play music. Festivals devoted to music, film, or dance allow audiences to be entertained over a number of consecutive days.<br />
<br />
Some entertainment, such as public executions, is now illegal in most countries. Activities such as fencing or archery, once used in hunting or war, have become spectator sports. In the same way, other activities, such as cooking, have developed into performances among professionals, staged as global competitions, and then broadcast for entertainment. What is entertainment for one group or individual may be regarded as work or an act of cruelty by another.<br />
<br />
The familiar forms of entertainment have the capacity to cross over into different media and have demonstrated a seemingly unlimited potential for creative remix. This has ensured the continuity and longevity of many themes, images, and structures.<br />
<br />
== Etymology ==<br />
The Oxford English Dictionary gives Latin and French origins for the word "entertain", including inter (among) + tenir (to hold) as derivations, giving translations of "to hold mutually" or "to hold intertwined" and "to engage, keep occupied, the attention, thoughts, or time (of a person)". It also provides words like "merry-making", "pleasure", and "delight", as well as "to receive as a guest and show hospitality to". It cites a 1490 usage by William Caxton.<ref>The [[Oxford English Dictionary]] (Oxford University Press, 1971, Vol 1 pp.&nbsp;213–214)</ref><br />
<br />
== Psychology and philosophy ==<br />
<br />
Entertainment can be distinguished from other activities such as education and marketing even though they have learned how to use the appeal of entertainment to achieve their different goals. Sometimes entertainment can be a mixture for both. The importance and impact of entertainment is recognised by scholars<ref>For example, the application of psychological models and theories to entertainment is discussed in Part III of {{cite book|last=Bryant|first=Jennings|title=Psychology of Entertainment|year=2006|publisher=Lawrence Erlbaum Associates, Inc|location=Mahwah, NJ|isbn=978-0-8058-5238-7|pages=367–434|author2=Vorderer, Peter}}</ref><ref name="Sayre">{{cite book|ref=CITEREFSayreKing2010|last=Sayre|first=Shay|title=Entertainment and Society: Influences, Impacts, and Innovations (Google eBook)|year=2010|publisher=Routledge|location=Oxon; New York|isbn=978-0-415-99806-2|edition=2nd|author2=King, Cynthia}} p. 22.</ref> and its increasing sophistication has influenced <ref> Also read: {{wl|Influence of the IBM PC on the personal computer market}}</ref> practices in other fields such as [[museology]].<ref>{{cite book|title=Conservation, Education, Entertainment?|year=2011|publisher=Channel View Publication|isbn=978-1-84541-164-0|editor=Frost, Warwick}}</ref><ref>{{cite book|title=Museum Revolutions|year=2007|publisher=Routledge|location=Oxon; New York|isbn=978-0-203-93264-3|author1=Macleod, Suzanne |author2=Watson, Sheila |editor=Knell, Simon J.}}</ref><br />
<br />
Psychologists say the function of media entertainment is "the attainment of gratification".<ref>{{cite book|last=Zillmann|first=Dolf|title=Media Entertainment – the psychology of its appeal|year=2000|publisher=Lawrence Erlbaum Associates, Inc. Taylor & Francis e-library |location=Mahwah, NJ|isbn=978-0-8058-3324-9|page=vii|author2=Vorderer, Peter}}</ref> No other results or measurable benefits are usually expected from it (except perhaps the final score in a sporting entertainment). This is in contrast to education (which is designed with the purpose of developing understanding or helping people to learn) and marketing (which aims to encourage people to purchase commercial products). However, the distinctions become blurred when education seeks to be more "entertaining" and entertainment or marketing seek to be more "educational". Such mixtures are often known by the [[neologism]]s "[[edutainment]]" or "[[infotainment]]". The psychology of entertainment as well as of learning has been applied to all these fields. Some education-entertainment is a serious attempt to combine the best features of the two.<ref>{{cite book|title=Entertainment-Education and Social Change: History, Research, and Practice|year=2008|publisher=Taylor & Francis|isbn=978-1-4106-0959-5|editor1=Singhal, Arvind |editor2=Cody, Michael J. |editor3=Rogers, Everett |editor4=Sabido, Miguel }}</ref><ref>{{cite book |title=Digital Games and Learning |year=2011 |publisher=Continuum International Publishing Group |location=London; New York |isbn=978-1-4411-9870-9 |editor1-last=de Freitas |editor1-first=Sara |editor2-last=Maharg |editor2-first=Paul}}</ref> Some people are entertained by others' pain or the idea of their unhappiness ([[schadenfreude]]).<ref>{{Cite web |date=18 February 2020 |title=Schadenfreude: Why Do We Like To See Others Suffer? |url=https://www.scienceabc.com/social-science/why-do-we-like-to-see-others-suffer-schadenfreude.html |access-date=2 May 2022 |website=Science ABC |language=en-US |archive-date=20 October 2021 |archive-url=https://web.archive.org/web/20211020162049/https://www.scienceabc.com/social-science/why-do-we-like-to-see-others-suffer-schadenfreude.html |url-status=live }}</ref><br />
<br />
An entertainment might go beyond gratification and produce some insight in its audience. Entertainment may skilfully consider universal philosophical questions such as: "What does it mean to be human?"; "What is the right thing to do?"; or "How do I know what I know?". "The [[meaning of life]]", for example, is the subject in a wide range of entertainment forms, including film, music and literature. Questions such as these drive many narratives and dramas, whether they are presented in the form of a story, film, play, poem, book, dance, comic, or game. Dramatic examples include [[William Shakespeare|Shakespeare]]'s influential play ''Hamlet'', whose hero articulates these concerns in poetry; and films, such as ''The Matrix'', which explores the nature of knowledge<ref>{{cite book|editor-last=Irwin|editor-first=William|title=The Matrix and Philosophy|year=2002|publisher=Carus Publishing Company|location=Peru, IL|page=[https://archive.org/details/matrixphilosophy00irwi/page/196 196]|isbn=978-0-8126-9502-1|url=https://archive.org/details/matrixphilosophy00irwi/page/196}}</ref> and was released worldwide.<ref>{{cite web| url = https://www.imdb.com/title/tt0133093/releaseinfo?ref_=tt_ql_9| title = IMDb ''The Matrix'' worldwide release dates| website = [[IMDb]]| access-date = 30 June 2018| archive-date = 9 May 2019| archive-url = https://web.archive.org/web/20190509185717/https://www.imdb.com/title/tt0133093/releaseinfo?ref_=tt_ql_9| url-status = live}}</ref> Novels give great scope for investigating these themes while they entertain their readers.<ref>{{cite book|last=Jones|first=Peter|title=Philosophy and the Novel|year=1975|location=Oxford, Clarendon}}</ref> An example of a creative work that considers philosophical questions so entertainingly that it has been presented in a very wide range of forms is ''[[The Hitchhiker's Guide to the Galaxy]]''. Originally a [[radio comedy]], this story became so popular that it has also appeared as a novel, film, television series, stage show, comic, [[audiobook]], LP record, adventure game and online game, its ideas became popular references (see {{wl|Phrases from The Hitchhiker's Guide to the Galaxy}}) and has been translated into many languages.<ref>{{cite book |author=Simpson, M.J. |title=The Pocket Essential Hitchhiker's Guide |edition=2nd |publisher=Pocket Essentials |year=2005 |isbn=978-1-904048-46-6 |page=120}}</ref> Its themes encompass the [[meaning of life]], as well as "the ethics of entertainment, [[artificial intelligence]], multiple worlds, God, and [[philosophical method]]".<ref>{{cite book|editor-last=Joll|editor-first=Nicholas|title=Philosophy and The Hitchhiker's Guide to the Galaxy|year=2012|publisher=Palgrave Macmillan|location=Houndmills, Basingstoke, Hampshire; New York|isbn=978-0-230-29112-6}}</ref><br />
<br />
<br />
<br />
<br />
<br />
== Notes ==<br />
<references group="Note" /><br />
<References /><br />
{{sa-entertainment}}<br />
== External links ==<br />
<br />
{{Footer}}<br />
{{cat|Entertainment}}</div>Robinr78http://www.sm-201.org/a/EdutainmentEdutainment2024-03-25T21:51:09Z<p>Robinr78: Robinr78 moved page Edutainment to Educational entertainment</p>
<hr />
<div>{{Header|Edutainment 03/24}}<br />
[[File:Development-Entertainment_Continuum.png|thumb|{{bc|A Venn diagram on educational entertainment}}]]<br />
'''Educational entertainment''', also referred to by the [[portmanteau]] "edutainment", is media designed to educate through entertainment. The term was used as early as 1954 by Walt Disney. Most often it includes content intended to teach but has incidental entertainment value. It has been used by academia, corporations, governments, and other entities in various countries to disseminate information in classrooms and/or via television, radio, and other media to influence viewers' opinions and behaviors.<br />
<br />
== History ==<br />
=== Concept ===<br />
Interest in combining education with entertainment, especially in order to make learning more enjoyable, has existed for hundreds of years, with the Renaissance and Enlightenment being movements in which this combination was presented to students. Komenský in particular is affiliated with the "school as play" concept, which proposes pedagogy with dramatic or delightful elements.<br />
<br />
<br />
=== "Poor Richard's Almanack" ===<br />
"Poor Richard's Almanack" demonstrates early implementation of edutainment, with Benjamin Franklin combining entertaining and educational content, such as puzzles and rules of conduct, into an instructional entity for colonists.<br />
<br />
Later development of the concept of edutainment can be tied to Walt Disney, with his first educational short film, ''Tommy Tucker's Tooth'', being commissioned and shot in 1922 for the Deneer Dental Institute. The entry of the U.S. into [[World War II]] also had a major impact on the popularity of educational entertainment, as a relationship between Disney and the U.S. government formed; Disney was able to experiment with educational and nonfiction films in a way that continued even after the war, with series such as ''True-Life Adventures'' and [[Disneyland]]. In the transcript of an interview with Alexander P. de Seversky from The Walt Disney Archives, of which its date and interviewer is unknown, the following quotation is found:<br />
<br />
: It is a new kind of entertainment that goes far beyond simply "amusing" its audience. This picture is vital entertainment--it treats on a subject that directly affects every man, woman, and child, in America. With dramatic action it exposes the basic ideas that will rid the mind of confusion and clarify the war thinking of the public.<br />
::: — Walt Disney, Interview with Alexander de Seversky<br />
<br />
Since the 1970s, various groups in the United States, the United Kingdom, and Latin America have used edutainment to address health and social issues such as substance abuse, immunization, teenage pregnancy, HIV/AIDS, and cancer. Initiatives in major universities, such as Johns Hopkins Center for Communication Programs and the University of Wisconsin–Madison, NGOs such as PCI-Media Impact, and government agencies such as the U.S. Centers for Disease Control (CDC) have produced edutainment content.<br />
<br />
Modern forms of edutainment include television productions, film, museum exhibits, and computer software which use entertainment to attract and maintain an audience, while incorporating deliberate educational content or messages. It is also apparent that educational elements are becoming implemented into traditionally recreational realms, such as vacations and games.<br />
<br />
== Terminology ==<br />
The term edutainment was used as early as 1954 by Walt Disney to describe the True Life Adventures series. The noun edutainment is a neologistic portmanteau used by Robert Heyman in 1973 while producing documentaries for the National Geographic Society. It was used by Dr. Chris Daniels in 1975 to encapsulate the theme of his Millennium Project. This project later became known as The Elysian World Project. The terms "edutainment" (and "sustainment") were used in 2001 to explain how the CRUMPET project, on context-aware and personalized Tourism, refers to people traveling for adventure yet who also travel for education and business and who do not perceive themselves as classical "tourists." The offshoot word "Edutainer" has been used by Craig Sim Webb since before the turn of the millennium to describe an individual who offers edutainment presentations and performances.<br />
<br />
== Application ==<br />
=== Audio and video ===<br />
Schoolhouse Rock, Wishbone, Sesame Street, and Bill Nye the Science Guy are examples of shows that use music and video to teach topics like math, science, and history. Using music to aid memory dates back to the passing of ancient oral traditions, including the Iliad and the Odyssey. Much of what edutainment can offer through audio and video especially, is accessible over the internet on platforms such as YouTube, with such channels as Vsauce, CGP Grey, MinutePhysics, Meet Arnold, Veritasium, and Crash Course.<br />
<br />
Public Service Broadcasting is a band that incorporates audio and footage from the British Film Institute into their music and performances, and this partnership helps the British Film Institute showcase its material; their album Inform-Educate-Entertain, which covers topics such as the climbing of Mount Everest and highway safety, demonstrates the connection between the concept of edutainment and their music.<br />
<br />
=== Film and television ===<br />
Motion pictures with educational content appeared as early as 1943, such as Private Snafu, and can still be seen in films such as An Inconvenient Truth. After World War II, educational entertainment shifted towards television. Television programs can be divided into three main categories: those with primarily educational intentions, those with a high degree of both education and entertainment, and entertainment shows with incidental or occasional educational value.<br />
<br />
Mexican TV producer Miguel Sabido pioneered in the 1970s a form of edutainment via telenovelas, "soap operas for social change". The "Sabido method" has been adopted in many other countries subsequently, including India, Peru, Kenya, and China. In Mexico, the government in the 1970s successfully used a telenovela to promote family planning to curb the country's high birth rate.<br />
<br />
The third season of the television show MTV Shuga was analyzed by researchers and then published online in 2017 in terms of its effects related to its goal of educating African youth about sexual health and HIV, and secondarily, gender-based violence. In the randomized control trials, those in the treatment group who watched the show for six months were "almost twice as likely" to get tested at HIV testing centers; mixed results were found in regards to the show's effects on gender-based violence.<br />
<br />
=== Healthcare ===<br />
Educating the public about health issues is a focus for many stakeholders, including the pharmaceutical industry. In recent years, several initiatives have used educational entertainment principles to highlight specific conditions or wider healthcare issues. Examples include ''In Memory about dementia'', ''Millefeuille'' about psoriasis, and ''This is Axiom'' about the challenges facing the UK's National Health Service.<br />
<br />
=== Games ===<br />
<br />
Games fulfill a number of educational purposes. Some games may be explicitly designed with education in mind, while others may have incidental or secondary educational value. All types of games, including board, card, quizzes, and video games, may be used in an educational environment. Educational games are designed to teach people about certain subjects, expand concepts, reinforce development, understand a historical event or culture, or assist them in learning a skill as they play.<br />
<br />
According to Paraskeva (2010), at least 68% of American households play video games. Many recent research articles postulate education and gaming can be joined to provide academic benefits.<br />
<br />
According to Van Eck (2006), there are three reasons why games are considered learning tools: <br />
: 1. Ongoing research that has included the last 20 years of educational findings have proven that digital games can be educational; <br />
: 2. The new generation of today wants "multiple streams of information" (p. 1), which includes quick and frequent interaction that allows inductive reasoning; and <br />
: 3. The mere popularity of games has created a billion-dollar industry. The idea of playing a game assumes the person is engaging in that activity by choice. The activity should have some value of "fun". This does not mean that the person is engaging in the activity only for leisure pursuits; it can also include the desire to learn a skill, connect with other gamers (social community), and spend time in a chosen activity. The activity needs to remain one of choice for the gamer.<br />
<br />
<br />
Kim (2008) supports the use of off-the-shelf games with meta-cognitive strategies to provide an increase in students' cognitive performance.<br />
<br />
=== Radio and podcasts ===<br />
Radio can serve as an effective vehicle for educational entertainment. The British radio soap opera The Archers has for decades been systematically educating its audience on agricultural matters; likewise, the Tanzanian radio soap opera Twende na Wakati ("Let's Go With the Times") was written primarily to promote family planning.<br />
<br />
Likewise, podcasts have begun to exemplify the concept of edutainment, with some radio programs also becoming available in this digital format. Not only are there are series with educational elements that are listened to recreationally, but there are also podcasts used as an educational tool. Lessons based on podcasts have increased in popularity, with TeachersPayTeachers finding that lesson plans relating to podcasts rose in downloads by 21 percent and 650 percent in 2014 and 2015, respectively, which corresponded with the release of Serial.<br />
<br />
Toys<br />
Main article: Educational toy<br />
Toys are perhaps the earliest "edutainment" objects a person encounters, as many toys have also an educational aspect beside their aesthetic appeal. They can teach children literacy, numerical, conceptual or motor skills. Many toys (e.g., a miniature piano) are simply colorful, scaled-down versions of more complex objects, and thus can base children in skills and benefits associated with the latter. It is up to grown-ups to guide children to the toy's proper use in order to make the most out of it.<br />
<br />
Toys are often employed in the context of mimicry and roleplay to partially experience personalities or situations not otherwise possible, very akin to simulation in video games. They can be used as primitive means to nurture an instinct or a character trait in children. Often, toys work simultaneously the other way, providing children with the means to express those things: a doll may be used by a girl to mimic her mother or express motherhood as much as to explore it.<br />
<br />
Even for toys that don't possess explicit educational value, a thoughtful parent or teacher can turn a static figurine, for example, into an object of interest, by pointing out its features or costumes, or referring to its history or science (e.g., a figurine of a Native American may be a starting point for exploring American history; a Santa Claus may be used to explore the roots of Christmas; a toy astronaut to explore science...), which can be done in conjunction with a more-explicitly "edutaining" object, such as a picture book. Most children are naturally inquisitive (possibly why they sometimes break their toys; simply to know what is inside or how it moves or what produces that sound), and caregivers should not waste this opportunity.<br />
<br />
Even grown-ups can learn through toys about children: what are their talents or interests; if they are more extrovert or introvert; indeed if they dislike toys and prefer social activities or sport, and thus capitalize on the children's abilities and correct what is wrong or lacking.<br />
<br />
Some toys are of considerable appeal and benefit to both children and adults, such as Lego or Rubik's Cube, as their design and implementation can range from the simple to the sophisticated.<br />
<br />
=== Hip hop culture ===<br />
The term "edutainment" was first made popular amongst the hip hop community by KRS-One (a.k.a. The Teacha) thanks to his Boogie Down Productions album by the same name.<br />
<br />
The term has since been borrowed to describe hip hop culture's innate pedagogical aesthetics. Examples of this include how Hip Hop uniquely combines both thought and action (see Paulo Freire's use of praxis in Pedagogy of the Oppressed) and values both Eurocentric values of rational thought and Afrocentric epistemology of kinetic, affective and emotional ways of knowing. Another example is in the transmission of technical and historical knowledge, the manner in which Hip Hop practitioners learn and exchange by sharing moments of performance together through building or building sessions.<br />
<br />
=== Corporations ===<br />
The concept of educational entertainment is being used for building learning programs for organizations. High technology is used to make the programs entertaining and educational.[page range too broad] As an example, PowerPoint presentations may become more entertaining with the addition of flashy animations or graphics. An article in a satirical newspaper, The Onion, poked fun at the concept of embellishing boring presentations with attention-catching effects. A fictional marketing executive in the article noted the previous lack of excitement in the presentation, saying "When we first finished the PowerPoint, the content was all there, but it still lacked that certain something."<br />
<br />
=== Theme parks ===<br />
<br />
Theme parks are a specific kind of setting in which the combination of entertaining and educational elements can be prevalent. Epcot at Walt Disney World, which is owned by The Walt Disney Company, is highly based on edutainment; the park features attractions that teach about the past, conservation, imagination, future technologies, and the world. The park's dedication plaque, written by Marty Sklar and Erwin Okun, states the following: "May EPCOT Center entertain, inform and inspire. And above all, may it instill a new sense of belief and pride in man's ability to shape a world that offers hope to people everywhere."<br />
<br />
The offerings and promotions at SeaWorld associated with the educational topics of marine biology, conservation, and animal rescue efforts are increasing at their current locations and in plans for the upcoming Abu Dhabi theme park, which is likely due to activism for animal rights.<br />
<br />
Other notable theme parks that incorporate educational elements and topics are Disney's Animal Kingdom, Holy Land Experience, Dinosaur World, Busch Gardens, and Puy du Fou.<br />
<br />
=== Museums and public access areas ===<br />
<br />
Edutainment is also a growing paradigm within the science center and children's museum community in the United States, as well as in many other locations such as the zoo or a botanical garden. Educational locations such as these are constantly looking for new and innovative ways to reach the surrounding public and get them interested in areas such as the fine arts, science, literature, and history. Additionally, field trip visits to these educational places provide participants with interactional stimulus to learn about the content offered there. Since people are used to flashy, polished entertainment venues like movie theaters and theme parks, they demand similar experiences at science centers or museums. Consequently, interactive experiences, such as games and mobile apps, are implemented in museums in order to more effectively help people learn about what they are seeing. Museums are also embracing the ability to use storytelling to engage people, especially those who are young, in hopes to increase attendance; all the while, though, it is possible for the focus and purpose of museums to be diluted. Thus, a museum or a zoo can be seen as just another business competing for entertainment dollars from the public, rather than as an institution that serves the public welfare through education or historical preservation.<br />
<br />
=== Effects in the classroom ===<br />
<br />
Much research has been done in association with edutainment and its effectiveness in its various forms. Particularly, the effects of the implementation of the concept of edutainment in the classroom setting have been studied on multiple occasions. The concept of flipped classrooms, in association with edutainment, was studied by Retta Guy and Gerald Marquis (2016), in which students were assigned video lessons and podcasts as opposed to projects prior to class; it was found that these students outperformed those in traditional classrooms, found the actual time in class to prompt more interaction, and thought the class to be more enjoyable, although there was a noticeable period of adaption.[page needed]<br />
<br />
In a study conducted by Ruby Lynch-Arroyo and Joyce Asing-Cashman (2016), Numb3rs, which is an example of edutainment in the form of a television show, was integrated into the education of preservice mathematics teachers. The subsequent results exemplified the potential for edutainment to promote critical thinking, increased engagement, and growth mindsets.[page needed]<br />
<br />
Similarly, Craig D. Cox, et al. (2017) conducted a study in which a mini-series that combined educational and entertaining elements was developed and presented to pharmacy preceptors; it was effective in increasing the confidence of the participants and was an honorable mention for the American Association of Colleges of Pharmacy Innovations in Teaching Award in 2015.<br />
<br />
A system that incorporated the concept of edutainment through the use of games has also been studied in association with disabled students by Amal Dandashi, et al. (2015), and it was found that the system had a positive impact in terms of scores, coordination, communication, and memorization skills; after replaying, higher scores were often achieved as well.<br />
<br />
As for podcasts and narration specifically, according to a study conducted by Trish L. Varao Sousa, Jonathan S. A. Carriere, and Daniel Smilek (2013) with student participants, these forms may not be particularly helpful, as their use can result in both less information actually internalized and less engagement overall when compared to other "reading encounters."<br />
<br />
== See also ==<br />
<div style='-moz-column-count:2; column-count:2;'><br />
*{{wk5|After school special}}<br />
*{{wk5|ChuChu TV}}<br />
*{{wk5|Educational video game}}<br />
*{{wk5|Educational toy}}<br />
*{{wk5|Entertainment-Education}}<br />
*{{wk5|Games and learning}}<br />
*{{wk5|Historical reenactment}}<br />
*{{wk5|Infotainment}}<br />
*{{wk5|Educational software}}<br />
*{{wk5|Kami (Takalani Sesame)}}<br />
*{{wk5|Politainment}}<br />
*{{wk5|Public service announcement}}<br />
*{{wk5|Serious game}}<br />
*{{wk5|Social Impact Entertainment}}<br />
*{{wk5|Telenovelas}}<br />
*{{wk5|Traffic School by Improv}}<br />
</div><br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat|Entertainment}}</div>Robinr78http://www.sm-201.org/a/MuseologyMuseology2024-03-25T21:12:37Z<p>Robinr78: </p>
<hr />
<div>{{Header|Museology 03/24}}<br />
Museology, or museum studies, is the study of museums. It explores their history and role in society, as well as their activities, including curating, preservation, public programming, and education.<br />
<br />
== Terminology ==<br />
The words that are used to describe the study of museums vary depending on language and geography. For example, while “museology” is becoming more prevalent in English, it is most commonly used to refer to the study of museums in French (muséologie), Spanish (museología), German (Museologie), Italian (museologia), and Portuguese (museologia) – while English speakers more often use the term “museum studies” to refer to that same field of study. When referring to the day-to-day operations of museums, other European languages typically use derivatives of the Greek “museographia” (French: muséographie, Spanish: museografía, German: Museographie, Italian: museografia, Portuguese: museografia), while English speakers typically use the term “museum practice” or “operational museology”<br />
<br />
== Development of the field ==<br />
The development of museology in Europe coincided with the emergence of early collectors and cabinets of curiosity in the 16th, 17th, and 18th centuries. In particular, during The Age of Enlightenment anthropologists, naturalists, and hobbyist collectors encouraged the growth of public museums that displayed natural history and ethnographic objects and art in North America and Europe. In the 18th and 19th centuries, European powers’ colonization of overseas lands was accompanied by the development of the disciplines of natural history and ethnography, and the rise of private and institutional collection building. In many cases museums became the holding places for collections that were acquired through colonial conquests, which positioned museums as key institutions in Western European colonial projects.<br />
<br />
In the 19th century, European museology was focused on framing museums as institutions that would educate and “civilize” the general public. Museums typically served nationalist interests, and their primary purpose was often to celebrate the state, country, or colonial power. Though [[World's Fair]]s, such as The Great Exhibition of 1851 in London or the [[Chicago World's Columbian Exposition]], were temporary, they were some of the first examples of large-scale exhibition spaces dedicated to nationalist agendas; both Britain and America wanted to assert themselves as international leaders in science and industry. In some cases world's fairs became the basis for museums. For instance, The Field Museum in Chicago grew out of the 1893 [[World's Columbian Exposition]].<br />
<br />
In the European context, the first academic journal on museology was the "Zeitschrift für Museologie und Antiquitätenkunde sowie verwandte Wissenschaften" (Journal for museology and antiquarianism as well as related sciences, 1878–1885) founded and edited by Dr Johann Georg Theodor Graesse (1814–1885), director of Dresden Porcelain Collection at the time. The journal was published twice a month from 1878 to 1885, and ended when the founding editor died. The Zeitschrift für Museologie was followed by the second German journal on museology, Museumskunde (since 1905), which was founded in Dresden by Dr Karl Koetschau (1868–1949), director of the Dresden History Museum at the time. Since 1917, the journal Museumskunde has become the official periodical of the Deutscher Museumsbund e.V. (German Museums Association, since 1917).<br />
<br />
Museums Association, the first professional membership organization for those working in the museum field, was established in London in 1889. In 1901, they developed the Museums Journal, the first English periodical devoted entirely to the theory and practice of museums, which was followed by the American Association of Museum’s Museum Work in the United States (1919). With the creation of the International Council of Museums (ICOM) in 1946, the study of museums gained increasing momentum and exposure, though at the time most of the scholarly focus was on operational museology, or museum practice.<br />
<br />
Beginning in the 1950s, new forms of museology were emerging as a way to revitalize the educational role of museums. One attempt to re-envision museums’ role was the concept of Ecomuseums, first proposed publicly at ICOM’s 9th International Conference in France (1971). Ecomuseums proliferated in Europe – and still exist around the world today – challenging traditional museums and dominant museum narratives, with an explicit focus on community control and the development of both heritage and sustainability. In 1988, Robert Lumley’s book The Museum Time Machine “expressed the growing disquiet about traditional museological presuppositions and operations”. The following year, Peter Vergo published his critically acclaimed edited collection The New Museology (1989/1997), a work that aimed to challenge the traditional or “old” field of museology, and was named one of the Paperbacks of the Year by The Sunday Times in Britain. Around the same time, Ivan Karp co-organized two ground-breaking conferences at the Smithsonian, Exhibiting Cultures (1988) and Museums and Communities (1990), that soon resulted in highly influential volumes of the same names that redefined museums studies. Scholars who are engaged in various “new” museological practices sometimes disagree about when this trend “officially” began, what exactly it encompasses, and whether or not it is an ongoing field of study. However, the common thread of New Museology is that it has always involved some form of “radical reassessment of the roles of museums within society”.<br />
<br />
Critical theorists like Michel Foucault, Walter Benjamin, and Benedict Anderson also had a profound influence on late 20th and early 21st century museology. As other disciplines began to be critically reassessed, often adding the term “critical” to their new titles (i.e. critical race theory), a discourse of critical museology also emerged, intensifying around the turn of the 21st century. It arose from a similar critical discourse as New Museology and shares many of its features, so much so that many scholars disagree about the extent to which you can distinguish one from the other. In other words, while some scholars say that New Museology was a watershed moment in the late 20th century and critical museology is a related but separate movement in the early 21st century, others argue that New Museology is an ongoing field of study that has many manifestations and names, one of which is critical museology.<br />
<br />
The latest movements in museology tend to focus on museums being interdisciplinary, multi-vocal, accessible, and open to criticism. While these critical discourses dominate contemporary museology, there are many different kinds of museums that exist today, some are engaged in new and innovative practices, and others are more traditional and therefore, less critical.<br />
<br />
== References ==<br />
<References /><br />
<br />
{{ra-museums}}<br />
<br />
== External links ==<br />
* [https://web.archive.org/web/20150615202024/http://www.trc.ca/websites/trcinstitution/File/2015/Findings/Calls_to_Action_English2.pdf Calls to Action – Truth and Reconciliation Commission of Canada]<br />
* [http://www.carmah.berlin/ Centre for Anthropological Research on Museums and Heritage]<br />
* [https://www.guerrillagirls.com Guerrilla Girls] <br />
* [http://icom.museum/ International Council of Museums]<br />
* [http://hennessy.iat.sfu.ca/mcl/about-making-culture-lab/ Making Culture Lab]<br />
* [http://museums.in1touch.org/uploaded/web/docs/Task_Force_Report_1994.pdf Task Force Report on Museums and First Peoples]<br />
* [https://web.archive.org/web/20160304082611/http://www.trc.ca/websites/trcinstitution/index.php?p=3 Truth and Reconciliation Commission]<br />
* [https://web.archive.org/web/20150615202024/http://www.trc.ca/websites/trcinstitution/File/2015/Findings/Calls_to_Action_English2.pdf TRC - 94 Calls to Action]<br />
<br />
{{footer}}<br />
<br />
{{cat|Museums}}</div>Robinr78http://www.sm-201.org/a/ScopScop2024-03-25T20:47:29Z<p>Robinr78: Created page with "{{Header|Scop 03/24}} Old English poetry such as ''Beowulf'' was composed for performance; it is widely supposed that this meant it was chanted by a scop to musical accompaniment. Illustration by Joseph Ratcliffe Skelton, c. 1910}} A '''{{lang|ags|scop}}''' was a poet as represented in Old English poetry. The scop is the Old English counterpart of the Old Norse ''skald'', with the importan..."</p>
<hr />
<div>{{Header|Scop 03/24}}<br />
[[File:A_minstrel_sings_of_famous_deeds_by_J._R._Skelton_c_1910.jpg|thumb|{{bc|Old English poetry such as ''Beowulf'' was composed for performance; it is widely supposed that this meant it was chanted by a scop to musical accompaniment. Illustration by Joseph Ratcliffe Skelton, c. 1910}}]]<br />
<br />
<br />
A '''{{lang|ags|scop}}''' was a poet as represented in Old English poetry. The scop is the Old English counterpart of the Old Norse ''skald'', with the important difference that "skald" was applied to historical persons, and scop is used, for the most part, to designate oral poets ''within'' Old English literature. Very little is known about scops, and their historical existence is questioned by some scholars.<br />
<br />
== Functions ==<br />
<br />
The scop, like the similar [[gleeman]], was a reciter of poetry. The scop, however, was typically attached to a court on a relatively permanent basis. There, he most likely received rich gifts for his performances. The performances often featured the recitation of recognisable texts such as the "old pagan legends of the Germanic tribes." However, the scop's duties also included ''composing'' his own poetry in different situations, the eulogizing of his master. While some scops moved from court to court, they were (generally speaking) less nomadic than the gleemen and had positions of greater security.<br />
<br />
== Etymology ==<br />
<br />
Old English scop and its cognate Old High German scoph, scopf, scof (glossing poeta and vates; also poema) may be related to the verb scapan "to create, form" (Old Norse skapa, Old High German scaffan; Modern English shape), from Proto-Germanic skapiz "form, order" "cut, hack"), perfectly parallel to the notion of craftsmanship expressed by the Greek poetēs itself;[2] Köbler (1993, p. 220) suggests that the West Germanic word may indeed be a calque of Latin poeta..<br />
<br />
== ''Scop'', ''{{lang|goh|scopf}}'', and relationship to ''scold''==<br />
While skop became English scoff, the Old Norse skald lives on in a Modern English word of a similarly deprecating meaning, scold.[2] There is a homonymous Old High German scopf meaning "abuse, derision" (Old Norse skop, meaning "mocking, scolding", whence scoff), a third meaning "tuft of hair", and yet another meaning "barn" (cognate to English shop). They may all derive from a Proto-Germanic skupa.rmanic ''{{lang|gem-x-proto|skupa}}''.<br />
<br />
The association with jesting or mocking was, however, strong in Old High German. There was a skopfari glossing both poeta and comicus and a skopfliod glossing canticum rusticum et ineptum and psalmus plebeius. Skopfsang, on the other hand, is of a higher register, glossing poema, poesis, tragoedia. The words involving jesting are derived from another root, Proto-Indo-European *Template:PIE- "push, thrust," related to English shove, shuffle, and the Oxford English Dictionary favors association of scop with that root. The question cannot be decided formally since the Proto-Germanic forms coincided in zero grade, and by the time of the surviving sources (from the late 8th century), the association with both roots may have influenced the word for several centuries.<br />
<br />
It is characteristic of the Germanic tradition of poetry that the sacred or heroic cannot be separated from the ecstatic or drunken state and so crude jesting (compare the Lokasenna, where the poet humorously depicts the gods themselves as quarrelsome and malicious), qualities summed up in the concept of wōþuz, the namegiving attribute of the god of poetry, Wōdanaz.<br />
<br />
== Literary fiction or reality==<br />
<br />
The scholar of literature Seth Lerer suggests that "What we have come to think of as the inherently 'oral' quality of Old English Poetry&nbsp;... [may] be a literary fiction of its own."<ref>{{Cite book |title=Literacy and Power in Anglo-Saxon Literature |last=Lerer |first=Seth |publisher=University of Nebraska Press |year=1991 |location=Lincoln, Nebraska}}</ref> Scholars of Early English have different opinions on whether the Anglo-Saxon oral poet ever really existed. Much of the poetry that survives does have an oral quality to it, but some scholars argue that it is a trait carried over from an earlier Germanic period. If, as some critics believe, the idea of the Anglo-Saxon oral poet is based on the Old Norse Skald, it can be seen as a link to the heroic past of the Germanic peoples. There is no proof that the "scop" existed, and it could be a literary device allowing poetry to give an impression of orality and performance. This poet figure recurs throughout the literature of the period, whether real or not. Examples are the poems Widsith and Deor, in the Exeter Book, which draw on the idea of the mead-hall poet of the heroic age and, along with the anonymous heroic poem "[[Beowulf]]" express some of the strongest poetic connections to oral culture in the literature of the period.<br />
<br />
The scholar and translator of Old English poetry Michael Alexander, introducing his 1966 book of ''The Earliest English Poems'', treats the scop as a reality within an oral tradition. He writes that since all the material is traditional, the oral poet achieves mastery of alliterative versewhen the use of descriptive half-line formulae has become "instinctive"; at that point he can compose "with and through the form rather than simply ''in'' it". At that point, in Alexander's view, the scop "becomes invisible, and metre becomes rhythm".<ref name="Alexander 1966">{{cite book | last=Alexander |first=Michael | title=The Earliest English Poems | url=https://archive.org/details/earliestenglishp00vari | url-access=registration | publisher=Penguin | year=1966 |pages=15, 19–20|isbn=9780140441727 }}</ref><br />
<br />
The nature of the scop in ''Beowulf'' is addressed by another scholar-translator, Hugh Magennis, in his book ''Translating Beowulf''. He discusses the poem's lines 867–874, which describe, in his prose gloss, "a man&nbsp;... mindful of songs, who remembered a multitude of stories from the whole range of ancient traditions, found new words, properly bound together".<ref name="Magennis 2011">{{cite book |last=Magennis |first=Hugh |author-link=Hugh Magennis (scholar) |title=Translating Beowulf : modern versions in English verse |publisher=D.S. Brewer |publication-place=Cambridge Rochester, New York |year=2011 |isbn=978-1-84384-394-8 |oclc=883647402 |pages=30–21 "Oral and aural"}}</ref> He notes that this offers "an image of the poetic tradition in which ''Beowulf'' participates", an oral culture: but that "in fact this narrator and this audience are [in this instance] a fiction", because when the ''Beowulf'' text is read out, the narrator is absent. So, while the poem feels like a scop's "oral utterance .. using the traditional medium of heroic poetry", it is actually "a literate work, which offers a meditation on its [centuries old] heroic world rather than itself coming directly from such a world".<ref name="Magennis 2011"/><br />
<br />
== Further reading ==<br />
* Frank, Roberta. "The Search for the Anglo-Saxon Oral Poet". ''Bulletin of the John Rylands University of Manchester'', 1993. 75:11-36.<br />
* Niles, John D. "The Myth of the Anglo-Saxon Poet." ''Western Folklore'' 62.1/2(2003): 7-61.<br />
* O'Brien O'Keeffe, Katherine. ''Visible Song: Transitional Literacy in Old English Verse''. Cambridge: Cambridge University Press, 1990. <br />
* Pasternack, Carol Braun. ''The Textuality of Old English Poetry.'' Cambridge: Cambridge University Press, 1995.<br />
* Bahn, Eugene, and Margaret L. Bahn. "Medieval Period." ''A History of Oral Interpretation''. Minneapolis: Burgess Pub., 1970. 49-83.<br />
<br />
==See also==<br />
<div style='-moz-column-count:3; column-count:3;'><br />
* [[Grendel_(novel)|Grendel]] novel<br />
* [[Sumbel]]<br />
* [[Bard]]<br />
* [[Bragi]]<br />
* [[Makar]]</div><br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{cat|Old English poetry|Anglo-Saxon poetry|Poetry|Entertainment|occupations}}</div>Robinr78http://www.sm-201.org/a/List_of_entertainer_occupationsList of entertainer occupations2024-03-25T20:26:58Z<p>Robinr78: Created page with "{{Header|List of entertainer occupations 03/24}} ==Types of entertainers== <div style='-moz-column-count:4; column-count:4;'> * {{wk5|Acrobat}} * {{wk5|Actor}} * {{wk5|Archimime}} * {{wk5|Athlete}} * {{wk5|Barker}} * {{wk5|Beatboxer}} * {{wk5|Benshi}} * {{wk5|Bouffon}} * {{wk5|Circus performer}} * {{wk5|Clown}} * {{wk5|Host and hostess clubs}} * {{wk5|Comedian}} * {{wk5|Dancer}} * {{wk5|Drag queen}} * {{wk5|Drag king}} * {{wk5|DJ}} * {{wk5|Emcee}} * {{wk5|Filmmaker}}..."</p>
<hr />
<div>{{Header|List of entertainer occupations 03/24}}<br />
<br />
<br />
<br />
==Types of entertainers==<br />
<br />
<div style='-moz-column-count:4; column-count:4;'><br />
* {{wk5|Acrobat}}<br />
* {{wk5|Actor}}<br />
* {{wk5|Archimime}}<br />
* {{wk5|Athlete}}<br />
* {{wk5|Barker}}<br />
* {{wk5|Beatboxer}}<br />
* {{wk5|Benshi}}<br />
* {{wk5|Bouffon}}<br />
* {{wk5|Circus performer}}<br />
* {{wk5|Clown}}<br />
* {{wk5|Host and hostess clubs}}<br />
* {{wk5|Comedian}}<br />
* {{wk5|Dancer}}<br />
* {{wk5|Drag queen}}<br />
* {{wk5|Drag king}}<br />
* {{wk5|DJ}}<br />
* {{wk5|Emcee}}<br />
* {{wk5|Filmmaker}}<br />
* {{wk5|Flag throwing}}<br />
* {{wk5|Flair bartending}}<br />
* {{wk5|Flatulist}}<br />
* {{wk5|Geisha}}<br />
* {{wk5|Go-go dancer}}<br />
* {{wk5|Harlequin}}<br />
* {{wk5|Television presenter}}<br />
* {{wk5|Illusionist}}<br />
* {{wk5|Impressionist}}<br />
* {{wk5|Internet celebrity}}<br />
* {{wk5|Itinerant poet}}<br />
* {{wk5|Japanese idol}}<br />
* {{wk5|Jester}}<br />
* {{wk5|Kobzar}}<br />
* {{wk5|Lirnyk}}<br />
* {{wk5|Online streamer}}<br />
* {{wk5|Magician}}<br />
* {{wk5|Master of ceremonies}}<br />
* {{wk5|Mime}}<br />
* {{wk5|Minstrel}}<br />
* {{wk5|Monologist}}<br />
* {{wk5|Musician}}<br />
* {{wk5|Painter}}<br />
* {{wk5|Party princess}}<br />
* {{wk5|Performing arts}}<br />
* {{wk5|Photographer}}<br />
* {{wk5|Podcaster}}<br />
* {{wk5|Poet}}<br />
* {{wk5|Professional wrestler}}<br />
* {{wk5|Promotional model}}<br />
* {{wk5|Radio personality}}<br />
* {{wk5|Rapper}}<br />
* {{wk5|Rhapsode}}<br />
* {{wk5|Ring girl}}<br />
* {{wk5|Ringmaster}}<br />
* {{wk5|Scop}}<br />
* {{wk5|Shamakhi dancers}}<br />
* {{wk5|Showgirl}}<br />
* {{wk5|Showman}}<br />
* {{wk5|Showrunner}}<br />
* {{wk5|Singer}}<br />
* {{wk5|Skomorokh}}<br />
* {{wk5|Online streamer}}<br />
* {{wk5|Street performer}}<br />
* {{wk5|Strongman}}<br />
* {{wk5|Stunt performer}}<br />
* {{wk5|Theatre practitioner}}<br />
* {{wk5|TikToker}}<br />
* {{wk5|TV celebrity}}<br />
* {{wk5|Vedette}}<br />
* {{wk5|Writer}}<br />
* {{wk5|YouTuber}}<br />
</div><br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}<br />
<br />
{{cat|Occupations|Entertainment|Lists}}</div>Robinr78http://www.sm-201.org/a/StorytellingStorytelling2024-03-25T20:00:11Z<p>Robinr78: </p>
<hr />
<div>{{Header|Storytelling 03/24}}<br />
{{Abridged}}<br />
[[File:Storytellig_index.jpg|thumb|right|490px|{{bc|Wikipedia article index}}]]<br />
<br />
'''Storytelling''' is the social and cultural activity of sharing stories, sometimes with improvisation, [[theater|theatrics]] or embellishment. Every culture has its own stories or narratives which are shared as a means of [[entertainment]], education, cultural preservation or instilling [[moral]] values.<ref>{{Cite web|url=http://www.beyondintractability.org/essay/narratives|title=Narratives and Story-Telling {{!}} Beyond Intractability|website=www.beyondintractability.org}}</ref> Crucial elements of stories and storytelling include a narrative plot, characters and narrative point of view. <br />
<br />
The term "storytelling" can refer specifically to oral storytelling but also broadly to techniques used in other media to unfold or disclose the narrative of a story.<br />
<br />
== Historical perspective ==<br />
<br />
Storytelling, intertwined with the development of mythologies, predates writing. The earliest forms of storytelling were usually oral, combined with gestures and expressions. Some archaeologists believe that rock art, in addition to a role in religious rituals, may have served as a form of storytelling for many ancient cultures. The Australian aboriginal people painted symbols that also appear in stories on cave walls as a means of helping the storyteller remember the story. The story was then told using a combination of oral narrative, music, rock art and dance, which bring understanding and meaning to human existence through the remembrance and enactment of stories. People have used the carved trunks of living trees and ephemeral media (such as sand and leaves) to record folktales in pictures or with writing. Complex forms of tattooing may also represent stories, with information about genealogy, affiliation and social status.<br />
<br />
Folktales often share common motifs and themes, suggesting possible basic psychological similarities across various human cultures. Other stories, notably fairy tales, appear to have spread from place to place, implying memetic appeal and popularity.<br />
<br />
Groups of originally oral tales can coalesce over time into story cycles (like the Arabian Nights), cluster around mythic heroes (like King Arthur), and develop into the narratives of the deeds of the gods and saints of various religions. The results can be episodic (like the stories about Anansi), epic (as with Homeric tales), inspirational (note the tradition of vitae) and/or instructive (as in many Buddhist or Christian scriptures).<br />
<br />
With the advent of writing and the use of stable, portable media, storytellers recorded, transcribed and continued to share stories over wide regions of the world. Stories have been carved, scratched, painted, printed or inked onto wood or bamboo, ivory and other bones, pottery, clay tablets, stone, palm-leaf books, skins (parchment), bark cloth, paper, silk, canvas and other textiles, recorded on film and stored electronically in digital form. Oral stories continue to be created, improvisationally by impromptu and professional storytellers, as well as committed to memory and passed from generation to generation, despite the increasing popularity of written and televised media in much of the world.<br />
<br />
== Contemporary storytelling ==<br />
Modern storytelling has a broad purview. In addition to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), it has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is also widely used to address educational objectives. New forms of media are creating new ways for people to record, express and consume stories. Tools for asynchronous group communication can provide an environment for individuals to reframe or recast individual stories into group stories. Games and other digital platforms, such as those used in interactive fiction or interactive storytelling, may be used to position the user as a character within a bigger world. Documentaries, including interactive web documentaries, employ storytelling narrative techniques to communicate information about their topic. Self-revelatory stories, created for their cathartic and therapeutic effect, are growing in their use and application, as in Psychodrama, Drama Therapy and Playback Theatre. Storytelling is also used as a means by which to precipitate psychological and social change in the practice of transformative arts.<br />
<br />
Some people also make a case for different narrative forms being classified as storytelling in the contemporary world. For example, digital storytelling, online and dice-and-paper-based role-playing games. In traditional role-playing games, storytelling is done by the person who controls the environment and the non-playing fictional characters, and moves the story elements along for the players as they interact with the storyteller. The game is advanced by mainly verbal interactions, with dice roll determining random events in the fictional universe, where the players interact with each other and the storyteller. This type of game has many genres, such as sci-fi and fantasy, as well as alternate-reality worlds based on the current reality, but with different setting and beings such as werewolves, aliens, daemons, or hidden societies. These oral-based role-playing games were very popular in the 1990s among circles of youth in many countries before computer and console-based online MMORPG's took their place. Despite the prevalence of computer-based MMORPGs, the dice-and-paper RPG still has a dedicated following.<br />
<br />
== Oral traditions ==<br />
<br />
Oral traditions of storytelling are found in several civilizations; they predate the printed and online press. Storytelling was used to explain natural phenomena, bards told stories of creation and developed a pantheon of gods and myths. Oral stories passed from one generation to the next and storytellers were regarded as healers, leaders, spiritual guides, teachers, cultural secrets keepers and entertainers. Oral storytelling came in various forms including songs, poetry, chants and dance.<br />
<br />
Albert Bates Lord examined oral narratives from field transcripts of Yugoslav oral bards collected by Milman Parry in the 1930s, and the texts of epics such as the Odyssey. Lord found that a large part of the stories consisted of text which was improvised during the telling process.<br />
<br />
Lord identified two types of story vocabulary. The first he called "formulas": "Rosy-fingered Dawn", "the wine-dark sea" and other specific set phrases had long been known of in Homer and other oral epics. Lord, however, discovered that across many story traditions, fully 90% of an oral epic is assembled from lines which are repeated verbatim or which use one-for-one word substitutions. In other words, oral stories are built out of set phrases which have been stockpiled from a lifetime of hearing and telling stories.<br />
<br />
The other type of story vocabulary is theme, a set sequence of story actions that structure a tale. Just as the teller of tales proceeds line-by-line using formulas, so he proceeds from event-to-event using themes. One near-universal theme is repetition, as evidenced in Western folklore with the "rule of three": Three brothers set out, three attempts are made, three riddles are asked. A theme can be as simple as a specific set sequence describing the arming of a hero, starting with shirt and trousers and ending with headdress and weapons. A theme can be large enough to be a plot component. For example: a hero proposes a journey to a dangerous place / he disguises himself / his disguise fools everybody / except for a common person of little account (a crone, a tavern maid or a woodcutter) / who immediately recognizes him / the commoner becomes the hero's ally, showing unexpected resources of skill or initiative. A theme does not belong to a specific story, but may be found with minor variation in many different stories.<br />
<br />
The story was described by Reynolds Price, when he wrote:<br />
<br />
: A need to tell and hear stories is essential to the species Homo sapiens – second in necessity apparently after nourishment and before love and shelter. Millions survive without love or home, almost none in silence; the opposite of silence leads quickly to narrative, and the sound of story is the dominant sound of our lives, from the small accounts of our day's events to the vast incommunicable constructs of psychopaths.<br />
<br />
In contemporary life, people will seek to fill "story vacuums" with oral and written stories. "In the absence of a narrative, especially in an ambiguous and/or urgent situation, people will seek out and consume plausible stories like water in the desert. It is our innate nature to connect the dots. Once an explanatory narrative is adopted, it's extremely hard to undo," whether or not it is true.<br />
<br />
== Märchen and Sagen ==<br />
<br />
Illustration from Silesian Folk Tales (The Book of Rubezahl)<br />
Folklorists sometimes divide oral tales into two main groups: Märchen and Sagen. These are German terms for which there are no exact English equivalents, however we have approximations:<br />
<br />
'''Märchen''', loosely translated as "fairy tale(s)" or little stories, take place in a kind of separate "once-upon-a-time" world of nowhere-in-particular, at an indeterminate time in the past. They are clearly not intended to be understood as true. The stories are full of clearly defined incidents, and peopled by rather flat characters with little or no interior life. When the supernatural occurs, it is presented matter-of-factly, without surprise. Indeed, there is very little effect, generally; bloodcurdling events may take place, but with little call for emotional response from the listener.<br />
<br />
'''Sagen''', translated as "legends", are supposed to have actually happened, very often at a particular time and place, and they draw much of their power from this fact. When the supernatural intrudes (as it often does), it does so in an emotionally fraught manner. 'Ghost and Lovers' Leap' stories belong in this category, as do many UFO stories and stories of supernatural beings and events.<br />
<br />
Another important examination of orality in human life is Walter J. ''Ong's Orality and Literacy: The Technologizing of the Word'' (1982). Ong studies the distinguishing characteristics of oral traditions, how oral and written cultures interact and condition one another, and how they ultimately influence human epistemology.<br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
{{wr}}<br />
{{Footer}}<br />
<br />
{{cat|Basic terms}}</div>Robinr78http://www.sm-201.org/a/Stunt_performerStunt performer2024-03-25T17:28:36Z<p>Robinr78: </p>
<hr />
<div>{{Header|Stunt performer 03/24}}<br />
{{Infobox occupation<br />
| name= Stuntman<br />
| image= Stunt_Pyrotechnics_Luc_Viatour.jpg<br />
| caption= Pyrotechnics stunt exhibition by "Giant Auto Rodéo" in Ciney, Belgium<br />
| official_names= Stunt performer, stuntman, daredevil<br />
<!------------Details-------------------><br />
| type =<br />
| sector = [[Entertainment]]<br />
| competencies= Physical fitness, daring, acting skills<br />
| formation=<br />
| employment_field= Film, television, theatre<br />
| related_occupation= [[Stunt double]], [[movie star]],<br>[[stunt coordinator]], [[actor]], [[extra (acting)|extra]]<br />
| average_salary= <br />
}}<br />
A '''stunt performer''', often called a '''stuntman''' or '''stuntwoman''' and occasionally '''stuntperson''' or '''stunt-person''', is a trained professional who performs [[stunt|daring acts]], often as a career. Stunt performers usually appear in films or on television, as opposed to a '''daredevil''', who performs for a live audience. When they take the place of another actor, they are known as [[stunt double]]s.<br />
<br />
== Overview ==<br />
A stunt performer performs stunts intended for use in a film or dramatized television. Stunts seen in films and television include car crashes, falls from great height, drags (for example, behind a horse), and explosions.<br />
<br />
There is an inherent risk in the performance of all stunt work. There is maximum risk when the stunts are performed in front of a live audience. In filmed performances, visible safety mechanisms can be removed by editing. In live performances, the audience can see more clearly if the performers are genuinely doing what they claim or appear to be doing. To reduce the risk of injury or death, most often, stunts are choreographed or mechanically rigged so that, while they look dangerous, safety mechanisms are built into the performance. Despite their well-choreographed appearance, stunts are still very dangerous and physically testing exercises.<br />
<br />
From its inception as a professional skill in the early 1900s to the 1960s, stunts were most often performed by professionals who had trained in that discipline prior to entering the movie industry. Current film and television stunt performers must be trained in a variety of disciplines, including martial arts and stage combat, and must be certified trained members of a professional stunt performers organization first in order to obtain the necessary insurance to perform on the stage or screen.[3] This allows them to break down better and plan an action sequence, physically prepare themselves, and incorporate both the safety and risk factors in their performances. However, even when executed perfectly, there is still strain, and performing stunts often results in unplanned injury to the body.<br />
<br />
Daredevils are distinct from stunt performers and stunt doubles; their performance is of the stunt itself, without the context of a film or television show. Daredevils often perform for an audience. Live stunt performers include escape artists, sword swallowers, glass walkers, fire eaters, trapeze artists, and many other sideshow and circus arts. They also include motorcycle display teams and the once popular ''Wall of Death''. "The Jackass films" and television series are well-known and prominent recorded examples of the act in modern cinematography.<br />
<br />
Some people act as both stunt performers and daredevils at various parts of their careers. Examples include Buster Keaton and Harry Houdini; Hong Kong action film stars Jackie Chan, Sammo Hung, Yuen Biao, Michelle Yeoh and Moon Lee; Indian film actors Jayan, Akshay Kumar, Tiger Shroff and Pawan Kalyan; Thai actor Tony Jaa; and Indonesian film actor Iko Uwais.<br />
<br />
==History==<br />
<br />
===Cascadeur===<br />
<br />
The earliest stunt performers were travelling entertainers and [[circus]] performers, particularly trained [[gymnast]]s and [[acrobatics|acrobats]]. The origin of the original name, the French word ''cascadeur'', derivates from ''cascade'' which is an archaic French term for "fall" (from French cascade, from Italian cascata, from cascare “to fall”).<ref name=Freese>{{cite book|title=Hollywood Stunt Performers, 1910s-1970s: A Biographical Dictionary|author=Gene Scott Freese|publisher=McFarland & Co Inc|date=30 April 2014|isbn=978-0786476435}}</ref><br />
<br />
Later, in the German and Dutch circus use of the word ''Kaskadeur'', it meant performing a sequential series of daring leaps and jumps without injury to the performer. This acrobatic discipline required long training in the ring and perfect body control to present a sensational performance to the public.<ref name=ActArtDe/><br />
<br />
The word ''stunt'' was more formally adopted during the 19th-century traveling [[vaudeville]] performances of the early [[Wild West shows]] in North America and Europe. The first and prototypical Wild West show was [[Buffalo Bill]]'s, formed in 1883 and lasting until 1913. The shows, which involved simulated battles with the associated firing of both guns and arrows, were a romanticized version of the [[American Old West]].<br />
<br />
===Stage combat===<br />
{{main|Stage combat}}<br />
During the late 19th and early 20th centuries, [[stage combat]] scenes of swordplay in touring theatrical productions throughout Europe, the [[Commonwealth of Nations]] and North America were typically created by combining several widely known, generic routines known as "standard combats". During the late 19th and early 20th centuries, fencing masters in Europe began to research and experiment with historical fencing techniques, with weapons such as the two-handed sword, rapier, and smallsword, and to instruct actors in their use.<ref name=Wolf /><br />
<br />
Notable among these revivalist instructors was George Dubois, a fight director and martial artist from Paris who created performance fencing styles based on gladiatorial combat as well as Renaissance rapier and dagger fencing. Egerton Castle and Captain Alfred Hutton were part of a wider Victorian era group based in London, involved in reviving historical fencing systems. Circa 1899–1902, Hutton taught stage fencing classes for actors via the [[Bartitsu]] Club, where he also served on the Board of Directors and learned the basics of jujutsu and the Vigny method of stick fighting from his fellow instructors.<ref name=Wolf>Wolf, Tony. (2009) ''A Terrific Combat!!! Theatrical Duels, Brawls and Battles, 1800-1920''</ref><br />
<br />
===Early cinema===<br />
By the early 1900s, the motion picture industry was starting to fire-up on both sides of the Atlantic Ocean, but had no need for professional stunt performers.<ref name=Freese /> First, motion pictures were so new that even if the producer had a budget for performers, there were more than enough applicants willing to do the scene for free. For instance, if you needed a shot of someone on a steel beam {{ht|1000|0}} up on a New York skyscraper, then there was always some willing to do the scene for real, and often for free. Second, the Spanish–American War had just ended, and there were many young men who were physically fit and trained in the handling of firearms looking for some work. Thirdly, the former wild west was now not only tamed, but also starting to be fenced in, greatly reducing the need for and pay of the former [[cowboy]]s.<ref name=Freese /><ref name=TiHWestern /><br />
<br />
The first picture which used a dedicated stunt performer is highly debated, but occurred somewhere between 1903 and 1910.<ref name=Freese /> The first possible appearance of a stunt-double was Frank Hanaway in ''The Great Train Robbery (1903 film)'', shot in 1903 in Milltown, New Jersey.<ref name=LPFHM /><ref name=TiHWestern /> The first auditable paid stunt was in the 1908 film ''The Count of Monte Cristo (1908 film)'', with $5 paid by the director to the acrobat who had to jump upside down from a cliff into the sea.<ref name=ActArtDe>{{cite web|url=http://www.actionartist.de/en/stunt.htm|title=The history of the Stuntman|author=Ilian Simeonow|publisher=ActionArtist.de|access-date=24 June 2014}}</ref><br />
<br />
Professional daredevil, Rodman Law, was a trick parachutist known to thousands for climbing the side of buildings and parachuting out of aeroplanes and off of tall [[base jumping|base]] objects like the "Statue of Liberty". Some of his stunts were filmed by newsreel cameras and media still photographers. Law was brought into movies in 1912 to perform some of his stunts as the hero.<br />
<br />
As the industry developed in the West Coast around Hollywood, Los Angeles, California, the first accepted professional stuntmen were clowns and comedians like [[Charlie Chaplin]], [[Buster Keaton]] and the [[Keystone Cops]].<ref name=SMAssoc /> The reason for this was that staple diet of the early films was an almost continual roll call of pratfalls, high dives and comedy car wrecks – the basic ingredients of a circus clown's routine.<ref name=SMAssoc /> But much like their circus-based predecessors, these actors/stuntmen were not specifically trained to perform stunts, but instead learned through trial and error.<ref name=Freese /><ref name=LPFHM /><br />
<br />
===Cowboy professionals===<br />
From 1910 onwards, American audiences developed a taste for action films, which were replicated into successful serials.<ref>{{cite web|last1=Summers|first1=Olivia|title=A Look at the History of Stunt Performers|url=https://www.oliviasummers.com/blog/2016/10/5/a-look-at-the-history-of-stunt-performers|website=Female Stunt & Precision Car Driver|access-date=15 May 2018}}</ref> These mostly western-themed scripts required a lot of extras, such as for a galloping cavalry, a band of Indians or a fast-riding sheriff's posse; all of whom needed to proficiently ride, shoot and look right on camera.<ref name=TiHWestern>{{cite web|url=http://tripsintohistory.com/2012/08/18/movie-stuntmen-we-wouldnt-have-the-old-western-films-without-them/|title=Movie Stuntmen / We Wouldn't Have the Old Western Films Without Them|publisher=tripsintohistory.com|date=August 18, 2012|access-date=24 June 2014}}</ref><br />
<br />
Producers also kept pushing the directors calling for riskier stunts using a recurring cast, necessitating the use of dedicated stunt doubles for most movie stars.<ref name=Freese/><ref name=LPFHM/> The directors turned to the current rodeo stars for inspiration for their action scenes, and employed former cowboys as extras who not only brought with themselves the right look and style, but also rodeo techniques that included safe and replicable horse falls.<ref name=LPFHM/><br />
<br />
Early recruits included [[Tom Mix]], who after winning the 1909 National Riding and Rodeo Championship, worked for the Selig Polyscope Company in Edendale, Los Angeles, California. Mix made his first appearance in ''The Cowboy Millionaire'' in October 1909, and then as himself in the short documentary film titled ''Ranch Life in the Great Southwest'' in which he displayed his skills as a cattle wrangler. Mix eventually performed in over 160 cowboy matinee movies during the 1920s, and is considered by many as the first matinee cowboy idol.<ref name="TiHWestern" /><br />
<br />
The recruitment venture was aided in 1911 by the collapse of the [[Miller Brothers 101 Ranch|Miller-Arlington]] rodeo show, which left many rodeo performers stranded in Venice, California. One of them was the young Rose August Wenger, who married and was later billed as Helen Gibson, recognized as the first American professional stuntwoman.<ref>Truitt, Evelyn Mack (1984). Who Was Who On Screen. New York: Bowker. {{ISBN|0-8352-1906-2}}.</ref> Thomas H. Ince, who was producing for the New York Motion Picture Company, hired the entire show's cast for the winter at $2,500 a week. The performers were paid $8 a week and boarded in Venice, where the horses were stabled. They then rode the {{ht|5|0}} each day to work in [[Topanga Canyon]], where the films were being shot. In 1912, Helen made $15 a week for her first billed role as Ruth Roland's sister in ''Ranch Girls on a Rampage''.<ref name="letter">{{Cite web |url=https://www.flickr.com/photos/jgodsey/2223877544 |title=Gibson, Helen. unpublished letter December 24, 1966 |access-date=January 20, 2017 }}{{dead link|date=June 2022|bot=medic}}{{cbignore|bot=medic}}</ref> After marrying [[Hoot Gibson|Edmund Richard "Hoot" Gibson]] in June 1913, the couple continued working rodeos in the summer and as stunt doubles in the winter in California, most often for Kalem Studios in Glendale, California.<ref name="In Very">Gibson and Kornick, 1968.</ref> In April 1915 while on the Kalem payroll doubling for Helen Holmes in ''The Hazards of Helen'' series, Helen performed what is thought to be her most dangerous stunt: a leap from the roof of a station onto the top of a moving train in the ''A Girl’s Grit'' episode. The distance between station roof and train top was accurately measured, and she practiced the jump with the train standing still. In the actual shoot, with the train's accelerating velocity timed to the second, she leaped without hesitation and landed correctly, but with forward motion, she rolled forward, saving herself from injury and improving the shot by catching hold of an air vent and dangling over the edge. She suffered only a few bruises.<ref name="wise">{{cite book|author=Arthur Wise|title=Stunting In the Cinema|date=1973}}</ref><br />
<br />
Eventually, the out of work cowboys and out of season rodeo riders, and the directors/producers, figured out a system for the supply of extras. A speakeasy called ''The Watering Hole'' was located close to a Los Angeles located corral called the Sunset Corral.<ref name=TiHWestern/> Every morning, the cowboys would congregate at ''The Watering Hole'', where the directors would send over their assistants to hire for the following day. The cowboys would then dress in their normal riding clothes (unless told otherwise, for which they were paid extra), and ride to the set, most of which were located to the north in the vicinity of the San Fernando Valley.<ref name=TiHWestern/> These "riding extras" jobs paid $10 per day plus a box lunch, and most were only hired on a per day basis.<ref name=TiHWestern/> These early cowboy actors eventually gained the nickname ''The Gower Gulch Gang'', as many of the small studios cranking out westerns were located on Gower Avenue.<ref name=TiHWestern/><br />
<br />
Subsequently, a number of rodeo stars entered the movie industry on a full-time basis, with many "riding extras" eventually becoming movie stars themselves, including:<ref name=Freese/><ref name=LPFHM/> Hank Bell (300 films, between 1920 and 1952); Bill Gillis; Buck Jones; John Montgomery (initially worked as [[Tom Mix]]'s body-double); and Jack Padjeon (first appeared in 1923, played [[Wild Bill Hickok]] in the [[John Ford]] directed ''The Iron Horse'' in 1924).<ref name=TiHWestern/> But the best known stuntman turned star was probably [[Yakima Canutt]], who with his apprentices who included [[John Wayne]]<ref name=ActArtDe/> devised during the 1930s new safety devices, including: the 'L' [[stirrup]] which allowed a rider to fall off a horse without getting hung in the stirrup; and cabling equipment to cause spectacular wagon crashes, while releasing the team. A focus on replicable and safe stunts saved producers money and prevented lost down-time for directors through reduced accidents and injury to performers.<ref name=LPFHM>{{cite web|url=http://www.lonepinefilmhistorymuseum.org/index.php?option=com_content&view=article&id=288&Itemid=73|title=Stuntmen & Women|publisher=[[Lone Pine Film History Museum]]|access-date=24 June 2014|archive-url=https://web.archive.org/web/20140714163832/http://www.lonepinefilmhistorymuseum.org/index.php?option=com_content&view=article&id=288&Itemid=73|archive-date=2014-07-14|url-status=dead}}</ref> Stuntmen were now an integral part of a films drawing power, helping to fill cinemas with thrill seeking patrons anxious to see the new Saturday matinee.<ref name=SMAssoc/><br />
<br />
===''Safety Last!''===<br />
[[File:Safety Last.jpg|thumb|right|[[Harold Lloyd]] in 1923's ''[[Safety Last!]]'', hanging (safely) from the clock tower. Lloyd may have been influenced by the real life stunts of [[Rodman Law]] a decade earlier.]]<br />
Producer/actor [[Harold Lloyd]]'s film ''[[Safety Last!]]'' of 1923, is often considered one of the first to deploy thought-through safety devices and pre-planning in the execution of its filming and stunts. In the script, Lloyd's "country boy" character goes to the city to be a success, and ends up climbing a tall building as a stunt. Critics at the time claimed it to be the most spectacular daredevil thrill comedy.<br />
<br />
The entire stunt sequence was shot on location at the Atlantic Hotel on the Broadway in Los Angeles (demolished 1957), at actual heights. But the films directors Fred C. Newmeyer and Sam Taylor planned into two safety features:<br />
*Mattresses occupied hidden platforms under each performer, who also was wearing a heavily padded corset under their clothing<br />
*Each performer was attached via a safety harness to a secure safety wire, attached to the building<br />
Producer [[Hal Roach]] and Lloyd had been forced into the costs of planning and construction of these safety devices, as simply without them the city commissioners had refused the production a film permit.{{citation needed|date=May 2018}} Lloyd, ever curious, decided after filming had completed to use a life-size cotton-filled dummy to see what the effect of an accident would have been should they have needed to use the required safety devices. On seeing the results, he didn't film another production without them.<ref name=ActArtDe/><br />
<br />
In 1983 in his personal homage to Buster Keaton and Harold Lloyd called ''Project A'', [[Jackie Chan]] repeats some of the most famous scenes from the early film era, including Lloyd's clock scene from ''Safety Last!'' While Lloyd only hanged from the tower, Chan took it a step further and actually fell from the tower.<ref>{{cite web|url=http://www.cracked.com/blog/the-6-most-needlessly-dangerous-jackie-chan-stunts/|title=The 6 Most Needlessly Dangerous Jackie Chan Stunts|author=Seanbaby|publisher=Cracked.com|date=August 11, 2012|access-date=26 June 2014}}</ref><ref>{{IMDb title|0085127|'A' gai wak}}</ref><br />
<br />
===Swashbuckler films===<br />
{{Main|Swashbuckler film}}<br />
Swashbuckler films were a unique genre of action movies, utilizing the earlier developed art of cinematic fencing, a combination of stage combat and fencing. The most famous of these were the films of [[Douglas Fairbanks]], which defined the genre. The stories came from romantic costume novels, particularly those of Alexandre Dumas and Rafael Sabatini, and included triumphant, thrilling music.<ref>[http://www.fosteronfilm.com/important/swash.htm Foster on Film].</ref> There were three great cycles of swashbuckler films: the Douglas Fairbanks period from 1920 to 1929; the [[Errol Flynn]] period from 1935 to 1941; and a period in the 1950s heralded by films, including ''Ivanhoe'' (1952) and ''The Master of Ballantrae (film)'' (1953), and the popularity of the British television series ''The Adventures of Robin Hood'' (1955&ndash;1959).<ref>[http://www.screenonline.org.uk/tv/id/1136123/index.html Screen Online].</ref><br />
<br />
===Action movies===<br />
The preference to employ ready existing professionals from outside the film industry, either as performers or doubles, continued in the period both up to and beyond [[World War II]], when again the industry was awash with young, fit men looking for work.<ref name=Freese/><ref name=LPFHM/> However, in 1958 ''Thunder Road (1958 film)'' starring [[Robert Mitchum]],<ref>{{IMDb title|0052293|Thunder Road}}</ref> with stunt coordinator Carey Loftin and a stunt team including Ray Austin, Neil Castes Sr., Robert Hoy, and Dale Van Sickel, introduced the era of the [[car chase]] movie. With the later development of modern action movie, the accident rate of both stunt performers and movie stars started to quickly increase.<ref name=SMAssoc/> The stunt performers took action to professionalise their industry, with the creation of new stunt performer run registration, training, certification, and booking agencies.<ref name=SMAssoc>{{cite web|url=http://www.stuntmen.com/about.html|title=Steeped in Heritage & History|publisher=Stuntmen's Association|access-date=24 June 2014}}</ref><br />
<br />
In the 1960s, modern stunt technology was developed, including air rams, air bags, and bullet hit squibs. Dar Robinson invented the decelerator during this period, which used dragline cables rather than airbags for stunts that called for a jump from high places.<ref>{{citation|title=Popular Mechanics|publisher=Hearst Magazines|date=Oct 1984|issn=0032-4558|pages=86,122|title-link=Popular Mechanics|journal=Popular Mechanics Magazine}}</ref> The co-development of this technology and professional performance training continues to evolve to the present, brought about through the need to not only create more visual impact on screen in the modern action movie era.<ref name=SMAssoc/> It also provides a safe platform to a new breed of trained professional stunt performers, including Bill Hickman, Terry Richards, and motorcycle greats Bud Ekins and [[Evel Knievel]]. These new professionals were not only driven to create visual impact but also perform seemingly impossible feats in a safe and repeatable manner.<ref name=SMAssoc/> Latterly came the fast action [[Martial arts movies]] as a distinct genre, originating for western consumption mainly from Hong Kong from the 1940s, choreographed and later acted in by stunt performers turned stars including [[Bruce Lee]] and Sonny Chiba from the 1960s, Kent Norman "Superkentman" Elofson, and latterly [[Jackie Chan]].<ref name=SMAssoc/><br />
<br />
===Hong Kong action cinema===<br />
<br />
In 1982, [[Jackie Chan]] began experimenting with elaborate stunt action sequences in ''Dragon Lord'',<ref>{{cite web|title=Dragon Lord|publisher=Love HK Film|url=http://www.lovehkfilm.com/reviews_2/dragon_lord.htm|access-date=2011-04-14}}</ref> which featured a pyramid fight scene that holds the record for the most [[take]]s required for a single scene, with 2900 takes,<ref name="Amazon">{{cite web|title=Dragon Lord (DVD Description)|website=Amazon UK|date=25 August 2003|url=https://www.amazon.co.uk/Dragon-Lord-DVD-Jackie-Chan/dp/B0000A5BRV|access-date=2011-04-12}}</ref> and the final fight scene where he performs various stunts, including one where he does a back flip off a loft and falls to the lower ground.<ref>{{cite magazine|title=Kicking and Screening: ''Wheels on Meals,'' ''Armour of God,'' ''Police Story,'' and more are graded with an eye for action|author=David Everitt|date=August 16, 1996|magazine=[[Entertainment Weekly]]|url=http://www.ew.com/ew/article/0,,293788,00.html|access-date=2011-04-12}}</ref> In 1983, ''Project A'' saw the official formation of the [[Jackie Chan Stunt Team]] and added elaborate, dangerous stunts to the fights and typical slapstick humor (at one point, Chan falls from the top of a clock tower through a series of fabric canopies).<br />
<br />
''Police Story (1985 film)'' (1985) contained many large-scale action scenes, including an opening sequence featuring a car chase through a shanty town, Chan stopping a double-decker bus with his service revolver and a climactic fight scene in a shopping center. This final scene earned the film the nickname "Glass Story" by the crew, due to the huge number of panes of [[sugar glass]] that were broken. During a stunt in this last scene, in which Chan slides down a pole from several stories up, the lights covering the pole had heated it considerably, resulting in Chan suffering second-degree burns, particularly to his hands, as well as a back injury and dislocation of his pelvis upon landing.<ref name="I Am Jackie Chan">{{cite web|url=http://www.randomhouse.com/features/iamjackiechan/excerpt_aches.html|title=Jackie's Aches and Pains: It Only Hurts When I'm Not Laughing|author=Jackie Chan|publisher=[[Random House]]|access-date=19 December 2012|author-link=Jackie Chan}}</ref> Chan performed similarly elaborate stunts in numerous other films, such as several ''Police Story'' sequels, ''Project A Part II'', the ''Armour of God (film)'' series, ''Dragons Forever'', ''Drunken Master II'' and ''Rumble in the Bronx'' among others.<br />
<br />
Other Hong Kong action movie stars who became known for performing elaborate stunts include Chan's Peking Opera School friends Sammo Hung and Yuen Biao, as well as "girls with guns" stars such as Michelle Yeoh and Moon Lee. Other Asian cinema stars also known for performing elaborate stunts include Thai actor Tony Jaa; Indonesian actors Iko Uwais and Yayan Ruhian; and Indian actors Jayan, Ajith Kumar, Akshay Kumar, Puneeth Rajkumar, Vidyut Jammwal and Tiger Shroff.<br />
<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Jennie_Ward_ToddJennie Ward Todd2024-03-25T11:47:33Z<p>Robinr78: Created page with "{{Header|Jennie Ward Todd 03/24}}{{DEFAULTSORT:Todd, Jennie Ward}}"</p>
<hr />
<div>{{Header|Jennie Ward Todd 03/24}}{{DEFAULTSORT:Todd, Jennie Ward}}</div>Robinr78http://www.sm-201.org/a/William_Boyd_(actor)William Boyd (actor)2024-03-25T11:33:36Z<p>Robinr78: </p>
<hr />
<div>{{Header|William Boyd (actor) 03/24}}{{DEFAULTSORT:Boyd, William}}<br />
{{Infobox person| color = lightcyan<br />
| name = William Boyd<br />
| image = William Boyd, portrait.jpg<br />
| caption = William Boyd {{circa}} 1925<br />
| birthdate = {{dob|1895|06|05}}<br />
| birthplace = Hendrysburg, Ohio, U.S.<br />
| deathdate = {{dod|1972|09|12|1895|06|05}}<br />
| deathplace = Laguna Beach, California, U.S.<br />
| deathcause = died of Parkinson's disease<br /> Parkinson's disease and congestive heart failure<br />
| buried = Forest Lawn Memorial Park (Glendale)<br />
| othername = Hoppy, [[Hopalong Cassidy]]<br />
| education = <br />
| occupation = Actor, movie producer, director<br />
| years_active = 1918–1954<br />
| height = 6 ft<br />
| spouse = {{plainlist|<br />
* {{marriage|Laura Maynard|1917|1921|reason=div}}<br />
* {{marriage|Ruth Miller|1921|1924|reason=div}}<br />
* {{marriage|Elinor Fair|1926|1929|reason=div}}<br />
* {{marriage|[[Dorothy Sebastian]]|1930|1936|reason=div}}<br />
* {{marriage|Grace Bradley|1937|1972}}<br />
}}<br />
| children = 1<br />
}}<br />
'''William Lawrence Boyd''' ({{star}}June 5, 1895 – {{dag}}September 12, 1972) was an American film actor who is known for portraying the cowboy hero [[Hopalong Cassidy]].<br />
<br />
== Biography ==<br />
<br />
Boyd and "Miss Josephine" in 1931<br />
Boyd was born in Hendrysburg, Ohio and reared in Cambridge, Ohio and Tulsa, Oklahoma, where he lived from 1909 to 1913. He was the son of day laborer Charles William Boyd and his wife Lida (née Wilkens). Following his father's death, Boyd moved to California and worked as an orange picker, surveyor, tool dresser and auto salesman.<br />
<br />
In Hollywood, Boyd found work as an extra in ''Why Change Your Wife?'' and other films. During World War I, he enlisted in the army but was exempt from military service because of heart condition. More prominent film roles followed, including his breakout role as Jack Moreland in [[Cecil B. DeMille]]'s ''The Road to Yesterday'' (1925), which earned critical praise. DeMille soon cast him as the leading man in the highly acclaimed silent drama film ''The Volga Boatman'', another critical success, and with Boyd now firmly established as a matinee idol and romantic leading man, he began earning an annual salary of $100,000. He acted in DeMille's ''The King of Kings'' (1927) and ''Skyscraper'' (1928), as well as D.W. Griffith's ''Lady of the Pavements'' (1929).<br />
<br />
Radio Pictures ended Boyd's contract in 1931 when his photo was mistakenly run in a newspaper story about the arrest of another actor, William "Stage" Boyd, on gambling and liquor charges. Although the newspaper apologized and explained the mistake in the following day's newspaper, Boyd said, "The damage was already done." Boyd was virtually destitute and without a job, and for several years, he was credited in films as Bill Boyd to prevent being mistaken for the other William Boyd.<br />
<br />
== Hopalong Cassidy ==<br />
<br />
In 1935, Boyd was offered the supporting role of Red Connors in the movie ''Hop-Along Cassidy'', but he asked to be considered for the title role and won it. The original character of Hopalong Cassidy, written by Clarence E. Mulford for pulp magazines, was changed from a hard-drinking, rough-living, redheaded wrangler to a cowboy hero who did not smoke, swear or drink alcohol (he drank sarsaparilla) and who would always allow the villain to start fights. Although Boyd "never branded a cow or mended a fence, cannot bulldog a steer" and disliked Western music, he became indelibly associated with the Hopalong character and, as with the cowboy stars [[Roy Rogers]] and [[Gene Autry]], gained lasting fame in the Western film genre.<br />
<br />
The films were typically more polished and impressive than were the usual low-budget programmed Westerns, with superior outdoor photography and recognizable supporting players familiar from major Hollywood films. Big-city theaters, many of which usually would not normally rent Westerns, noticed the high quality of the productions and permitted the series more exposure than they did for other Westerns. [[Paramount Pictures]] released the films through 1941, and [[United Artists]] produced them from 1943.<br />
<br />
Producer Harry "Pop" Sherman wanted to create more ambitious epics and abandoned the Hopalong Cassidy franchise. Boyd, determined to keep the series alive, produced the last 12 Cassidy features himself on noticeably lower budgets. By this time, interest in the character had waned, and with far fewer theaters still showing the films, the series ended in 1948.<br />
<br />
Boyd insisted on purchasing the rights to all of the Hopalong Cassidy films. Sherman no longer cared about the property, as he believed that Boyd's appeal, as well as that of his films, had waned. Boyd sold or mortgaged almost all of his possessions to meet Sherman's price of $350,000 for the rights and the film catalog.<br />
<br />
== Hoppy rides again ==<br />
<br />
In 1948 Boyd, now regarded as a cowboy star of the past with his fortunes at their lowest, brought a print of one of his older films to the local NBC television station and offered it at a nominal rental, hoping for new exposure. The film was received so well that NBC asked for more, and within months Boyd released the entire library. The films became very popular and began the long-running genre of Westerns on television. Boyd's desperate gamble made him one of the first national television stars and restored his fortune. As did Rogers and Autry, Boyd licensed merchandise, including products such as Hopalong Cassidy watches, trash cans, cups, dishes, Topps trading cards, a comic strip, comic books, cowboy outfits, home-movie digests of his Paramount releases via Castle Films and a new Hopalong Cassidy radio show that ran from 1948 to 1952.<br />
<br />
Boyd identified with his character, often dressing as a cowboy in public. He was concerned about children and refused to license his name for products that he considered unsuitable or dangerous, and he declined personal appearances at which children would be charged admission.<br />
<br />
Boyd appeared as Hopalong Cassidy on the cover of numerous national magazines, including Look (August 29, 1950) and Time (November 27, 1950). For Thanksgiving in 1950, he led the Carolinas' Carrousel Parade in Charlotte, North Carolina, with attracted an estimated crowd of 500,000, the largest in the parade's history.<br />
<br />
Boyd had a cameo role as himself in Cecil B. DeMille's 1952 circus epic ''[[The Greatest Show on Earth]]''. DeMille reportedly asked Boyd to take the role of Moses in his remake of ''The Ten Commandments'', but Boyd felt that his identification with the Cassidy character would make it impossible for audiences to accept him as Moses.<br />
<br />
== Personal life ==<br />
[[File:William Boyd and Dorothy Sebastian.jpg|thumb|Boyd and [[Dorothy Sebastian]] in the film ''His First Command'' (1929)]]<br />
Boyd was married five times, first to wealthy Massachusetts heiress Laura Maynes, then to the actresses Ruth Miller, Elinor Fair, [[Dorothy Sebastian]] and Grace Bradley. His only son William Wallace Boyd, whose mother was Miller, died of pertussis at the age of nine months. After his retirement from the screen, Boyd invested time and money in real estate and moved to Palm Desert, California. He refused interviews and photographs in later years in order to not taint his memory as a screen idol.<br />
<br />
Boyd was a lifelong Republican and supported the campaign of Dwight Eisenhower during the 1952 presidential election.<br />
<br />
For his contributions to the film industry, Boyd has a motion-picture star on the [[Hollywood Walk of Fame]] at 1734 Vine Street. In 1995, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City.<br />
<br />
In 1972, Boyd died from complications related to Parkinson's disease and congestive heart failure. He was survived by his fifth wife, Grace Bradley Boyd, who died in 2010. He is buried at the Sanctuary of Guiding Love alcove in the Great Mausoleum at Forest Lawn Memorial Park (Glendale).<br />
<br />
{{wikisec|Filmography}}<br />
{{cowboys}}<br />
==Further reading==<br />
* Boyd, Grace Bradley; Cochran, Michael (2008) ''Hopalong Cassidy: An American Legend''. York, Pennsylvania: Gemstone. {{ISBN|978-1-60360-066-8}}.<br />
<br />
==External links==<br />
*{{Imdb name|0101955}}<br />
*{{AllMovie name|120607}}<br />
*[http://www.b-westerns.com/hoppy.htm William Boyd as Hopalong Cassidy]<br />
*[http://www.americanmusicpreservation.com/Hoppymusic.htm Hopalong Cassidy Music]<br />
*[http://film.virtual-history.com/person.php?personid=805 Photos of William Boyd]<br />
*[http://digital.library.okstate.edu/encyclopedia/entries/B/BO031.html Encyclopedia of Oklahoma History and Culture entry] {{Webarchive|url=https://web.archive.org/web/20090105074803/http://digital.library.okstate.edu/encyclopedia/entries/B/BO031.html |date=January 5, 2009 }}<br />
*{{Find a grave|2123}}<br />
*[https://archiveswest.orbiscascade.org/ark:/80444/xv517635/op=fstyle.aspx?t=k&q=william+boyd William Boyd Papers 1911–1995] at the University of Wyoming – American Heritage Center<br />
*[https://ahcwyo.org/2013/04/08/hopalong-cassidy-cowboy-hero-and-franchise-empire/ Hopalong Cassidy: Cowboy Hero and Franchise Empire] at the [https://ahcwyo.org/ AHC blog]<br />
*[https://ahcwyo.org/2018/06/03/hoppys-saddle-is-not-hoppys-saddle-the-mystery-solved/ Hoppy's Saddle is not Hoppy's Saddle – The Mystery Solved] at the AHC blog<br />
<br />
{{footer}}<br />
{{cat|Film Actors}}</div>Robinr78http://www.sm-201.org/a/Showmen%27s_RestShowmen's Rest2024-03-25T10:26:45Z<p>Robinr78: Created page with "{{Header|Showmen's Rest 03/24}} One of the five elephants surrounding Showmen's Rest. '''Showmen's Rest''' in Forest Park, Illinois, is a 750 plot section of Woodlawn Cemetery mostly for circus performers owned by the Showmen's League of America<ref>{{cite web|url=http://graveyards.com/IL/Cook/woodlawn/|title=Woodlawn Cemetery|author=Matt Hucke|publisher=Matt Hucke|accessdate=12 June 2010}}</ref><ref>{{cite web|url=https://www..."</p>
<hr />
<div>{{Header|Showmen's Rest 03/24}}<br />
[[File:ShowmensRestStatue.jpg|275px|thumb|One of the five elephants surrounding Showmen's Rest.]] <br />
'''Showmen's Rest''' in Forest Park, Illinois, is a 750 plot section of Woodlawn Cemetery mostly for circus performers owned by the Showmen's League of America<ref>{{cite web|url=http://graveyards.com/IL/Cook/woodlawn/|title=Woodlawn Cemetery|author=Matt Hucke|publisher=Matt Hucke|accessdate=12 June 2010}}</ref><ref>{{cite web|url=https://www.chicagotribune.com/news/opinion/commentary/ct-circus-train-showmens-rest-flashback-perspec-0814-jm-20160810-story.html|title=Circus graveyard: Showmen's Rest and the Hagenbeck-Wallace tragedy of 1918|first=Ron|last=Grossman|website=chicagotribune.com|accessdate=16 December 2018}}</ref> The first performers and show workers that were buried there are in a mass grave from when between 56 and 61 employees of the [[Hagenbeck-Wallace Circus]] were interred. They were killed in the [[Hammond Circus train wreck]] on June 22, 1918, at Hessville, Indiana, (about 5 ½ miles east of Hammond, Indiana), when an empty Michigan Central Railroad troop train from Detroit, Michigan, to Chicago, Illinois, plowed into their [[circus train]]. The engineer of the troop train, {{wl|Alonzo Sargent}}, had fallen asleep. Among the dead were Arthur Dierckx and Max Nietzborn of the "Great Dierckx Brothers" strong man act and [[Jennie Ward Todd]] of "The Flying Wards".<br />
<br />
The Showmen's League of America, formed in 1913 with [[Buffalo Bill Cody]] as its first president, had recently selected and purchased the burial land in Woodlawn Cemetery at the intersection of Cermak Road and Des Plaines Avenue in Forest Park, Illinois, for its members. Services were held five days after the train wreck. The identity of many victims of the wreck was unknown. Most of the markers note "unidentified male" (or female). Some are marked only with nicknames such as "4 Horse Driver", "Baldy", and "Smiley."<ref>{{cite web|url=http://graveyards.com/IL/Cook/woodlawn/baldy.html|title=Showmen's Rest I|author=Matt Hucke|publisher=Matt Hucke|accessdate=12 June 2010}}</ref><ref>{{Cite book |last1=Hucke |first1=Matt |url=https://books.google.com/books?id=i2WOQcBx0SwC&dq=%22Baldy%22+%224+Horse+Driver%22&pg=PA117 |title=Graveyards of Chicago: The People, History, Art, and Lore of Cook County Cemeteries |last2=Bielski |first2=Ursula |date=1999 |publisher=Lake Claremont Press |isbn=978-0-9642426-4-7 |language=en}}</ref><br />
<br />
The Showmen's Rest section of Woodlawn Cemetery is still used for burials of deceased showmen who are said to be performing now at the biggest of the Big Tops. A [[Memorial Day]] service is held at Woodlawn Cemetery every year.<br />
<br />
Other Showmen's Rests include one at Mount Olivet Cemetery, Hugo, Oklahoma. Hugo is a winter circus home which calls itself [[Circus City, USA]]. In Miami, Florida, the largest Showmen's Rest is at Southern Memorial Park where large elephant and lion statues flank hundreds of markers commemorating circus greats and not-so-greats. Tampa, Florida's Showmen's Rest is located close to the Greater Tampa Showmen's Association near downtown.<br />
<br />
== Hagenbeck-Wallace Circus wreck==<br />
<br />
Following the wreck of June 22, 1918, the Hagenbeck-Wallace Circus had to cancel only two performances: the one in Hammond, Indiana and its next stop Monroe, Wisconsin. This was due in part by the assistance by many of its so-called competitors, including [[Ringling Bros|Ringling Brothers and Barnum and Bailey Circus]] lending needed equipment and performers so that the show could go on. The city of Hammond also joined in to help the surviving circus performers and workers. Many of the city's residents and shopkeepers gave food and clothing as well. Statues of five elephants surround the Showmen's Rest section of Woodlawn Cemetery in Forest Park, Illinois. The elephants each have a foot raised with a ball underneath, and the trunks lowered. (Raised trunks are a symbol of joy and excitement; lowered trunks symbolize mourning). The base of the large central elephant is inscribed with "Showmen's League of America." On the others are the words "Showmen's Rest." Some nearby residents say the sounds of ghostly elephants can be heard at night.{{Citation needed|date=June 2021}} One possible explanation for the sounds is nearby Brookfield Zoo, which housed elephants until September 2010.<ref>{{Cite web|title=No More Elephants at Brookfield Zoo|url=https://www.nbcchicago.com/news/local/brookfield-zoo-joyce/1841043/|access-date=2021-06-22|website=NBC Chicago|language=en-US}}</ref><br />
<br />
== In popular culture ==<br />
Location used in an episode of NBC's ''Chicago Fire (Ep. Dead of Winter, 2021).'' A grave-keeper's arm is pinned under a fallen gravestone.<br />
<br />
== See also ==<br />
* {{wl|List of United States cemeteries}} on Wikipedia<br />
<br />
==References==<br />
<references/><br />
<br />
==External links==<br />
* [http://www.showmensleague.org/showmens-rest Showmen's Rest webpage, Showmen's League of America]<br />
* [http://performforthelove.com/showmensrest/ Annual Clown Week Observance/Celebration/Ceremony at Showmen's Rest]<br />
* [http://www.nationalshowmensassociation.com/id82.html National Showmen's Association Cemetery, Hartsdale, New York]<br />
* [https://books.google.com/books?id=JyAEAAAAMBAJ&dq=%22showmen's%20rest%22%20%22memorial%20park%22%20%22st%20louis%22&pg=PA53 Billboard article listing other Showmen's Rests]<br />
* {{coord|41|51|2.1|N|87|49|10.0|W|region:US-IL_type:landmark|display=title}}<br />
<br />
{{footer}}<br />
<br />
[[Category:Circuses]]</div>Robinr78http://www.sm-201.org/a/Memorial_DayMemorial Day2024-03-25T10:11:17Z<p>Robinr78: </p>
<hr />
<div>{{Header|Memorial Day 03/24}}<br />
'''Memorial Day''' (originally known as Decoration Day]) is a federal holiday in the United States for honoring and mourning the U.S. military personnel who died while serving in the United States Armed Forces. From 1868 to 1970, it was observed on May 30. Since 1971, it has been observed on the last Monday of May.<br />
{{wikimain|Memorial Day}}<br />
Many people visit cemeteries and memorials on Memorial Day to honor and mourn those who died while serving in the U.S. military. Many volunteers place American flags on the graves of military personnel in national cemeteries. Memorial Day is also considered the unofficial beginning of summer.<br />
<br />
The first national observance of Memorial Day occurred on May 30, 1868. Then known as Decoration Day, the holiday was proclaimed by Commander in Chief John A. Logan of the {{Wl|Grand Army of the Republic}}<ref group="Note">The {{Wl|Grand Army of the Republic}} (GAR) was a fraternal organization composed of veterans of the Union Army (United States Army), Union Navy (U.S. Navy), and the Marines who served in the American Civil War. It was founded in 1866 in Decatur, Illinois, and grew to include hundreds of "posts" (local community units) across the North and West. It was dissolved in 1956 at the death of its last member, Albert Woolson.</ref> to honor the Union soldiers who had died in the Civil War. This national observance was preceded by many local ones between the end of the Civil War and Logan's declaration. Many cities and people have claimed to be the first to observe it. However, the National Cemetery Administration, a division of the Department of Veterans Affairs, credits Mary Ann Williams with originating the "idea of strewing the graves of Civil War soldiers—Union and Confederate" with flowers.<br />
<br />
Official recognition as a holiday spread among the states, beginning with New York in 1873. By 1890, every Union state had adopted it. The world wars turned it into a day of remembrance for all members of the U.S. military who fought and died in service. In 1971, Congress standardized the holiday as "Memorial Day" and changed its observance to the last Monday in May.<br />
<br />
Two other days celebrate those who have served or are serving in the U.S. military: Armed Forces Day (which is earlier in May), an unofficial U.S. holiday for honoring those currently serving in the armed forces, and Veterans Day (on November 11), which honors all those who have served in the United States Armed Forces.<br />
<br />
== Poppies ==<br />
{{wikimain|Remembrance poppy}}<br />
In 1915, following the Second Battle of Ypres, Lieutenant Colonel John McCrae, a physician with the Canadian Expeditionary Force, wrote the poem "[[In Flanders Fields]]". Its opening lines refer to the fields of poppies that grew among the soldiers' graves in Flanders. Inspired by the poem, YWCA worker Moina Michael attended a YWCA Overseas War Secretaries' conference three years later, wearing a silk poppy pinned to her coat and distributing over two dozen more to others present. The National American Legion adopted in 1920 the poppy as its official symbol of remembrance.<br />
<br />
== Related traditions ==<br />
=== Decoration Day (tradition) ===<br />
{{wikimain|Decoration Day (tradition)}}<br />
'''Decoration Days''' in Southern Appalachia and Liberia are a tradition which arose by the 19th century. Decoration practices are localized and unique to individual families, cemeteries, and communities, but common elements that unify the various Decoration Day practices are thought to represent syncretism of predominantly Christian cultures in 19th century Southern Appalachia with pre-Christian influences from Scotland, Ireland, and African cultures. Appalachian and Liberian cemetery decoration traditions are thought to have more in common with one another than with United States Memorial Day traditions which are focused on honoring the military dead. Appalachian and Liberian cemetery decoration traditions pre-date the United States Memorial Day holiday.<br />
<br />
According to scholars Alan and Karen Jabbour, "the geographic spread ... from the Smokies to northeastern Texas and Liberia, offer strong evidence that the southern Decoration Day originated well back in the nineteenth century. The presence of the same cultural tradition throughout the Upland South argues for the age of the tradition, which was carried westward (and eastward to Africa) by nineteenth-century migration and has survived in essentially the same form till the present."<br />
<br />
While these customs may have inspired in part rituals to honor military dead like Memorial Day, numerous differences exist between Decoration Day customs and Memorial Day, including that the date is set differently by each family or church for each cemetery to coordinate the maintenance, social, and spiritual aspects of decoration.<br />
<br />
=== In film, literature, and music ===<br />
==== Films ====<br />
In Memorial Day, a 2012 war film starring James Cromwell, Jonathan Bennett, and John Cromwell, a character recalls and relives memories of World War II.[citation needed]<br />
==== Music ====<br />
* American rock band Drive-By Truckers released a Jason Isbell–penned song titled "Decoration Day" on their 2003 album of the same title.<br />
* American composer Charles Ives titled the second movement of his A Symphony: New England Holidays, "Decoration Day".<br />
=== Poetry ===<br />
Poems commemorating Memorial Day include:<br />
* Francis M. Finch's "The Blue and the Gray" (1867)[85]<br />
* Michael Anania's "Memorial Day" (1994)[86]<br />
* Henry Wadsworth Longfellow's "Decoration Day" (1882)[87]<br />
=== See also ===<br />
'''Armed Forces Day''', third Saturday in May, a more narrowly observed remembrance honoring those currently serving in the U.S. military<br />
Armistice Day, November 11, the original name of Veterans Day in the <br />
==== United States ====<br />
* Confederate Memorial Day, observed on various dates in many states in the South in memory of those killed fighting for the Confederacy during the American Civil War<br />
* Memorial Day massacre of 1937, May 30, held to remember demonstrators shot by police in Chicago<br />
* Nora Fontaine Davidson, credited with the first Memorial Day ceremony in Petersburg, Virginia<br />
* Patriot Day, September 11, in memory of people killed in the September 11, 2001 attacks<br />
==== United States military casualties of war ====<br />
Veterans Day, November 11, in memory of American military deaths during World War I. See Remembrance Day for similar observances in Canada, the United Kingdom, and other Commonwealth nations.<br />
Other countries<br />
* ANZAC Day, April 25, an analogous observance in Australia and New Zealand<br />
* Armistice Day, November 11, the original name of Veterans Day in the United States and Remembrance Day in Canada, the United Kingdom, and other Commonwealth nations<br />
* Heroes' Day, various dates in various countries recognizing national heroes<br />
* International Day of United Nations Peacekeepers, May 29, international observance recognizing United Nations peacekeepers<br />
* Remembrance Day, November 11, a similar observance in Canada, the United Kingdom, and many other Commonwealth nations originally marking the end of World War I<br />
* Remembrance of the Dead ("Dodenherdenking"), May 4, a similar observance in the Netherlands<br />
* Volkstrauertag ("People's Mourning Day"), a similar observance in Germany usually in November<br />
* Yom Hazikaron (Israeli memorial day), the day before Independence Day (Israel), around Iyar 4<br />
* Decoration Day (Canada), a Canadian holiday that recognizes veterans of Canada's military which has largely been eclipsed by the similar Remembrance Day<br />
* Memorial Day (South Korea), June 6, the day to commemorate the men and women who died while in military service during the Korean War and other significant wars or battles<br />
* Victoria Day, a Canadian holiday on the last Monday before May 25 each year, lacks the military memorial aspects of Memorial Day but serves a similar function as marking the start of cultural summer<br />
* <br />
== Notes ==<br />
<references group="Note" /><br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}<br />
{{cat|Holidays}}</div>Robinr78http://www.sm-201.org/a/Hagenbeck-Wallace_CircusHagenbeck-Wallace Circus2024-03-25T09:46:59Z<p>Robinr78: Created page with "{{Header|Hagenbeck-Wallace Circus 03/24}}"</p>
<hr />
<div>{{Header|Hagenbeck-Wallace Circus 03/24}}</div>Robinr78http://www.sm-201.org/a/Motion_Picture_%26_Television_FundMotion Picture & Television Fund2024-03-25T02:36:15Z<p>Robinr78: Created page with "{{Header|Motion Picture & Television Fund 03/24}} The '''Motion Picture & Television Fund''' ('''MPTF''') is a charitable organization that offers assistance and care to those in the motion picture and television industries and their families with limited or no resources, including services such as temporary financial assistance, case management, and residential living. ==Origin== Mary Pickford conceived the idea of a fund to help those in the motion picture..."</p>
<hr />
<div>{{Header|Motion Picture & Television Fund 03/24}}<br />
The '''Motion Picture & Television Fund''' ('''MPTF''') is a charitable organization that offers assistance and care to those in the [[motion picture]] and [[television]] industries and their families with limited or no resources, including services such as temporary financial assistance, case management, and residential living.<br />
<br />
==Origin==<br />
[[Mary Pickford]] conceived the idea of a fund to help those in the motion picture industry who were out of work and struggling and, in 1921, the '''Motion Picture Relief Fund''' was founded with Joseph Schenck as president, Pickford as vice-president and the Reverend Neal Dodd as administrator.<br />
<br />
During the 1930s, the untimely deaths of several former Hollywood stars who ended up destitute shook the community. These included [[Roscoe Arbuckle|Roscoe ("Fatty") Arbuckle]], John Bowers, Karl Dane, Florence Lawrence, Marie Prevost and Lou Tellegen.<ref>Golden, Eve; King, Bob (2001), page 141. ''Golden Images: 41 Essays on Silent Film Stars''. McFarland. {{ISBN|0-7864-0834-0}}</ref><br />
<br />
In 1940, Jean Hersholt, then president of the Motion Picture Relief Fund, found 48 acres (19 ha) of walnut and orange groves in the southwest end of the San Fernando Valley which were selling for US$850 an acre ($0.21/m2) ($40,800). The fund's board purchased the parcel that same year to build the Motion Picture Country House. To offset the costs for the first buildings, which were designed by architect William Pereira, 7 acres (2.8 ha) were sold. Pickford and Hersholt broke the first ground. The dedication was on September 27, 1942.<br />
<br />
The Motion Picture Hospital was dedicated on the grounds of the Country House in 1948. In attendance were Buddy Rogers and Loretta Young, among other stars. Services were later extended to those working in the television industry as well, and the name was altered to reflect the change. The retirement community, with individual cottages, administrative offices, and a hospital, is located at 23388 Mulholland Drive in the Woodland Hills neighborhood of Los Angeles, California.<br />
<br />
== History since 1990 ==<br />
In 1993, the Motion Picture & Television Fund Foundation was established with Jeffrey Katzenberg as Founding Chairman. The Foundation, as it was formerly known, existed as the conduit to fulfill the vision of its donors and their philanthropy to the growing human needs of the entertainment community it serves. The MPTF Foundation puts on annual events that help raise millions of dollars in funds to continue to assist those entertainment industry members in need. These events include the Michael Douglas and Friends Golf Tournament, The Night Before and The Evening Before, the Heartbeat of Hollywood golf tournament and its Heartbeat Lite companion event, and Reel Stories, Real Lives.<br />
<br />
In 2004, filmmaker Barry Avrich directed and produced, ''Glitter Palace'' the first documentary on the Motion Picture Country Home that was narrated by Brian Linehan. The film featured many of the residents living at MPTF.<br />
<br />
In 2006, the groundbreaking for the Saban Center for Health and Wellness featuring the Jodie Foster Aquatic Pavilion was held on The Wasserman Campus. The center was named after donors Haim Saban and his wife, Dr. Cheryl Saban. It opened its doors on July 18, 2007, and features aquatic and land-based therapies as well as MPTF's Center on Aging, a best-practice model that provides a variety of programs that are geared toward improving the lives of the entertainment industry seniors throughout southern California. A new and emerging need to address quality-of-life issues for older adults in their own homes was identified and led to the creation of such MPTF programs and initiatives as Palliative Care, Elder Connection, Rebuilding Together, and the MPTF Age Well Program. In 2014, MPTF opened the Samuel Goldwyn Jr. Center for Behavioral Health, specializing in adults over 55 with acute mental health needs.<br />
<br />
There was a turbulent period starting in early 2009 when the MPTF announced that rising costs amid the recession would force it to shutter its long-term care unit, which had 136 patients at the time, as well as its acute-care hospital. That decision created a barrage of criticism, with some questioning the fund's commitment to its stated goal of “taking care of our own." The MPTF restructured, brought in Bob Beitcher in 2010, and launched an aggressive $350 million fundraising campaign in 2012 headed by Jeffrey Katzenberg and George Clooney. Beitcher said the fundraising push was to provide a safety net for the 75,000 baby boomers who would be retiring from the industry over the next 20 years. At that point, $238 million had already been raised with key contributions from Clooney, Steve Bing, Tom Cruise, Barry Diller, Fox Entertainment Group, David Geffen, Michael Lewis, Jerry Perenchio, Joe Roth, Jeffrey and Marilyn Katzenberg, Todd Phillips, Patrick Soon-shiong, Thomas Tull and John Wells, among others. As of 2014, $325 million has been raised for this campaign. For its health care centers, MPTF partnered with UCLA Health, which today operates five MPTF health care centers in Los Angeles. These health centers are still exclusive to entertainment industry members.<br />
<br />
The brainchild of Jeffrey Katzenberg, the annual “Night Before the Oscars” launched in 2003 and remains one of the main MPTF fundraising events. The 14th annual "Night Before" party, held February 27, 2016, raised a total of $5.2 million to benefit the MPTF. More than $70 million has been raised since the event was launched<br />
<br />
Through June 1, 2014, the MPTF's operations include a 250-bed multilevel care hospital, seven primary care health centers, a 186-unit retirement community on The Wasserman Campus in Woodland Hills providing independent and assisted living, and a free-standing child care facility.[<br />
<br />
<br />
The Samuel Goldwyn Foundation is the single largest donor in the foundation's 93-year history, with the family's total contributions to the MPTF upwards of $55 million.<br />
<br />
On October 1, 2016, MPTF commemorated its 95th anniversary with a live entertainment event on its campus hosted by Hugh Jackman. Among the highlights were live musical performances by resident Helen Reddy, Derek Hough, Jane Lynch, Johnny Mathis, and Norm Lewis, with speakers including Chris Pine, Loretta Devine, Bryan Cranston, and Matt Bomer. A 100th birthday cake was presented to actor Kirk Douglas, who was in attendance with wife Anne and son Michael Douglas.<br />
<br />
In 2020 and 2021 during the COVID-19 pandemic, MPTF was the administrator or co-administrator for multiple relief funds including the DGA, IATSE, ViacomCBS, Cast & Crew, the cast and crew of Westworld, and The Comedy Store, as well as its own dedicated COVID-19 relief fund for industry members at large. During the pandemic, MPTF Studios (the on-campus video production facility) began broadcasting live programming from its recently remodeled campus theater several days per week with residents and supporters video conferencing in to participate in a variety of shows and activities.<br />
<br />
MPTF's memory care facility, Harry's Haven (named after Kirk Douglas’ father, Herschel “Harry” Danielovitch), was relocated from its original standalone building to the second floor of the hospital in 2019 after an extensive remodel and upgrade. Also in 2019, the long-term care unit in the hospital was dedicated as Mary Pickford House, which contains 40 beds. Adjoining it is Hersholt Place (named after Jean Hersholt) with an additional 10 beds.<br />
<br />
On January 14, 2021, MPTF was announced as the recipient of the Jean Hersholt Humanitarian Award, to be presented by the Academy of Motion Picture Arts and Sciences at the 93rd Oscars ceremony on April 25. This marked the first time in Academy history that an organization was chosen for the award, which was also presented that year to Tyler Perry. The award also coincided with the 100th anniversary of MPTF's founding.<br />
<br />
== 2020 COVID-19 outbreak ==<br />
The hospital experienced an outbreak amidst the COVID-19 pandemic in April 2020, resulting in the deaths of at least seven residents. All of the infected residents were transferred to the former acute care unit, J-Wing, which was set up as the dedicated COVID-19 unit of the hospital. The first fatalities at the retirement community were John Breier, a long-term care resident who died on April 7, 2020, and actor Allen Garfield, who also died on April 7. By April 22, 2020, 14 residents (out of a population of 162 residents) and nine of the facility's 400 employees had tested positive for COVID-19. Including Breier, at least five residents had died from COVID-19 by April 22, 2020. In January 2021, MPTF began a campus-wide program to vaccinate all residents.<br />
<br />
== Notable residents ==<br />
† Died in residence (dates are birth to death).<br />
<br />
<div style='-moz-column-count:3; column-count:3;'><br />
* Bud Abbott (1897–1974), comedian<br />
* Rodolfo Acosta (1920–1974)<br />
* Mary Alden (1883–1946)<br />
* Eddie Anderson (1905–1977)<br />
* Gilbert M. Anderson (1880–1971)<br />
* Richard Angarola (1920–2008)<br />
* Jack Arnold (1916–1992)<br />
* Johnny Arthur (1883–1951)<br />
* Iris Ashton (1899–1985), actress, wife of writer Arthur St. Claire<br />
* Gertrude Astor (1887–1977)<br />
* Mary Astor (1906–1987)<br />
* Donna Atwood (1925–2010)<br />
* Parley Baer (1914-2002)<br />
* Carla Balenda (born 1925)<br />
* Bob Banner (1921–2011), producer<br />
* Walt Barnes (1918–1998)<br />
* Emory Bass (1925–2015)<br />
* Jeanne Bates (1918–2007)<br />
* Charles Belden (1904–1954)<br />
* Monta Bell (1891–1958)<br />
* Sally Benson (1897–1972)<br />
* Leah Bernstein (1921–2020)<br />
* Willie Best (1916–1962)<br />
* Clem Bevans (1879–1963)<br />
* Helen Beverley (1916–2011)<br />
* Whit Bissell (1909–1996)<br />
* Billy Bitzer (1872–1944)<br />
* Mari Blanchard (1927–1970)<br />
* Betty Blythe (1893–1972)<br />
* DeWitt Bodeen (1908–1988)<br />
* Fortunio Bonanova (1895–1969)<br />
* Aldrich Bowker (1875–1947)<br />
* John Breier (1956–2020)<br />
* Eileen Brennan (1932–2013)<br />
* Evelyn Brent (1901–1975)<br />
* Johnny Mack Brown (1904–1974)<br />
* Pat Crawford Brown (1929–2019)<br />
* Phil Brown (1916–2006)<br />
* Vanessa Brown (1928–1999)<br />
* Carol Bruce (1919–2007), actress and singer<br />
* Virginia Bruce (1910–1982)<br />
* Fritzi Brunette (1890–1943)<br />
* Richard Bull (1924–2014)<br />
* Walter Burke (1908–1984)<br />
* Bruce Cabot (1904–1972)<br />
* Michael Callan (1935–2022)<br />
* William Campbell (1923–2011)<br />
* Rafael Campos (1936–1985)<br />
* Mary Carlisle (1914–2018)<br />
* Eddie Carroll (1933–2010), voice of Jiminy Cricket<br />
* Walter Catlett (1889–1960)<br />
* John Chambers (1922–2001)<br />
* Mae Clarke (1910–1992)<br />
* Anne V. Coates (1925–2018)<br />
* Phyllis Coates (1927-2023)<br />
* Richard Collier (1919–2000)<br />
* Jerry Colonna (1904–1986)<br />
* Pinto Colvig (1892–1967)<br />
* Chester Conklin (1886–1971)<br />
* Corinne Conley (born 1929)<br />
* Joe Connelly (1917–2003)<br />
* Ellen Corby (1911–1999)<br />
* Wendell Corey (1914–1968)<br />
* Robert Cornthwaite (actor) (1917-2006)<br />
* Lloyd Corrigan (1900–1969)<br />
* Maurice Costello (1877–1950)<br />
* Nick Cravat (1912–1994)<br />
* Donald Crisp (1882–1974)<br />
* Robert Cummings (1910–1990)<br />
* Stuart Damon (1937–2021)<br />
* Viola Dana (1897–1987)<br />
* Ruby Dandridge (1900–1987)<br />
* Jane Darwell (1879–1967)<br />
* Allen Daviau (1942–2020)<br />
* Dorothy Davenport (1895–1977)<br />
* Yvonne De Carlo (1922–2007)<br />
* Fred de Cordova (1910–2001)<br />
* Carter DeHaven (1886–1977)<br />
* Joe DeRita (1909–1993)<br />
* Raymond DeTournay (born 1935)<br />
* Dena Dietrich (1928–2020)<br />
* Brian Donlevy (1901–1972)<br />
* Fifi d'Orsay (1904–1983)<br />
* Diana Douglas Webster (1923–2015)<br />
* Billie Dove (1903–1997)<br />
* Charles Dudley (1883–1952)<br />
* Douglass Dumbrille (1889–1974)<br />
* Minta Durfee (1889–1975)<br />
* Herb Edelman (1933–1996)<br />
* Cliff Edwards (1895–1971)<br />
* Anthony Eisley (1925–2003)<br />
* Stephen Elliott (1918–2005)<br />
* Muriel Evans (1910–2000)<br />
* Tom Ewell (1909–1994)<br />
* John Fante (1909–1983)<br />
* Franklyn Farnum (1878–1961)<br />
* Dorothy Fay (1915–2003)<br />
* Maude Fealy (1883–1971)<br />
* Norman Fell (1924–1998)<br />
* Edith Fellows (1923–2011)<br />
* Stepin Fetchit (1902–1985)<br />
* Larry Fine (1902–1975)<br />
* Max Fleischer (1883–1972)<br />
* Richard Fleischer (1916–2006)<br />
* Bess Flowers (1898–1984)<br />
* June Foray (1917–2017)<br />
* Harrison Ford (1884–1957) (silent film actor)<br />
* Helen Forrest (1917–1999) (singer)<br />
* Douglas Fowley (1911–1998)<br />
* Eddie Foy Jr. (1905–1983)<br />
* Joe Frisco (1889–1958)<br />
* Annette Funicello (1942–2013)<br />
* Zsa Zsa Gabor (1917–2016)<br />
* Lillian Gallo (1928–2012)<br />
* Allen Garfield (1939–2020)<br />
* Peggy Ann Garner (1932–1984)<br />
* Lila Garrett (1925–2020), writer<br />
* Anita Garvin (1907–1994)<br />
* Hoot Gibson (1892–1962)<br />
* James Gleason (1882–1959)<br />
* Harold Gould (1923–2010)<br />
* Lita Grey (1908–1995)<br />
* Virginia Grey (1917–2004)<br />
* Edmund Gwenn (1877–1959)<br />
* Anne Gwynne (1918–2003)<br />
* Sara Haden (1899–1981)<br />
* Jean Hagen (1923–1977)<br />
* Creighton Hale (1882–1965)<br />
* Jonathan Hale (1891–1966)<br />
* Bridget Hanley (1941–2021)<br />
* Julius Harris (1923–2004)<br />
* Ken Harris (1898–1982)<br />
* Del Henderson (1877–1956)<br />
* Irene Hervey (1909–1998), mother of singer Jack Jones<br />
* Curly Howard (1903–1952)<br />
* Rose Hobart (1906–2000)<br />
* Harry O. Hoyt (1885–1961)<br />
* Gareth Hughes (1894–1965)<br />
* Arthur Hunnicutt (1910–1979)<br />
* Wilfrid Hyde-White (1903–1991)<br />
* Frieda Inescort (1901–1976)<br />
* Richard Jaeckel (1926–1997)<br />
* Glynis Johns (1923-2024)<br />
* I. Stanford Jolley (1900–1978)<br />
* Marcia Mae Jones (1924–2007)<br />
* Allyn Joslyn (1901–1981)<br />
* DeForest Kelley (1920–1999)<br />
* Patsy Kelly (1910–1981)<br />
* Fred A. Kelsey (1884–1961)<br />
* Edgar Kennedy (1890–1948)<br />
* Madge Kennedy (1891–1987)<br />
* Michael Kennan (1939–2020)<br />
* Kathleen Key (1903–1954)<br />
* Andrea King (1919–2003)<br />
* Mabel King (1932–1999)<br />
* James Kirkwood, Sr. (1875–1963)<br />
* Fuzzy Knight (1901–1976)<br />
* Patric Knowles (1911–1995)<br />
* Gail Kobe (1932–2013)<br />
* Stanley Kramer (1913–2001)<br />
* Otto Kruger (1885–1974)<br />
* Charles Lamont (1895–1993)<br />
* Elsa Lanchester (1902–1986)<br />
* Allan Lane (1909–1973)<br />
* Laura La Plante (1904–1996)<br />
* Mitchell Leisen (1898–1972)<br />
* Nat Levine (1899–1989)<br />
* Ruby R. Levitt (1907–1992), 4-time Academy-Award-nominated set designer<br />
* Geoffrey Lewis (1935–2015)<br />
* Monica Lewis (1922–2015)<br />
* Vera Lewis (1873–1956)<br />
* Joanne Linville (1928–2021)<br />
* Babe London (1901–1980)<br />
* Edmund Lowe (1890–1971)<br />
* Marion Leonard (1881–1956)<br />
* John Litel (1892–1972)<br />
* Ida Lupino (1918–1995)<br />
* Ken Maynard (1895–1973)<br />
* Katherine MacGregor (1925–2018)<br />
* Diane MacGregor (1941–2022)<br />
* Pat McCormick (1927–2005)<br />
* Joel McCrea (1905–1990)<br />
* Hattie McDaniel (1895–1952)<br />
* Ralph Meeker (1920–1988)<br />
* Bess Meredyth (1890–1969)<br />
* Lee Meriwether (born 1935)<br />
* Lillian Michelson (born 1928)<br />
* Nolan Miller (1933–2012)<br />
* Thomas R. Mills (1878–1953)<br />
* Nico Minardos (1930–2011)<br />
* Dolores Moran (1924–1982)<br />
* Karen Morley (1909–2003)<br />
* Mae Murray (1885–1965) (a founding trustee)<br />
* George Nader (1921–2002)<br />
* Marshall Neilan (1891–1958)<br />
* Lois Nettleton (1927–2008)<br />
* Tommy Noonan (1921–1968)<br />
* Gertrude Norman (1848 or 1851–1943)<br />
* Harry Northup (born 1940)<br />
* Virginia O'Brien (1919–2001)<br />
* Arthur O'Connell (1908–1981)<br />
* Donald O'Connor (1925–2003)<br />
* Gerald S. O'Loughlin (1921–2015)<br />
* Harry Oliver (1888–1973)<br />
* Susan Oliver (1932–1990)<br />
* Maria Ouspenskaya (1876–1949)<br />
* Jean Parker (1915–2005)<br />
* Louella Parsons (1881–1972)<br />
* Hank Patterson (1888–1975)<br />
* Virginia Pearson (1886–1958)<br />
* House Peters Jr. (1916–2008)<br />
* Edna Purviance (1895–1958)<br />
* Robert Quarry (1925–2009)<br />
* Norman Reilly Raine (1894–1971)<br />
* Jobyna Ralston (1899–1967)<br />
* Herbert Rawlinson (1886–1953)<br />
* Anne Ramsey (1929–1988)<br />
* Irving Rapper (1898–1999)<br />
* Bernard B. Ray (1895—1964)<br />
* Helen Reddy (1941–2020)<br />
* Madlyn Rhue (1935–2003)<br />
* Warner Richmond (1886–1948)<br />
* Hal Riddle (1919-2009)<br />
* Robert Riskin (1897–1955)<br />
* Blossom Rock (aka Marie Blake) (1895–1978)<br />
* Joel Rogosin (1932–2020)<br />
* Leonard Rosenman (1924–2008)<br />
* Mark Rydell (born 1929)<br />
* Marin Sais (1890–1971)<br />
* Theresa Saldana (1954–2016)<br />
* Philip Saltzman (1928–2009)<br />
* Ann Savage (1921–2008)<br />
* Connie Sawyer (1912–2018)<br />
* Richard Schaal (1928–2014)<br />
* Vito Scotti (1918–1996)<br />
* Dorothy Sebastian (1903–1957)<br />
* Mack Sennett (1880–1960)<br />
* Gustav von Seyffertitz (1862–1943)<br />
* Truly Shattuck (1875–1954)<br />
* Robert Shayne (1900–1992)<br />
* Bette Shayne (1921–2010)<br />
* Norma Shearer (1902–1983)<br />
* Allan Sherman (1924–1973)<br />
* Vincent Sherman (1906–2006)<br />
* Geoffrey Shurlock (1884–1976), director of the Production Code Administration from 1954 to 1968<br />
* Henry Silva (1926–2022)<br />
* Jay Silverheels (1912–1980)<br />
* Ronald Sinclair (1924–1992)<br />
* Gerald Oliver Smith (1892–1974)<br />
* Hal Smith (1916–1994)<br />
* Kent Smith (1907–1985)<br />
* William Smith (1933–2021)<br />
* Marguerite Snow (1889–1958)<br />
* Abraham Sofaer (1896-1988)<br />
* Gale Sondergaard (1899–1985)<br />
* Ralph Spence (1889–1949)<br />
* Spivy (1906–1971)<br />
* Jan Sterling (1921–2004)<br />
* George E. Stone (1903–1967)<br />
* Harold J. Stone (1913–2005)<br />
* Madame Sul-Te-Wan (1873–1959)<br />
* Ann Sullivan (1929–2020)<br />
* Hope Summers (1896–1979)<br />
* Grady Sutton (1906–1995)<br />
* Richard Sylbert (1928–2002)<br />
* Benny Thau (1898–1983), studio executive<br />
* Ruthie Tompson (1910–2021)<br />
* Regis Toomey (1898–1991)<br />
* Audrey Totter (1917–2013)<br />
* Forrest Tucker (1919–1986)<br />
* Richard Tucker (1884–1942)<br />
* Lawrence Turman (1926–2023)<br />
* Florence Turner (1885–1946)<br />
* Edgar G. Ulmer (1904–1972)<br />
* Van Wakely (1919–1998)<br />
* H. B. Warner (1875–1958)<br />
* Johnny Weissmuller (1904–1984)<br />
* Ben Welden (1901–1997)<br />
* Lyle R. Wheeler (1905–1990)<br />
* Dick Wilson (1916–2007)<br />
* Henry Willson (1911–1978)<br />
* Edward Winter (1937–2001)<br />
* Estelle Winwood (1883–1984)<br />
* Than Wyenn (1919–2015)<br />
* Alan Young (1919–2016)<br />
* Clara Kimball Young (1890–1960)</div><br />
<br />
==References==<br />
{{Reflist}}<br />
<br />
==External links==<br />
*{{official|http://www.mptf.com}}<br />
<br />
{{footer}}</div>Robinr78http://www.sm-201.org/a/Dorothy_SebastianDorothy Sebastian2024-03-25T02:11:56Z<p>Robinr78: Created page with "{{Header|Dorothy Sebastian 03/24}}{{DEFAULTSORT:Sebastian, Dorothy}} {{Infobox person| color = mistyrose | image = Dorothy_Sebastian_RHL1.jpg | caption = Sebastian in 1930s | name = Dorothy Sebastian | birthname = Stella Dorothy Sabiston | birthdate = {{dob|1903|04|26}} | birthplace = Birmingham, Alabama, U.S. | deathdate = {{dod|1957|04|08|1903|04|26}} | deathplace = Woodland Hills, Los Angeles, California, U.S. | deathcause..."</p>
<hr />
<div>{{Header|Dorothy Sebastian 03/24}}{{DEFAULTSORT:Sebastian, Dorothy}}<br />
{{Infobox person| color = mistyrose<br />
| image = Dorothy_Sebastian_RHL1.jpg<br />
| caption = Sebastian in 1930s<br />
| name = Dorothy Sebastian<br />
| birthname = Stella Dorothy Sabiston<br />
| birthdate = {{dob|1903|04|26}}<br />
| birthplace = Birmingham, Alabama, U.S.<br />
| deathdate = {{dod|1957|04|08|1903|04|26}}<br />
| deathplace = Woodland Hills, Los Angeles, California, U.S.<br />
| deathcause = Cancer<br />
| buried = Holy Cross Cemetery, Culver City<br />
| occupation = Actress<br />
| years_active = 1925&ndash;1948<br />
| spouse = {{plainlist|<br />
* {{marriage|[[William Boyd (actor)|William Boyd]]|1930|1936|end=divorced}}<br />
* {{marriage|Harold Shapiro|1947}}<br />
}}<br />
}}<br />
'''Dorothy Sebastian''' (born '''Stella Dorothy Sabiston'''; {{star}}April 26, 1903 – {{dag}}April 8, 1957) was an American film and stage actress.<br />
<br />
== Early years ==<br />
Sebastian was born and raised in Birmingham, Alabama, the daughter of Lycurgus (Lawrence) Robert and Stella Armstrong Sabiston. After leaving Alabama and starting a career on the stage, she changed the spelling of her name to Sebastian.<br />
<br />
In her youth, she aspired to be a [[dancer]] and a film [[actress]]. Her family frowned on both ambitions, however, so she fled to New York at the age of 15. Upon her arrival in New York City, Sebastian's southern drawl was thick enough to "cut with a knife". She followed around theatrical agents before returning at night to a $12-a-month room, after being consistently rejected.<br />
<br />
== Career ==<br />
Before appearing in films, Sebastian performed onstage in the musical revue, ''[[George White's Scandals]]''. Her first contact in Hollywood was Robert Kane, who gave her a film test at United Studios. She co-starred with [[Joan Crawford]] and [[Anita Page]] in a popular series of [[MGM]] romantic dramas, including ''Our Dancing Daughters'' (1928) and ''Our Blushing Brides'' (1930). Sebastian appeared in 1929's ''Spite Marriage'', where she was cast opposite the then-married [[Buster Keaton]], with whom she began an affair.<br />
<br />
MGM released Sebastian in 1930; her last film for the studio was a short subject starring the young [[Jack Benny]]. Harry Cohn of then-low-budgeted [[Columbia Pictures]] seized on Sebastian's availability by signing her to a Columbia contract; Cohn welcomed any former MGM players for their name value. Columbia released Sebastian after one year and she began freelancing, mostly at low-budget independent studios. Her most familiar appearance in sound films is probably in ''Allez Oop'' (1934), a short comedy produced by Educational Pictures that reunited her with Buster Keaton.<br />
<br />
In 1930 Sebastian married outdoor-adventure star [[William Boyd]] (the future [[Hopalong Cassidy]]). After their 1936 divorce, she returned to acting, appearing in mostly bit parts. Her last onscreen appearance was in the 1948 film ''The Miracle of the Bells''.<br />
<br />
===Songwriting===<br />
Sebastian co-wrote the ballad "The Leaves Mustn't Fall" with Jack Kenney.<br />
<br />
==Personal life==<br />
[[File:William_Boyd_and_Dorothy_Sebastian.jpg|thumb|Sebastian and William Boyd in ''His First Command'' (1929)]]. While still in Birmingham, Sebastian married her high-school sweetheart, Allen Stafford, on November 9, 1920. The marriage ended four years later, just before she moved to New York.<br />
<br />
Sebastian married actor [[William Boyd (actor)|William Boyd]] in December 1930 in Las Vegas, Nevada. They began a relationship after meeting on the set of ''His First Command'' in 1929.<ref>{{cite news|url=https://news.google.com/newspapers?id=C5RQAAAAIBAJ&sjid=tSEEAAAAIBAJ&pg=6261,826834&dq=dorothy+sebastian+william+boyd+vegas&hl=en|title=Hollywood In Person|last=Merrick|first=Molly|date=1930-12-30|work=The Milwaukee Journal|accessdate=19 November 2012}}{{Dead link|date=September 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> They divorced in 1936.<br />
<br />
In 1947, Sebastian married Miami Beach businessman Harold Shapiro, to whom she remained married until her death.<ref name=Note>{{cite book|last=Brettell|first=Andrew|author2=King, Noel |author3=Kennedy, Damien |author4= Imwold, Denise |others=Leonard, Warren Hsu; von Rohr, Heather|title=Cut!: Hollywood Murders, Accidents, and Other Tragedies|publisher=Barrons Educational Series|year=2005|pages=179|isbn=0-7641-5858-9}}</ref><br />
<br />
===Legal issues===<br />
On November 7, 1938, Sebastian was found guilty of drunk driving in a Beverly Hills, California Justice Court. The night she was arrested, she had been dining at [[Buster Keaton]]'s home with her nephew. She was given a 30-day suspended jail sentence and paid a fine of $75.<ref>{{cite news|url=https://news.google.com/newspapers?id=fqxfAAAAIBAJ&sjid=wDIMAAAAIBAJ&pg=1394,2835959&dq=dorothy+sebastian+drunk+driving&hl=en|title=Actress Found Guilty Of Driving While Intoxicated|date=1968-11-08|work=Lewiston Morning Tribune|page=3|accessdate=19 November 2012}}</ref><br />
<br />
In 1940, Sebastian was denied an award of $10,000 from a San Diego court. She had appeared at a Red Cross benefit in San Francisco in 1937, and failed to pay her hotel bill. She contended the promoter for the event should have paid the bill. An employee of the Plaza Hotel took out the suit, charging "defrauding an innkeeper." The State Supreme Court of California reversed the lower court's decision, which had awarded her the money on grounds of malicious prosecution.<ref>{{cite news|title=High Court Rules Against Actress|date=1940-05-28|work=Los Angeles Times|page=9}}</ref><br />
<br />
{{wikisec|Filmography}}<br />
<br />
==Death and legacy==<br />
On April 8, 1957, Sebastian died of cancer at the [[Motion Picture & Television Country House and Hospital]] in Woodland Hills, California. She was several weeks shy of her 54th birthday.<ref name="Note" /><ref name="Note" /> She is buried at Holy Cross Cemetery, Culver City, California.<br />
<br />
For her contribution to the motion picture industry, Sebastian has a star on the [[Hollywood Walk of Fame]] at 6655 Hollywood Boulevard. It was dedicated on February 8, 1960.<ref>{{cite web|title=Dorothy Sebastian|url=http://www.walkoffame.com/dorothy-sebastian|website=Hollywood Walk of Fame|accessdate=September 29, 2017|archive-url=https://web.archive.org/web/20170929005808/http://www.walkoffame.com/dorothy-sebastian|archive-date=September 29, 2017}}</ref><br />
<br />
== References ==<br />
<References /><br />
<br />
== Notes ==<br />
<references group="Note" /><br />
<br />
== External links ==<br />
*{{Ibdb name}}<br />
*{{Imdb name|0780941}}<br />
*{{Tcmdb name}}<br />
*[http://dorothysebastian.com/ DorothySebastian.com]<br />
*[http://www.virtual-history.com/movie/person/911/dorothy-sebastian Dorothy Sebastian] at Virtual History<br />
{{Footer}}<br />
<br />
{{cat|film actresses}}</div>Robinr78http://www.sm-201.org/a/Walter_L._Main_Circus_train_wreckWalter L. Main Circus train wreck2024-03-24T23:29:57Z<p>Robinr78: Created page with "{{Header|The '''Walter L. Main Circus train wreck''' was a train derailment that occurred in Tyrone, Pennsylvania, United States, in May 1893. ==Background== Walter L. Main was a farmer turned entrepreneur. William Main, Walter's father, was also a farmer as well as a horse trainer. By the beginning of the 1880s, Walter L. Main had created a circus using profits from selling off farm animals. It was not until 1886 that the circus became successful; when it d..."</p>
<hr />
<div>{{Header|The '''Walter L. Main Circus train wreck''' was a train [[derailment]] that occurred in [[Tyrone, Pennsylvania]], United States, in May 1893.<br />
<br />
==Background==<br />
Walter L. Main was a farmer turned entrepreneur. William Main, Walter's father, was also a farmer as well as a [[horse trainer]]. By the beginning of the 1880s, Walter L. Main had created a circus using profits from selling off farm animals. It was not until 1886 that the circus became successful; when it did, it was officially established as the Walter L. Main Circus. By 1891, Main had purchased 11 railroad cars and was ready to tour the country.<ref>{{cite web |title=Walter L. Main Circus |url=https://www.circusesandsideshows.com/circuses/walterlmaincircus.html |website=Circuses and Sideshows |access-date=February 3, 2024}}</ref><br />
<br />
The show itself included many animals including horses, tigers, snakes, and elephants. By the time of the accident, the length of the train had increased from 11 cars to 17. However, these passenger cars were much larger than the coal cars that the engine was initially intended to pull.<ref name=":0">{{cite web |last1=Orr |first1=Vanessa |title=Remembering Pennsylvania’s circus train wreck of 1893 |url=https://www.recreationnews.com/destinations/remembering-pennsylvania-s-circus-train-wreck-of-1893/article_97845100-2173-11e8-896e-fb84808c6db2.html |website=Recreation News |access-date=February 3, 2024}}</ref><ref name=":1">{{cite web |last1=Gannon |first1=Megan |title=19th-Century Circus Train Crash Mystery: Where's the Animal Graveyard? |url=https://www.livescience.com/45252-circus-train-accident-mass-grave-tyrone.html |website=Live Science |access-date=February 3, 2024}}</ref><br />
<br />
==Accident==<br />
On the morning of Memorial Day, 1893, the train was traveling down an embankment near the town of Tyrone. The excess weight of the upgraded train cars proved to be too much for the train's brakes, and it quickly lost control. At a curve, the train derailed, sparing only two sleeper cars. The brakeman, William Heverly, was killed instantly.<ref name=":2">{{cite web |title=Walter L. Main Circus Train Wreck |url=https://www.hmdb.org/m.asp?m=134783 |website=Historical Marker Database |publisher=hmdb.org |access-date=February 3, 2024}}</ref><ref name=":3">{{cite news |title=Wreck of Mains Circus |url=https://www.newspapers.com/article/butler-citizen-1893-jun-main-circus-trai/34761451/ |access-date=February 3, 2024 |publisher=Butler Citizen |date=June 2, 1893}}</ref><br />
<br />
The ensuing crash resulted in the deaths of 5 of the circus employees and injuries to another 11. The casualties of the animals numbered far greater. Between 50 and 72 horses were either killed or injured.<ref name=":2" /> Some of the more exotic animals survived, such as the elephants, although they did sustain injuries in the crash. Those animals that were not injured escaped and roamed the Pennsylvania countryside. One woman, Hannah Friday, reported that when she was milking a cow, a Bengal tiger approached her. While she managed to escape, the tiger ate her cows.<ref name=":1" /><ref name=":0" /><br />
<br />
Many of the larger escaped animals such as the lions, elephants, and panthers were recovered, but some animals such as the snakes were never located. In the months following the wreck, local residents reported seeing other unusual animals in the nearby wilderness, including exotic birds and kangaroos.<ref name=":3" /><ref name=":2" /><br />
<br />
==Memorial==<br />
A marker has since been added at the base of the hill where the train derailed. The wreck has been commemorated every year since 2009, with local residents placing wreaths and flowers at the site.<ref name=":2" /><ref>{{cite news |last1=Young |first1=E.S. |title=130th anniversary of circus train wreck remembered |url=https://www.huntingdondailynews.com/daily_herald/news/130th-anniversary-of-circus-train-wreck-remembered/article_7ae12b1e-2739-50cb-ad0c-8deee0db3add.html |access-date=February 3, 2024 |publisher=The Daily Herald |date=May 27, 2023}}</ref><br />
<br />
==See also==<br />
*[[Hammond Circus Train Wreck]]<br />
<br />
==References==<br />
{{Reflist}} 03/24}}<br />
The '''Walter L. Main Circus train wreck''' was a train derailment that occurred in Tyrone, Pennsylvania, United States, in May 1893.<br />
<br />
==Background==<br />
Walter L. Main was a farmer turned entrepreneur. William Main, Walter's father, was also a farmer as well as a horse trainer. By the beginning of the 1880s, Walter L. Main had created a circus using profits from selling off farm animals. It was not until 1886 that the circus became successful; when it did, it was officially established as the Walter L. Main Circus. By 1891, Main had purchased 11 railroad cars and was ready to tour the country.<ref>{{cite web |title=Walter L. Main Circus |url=https://www.circusesandsideshows.com/circuses/walterlmaincircus.html |website=Circuses and Sideshows |access-date=February 3, 2024}}</ref><br />
<br />
The show itself included many animals including horses, tigers, snakes, and elephants. By the time of the accident, the length of the train had increased from 11 cars to 17. However, these passenger cars were much larger than the [[Tender (rail)|coal cars]] that the engine was initially intended to pull.<ref name=":0">{{cite web |last1=Orr |first1=Vanessa |title=Remembering Pennsylvania’s circus train wreck of 1893 |url=https://www.recreationnews.com/destinations/remembering-pennsylvania-s-circus-train-wreck-of-1893/article_97845100-2173-11e8-896e-fb84808c6db2.html |website=Recreation News |access-date=February 3, 2024}}</ref><ref name=":1">{{cite web |last1=Gannon |first1=Megan |title=19th-Century Circus Train Crash Mystery: Where's the Animal Graveyard? |url=https://www.livescience.com/45252-circus-train-accident-mass-grave-tyrone.html |website=Live Science |access-date=February 3, 2024}}</ref><br />
<br />
==Accident==<br />
On the morning of [[Memorial Day]], 1893, the train was traveling down an embankment near the town of Tyrone. The excess weight of the upgraded train cars proved to be too much for the train's brakes and it quickly lost control. At a curve, the train derailed, sparing only two sleeper cars. The brakeman, William Heverly, was killed instantly.<ref name=":2">{{cite web |title=Walter L. Main Circus Train Wreck |url=https://www.hmdb.org/m.asp?m=134783 |website=Historical Marker Database |publisher=hmdb.org |access-date=February 3, 2024}}</ref><ref name=":3">{{cite news |title=Wreck of Mains Circus |url=https://www.newspapers.com/article/butler-citizen-1893-jun-main-circus-trai/34761451/ |access-date=February 3, 2024 |publisher=Butler Citizen |date=June 2, 1893}}</ref><br />
<br />
The ensuing crash resulted in the deaths of 5 of the circus employees and injuries to another 11. The casualties of the animals numbered far greater. Between 50 and 72 horses were either killed or injured.<ref name=":2" /> Some of the more exotic animals survived, such as the elephants, although they did sustain injuries in the crash. Those animals that were not injured escaped and roamed the Pennsylvania countryside. One woman, Hannah Friday, reported that when she was milking a cow, a [[Bengal tiger]] approached her. While she managed to escape, the tiger ate her cows.<ref name=":1" /><ref name=":0" /><br />
<br />
Many of the larger escaped animals such as the lions, elephants, and panthers were recovered, but some animals such as the snakes were never located. In the months following the wreck, local residents reported seeing other unusual animals in the nearby wilderness, including exotic birds and kangaroos.<ref name=":3" /><ref name=":2" /><br />
<br />
==Memorial==<br />
A marker has since been added at the base of the hill where the train derailed. The wreck has been commemorated every year since 2009, with local residents placing wreaths and flowers at the site.<ref name=":2" /><ref>{{cite news |last1=Young |first1=E.S. |title=130th anniversary of circus train wreck remembered |url=https://www.huntingdondailynews.com/daily_herald/news/130th-anniversary-of-circus-train-wreck-remembered/article_7ae12b1e-2739-50cb-ad0c-8deee0db3add.html |access-date=February 3, 2024 |publisher=The Daily Herald |date=May 27, 2023}}</ref><br />
<br />
==See also==<br />
*[[Hammond Circus Train Wreck]]<br />
<br />
==References==<br />
{{Reflist}}<br />
<br />
== External links ==<br />
{{wr}}<br />
{{Footer}}<br />
{{at|Circuses|Disasters}}</div>Robinr78http://www.sm-201.org/a/Hammond_Circus_Train_WreckHammond Circus Train Wreck2024-03-24T22:52:34Z<p>Robinr78: Robinr78 moved page Hammond Circus Train Wreck to Hammond Circus train wreck</p>
<hr />
<div>{{Header|Template:Infobox public transit accident 03/24}}<br />
<!-- Accident template stored on discussion page -->[[File:Crowd_at_Hammond_Circus_Train_Wreck.jpg|thumb|right|200px|{{bc|Picture of wreck site}}]]<br />
<br />
The '''Hammond Circus Train Wreck''' occurred on June 22, 1918, and was one of the worst train wrecks in U.S. history. Eighty-six people were reported to have died and another 127 were injured when a locomotive engineer fell asleep and ran his troop train into the rear of a circus train near Hammond, Indiana. The circus train held 400 performers and roustabouts of the [[Hagenbeck–Wallace Circus]].<br />
<br />
==Circus train wreck==<br />
The train used by the Hagenbeck–Wallace Circus used old wooden cars that were lit with oil lamps.<ref name=":2">{{Cite news| url=https://www.nwitimes.com/news/history/years-ago-the-worst-circus-train-wreck-in-u-s/article_a1d86654-599a-5bb7-a1b4-db51c1c66493.html| title=100 years ago the worst circus train wreck in U.S. history happened in Gary, Indiana| first=Doug |last=Ross |work=The Times of Northwest Indiana|access-date=2018-10-23}}</ref> The circus train had two train segments; the segment that was loaded with animals had been dispatched earlier, leaving the train with all the performers and workers on the tracks.<ref name=":1">{{Cite news| url=https://www.nwitimes.com/lifestyles/chills-without-thrills-hammond-circus-train-wreck-of-recalled-in/article_4e16609f-ee95-5431-911f-7f3ff46b987c.html| title=Chills without thrills: Hammond circus train wreck of 1918 recalled in new book |first=Philip |last=Potempa |work=The Times of Northwest Indiana| access-date=2018-10-23}}</ref> The cars were being moved to a spot near Hammond, Indiana, so a mechanical problem could be addressed, and some of the cars had been left on the main line track.<ref name=":3">{{Cite news| url=http://www.chicagotribune.com/news/opinion/commentary/ct-circus-train-showmens-rest-flashback-perspec-0814-jm-20160810-story.html| title=Circus graveyard: Showmen's Rest and the Hagenbeck-Wallace tragedy of 1918| last=Grossman| first=Ron| work=Chicago Tribune |access-date=2018-10-23}}</ref><br />
<br />
In the early morning hours of June 22, 1918, engineer Alonzo Sargent was at the throttle of a Michigan Central Railroad (then a subsidiary of the New York Central Railroad) troop train pulled by MC/NYC class K80r 4-6-2 "Pacific" number 8485, pulling twenty empty Pullman Sleeping cars. Sargent, who was aware that his train was closely following a slower circus train, had slept little, if at all, in the preceding twenty-four hours. The effects of a lack of sleep, several heavy meals, some kidney pills, and the gentle rolling of his locomotive are thought to have caused him to fall asleep at the controls.<br />
<br />
At approximately 4 a.m., Sargent missed at least two automatic signals and warnings posted by a brakeman of the 26-car circus train, which had made an emergency stop to check a hot box on one of the flatcars. Sargent's train plowed into the caboose and four rear wooden sleeping cars of the circus train at a rail crossing known as Ivanhoe Interlocking (five miles east of downtown Hammond and the Indiana-Illinois state border) at an estimated speed of 35 mph. According to a contemporary newspaper report, “The locomotive and tender of the moving train passed completely over and through the wreck. The engine left the rails but did not overturn.”<ref>{{Cite news |date=1918-06-23 |title=Crash of Circus Trains at Geary, Ind. Injured or Kills Nearly 200 |work=Albuquerque Morning Journal |url=https://digitalrepository.unm.edu/cgi/viewcontent.cgi?article=1246&context=abq_mj_news}}</ref> Upon impact, the circus train's lamps ignited the wooden cars and the fire quickly spread.<ref name=":3" /> <br />
<br />
Two men were stationed at the Ivanhoe signal control tower, about {{ht|100|0}} from the accident, and phoned multiple people in an attempt to raise help for the victims. The first on the scene was the mayor of nearby [[Gary, Indiana]], who brought the fire chief, and then phoned all the medical personnel he could. Triage]] for the victims was performed at the Michigan Central station in Hammond; then they were sent to St. Margaret's Hospital.<ref name=":2" /><br />
<br />
== Victims ==<br />
Most of the eighty-six who were killed in the train wreck perished in the first thirty-five seconds after the collision. Then, the wreckage caught on fire. The fire was so intense that many of the victims were assumed to be some of the African-American porters on the train, until further investigations revealed that they had been severely burned.<ref name=":1" /> Among the dead were Arthur Dierckx and Max Nietzborn of the Great Dierckx Brothers, a strongman act,<ref name=":1" /> and [[Jennie Ward Todd]] of The Flying Wards. There were also 127 injuries.<br />
<br />
===Showmen's Rest===<br />
[[File:Train_wreck_at_Hammond_Circus_Train_Wreck,.png|thumb|Onlookers surround the wrecked train]]<br />
<br />
Five days later, fifty-three of those killed were buried in Woodlawn Cemetery,<ref name=":0">{{Cite news| url=https://www.smithsonianmag.com/history/hammond-train-wreck-disaster-1918-killed-dozens-circus-performers-180969428/| title=The Hammond Train Wreck of 1918 Killed Scores of Circus Performers| last=Boissoneault| first=Lorraine| date=2018-06-22| work=Smithsonian| access-date=2018-06-23}}</ref> at the intersection of Cermak Road and Des Plaines Avenue in Forest Park, Illinois, in a section set aside as Showmen's Rest, which had been purchased by the Showmen's League of America only a few months earlier. The section is surrounded by statues of [elephants in a symbolic mourning posture.<br />
<br />
Only five of those buried had been formally identified,<ref name=":0" /> so the graves of most of the casualties are marked "Unknown Male" or "Unknown Female." One grave is marked "Smiley", one "Baldy", and another "4 Horse Driver".<ref>{{Cite news| url=https://www.indystar.com/story/entertainment/2018/06/20/hagenbeck-wallace-circus-train-crash-more-horrifying-than-myths/644289002/| title=The truths of the circus train crash of 1918 are more horrifying than myths| last=Higgins| first=Will| date=2018-06-20| work=Indianapolis Star| access-date=2018-06-23}}</ref> The more recent graves at the location belong to people who traveled with the circus and wanted to be buried there after they died.<ref name=":3" /><br />
<br />
==Investigation==<br />
The wreck is described in great detail in the report of the joint Interstate Commerce Commission (ICC) and Indiana Public Service Commission following an investigation.<br />
<br />
Sargent, who was under arrest, refused to testify at any of the hearings upon the advice of his counsel. In his report of the accident to the officials of the railroad company, he made the following statement:<br />
<br />
<blockquote>I was called shortly after 8 p.m. June 21, for deadhead equipment west, engine 8485, for 10.15 p.m., and left Kalamazoo, Michigan at 10.35 p.m. Had been up since 5 a.m., June 21, dead heading from my home in Jackson, Michiganon Train No. 41, and had had little or no sleep during the day. Had had a couple of heavy meals before going out, realizing that I would not get anything more to eat until some time the next morning. Leaving Kalamazoo, followed freight train to Michigan City, Indiana yard and stopped at signal near Center Street. Got proceed signal from some one on ground, pulled up to Michigan City, stopped at standpipe and took water. While following this freight train, we stopped first between Dowagiac, Michigan and Pokagon Township, Michigan on account signal at danger. Stopped again at Pokagon and Niles, Michigan for same reason, this freight train being ahead.<br />
<br />
<br/>Leaving Michigan City, had clear track to East Gary, Indiana and there caught block of train ahead, reduced speed, but did not have to stop, as block cleared before I reached it. Reduced speed going through Gary to comply with rules, and saw no more signals at caution or danger until approaching curve east of Ivanhoe, where I found second signal east of wreck at caution. Was going about 25 miles per hour at this point, but did not reduce speed, as I expected that the next signal would probably clear before I got to it, or that I would see it, if at danger, in time to stop. The wind was blowing very hard into cab on my side and I closed the window, which made the inside of cab more comfortable. Before reaching the next signal I dozed on account of heat in cab and missed it. Not realizing what had happened to me until within 75 to 90 feet, I awoke suddenly and saw the tail or marker lights showing red on a train directly ahead of me. Not realizing that the rear end of this train was so close. I started to make a service application, but before completing it placed brake-valve handle into emergency position. We struck almost instantly after making the brake application. Don't know whether I closed the throttle or not, but think I did. Looked to see where the fireman was and saw he was running toward the gangway. Did not see a fusee (flare), hear a torpedo, or see any other warning signal up to the time I saw the red tail lights. Wreck happened at about 4.05 a.m., June 22, and I stayed there for an hour or more assisting in getting people out of the wreckage. I have been in the service of the Michigan Central Railroad Co. for approximately 28 or 29 years, the last 16 of which I have been continuously employed as an engineer. I am in perfect physical condition, as well as mental condition, and have had no illness within 25 or 30 years requiring the service of a doctor. There was nothing defective about the air brakes or other mechanisms of the engine or train that I was operating, nor was there any defective condition of any of the signals or track upon which I was operating to the best of my knowledge. The accident was due solely to the fact that I accidentally fell asleep, and I had no intent to injure any person, nor was same done with malice, but solely through an accident, as aforesaid.</blockquote><br />
<br />
The ICC report concluded, "This accident was caused by Engine-man Sargent being asleep, and from this cause, failing to observe the stop indication of automatic signal 2581, and the warnings of the flagman of the circus train, and to be governed by them." The report was also critical of the older wooden cars, whose oil lamps ignited the fire immediately after the collision.<br />
<br />
Although Sargent and his fireman, Gustave Klauss, were criminally charged in Lake County, Indiana, following a trial the jury found itself deadlocked, and a mistrial was declared. Prosecutors declined to re-try the case, and charges were dismissed on June 9, 1920.<ref>{{cite book| url=https://books.google.com/books?id=lUHcZ_xWmPkC&q=sargent| via=Google Books| url-status=dead| archiveurl=https://web.archive.org/web/20160213073226if_/https://books.google.com/books?id=lUHcZ_xWmPkC&q=sargent&hl=en#v=snippet&q=sargent&f=false| archivedate=2016-02-13| title=The Great Circus Train Wreck of 1918: Tragedy on the Indiana Lakeshore| first=Richard M.| last=Lytle| publisher=The History Press| year=2011| isbn=9781614231707}}</ref><br />
<br />
== Aftermath ==<br />
The train wreck occurred on a Saturday, and its effects caused the Hagenbeck-Wallace Circus's show in Hammond and another in Monroe, Wisconsin, on June 24 had to be canceled. However, the circus performed on June 25 in Beloit, Wisconsin, with other circuses providing some of the acts.<ref name=":2" /><br />
<br />
==See also==<br />
*[[Walter L. Main Circus train wreck]]<br />
<br />
==References==<br />
{{reflist}}<br />
<br />
==Further reading==<br />
<br />
* {{cite book| last=Holbrook| first=Stewart H.| year=1947| title=The Story of American Railroads| location=New York City}}<br />
* {{cite book| last=Lytle| first=Richard M.| year=2010| title=The Great Circus Train Wreck of 1918| publisher=The History House| location=Charleston, SC}}<br />
* {{cite book| last=Reeder| first=Warren A.| year=1972| title=No Performances Today; June 22, 1918}}<br />
* {{cite book| last=Shaw| first=Robert B.| year=1978| title=A History of Railroad Accidents, Safety Precautions and Operating Practices| pages=244–245}}<br />
<br />
==External links==<br />
* [https://web.archive.org/web/20160111061104/http://specialcollection.dotlibrary.dot.gov/Document?db=DOT-RAILROAD&query=%28select+537%29 Interstate Commerce Commission investigation report]<br />
* [https://web.archive.org/web/20050404193341/http://www.hammondindiana.com/history/circus.htm Hammond, Indiana history]<br />
* [http://danger-ahead.railfan.net/gallery/ivanhoe_1918.html Danger Ahead! Railroad Disasters]<br />
<br />
{{footer}}<br />
{{cat|Circuses|Disasters}}</div>Robinr78http://www.sm-201.org/a/Ohio_Travel_BagOhio Travel Bag2024-03-24T10:19:53Z<p>Robinr78: Created page with "{{Header| 03/24}} == About Ohio Travel Bag == Since 1908, Ohio Travel Bag has been a supplier/distributor of hardware and related products for a multitude of industries. The business began as a manufacturer of traveling bags and other leather goods in downtown Cleveland, Ohio and has since evolved into a leading wholesale distributor of hardware and fittings for luggage, handbags, trunks, leather goods, and jewelry. We provide hardware solutions in solid brass, stainles..."</p>
<hr />
<div>{{Header| 03/24}}<br />
== About Ohio Travel Bag ==<br />
Since 1908, Ohio Travel Bag has been a supplier/distributor of hardware and related products for a multitude of industries.<br />
<br />
The business began as a manufacturer of traveling bags and other leather goods in downtown Cleveland, Ohio and has since evolved into a leading wholesale distributor of hardware and fittings for luggage, handbags, trunks, leather goods, and jewelry. We provide hardware solutions in solid brass, stainless steel, zinc alloy, steel, iron, and plastic. Ohio Travel Bag stocks over 5,000 items, and our diverse selection is meant to create a host of options for our customers.<br />
<br />
Ohio Travel Bag takes great pride in its century long history of exceptional service to the repair, design, manufacturing, and leather craft industries. We strive to be the product source you need while providing above and beyond customer support.<br />
<br />
To the Ohio Travel Bag team, every little thing matters.<br />
<br />
== Timeline ==<br />
=== 1908 - Start of OTB ===<br />
Ohio Travel Bag was established by Herman Schechtman, Edward V. Fishley, and Austin Oppenheim as a traveling and coin collection bag manufacturer.<br />
<br />
=== 1936 – Wholesale Beginnings ===<br />
In light of the Great Depression, OTB began doing luggage repair work for the retailers that purchased their bags. In 1936, due to an excess in parts, Ohio Travel Bag became a hardware repair business, and took sample cases of parts on the road to sell to other businesses.<br />
<br />
=== 1952 – The 1st Catalog ===<br />
The assorted repair parts were soon organized into a catalog – the first of which was produced in 1952 and distributed to manufacturers and repair shops across the country. Now, a new catalog comes out every 2 years.<br />
<br />
=== 1995 – New Building ===<br />
Ohio Travel Bag moved from its original building in downtown CLE at 811 Prospect Avenue to a Cleveland suburb - Solon, OH.<br />
<br />
<br />
=== 2016 – New Ownership and Rebranding ===<br />
In 2016, Ohio Travel Bag was purchased from Bruce Oppenheim by Michael Fox. Ohio Travel Bag soon launched their new website in 2019.<br />
<br />
<br />
=== 2022 – OTB Joins Weaver Leather ===<br />
Ohio Travel Bag joined the Weaver Leather family of brands. Weaver Leathers's longstanding tradition of support and growth of the leatherworking community, as well as its strong leadership and its expansive global supply network, make this venture very exciting.<br />
<br />
== Contact Us ==<br />
: Mt. Hope, Ohio<br />
: Phone: 800-800-1941<br />
: Fax: 800-989-5559<br />
: website: https://ohiotravelbag.com/<br />
: Email: info@ohiotravelbag.com<br />
: Hours: Mon-Fri 8am-5pm EST<br />
<br />
{{pn}}<br />
I (Robin Roberts) have dealt with OTB since the late 1970s. They have always been courteous and helpful, and deliveries are prompt and on time.<br />
<br />
You can use their online catalog to find "interesting" hardware and closures for your special leather project.<br />
<br />
{{sa-leather}}<br />
<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/SlunkSlunk2024-03-24T09:58:41Z<p>Robinr78: Created page with "{{Header|Slunk 03/24}} A '''slunk''' is an animal, especially a calf, born prematurely or abortively. Slunk skin, calfskin typically obtained as a byproduct of cattle slaughter, is also known as chickenskin.<ref>{{cite book |last1=Cumming |first1=Valerie |title=Gloves |date=1982 |publisher=Batsford |location=London |isbn=9780713410082 |page=[https://archive.org/details/gloves00vale/page/93 93] |edition=Reprinted. |url-access=registration |url=https://archive.or..."</p>
<hr />
<div>{{Header|Slunk 03/24}}<br />
<br />
A '''slunk''' is an animal, especially a calf, born prematurely or abortively. Slunk skin, [[calfskin]] typically obtained as a byproduct of [[cattle]] slaughter, is also known as chickenskin.<ref>{{cite book |last1=Cumming |first1=Valerie |title=Gloves |date=1982 |publisher=Batsford |location=London |isbn=9780713410082 |page=[https://archive.org/details/gloves00vale/page/93 93] |edition=Reprinted. |url-access=registration |url=https://archive.org/details/gloves00vale/page/93 }}</ref><br />
<br />
Slunk skin is sold commercially and used for example in [[furniture]], drums, and gloves.<ref>{{cite book| url= https://books.google.com/books?id=paQAPZqShHIC&q=slunk+drums&pg=PA97 |title= History of the Ludwig Drum Company | first= Paul William |last=Schmidt | publisher=Hal Leonard Corporation | year=1991| isbn= 0931759498| page=97| quote= As regards snare drums, in order for the snare drum to really vibrate, the head had to be as thin as tissue paper, and those heads came from unborn calves. We called it slunk skin. The slunk skins were always plentiful, more so than heads for the batter side. These slunk skins were the same ones used for making ladies fine gloves.}}</ref><br />
<br />
==References==<br />
{{Reflist}}<br />
<br />
{{sa-leather}}<br />
<br />
==External links==<br />
{{wr}}<br />
<br />
{{footer}}</div>Robinr78http://www.sm-201.org/a/CalfskinCalfskin2024-03-24T09:51:37Z<p>Robinr78: </p>
<hr />
<div>{{Header|Calfskin 03/24}}<br />
[[File:Kalb_schwarzgefaerbt.jpg|thumb|right|200px|{{bc|Calfskin hide}}]]<br />
'''Calfskin''' or '''calf leather''' is a [[leather]] or membrane produced from the hide of a calf, or juvenile [[cattle|domestic cattle]]. Calfskin is particularly valuable because of its softness and fine grain, as well as its durability. It is commonly used for high-quality [[clothing]], shoes, wallets, and similar products, as well as traditional leather [[bookbinding]]s. In these contexts, just "calf" is commonly used. Fine calfskin is one of the skins used for vellum and parchment manuscripts.<br />
<br />
In Spanish, the word is Ternera/Novillo, referring to leather from animals less than three years old. Chickenskin, despite its name, is a form of calfskin made using the skin of unborn calves.<ref>{{cite book |last1=Cumming |first1=Valerie |title=Gloves |date=1982 |publisher=Batsford |location=London |isbn=9780713410082 |page=[https://archive.org/details/gloves00vale/page/93 93] |edition=Reprinted. |url-access=registration |url=https://archive.org/details/gloves00vale/page/93 }}</ref><br />
<br />
In fashion, soft finished calfskin is sometimes described as veau velours (French for "velvet calf").<ref>{{cite book|last=Lewandowski|first=Elizabeth|title=The Complete Costume Dictionary|year=2011|publisher=Scarecrow Press|isbn=9780810877856|pages=308|url=https://books.google.com/books?id=gbIsJ2tZJS4C&q=%22Veau+velours%22&pg=PA308}}</ref><br />
<br />
==References==<br />
<references/><br />
<br />
{{sa-leather}}<br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{footer}}</div>Robinr78http://www.sm-201.org/a/CattleCattle2024-03-24T09:39:54Z<p>Robinr78: Created page with "{{Header|Cattle 03/24}} Cow (Fleckvieh breed)}} == Cattle == '''Cattle''' (Bos taurus) are large, domesticated, bovid ungulates widely kept as livestock. They are prominent modern members of the subfamily Bovinae and the most widespread species of the genus Bos. Mature female cattle are called cows, and mature male cattle are bulls. Young female cattle are called heifers, young male cattle are oxen or bullocks, an..."</p>
<hr />
<div>{{Header|Cattle 03/24}}<br />
[[File:Cow_(Fleckvieh_breed).jpg|thumb|right|200px|{{bc|Cow (Fleckvieh breed)}}]]<br />
== Cattle ==<br />
'''Cattle''' (Bos taurus) are large, domesticated, bovid ungulates widely kept as livestock. They are prominent modern members of the subfamily Bovinae and the most widespread species of the genus Bos. Mature female cattle are called cows, and mature male cattle are bulls. Young female cattle are called heifers, young male cattle are oxen or bullocks, and castrated male cattle are known as steers.<br />
<br />
Cattle are commonly raised for meat, for dairy products, and for leather. As draft animals, they pull carts and farm implements. In India, cattle are sacred animals. Small breeds, such as the miniature Zebu, are kept as pets.<br />
<br />
Taurine cattle are widely distributed across Europe and temperate areas of Asia, the Americas, and Australia. Zebus are found mainly in India and tropical areas of Asia, America, and Australia. Sanga cattle are found primarily in sub-Saharan Africa. These types, sometimes classified as separate species or subspecies, are further divided into over 1,000 recognized breeds.<br />
<br />
Around 10,500 years ago, taurine cattle were domesticated from wild aurochs progenitors in central Anatolia, the Levant, and Western Iran. A separate domestication event occurred in the Indian subcontinent, which gave rise to zebu. In 2022, there were over 940 million cattle in the world. Cattle are responsible for around 10% of global greenhouse gas emissions. Cattle were one of the first domesticated animals to have a fully mapped genome.<br />
<br />
== Economy ==<br />
=== Meat ===<br />
The meat of adult cattle is known as beef, and that of calves is veal. Other animal parts are used as food products, including blood, liver, kidney, heart and oxtail. Approximately 300 million cattle, including dairy animals, are slaughtered each year for food. About a quarter of the world's meat comes from cattle. World cattle meat production in 2021 was 72.3 million tons.<br />
<br />
=== Dairy ===<br />
<br />
Certain breeds of cattle, such as the Holstein-Friesian, are used to produce milk, much of which is processed into dairy products such as butter, cheese, and yogurt. Dairy cattle are usually kept on specialized dairy farms designed for milk production. Most cows are milked twice per day, with milk processed at a dairy, which may be onsite at the farm or the milk may be shipped to a dairy plant for eventual sale of a dairy product.[100] Lactation is induced in heifers and spayed cows by a combination of physical and psychological stimulation, by drugs, or by a combination of those methods. For mother cows to continue producing milk, they give birth to one calf per year. If the calf is male, it generally is slaughtered at a young age to produce veal. They will continue to produce milk until three weeks before birth. Over the last fifty years, dairy farming has become more intensive to increase the yield of milk produced by each cow. The Holstein-Friesian is the breed of dairy cow most common in the UK, Europe and the United States. It has been bred selectively to produce the highest yields of milk of any cow. Around 22 litres per day is average in the UK.<br />
<br />
Dairy is a large industry worldwide. In 2023, the 27 European Union countries produced 143 million tons of cow's milk; the United States 104.1 million tons; and India 99.5 million tons. India further produces 94.4 million tons of buffalo milk, making it (in 2023) the world's largest milk producer; its dairy industry employs some 80 million people.<br />
<br />
=== Draft animals ===<br />
<br />
Oxen are cattle trained as draft animals. Oxen can pull heavier loads and for a longer period of time than horses.[106] Oxen are used worldwide, especially in developing countries. There are some 11 million draft oxen in sub-Saharan Africa, while in 1998, India had over 65 million oxen. At the start of the 21st century, about half the world's crop production depended on land preparation by draft animals.<br />
<br />
=== Hides ===<br />
Cattle are not often kept solely for hides, and they are usually a by-product of beef production. Hides are used mainly for leather products such as shoes. In 2012, India was the world's largest producer of cattle hides. Cattle hides account for around 65% of the world's leather production. <br />
<br />
Since the raising of cattle is so prevalent, the amount of leather processed is quite high, and the prices per square foot are low.<br />
<br />
{{Sa-leather}}<br />
<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/BisonBison2024-03-24T09:19:55Z<p>Robinr78: </p>
<hr />
<div>{{Header|Bison 03/24}}<br />
[[File:American_bison_k5680-1.jpg|thumb|right|200px|{{bc|American Bison}}]]<br />
A '''bison''' (pl.: bison) is a large bovine in the genus Bison (Greek: "wild ox" (bison)) within the tribe Bovini. Two extant and numerous extinct species are recognized.<br />
<br />
Of the two surviving species, the American bison, B. bison, found only in North America, is the more numerous. Although colloquially referred to as a buffalo in the United States and Canada, it is only distantly related to the true buffalo. The North American species is composed of two subspecies, the Plains bison, B. b. bison, and the wood bison, B. b. athabascae, which is the namesake of Wood Buffalo National Park in Canada. A third subspecies, the eastern bison (B. b. pennsylvanicus) is no longer considered a valid taxon, being a junior synonym of B. b. bison. References to "woods bison" or "wood bison" from the Eastern United States refer to this subspecies, not B. b. athabascae, which was not found in the region. The European bison, B. bonasus, or wisent, or zubr, or colloquially European buffalo, is found in Europe and the Caucasus and reintroduced after being extinct in the wild.<br />
<br />
While bison species have been traditionally classified in their own genus, modern genetics indicates that they are nested within the genus Bos, which includes, among others, cattle, yaks and gaur, being most closely related to yaks. Bison are sometimes bred with domestic cattle and produce offspring called beefalo, in North America, or żubroń, in Poland.<br />
<br />
== Human impact ==<br />
<br />
Bison was a significant resource for indigenous peoples of North America for food and raw materials until near extinction in the late 19th century. For the indigenous peoples of the Plains, it was their principal food source.[58] Native Americans highly valued their relationship with the bison and saw them as sacred, treating them respectfully to ensure their abundance and longevity. In his biography, Lakota teacher and elder John Fire Lame Deer describes the relationship as such:<br />
<br />
: The buffalo gave us everything we needed. Without it we were nothing. Our tipis were made of his skin. His hide was our bed, our blanket, our winter coat. It was our drum, throbbing through the night, alive, holy. Out of his skin we made our water bags. His flesh strengthened us, became flesh of our flesh. Not the smallest part of it was wasted. His stomach, a red-hot stone dropped into it, became our soup kettle. His horns were our spoons, the bones our knives, our women's awls and needles. Out of his sinews we made our bowstrings and thread. His ribs were fashioned into sleds for our children, his hoofs became rattles. His mighty skull, with the pipe leaning against it, was our sacred altar. The name of the greatest of all Sioux was Tatanka Iyotake—Sitting Bull. When you killed off the buffalo you also killed the Indian—the real, natural, "wild" Indian.<br />
<br />
European colonials were almost exclusively accountable for the near-extinction of the American bison in the 1800s. At the beginning of the century, tens of millions of bison roamed North America. Colonists slaughtered an estimated 50 million bison during the 19th century, although the causes of decline and the numbers killed are disputed and debated.[60][61] Railroads were advertising "hunting by rail", where trains encountered large herds alongside or crossing the tracks. Men aboard fired from the train's roof or windows, leaving countless animals to rot where they died.[62] This overhunting was in part motivated by the U.S. government's desire to limit the range and power of indigenous plains Indians whose diets and cultures depended on the buffalo herds. The overhunting of the bison reduced their population to hundreds.<br />
<br />
The American bison's nadir came in 1889, with an estimated population of only 1,091 animals (both wild and captive). Repopulation attempts via enforced protection of government herds and extensive ranching began in 1910 and have continued (with excellent success) to the present day, with some caveats. Extensive farming has increased the bison's population to nearly 150,000, and it is officially no longer considered an endangered species. However, from a genetic standpoint, most of these animals are actually hybrids with domestic cattle and only two populations in Yellowstone National Park in the United States and Elk Island National Park in Canada remain as genetically pure bison. These genetically pure animals account for only ~5% of the currently extant American bison population, reflecting the loss of most of the species' genetic diversity.<br />
<br />
As of July 2015, an estimated 4,900 bison lived in Yellowstone National Park, the largest U.S. bison population on public land. During 1983–1985 visitors experienced 33 bison-related injuries (range = 10–13/year), so the park implemented education campaigns. After years of success, five injuries associated with bison encounters occurred in 2015, because visitors did not maintain the required distance of 75 ft (23 m) from bison while hiking or taking pictures.<br />
<br />
== Livestock ==<br />
<br />
The earliest plausible accounts of captive bison are those of the zoo at Tenochtitlan, the Aztec capital, which held an animal the Spaniards called "the Mexican bull". In 1552, Francisco Lopez de Gomara described Plains Indians herding and leading bison-like cattle in his controversial book, "Historia General de las Indias". Gomara, having never visited the Americas himself, likely misinterpreted early ethnographic accounts as the more familiar pastoralist relationship of the Old World. Today, bison are increasingly raised for meat, hides, wool, and dairy products. The majority of bison in the world are raised for human consumption or fur clothing. Bison meat is generally considered to taste very similar to beef but is lower in fat and cholesterol yet higher in protein than beef, which has led to the development of beefalo, a fertile hybrid of bison and domestic cattle. A market even exists for kosher bison meat; these bison are slaughtered at one of the few kosher mammal slaughterhouses in the U.S. and Canada, and the meat is then distributed worldwide.<br />
<br />
In America, the commercial industry for bison has been slow to develop despite individuals, such as Ted Turner, who have long marketed bison meat. In the 1990s, Turner found limited success with restaurants for high-quality cuts of meat, which include bison steaks and tenderloin. Lower-quality cuts suitable for hamburger and hot dogs have been described as "almost nonexistent". This created a marketing problem for commercial farming because the majority of usable meat, about 400 pounds for each bison, is suitable for these products. In 2003, the United States Department of Agriculture purchased $10 million worth of frozen overstock to save the industry, which would later recover through better use of consumer marketing. Restaurants have played a role in popularizing bison meat, like Ted's Montana Grill, which added bison to their menus. Ruby Tuesday first offered bison on their menus in 2005.<br />
<br />
In Canada, commercial bison farming began in the mid-1980s, concerning an unknown number of animals then. The first census of the bison occurred in 1996, which recorded 45,235 bison on 745 farms, and grew to 195,728 bison on 1,898 farms for the 2006 census.<br />
<br />
Several pet food companies use bison as a red meat alternative in dog foods. The companies producing these formulas include Natural Balance Pet Foods, Freshpet, the Blue Buffalo Company, Solid Gold, Canidae, and Taste of the Wild (made by Diamond Pet Foods, Inc., owned by Schell and Kampeter, Inc.).<br />
<br />
== Bison leather quality == <br />
In the leather world, bison leather is renowned for its resilience and longevity. It's proven to be about 40% stronger than [[cow leather]]. This extra strength comes from the tight-packed fibers in the bison's skin, which naturally resist getting worn out quickly, making it great for daily heavy use.<br />
<br />
{{sa-leather}}<br />
<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Delores_CostelloDelores Costello2024-03-24T01:51:25Z<p>Robinr78: </p>
<hr />
<div>{{Header|Dolores Costello 03/24}}{{DEFAULTSORT:Costello, Dolores}}<br />
{{Infobox person<br />
| color = mistyrose<br />
| name = Dolores Costello<br />
| image = Delorescostello.jpg<br />
| imagesize = <br />
| caption = Costello in 1926<br />
| birthdate = {{dob|1903|09|17}}<br />
| birthplace = Pittsburgh, Pennsylvania, U.S.<br />
| deathdate = {{dod|1979|03|1|1903|09|17}}<br />
| deathplace = Fallbrook, California, U.S.<br />
| deathcause = Emphysema<br />
| buried = Calvary Cemetery, (East Los Angeles, California)<br />
| spouse = {{plainlist|<br />
* {{marriage|[[John Barrymore]]|1928|1934|end=divorced}}<br />
* {{marriage|John Vruwink|1939|1950|end=divorced}}<br />
}}<br />
| children = 2, including John Drew Barrymore<br />
| years_active = 1909–1943<br />
| occupation = Actress<br />
| parents = Maurice Costello<br>Mae Costello<br />
| relatives = Helene Costello (sister) <br><br />
[[Drew Barrymore]] (grand-daughter)<br />
}}<br />
'''Dolores Costello''' ({{star}}September 17, 1903 – {{dag}}March 1, 1979) was an American film actress who achieved her greatest success during the era of silent movies. She was nicknamed "The Goddess of the Silent Screen" by her first husband, the actor John Barrymore. She was the mother of John Drew Barrymore and grandmother of [[actress]] and talk show host [[Drew Barrymore]].<br />
<br />
== Early years ==<br />
Dolores Costello was born in Pittsburgh, Pennsylvania, the daughter of actors Maurice Costello and Mae Costello (née Altschuk). She was of Irish and German descent. She had a younger sister, Helene, and the two made their early film appearances from 1909 to 1915 as child actresses for the Vitagraph Film Company. They played supporting roles in several films starring their father, who was a popular matinee idol at the time.<br />
<br />
== Film career ==<br />
<br />
The two sisters appeared on Broadway together as chorus line dancers, and their success resulted in contracts with Warner Bros. Pictures. In 1926, following small parts in feature films, Dolores Costello was selected by John Barrymore to star with him in The Sea Beast, a loose adaptation of Herman Melville's ''Moby-Dick'', after which Warner soon began starring her in her own vehicles. Meanwhile, she and Barrymore became involved romantically, and married in 1928.<br />
<br />
Within a few years of achieving stardom, Costello had become a film personality in her own right. As a young adult, her career developed to the degree that in 1926, she was named a [[WAMPAS]] Baby Star, and had acquired the nickname "The Goddess of the Silver Screen".<br />
<br />
Warners alternated Costello between films with contemporary settings and elaborate costume dramas. In 1927, she was re-teamed with John Barrymore in ''When a Man Loves'', an adaptation of Manon Lescaut. In 1928, she co-starred with George O'Brien in ''Noah's Ark'', a part-talkie epic directed by Michael Curtiz.<br />
<br />
Costello spoke with a lisp and found it difficult to make the transition to talking pictures, but after two years of voice coaching, she was comfortable speaking before a microphone. One of her early sound film appearances was with her sister Helene in the Warner Bros. all-star extravaganza ''The Show of Shows'' (1929).<br />
<br />
Her acting career became less of a priority for her following the birth of her first child, Dolores Ethel Mae "DeeDee" Barrymore, on April 8, 1930, and she retired from the screen in 1931 to devote time to her family. Her second child, John Drew Barrymore, was born on June 4, 1932, but the marriage proved difficult due to her husband's increasing alcoholism, and they divorced in 1935.<br />
<br />
She resumed her career a year later and achieved some successes, most notably in ''Little Lord Fauntleroy'' (1936), and T''he Magnificent Ambersons'' (1942). She retired permanently from acting following her appearance in ''This Is the Army'' (1943), again under the direction of {{Wl|Michael Curtiz}}.<br />
<br />
Making a rare radio appearance, Costello appeared as the Danish Countess Elsa on the radio program "Suspense" on August 28, 1943. The title of the episode was ''The King's Birthday'', written by Corporal Leonard Pellitier, U.S. Army.<br />
<br />
{{wikisec|Filmography}}<br />
<br />
<br />
== Later years ==<br />
In 1939, she married Dr. John Vruwink, an obstetrician who was her physician during her pregnancies, but they divorced in 1950. Costello spent the remaining years of her life in semi-seclusion, managing an avocado farm. Her film career was largely ruined by the destructive effects of early film makeup, which ravaged her complexion too severely to camouflage. Her final film was ''This Is the Army'' (1943). In the 1970s, her house was inundated in a flash flood that caused a good deal of damage to her property and memorabilia from her movie career and life with John Barrymore.<br />
<br />
== Awards ==<br />
Costello has a star on the Hollywood Walk of Fame for her contributions to motion pictures at 1645 Vine Street.<br />
<br />
<gallery mode="packed" heights="200px" caption="Dolores Costello"> <br />
file:Dolores_Costello,_Ziegfeld_girl.jpg|as a Ziegfeld girl <ref group="Note">Dolores Costello as a Ziegfeld girl, by Alfred Cheney Johnston, ca. 1923</ref><br />
Delores-Costello-01.jpg|Cigarette card (1920's}<br />
Delores-Costello-02.jpg|in ''Noah's Ark'' (1928}<br />
Delores-Costello-03.jpg|Publicity still<br />
Dolores_Costello-04.jpg<br />
</gallery><br />
<br />
== Notes ==<br />
<references group="Note" /><br />
== External links ==<br />
* [https://web.archive.org/web/20041019214836/http://silent-movies.com/Ladies/PCostello.html Dolores Costello photo gallery]<br />
* {{Imdb name|182537}}<br />
* {{Ibdb name}}<br />
* {{Find a grave|5240}}<br />
* [http://film.virtual-history.com/person.php?personid=1150 Photographs of Dolores Costello]<br />
* Dolores and [[Anita Louise]] with the legendary [[Daniel Frohman]] in 1936 at [http://www.corbisimages.com/stock-photo/rights-managed/U352333ACME/portrait-of-minna-gombel-dolores-costello-barrymore?popup=1 Actors Fund Benefit] (Corbis Images)<br />
* [https://dolores-costello.tumblr.com/post/1469890659/dolores-costello-cigarette-card-c-1920s Pinterest pictures]<br />
<br />
{{footer}}<br />
<br />
{{cat|Child actresses|Film actresses}}</div>Robinr78http://www.sm-201.org/a/Alice_WhiteAlice White2024-03-23T22:55:25Z<p>Robinr78: Created page with "{{Header|Alice White 03/24}}{{DEFAULTSORT:White, Alice}} {{Infobox person| color = mistyrose | name = Alice White | image = Alice_White_Publicity_photo_1934.jpg | caption = Publicity photo of White, 1934 | birthname = Alva White | birthdate = {{dob|1904|08|25|mf=yes}} | birthplace = Paterson, New Jersey, U.S. | deathdate = {{Dod|1983|02|19|1904|08|25|mf=yes}} | deathplace = Los Angeles, California, U.S. |..."</p>
<hr />
<div>{{Header|Alice White 03/24}}{{DEFAULTSORT:White, Alice}}<br />
{{Infobox person| color = mistyrose<br />
| name = Alice White<br />
| image = Alice_White_Publicity_photo_1934.jpg<br />
| caption = Publicity photo of White, 1934 <br />
| birthname = Alva White <br />
| birthdate = {{dob|1904|08|25|mf=yes}}<br />
| birthplace = Paterson, New Jersey, U.S.<br />
| deathdate = {{Dod|1983|02|19|1904|08|25|mf=yes}}<br />
| deathplace = Los Angeles, California, U.S.<br />
| deathcause = complications from a stroke<br />
| buried = Valhalla Memorial Park Cemetery<br />
| occupation = Actress<br />
| years_active = 1927&ndash;1950<br />
| spouse = {{plainlist|<br />
* {{marriage|Sy Bartlett|1933|1937|reason=divorced}}<br />
* {{marriage|Jack Roberts|1941|1949|reason=divorced}}<br />
}}<br />
}}<br />
<br />
'''Alice White''' (born '''Alva White'''; August 25, 1904<ref>''The Film Encyclopedia: The Most Comprehensive Encyclopedia of World Cinema in a Single Volume'' incorrectly lists White's date of birth as August 28, 1907.</ref><ref name=fe>Katz, Ephraim (1979). ''The Film Encyclopedia: The Most Comprehensive Encyclopedia of World Cinema in a Single Volume''. Perigee Books. {{ISBN|0-399-50601-2}}, pg. 1228.</ref> &ndash; February 19, 1983) was an American film actress. Her career spanned late silent films and early sound films.<ref name=fe/><br />
<br />
== Early years ==<br />
Alice White was raised by her maternal grandparents in Paterson, New Jersey, and she attended schools in Paterson and East Orange, New Jersey. Her grandfather owned a fruit business.<br />
<br />
== Film ==<br />
<br />
After leaving school, White became a secretary and "script girl" for director Josef von Sternberg. She also worked as a switchboard operator at the Hollywood Writers' Club. After clashing with von Sternberg, White left to work for [[Charlie Chaplin]], who decided before long to place her in front of the camera.<br />
<br />
Her bubbly and vivacious persona led to comparisons with Clara Bow, but White's career was slow to progress. In his book ''Silent Films'', 1877-1996: A Critical Guide to 646 Movies, Robert K. Klepper wrote: <br />
: "Some critics have said that Ms. White was a second-string [[Clara Bow]]. In actuality, Ms. White had her own type of charm, and was a delightful actress in her own, unique way. Whereas Clara Bow played the quintessential, flaming redheaded flapper, Alice White was more of a bubbly, vivacious blonde."<br />
<br />
After playing a succession of flappers and gold diggers, she attracted the attention of director and producer [[Mervyn LeRoy]], who saw potential in her. Her screen debut was in ''The Sea Tiger'' (1927). Her early films included ''Show Girl'' (1928), which had Vitaphone musical accompaniment but no dialog, and its musical sequel ''Show Girl in Hollywood'' (1930), both released by Warner Brothers and both based on novels by J.P. McEvoy. In these two films, White appeared as Dixie Dugan. In October 1929, McAvoy started the comic strip Dixie Dugan with the character Dixie having a "helmet" hairstyle and appearance similar to actress Louise Brooks. White also used the services of Hollywood 'beauty sculptor' Sylvia of Hollywood to stay in shape.<br />
<br />
White was featured in ''The Girl from Woolworth's'' (1929), having the role of a singing clerk in the music department of a Woolworth's store. Karen Plunkett-Powell wrote in her book Remembering Woolworth's: A Nostalgic History of the World's Most Famous Five-and-Dime: "First National Pictures produced this 60-minute musical as a showcase for up-and-coming actress Alice White."<br />
<br />
== Later career ==<br />
White left films in 1931 to improve her acting abilities, returning in 1933 only to have her career hurt by a scandal that erupted over her involvement with boyfriend actor Jack Warburton and future husband Sy Bartlett. Although she later married Bartlett, her reputation was tarnished and she appeared only in supporting roles after this, including ''Jimmy the Gent'' (1934) with [[James Cagney]] and [[Bette Davis]]. By 1937 and 1938, her name was at the bottom of the cast lists. She made her final film appearance in ''Flamingo Road'' (1949) and eventually resumed working as a secretary.<br />
<br />
== Personal life ==<br />
<br />
In 1933, White and her fiancé, American screenwriter Sidney "Sy" Bartlett, were accused of arranging the beating of British actor John Warburton. White and Warburton had reportedly had a love affair that ended when he beat her so badly she required cosmetic surgery. A grand jury in Los Angeles decided not to charge Bartlett or White; however, the bad publicity hurt White’s career.<br />
<br />
White married Bartlett on December 3, 1933, in Magdalena, Mexico. She filed for divorce in 1937, claiming he "stayed away from home" and was awarded $65 per week in alimony.<br />
<br />
White remarried, to film writer John Roberts, on August 24, 1940. They divorced on April 18, 1949, in Los Angeles. The following year, she sued him over unpaid alimony.<br />
<br />
== Death ==<br />
White died of complications from a stroke on February 19, 1983, at age 78. She was buried at Valhalla Memorial Park Cemetery in North Hollywood.<br />
<br />
== Award ==<br />
White has a star at 1511 Vine Street in the Motion Pictures section of the [[Hollywood Walk of Fame]]. It was dedicated on February 8, 1960.<br />
<br />
== Filmography ==<br />
<br />
<gallery mode="packed" heights="200px" caption="Alice White"> <br />
File:Alice White.jpg<br />
File:Alice White-01.jpg<br />
File:Alice White-02.jpg<br />
File:Alice White-03.jpg<br />
</gallery><br />
<br />
<br />
{{wikisec|Filmography}}<br />
== References ==<br />
<References /><br />
<br />
== External links ==<br />
* [https://www.youtube.com/watch?v=oafgeA41QTc Alice White singing and dancing in a clip from ''Show Girl in Hollywood'' (from YouTube).]<br />
* [https://www.youtube.com/watch?v=zXh7CQiH8XA James Cagney slaps Alice White in a clip from ''Picture Snatcher'' (from YouTube)]<br />
* {{IMDb name|0924442}}<br />
* {{Tcmdb name}}<br />
* {{AllMovie name|75836}}<br />
* [https://web.archive.org/web/20070929163705/http://www.moviemaidens.com/profile.asp?i=1026&e=2&ct=1&r=22&f=Alice&l=White Alice White Photos & Biography]<br />
* [http://film.virtual-history.com/person.php?personid=6028 Photographs and literature]<br />
<br />
{{Footer}}<br />
{{cat|Film actresses}}</div>Robinr78http://www.sm-201.org/a/History_of_hide_materialsHistory of hide materials2024-03-23T19:34:48Z<p>Robinr78: Created page with "{{Header|History of hide materials 03/24}} {{cat-lthr|History of hide materials}} == History of hide materials == Humanity has used animal hides since the Paleolithic era, for clothing as well as mobile shelters such as tipis and wigwams, and household items. Since ancient times, hides have also been used as a writing medium, in the form of parchment. Fur clothing was used by other hominids, at least by the Neanderthals. Rawhide is a simple hide product, that turns sti..."</p>
<hr />
<div>{{Header|History of hide materials 03/24}}<br />
{{cat-lthr|History of hide materials}}<br />
== History of hide materials ==<br />
Humanity has used animal hides since the Paleolithic era, for clothing as well as mobile shelters such as tipis and wigwams, and household items. Since ancient times, hides have also been used as a writing medium, in the form of parchment.<br />
<br />
Fur clothing was used by other hominids, at least by the Neanderthals.<br />
<br />
Rawhide is a simple hide product, that turns stiff. It was formerly used for binding pieces of wood together. Today it is mostly found in drum skins.<br />
<br />
Tanning of hides to manufacture leather was invented during the Paleolithic.<br />
<br />
Parchment for use in writing was introduced during the Bronze Age and later refined into vellum, before paper became commonplace.<br />
<br />
== Prehistoric and Ancient use ==<br />
<br />
A German parchmenter during the 16th century<br />
Ian Gilligan (Australian National University) has argued convincingly that hominids without fur would have needed leather clothing to survive outside the tropics in mid-latitude Eurasia, southern Africa, and the Levant during the cold glacial and stadial periods of the Ice Age, and there is archaeological evidence for the use of hide and leather in the Paleolithic.<br />
<br />
Simple, unmodified stone flakes could have been used to scrape hides for tanning, but scraper tools are more specialized for tasks such as woodworking and hideworking. Both of these stone tool shapes were invented in the Oldowan, but direct evidence for hideworking has not been found from earlier than about 400,000 years ago. Examination of microscopic use-wear on scrapers demonstrates they were used to prepare hides at that time at Hoxne in England.<br />
<br />
The earliest known bone awls date to between 84,000 and 72,000 years ago in South Africa, and their use-wear shows that they were probably used to pierce soft materials, such as tanned leather. Bone awls were later made in the Aurignacian in Europe, west Asia, and Russia, and also in Tasmania during the Last Glacial Maximum. The earliest eyed sewing needles date to between 43,000 and 28,500 years ago, probably at least 35,000 years ago, in southern Siberia, and were used across Paleolithic Eurasia and in North America. <br />
<br />
Paleolithic hunters are also known to have targeted fur-bearing animals, such as wolves and arctic foxes in Europe, snow leopards in Central Asia, mole-rats in Africa, and red-necked wallabies in Tasmania.<br />
<br />
As animal husbandry was introduced during the Neolithic, human communities got a steady source of hides. The oldest confirmed leather tanning tools were found in ancient Sumer and date to approximately 5000 BCE.[5] The oldest surviving piece of leather footwear is the Areni-1 shoe that was made in Armenia around 3500 BCE. Another, possibly older, piece of leather was found in Guitarrero Cave in northern Peru, dating to the Archaic period.<br />
<br />
The first written references to leather are documented from Ancient Egypt around 1300 BCE.[6] Various substances used were tannin obtained from trees, as well as animal brains, or faeces. The odor from tanning separated the tanneries from populated areas.<br />
<br />
== Medieval use ==<br />
During the Middle Ages, as leather craft was developed, welt shoes and turnshoes were invented. Refined kinds of leather such as suede and nubuck were also introduced.<br />
<br />
== Modern use ==<br />
New kinds of tanning chemicals came to use during the Industrial Revolution. Chromium tanning was invented during the 1850s. Patent leather has been manufactured since 1819. Phenol formaldehyde resin came into use during World War II.<br />
<br />
Fur farming was introduced in the 19th century, and is today the main source of fur clothing. Synthetic fur is an alternative to genuine fur, for cost and ethical reasons.<br />
<br />
Several kinds of synthetic leather have been invented during the 20th century.<br />
<br />
{{sa-leather}}<br />
== External links ==<br />
{{wr}}<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/British_Museum_leather_dressingBritish Museum leather dressing2024-03-23T19:26:45Z<p>Robinr78: Created page with "{{Header|British Museum leather dressing 03/24}}{{cat-lthr|"British Museum" leather dressing}} '''British Museum leather dressing''' has been used by many conservators since its publication<ref >(Plenderleith, 1946)</ref><ref >{{cite book |title=The conservation of antiquities and works of art |last=Plenderleith |first=H. |first2=A. |last2=Werner |year=1971 |edition=2nd |publisher=Oxford University Press |location=London |ref=Plenderleith, 1971 }}</..."</p>
<hr />
<div>{{Header|British Museum leather dressing 03/24}}{{cat-lthr|"British Museum" leather dressing}}<br />
'''[[British Museum]] leather dressing''' has been used by many conservators since its publication<ref >(Plenderleith, 1946)</ref><ref >{{cite book<br />
|title=The conservation of antiquities and works of art<br />
|last=Plenderleith |first=H.<br />
|first2=A. |last2=Werner<br />
|year=1971<br />
|edition=2nd<br />
|publisher=Oxford University Press<br />
|location=London <br />
|ref=Plenderleith, 1971<br />
}}</ref> to protect and conserve leather.<br />
<br />
== Formulation ==<br />
The basic formulation is:<br />
:: 200 g anhydrous lanolin<br><br />
:: 30 ml cedar oil (which acts as a fungicide)<br><br />
:: 15 g beeswax (optional)<br><br />
:: 330 ml X-4 (Petroleum ether solvent) or hexane (solvent)<br><br />
<br />
<br />
The first three ingredients are mixed warm, then added to the cold solvent and allowed to cool while constantly stirring.<ref name="Amol">{{cite web<br />
|url=http://archive.amol.org.au/recollections/2/2/index.htm<br />
|title=Caring for Cultural Material - Leather<br />
|publisher=reCollections - Heritage Collections Council of Australia<br />
|accessdate=2007-04-27<br />
|url-status=dead<br />
|archiveurl=https://web.archive.org/web/20070406225517/http://archive.amol.org.au/recollections/2/2/index.htm<br />
|archivedate=6 April 2007<br />
|df=dmy-all<br />
}}</ref> Care should be exercised, as hexane is highly flammable.<br />
<br />
== Variations ==<br />
There are several variations in the formulation.<br />
<br />
Sometimes 60% of the lanolin was replaced by [[neatsfoot oil <ref group="Note"> Neatsfoot oil is a yellow oil rendered and purified from the shin bones and feet (but not the hooves) of cattle. "Neat" in the oil's name comes from an Old English word for cattle. Neatsfoot oil is used as a conditioning, softening and preservative agent for leather. In the 18th century, it was also used medicinally as a topical application for dry scaly skin conditions.</ref>. <br />
<br />
One disadvantage of the solvent hexane is its tendency to evaporate rapidly. Before the fat/hexane mixture has been able to penetrate deep into the leather, the hexane evaporates to the surface of the leather, taking most of the fat with it. <br />
<br />
While beeswax prevents air pollutants from penetrating the leather, it does this by closing off the leather, thus disturbing the water balance and causing the leather to dry out.<ref name="Koninklijke Bibliotheek" >{{cite web<br />
|url=http://www.kb.nl/en/organisation/research-expertise/preservation/guidelines-for-the-conservation-of-leather-and-parchment-bookbindings<br />
|title=Concise survey of conservation treatments<br />
|publisher=Koninklijke Bibliotheek - National library of the Netherlands<br />
|accessdate=2007-04-27<br />
}}</ref><br />
<br />
== In use ==<br />
The British Museum leather dressing was part of an elaborate leather conservation program. Other steps entailed cleaning the leather, if necessary, with soap and water and applying an aqueous solution of 7% potassium lactate as a buffer. A warning was given about the dangers of using too much lactate, which made books sticky and could cause fungal growth. The books had to be absolutely dry when the leather dressing was applied.<br />
<br />
Apply sparingly to the leather and rub well. Wait two days, then polish the treated leather with a soft cloth. Very hard leather can be soaked in a solution of one part British Museum leather dressing: three parts {{wl}Stoddard solvent}}.<ref name="TAMU" >{{cite web |url=http://nautarch.tamu.edu/class/anth605/File7.htm#British%20Museum%20Leather%20Dressing%20Treatment<br />
|title=Leather Conservation<br />
|publisher=Conservation Research Laboratory, Texas A&M University.<br />
|accessdate=2007-04-27<br />
}}</ref> <br />
<br />
British Museum leather dressing darkens leather, but it is a treatment with a good success record.<ref name="Amol" /><ref name="TAMU" /><br />
<br />
== Notes ==<br />
<references group="Note" /><br />
==References==<br />
{{reflist}}<br />
<br />
{{sa-leather}}<br />
== External links ==<br />
{{wr}}<br />
{{Footer}}<br />
<br />
{{cat|Leather}}</div>Robinr78http://www.sm-201.org/a/Alligator_leatherAlligator leather2024-03-23T08:20:22Z<p>Robinr78: </p>
<hr />
<div>{{Header|Alligator leather 03/24}}<br />
[[File:FMIB_33999_Alligator_Skins.jpeg|thumb|right|200px|{{bc|Early Alligator Skins}}]]<br />
Leather is created when an animal's skin or hide is chemically treated in a process called tanning to preserve it for long-term use as material for clothing, handbags, footwear, furniture, sports equipment, and tools. Alligator leather is also commonly used to create similar items as mentioned above.<br />
<br />
Alligator leather is not only used due to its durable skin, but also its natural enamel sheen, which is aesthetically pleasing for consumers buying expensive products.<br />
<br />
== History ==<br />
The earliest use of alligator skin was said to be in 1800 in North America. It was used to make boots, shoes, saddles, and other products. Despite the first use being recorded in the 1800s, alligator skin production increased significantly during the mid-1800s. During the American Civil War in 1861, saddles and boots were made for the Confederate troops. This led to alligator leather rising to the top of choice for leather usage.<br />
<br />
The durability and softness attributed to alligator leather today started when commercial tanning began in the early 1900s in New York, New Jersey, and Europe. This brought a major increase in demand for fashion-based materials. The sudden spike in demand for leather led to the alligator population decreasing in Louisiana in the mid-1900s, Louisiana being the biggest harvesting state in America. 1962 was when alligator hunting was closed statewide due to low numbers and the effect of non-regulated harvests.<br />
<br />
By 1967, alligators made the endangered species list in America. This was not for long, however, for in 1987, alligators were no more in threat of endangerment due to the cultivation and conservation efforts that led to their numbers gradually increasing again.<br />
<br />
== Applications ==<br />
=== Handbags ===<br />
Luxury brands are known to use rare and expensive materials to justify their prices. One of these sought-after materials is alligator leather. One particular brand that is synonymous with high-end luxury would be Hermès. One of their most iconic and expensive bags ever made would be their Alligator Birkin, which was priced at a staggering US$379,261 at auction. Luxury brands prefer the highest-grade underbelly section of the alligator, as they usually need a large piece of the hide. Lower-grade alligator leather usually has scar tissue that would decrease the value of the product.<br />
<br />
=== Boots or shoes ===<br />
Alligator leather shoes and boots are common in high-end retail stores. Due to their durability, the American Midwest/Cowboy market also commonly invests in alligator Leather boots or shoes. While high-grade leather can create exceptional quality, low-grade leather can also be pieced together to create a great product.<br />
<br />
=== Clothing ===<br />
Leather's use for clothing dates back to 1200 BC, when ancient Greeks used it as a material because it was durable and helped tackle different climates. While leather is still used as a material for winter clothing, due to its rarity and exclusivity, alligator leather has become a luxury. High-end, expensive brands use alligator hide for clothing items, the most popular being jackets and winter wear.<br />
<br />
== Process of tanning leather ==<br />
Tanning is the process of processing the raw skin of an animal into leather. If not done correctly, the skin is prone to bacteria and ultimately decomposition. The tanning process for alligators is a lengthy process. The process starts with obtaining the skin, and depending on the final product the leather will be used for, the tanner will choose which part of the animal to use.<br />
<br />
=== Extraction of skin ===<br />
Depending on the final product, tanneries will dissect and process that portion of the alligator. For a softer and more malleable product, tanners choose to use the underbelly and perform a "belly cut". Usually, younger farm-raised alligators are chosen for this process as the skin is not as tough as an adult alligator. Underbelly hide is usually used for luxury products, so farm-raised alligators will not have scars or marks as wild alligators may have. This is due to the fact it is not raised in the wild and, therefore, does not encounter situations that would cause scars or damage to the skin.<br />
<br />
The "Hornback cut," however, is used more for the raised scaly appearance that products such as belts or bootmakers desire. This is the top portion of the alligator. Older wild alligators are used for this process of leather.<br />
<br />
=== Scraping ===<br />
The raw hide is then scraped using a dull tool so that it does not penetrate or cut the skin. This removes the remaining flesh and fat on the hide. Once this is done, the inner portion of the skin will look white. However, this does not fully remove all flesh and fat. Once this is done, wash the skin to remove any blood or flesh residue that is attached to the skin. Leave to dry.<br />
<br />
Once dry, a layer of salt is applied to all parts of the skin to dry it out completely. Drying out the skin will slow the process of decomposition. This process is usually done twice or three times.<br />
<br />
=== Brining or pickling ===<br />
Once the salting process is done, the hide is ready for brining. Brining is the chemical process that further enhances the curing process of the alligator. This is to remove any bacteria or elements that could attract bacteria, as that is what causes decomposition. To brine the hide, usually a mixture of bleach, borax, and salt is added to water in a plastic drum. The alligator is then soaked in the solution for about 48 hours to remove any non-tannable proteins completely.<br />
<br />
<br />
=== Neutralizing ===<br />
Sodium bicarbonate is added to the pickle solution for optimum tanning acidity (pH level 4 or 5). The water must be room temperature throughout the pickling stage. The hide is then returned to the plastic drum for another 20–30 minutes.<br />
<br />
=== Degreasing ===<br />
Degreasing is the process of removing any left over fat from the hide so that there is no chance of oil or fat stains. This can be done with a degreasing product or heavy-duty washing liquid. The hide is placed in another plastic drum with the product or washing liquid and warm water.<br />
<br />
== Tanning ==<br />
Two of the most common ways to most common tanning methods and which method Alligator hide requires:<br />
<br />
=== Vegetable tanning ===<br />
Vegetable tanning uses natural tannins found in plants, tree bark, and other natural sources. This process produces soft and malleable brown leather. Although it is great for products such as bookbinding or early plate armor due to its softness, when in contact with water, the leather tends to shrink in size, as it is unstable. This is one of the most environmentally friendly ways to tan leather, as no additional acids or chemicals are used.<br />
<br />
==== Chromium tanned leather ====<br />
Chromium tanning is the most popular tanning method, as 90% of all leather in the world is processed this way. Alligator hide is also tanned using the Chromium process. A reason many tanneries choose to use chromium is that the final leather product is more durable and stretchy, ideal for leather accessories and garments. The process includes submerging the hide in a toxic slush of chromium salts and chemicals to create a light blue product that is supple and durable. This process of tanning is usually done twice to soften the leather to its desired texture. Chromium tanning also creates a stronger product that is more resistant to water and creates less shrinkage when in contact.<br />
<br />
=== Environmental impact ===<br />
The environmental impact of leather, especially during the tanning process, has a mass negative effect. The waste product of tanning can be broken down into two categories.<br />
<br />
=== Water waste ===<br />
An enormous amount of polluted water is discharged from the tanning process. Almost 90% of pollution in the leather industry comes from the tanning and pre-tanning stages of production. As a base calculation, tanning one ton of hide creates 20 to 80 cubic meters of polluted water. Chemicals raise the pH levels in the water, causing a large amount of chemical oxygen demand (COD) and total dissolved solids (TDS). The water also shows an increase in chloride and sulfate levels. The process also uses a large amount of water, which is not environmentally friendly.<br />
<br />
One example of poor wastewater disposal can be seen in Hazaribagh, Bangladesh. Ironically, Hazaribagh in Urdu translates to "a thousand gardens," which is quite the contrary to the situation. Despite the leather industry in Bangladesh being a 1 billion dollar industry, providing thousands of jobs to many, the environmental impact is grave. The use of chromium salts, acids, and toxins has caused the Buriganga River, which runs along Hazaribagh, to turn black. An estimated 21,600 cubic meters of polluted water were disposed of per day in 2005.<br />
<br />
=== Solid waste ===<br />
Tanneries produce a huge amount of solid waste. Generally, 35-60% of the total amount of solid waste is organic matter, which consists of the flesh and organic body parts of the animal. Due to decomposition, a lack of composting or efficient disposal can cause a lot of disease and unsanitary waste. This affects groundwater systems and agricultural activities, as the waste is usually dumped in landfills.<br />
<br />
=== Health complications ===<br />
The tanning industry not only has a detrimental environmental impact but also creates many health complications for workers in countries without effective safety regulations and protection standards. Some of these countries are China, India, and Bangladesh. The toxic exposure to the chemicals in tanneries causes skin and respiratory disease among workers due to the lack of safety equipment and training.<br />
<br />
<br />
=== Skin reaction to anthrax ===<br />
Tanneries that use chromium increase the chances of workers getting respiratory illnesses and can sometimes lead to lung, nasal, or sinus cancer.<br />
<br />
The raw hides are also a breeding ground for anthrax. Left untreated, this can be a potentially deadly disease. Chromium tanning can also severely destroy skin among workers. Due to unprotected handling, when the skin absorbs chromium it can leave the skin dry and cracked. The acidity in the tanning and liming stages can cause erosions in the skin, which is irreversible. According to a report in 2001 estimate, around 90% of workers die before the age of 50 due to health complications in Hazaribagh, Bangladesh, a city well known for its tanning industry, which has low health and safety standards. This is one city compared to the many around the world<br />
<br />
{{wr}}<br />
<br />
{{sa-leather}}<br />
<br />
== External links ==<br />
https://www.panamleathers.com/blog/bid/249454/The-History-Of-Alligator-Skin-Tanning<br />
<br />
{{footer}}<br />
<br />
{{cat|Leather}}</div>Robinr78http://www.sm-201.org/a/Rose_RainbowRose Rainbow2024-03-23T03:45:22Z<p>Robinr78: Created page with "{{Header|Rose Rainbow 03/24}} Burlesque dancer}} '''Rose Rainbow''' (aka Nicole Lindinger) is a professional burlesque dancer, qualified ballet teacher, Bollywood dancer, and dance teacher in burlesque, Bollywood, and ballet from the Munich area of Germany. Rose Rainbow has been booked as a professional burlesque dancer nationally and internationally for numerous shows, company events, and various events since 2010. As..."</p>
<hr />
<div>{{Header|Rose Rainbow 03/24}}<br />
[[File:roserainbow1-1.jpg|thumb|right|200px|{{bc|Burlesque dancer}}]]<br />
<br />
'''Rose Rainbow''' (aka Nicole Lindinger) is a professional burlesque dancer, qualified ballet teacher, Bollywood dancer, and dance teacher in burlesque, Bollywood, and ballet from the Munich area of Germany.<br />
<br />
Rose Rainbow has been booked as a professional burlesque dancer nationally and internationally for numerous shows, company events, and various events since 2010. As a burlesque dancer, Rose Rainbow from Munich enchants the audience with her beauty, grace, and elegance. In each of her unique and professional burlesque shows, she embodies burlesque art at the highest level. The glamour. looks and charisma of the divas of the 40s and 50s are reflected in their burlesque acts. A lot of love and creativity go into her self-designed, breathtaking burlesque costumes by costume designer Bianca Matthäi – ODALISQUE ( www.odalisque-kostueme.de ).<br />
<br />
Rose Rainbow Burlesque stands for glamorous, professionally executed burlesque shows with first-class, stylish show enjoyment! <br />
<br />
With the ensemble of the Theaterverein Todeses Dinner Vorarlberg, Rose has made numerous appearances in Austria as a burlesque dancer and actress.<br />
<br />
Book a glamorous burlesque show with the professional burlesque dancer from Munich in your city (e.g. Munich, Cologne, Frankfurt, Berlin, Hamburg, etc.) Austria and Switzerland.<br />
<br />
Rose Rainbow learned the art and professional execution of burlesque dance at numerous burlesque workshops and training courses worldwide, including from international burlesque legends such as Miriam Nelson, Princess Farhana and [[Dirty Martini]]. Her own many years of stage experience and training in various dance styles made Rose Rainbow a professional burlesque dancer.<br />
<br />
At the dance school TIB “Tanz im Brunnenhof” in Freising / Munich area ( http://www.tanzimbrunnenhof.de ) Rose Rainbow regularly teaches burlesque courses and gives burlesque workshops for beginners and advanced students. If you want to learn to dance burlesque, Rose Rainbow's courses are the right place for you. She passes on her many years of stage experience to her students with a lot of professionalism and love of teaching. In addition to perfect execution of the step sequences, Rose Rainbow also works a lot on charisma and stage presence with her course participants. Courses for stage makeup. vintage makeup and vintage hair styling can also be booked with Rose Rainbow. She offers burlesque workshops for bachelorette parties. Corsets, gloves, and feather boas can be rented from the dance studio.<br />
<br />
For inquiries about burlesque courses and burlesque workshops and for further information, please contact me.<br />
<br />
As a burlesque dancer, Rose Rainbow is an extended member of the burlesque ensemble of the Rote Bühne in Nuremberg. Germany's first full-length burlesque show.<br />
<br />
In 2015, Rose Rainbow founded the Munich burlesque ensemble “ Blonde Bombshell Burlesque ” ( www.blondebombshellburlesque.com ) together with the burlesque dancers Dixie Dynamite (Munich School of Burlesque / Vintage Dance Studio) and Lilly Libelle.<br />
<br />
Original ensemble burlesque acts with high dance quality are the trademark of the long-legged blondes. The Blonde Bombshells shine in tailor-made, elaborate costumes based on their own designs. Their costumes, makeup, and hairstyles are inspired by old Hollywood musical films and take the viewer on a journey through time to glamorous decades past.<br />
<br />
The first full-length burlesque show, “Curves, Dance and Red Lips,” premiered in Munich in 2015 and thrilled audiences from near and far. All other performances, for example, in the Theater Drehleier in Munich, were completely sold out.<br />
<br />
The second full-length burlesque show by the Blonde Bombshell Burlesque Ensemble was also a great success with sold-out theaters. The Christmas burlesque revue “Sweet the Bells Never Swing” premiered in Munich in December 2016.<br />
<br />
Based in Bavaria, you can easily book exclusive burlesque entertainment from the Blonde Bombshells for your event in the Munich, Augsburg, Landshut, Kempten, Ingolstadt, Nuremberg, Regensburg, Neu-Ulm, Bamberg, Bayreuth and Würzburg regions. BBB's burlesque dancers are mobile using various means and are happy to show their impressive burlesque show in Switzerland, Austria, Baden-Württemberg, Hesse, Thuringia, Saxony, North Rhine-Westphalia, Berlin, Hamburg and other areas in northern Germany and the neighboring European countries.<br />
<br />
Further information about the Munich Burlesque Trio can also be found under the menu item Blonde Bombshell Burlesque.<br />
<br />
== Bollywood ==<br />
Rose Rainbow completed the master class training in Indian Bollywood dance with great success and took lessons from, among others, the Indian star choreographer Saroj Khan. In Germany's Indian dance scene, Rose has been appearing as a Bollywood dancer at a variety of events for many years under the stage name “Nandini”. Since 2009 she has been teaching this exotic dance style at the TIB dance school “Tanz im Brunnenhof” in Freising near Munich ( www.sandala.de ).<br />
<br />
Rose Rainbow completed a 3-year training course to become a qualified ballet teacher using the Russian Vaganova teaching method in Stuttgart. She teaches ballet classes of all ages in the Landshut / Bavaria area ( https://www.ballettanzschule.de/ and http://www.sandala.de ).<br />
<br />
info@roserainbow.de<br />
<br />
Tel.: 0170 / 8 96 89 75<br />
<br />
== Press reviews ==<br />
=== Munich Mercury: ===<br />
“…Particularly impressive: Rose Rainbow’s classic “Half and Half Dance” with the devil…”<br />
<br />
=== Florida press: ===<br />
“The German burlesque sensation Rose Rainbow”<br />
<br />
=== Southgerman newspaper: ===<br />
“A blonde, beautiful woman in a slit gold glittery dress has the devil in her body. Frightened, the dark fellow pulls her onto the stage. A lascivious dance develops between defense and excitement. The devil touches the beauty's body, touches her breasts and even gives her a rose. In the end, she is left without a dress. The breasts are only sparsely covered by round pieces of material called pasties. The audience applauds and whistles. Rose Rainbow - that's what the dance teacher and choreographer calls herself - is a burlesque performer. …”<br />
<br />
=== Landshut newspaper ===<br />
:“When Rose Rainbow slips into her burlesque costumes, the dancer becomes a diva….”<br />
<br />
=== Weekly newspaper Landshut ===<br />
“Rose Rainbow is one of the stars in the industry...As a sensual dancer, she guarantees unforgettable minutes of femininity!”<br />
<br />
{{footer}}<br />
<br />
{{cat|Burlesque}}</div>Robinr78http://www.sm-201.org/a/Lottie_BrunnLottie Brunn2024-03-22T22:32:43Z<p>Robinr78: </p>
<hr />
<div>{{Header|Lottie Brunn 03/24}}{{DEFAULTSORT:Brunn, Lottie}}<br />
'''Lottie Brunn''' ({{star}}October 12, 1925 - {{dag}}August 5, 2008) was a German American juggler and acrobat. She is believed to be the fastest woman juggler.<ref name=NYT> {{Cite news |last=Holtermann |first=Callie |date=2022-07-21 |title=Overlooked No More: Lottie Brunn, the 'Queen of Jugglers'|work=The New York Times |url=https://www.nytimes.com/2022/07/21/obituaries/lottie-brunn-overlooked.html |access-date=2022-07-28 |issn=0362-4331}} </ref><ref> {{Cite web |title=Lottie Brunn {{!}} |publisher= The Museum of Juggling History |url=http://historicaljugglingprops.com/lottie-brunn/ |access-date=2022-07-28 |language=en-US}} </ref><br />
<gallery mode="packed" heights="250px" caption="Lottie Bruun photographs"> <br />
File:Lottie_Bruun-01.jpg|Publcity still<br />
File:Lottie_Bruun-02.jpg<br />
File:Lottie_Bruun-03.jpg<br />
File:Lottie_Bruun-04.jpg<br />
</gallery><br />
<gallery mode="packed" heights="250px" caption="Lottie Bruun photographs"> <br />
File:LottieBrunnCostume-194x300.jpg||Performance costume<br />
File:Francis and Lottie Brunn-01.jpg|Francis and Lottie (siblings)<br />
</gallery><br />
She started juggling as a teenager in Aschaffenburg, Germany, together with her brother, Francis Brunn.<ref name=NYT1997/> She and her brother were brought to the United States after being discovered in Spain by John Ringling <ref group="Note">John Nicholas Ringling ({{star}}May 31, 1866 – {{dag}}December 2, 1936) was an American entrepreneur who is the best known of the seven Ringling brothers, five of whom merged the Barnum & Bailey Circus with their own Ringling Bros. World's Greatest Shows to create [[Ringling Bros. and Barnum & Bailey Circus]] a virtual monopoly of traveling circuses and helped shape the modern circus. In addition to owning and managing many of the largest circuses in the United States, he was also a rancher, a real estate developer and art collector. He was inducted into the Florida Artists Hall of Fame in 1987.</ref> in 1947. She became a United States citizen in 1962.<ref name=NYT1997/><br />
<br />
She was the wife of circus ringmaster Ted Chirrick. Her son Michael Chirrick is also a juggler.<ref name=NYT/><br />
<br />
Brunn was a resident of Moonachie, New Jersey. She had moved to the area in 1959 when she came to the area for an appearance on ''The Ed Sullivan Show ''and perform at Radio City Music Hall and found other circus artists living there.<ref name=NYT1997>Marvell, Cindy. [https://www.nytimes.com/1997/02/09/nyregion/ladies-and-gentlemen-in-the-center-ring.html "Ladies and Gentlemen, in the Center Ring..."], ''The New York Times'', February 9, 1997. Accessed January 26, 2023. "Cindy Marvell article on Lottie Brunn, 71-year-old retired juggler who appeared with shows in Europe and US for years and more recently has taught art of juggling; interview with Brunn at home in Moonachie, New Jersey"</ref><br />
<br />
== Notes ==<br />
<references group="Note" /><br />
{{Reflist}}<br />
<br />
==External links==<br />
* https://www.imdb.com/name/nm3204086/<br />
* https://youtu.be/MQbpk2rfK9o<br />
<br />
{{footer}}<br />
{{cat|Circus performers|Jugglers|Acrobats}}</div>Robinr78http://www.sm-201.org/a/Ziegfield_Girls_(1941)Ziegfield Girls (1941)2024-03-22T07:06:30Z<p>Robinr78: </p>
<hr />
<div>{{Header|Ziegfield Girls (1941) 03/24}}<br />
{{Infobox film<br />
| name = Ziegfeld Girl<br />
| image = Ziegfeld_Girl_Movie_Poster.jpg<br />
| caption = Theatrical release poster<br />
| director = Robert Z. Leonard<br />
| producer = Pandro S. Berman<br />
| screenplay = [[Marguerite Roberts]]<br />[[Sonya Levien]] <br />
| story = [[William Anthony McGuire]]<br />
| starring = [[James Stewart]]<br />[[Judy Garland]]<br />[[Hedy Lamarr]]<br />[[Lana Turner]] <br />
| music = Herbert Stothart<br />
| cinematography = Ray June<br/>Joseph Ruttenberg<br />
| editing = Blanche Sewell<br />
| studio = [[Metro-Goldwyn-Mayer]]<br />
| distributor = Loews Cineplex Entertainment|Loew's Inc.<br />
| released = {{Film date|1941|4|25|US}}<br />
| runtime = 132 minutes<br />
| country = United States<br />
| language = English<br />
| budget = $1.5 million<!-- $1,468,000 --><br />
| gross = $3.1 million<!-- $3,101,000 --><br />
}}<br />
'''''Ziegfeld Girl''''' is a 1941 American musical film directed by Robert Z. Leonard and starring [[James Stewart]], [[Judy Garland]], [[Hedy Lamarr]], [[Lana Turner]], Tony Martin, Jackie Cooper, Eve Arden, and Philip Dorn. The film, which features musical numbers by Busby Berkeley, was produced by Metro-Goldwyn-Mayer.<br />
<br />
Set in the 1920s, the film tells the parallel stories of three women who become performers in the renowned Broadway show the Ziegfeld Follies. It was intended to be a 1938 sequel to the 1936 hit The Great Ziegfeld, and recycled some footage from the earlier film. Unlike that film and the later Ziegfeld Follies, Ziegfeld himself does not appear as a character.<br />
<br />
<br />
== Plot ==<br />
As happens every year, Florenz Ziegfeld is seeking new talent for the latest edition of his lavish Broadway revue, the Ziegfeld Follies. Three women, Sandra Kolter, Susan Gallagher, and Sheila Regan are among those selected to join the cast of glamorous "Ziegfeld girls", and become friends.<br />
<br />
Sandra, a European beauty, is spotted and recruited while accompanying her violin virtuoso husband Franz to his audition for the show's orchestra. Franz is rejected because his musical skills are too good for the job, and Sandra becomes a showgirl over Franz' objections in order to earn needed income, causing a rift between the couple. Sandra quickly becomes a star and attracts the attentions of her singing co-star, Frank Merton. But after learning that Frank is married to a wife who loves him, Sandra reconciles with Franz and abandons her career to support him on a concert tour.<br />
<br />
Susan, a seventeen-year-old from a theatrical family, is discovered performing a vaudeville act with her aging father. Although Susan is less physically beautiful than the other showgirls, her enormous singing talent lands her a featured role. Her father, not wanting to thwart her career, encourages her to stay in the Follies while he continues traveling on the vaudeville circuit alone. Susan worries about her father and eventually convinces the producers to give him a part in the show, where he proves to be a surprise hit.<br />
<br />
Sheila, a former elevator operator from Flatbush, Brooklyn, is torn between her love for truck driver Gil Young and her suddenly wealthy life as a showgirl, including a Park Avenue apartment, press coverage, and expensive gifts from rich male fans. After she turns down Gil's marriage proposal, he joins a bootlegging gang and ends up in prison. Sheila becomes an alcoholic and is fired from the show after a drunken fall onstage. Seriously ill and unable to sustain her luxurious lifestyle, she moves back into her family's modest Flatbush home. Gil, newly released from prison, visits her and pledges his love, although he knows she is dying. Despite her precarious health, Sheila goes alone to the opening night of the latest Follies show, where she collapses in the theater. Sandra and Franz rush to her side as Susan, now a star, sings from the stage.<br />
<br />
<gallery mode="packed" heights="200px" caption=""> <br />
Judy garland04Zieg.jpg|Judy Garland<br />
</gallery><br />
== Musical numbers ==<br />
<br />
# Judy Garland singing "Minnie from Trinidad" in Ziegfeld Girl<br />
# "Overture" – played by Orchestra and sung by Chorus<br />
# "Laugh? I Thought I'd Split My Sides" (music and lyrics by Roger Edens) – sung and danced by Judy Garland and Charles Winninger<br />
# "You Stepped Out of a Dream" (music by Nacio Herb Brown, lyrics by Gus Kahn) – sung by Tony Martin and Chorus<br />
# "I'm Always Chasing Rainbows" (music by Harry Carroll, lyrics by Joseph McCarthy) – sung by Judy Garland<br />
# "Caribbean Love Song" (music by Edens, lyrics by Ralph Freed) – sung by Tony Martin and Chorus<br />
# "Minnie from Trinidad" (Edens) – sung by Chorus and danced by Antonio and Rosario, then sung and danced by Judy Garland and Chorus<br />
# "Mr. Gallagher and Mr. Shean" – performed by Charles Winninger and Al Shean<br />
# "Ziegfeld Girls/You Gotta Pull Strings" (Edens) – sung by Judy Garland and Chorus<br />
# "You Stepped Out of a Dream (reprise)" – sung by Tony Martin<br />
# "You Never Looked So Beautiful" (music by Walter Donaldson, lyrics by Harold Adamson) – sung by Judy Garland and Chorus<br />
== Deleted song ==<br />
A musical number sung by Garland, "We Must Have Music", was deleted from the final film. Only a fragment survives, as it was used in the MGM short A New Romance of Celluloid: We Must Have Music (1942).<br />
<br />
== References ==<br />
<References /><br />
<br />
{{wr}}<br />
==External links==<br />
* {{Imdb title|0034415|Ziegfeld Girl}}<br />
* {{AllMovie title|56150|Ziegfeld Girl}}<br />
* {{Tcmdb title|524|Ziegfeld Girl}}<br />
* {{AFI film|27082}}<br />
* {{rotten-tomatoes|ziegfeld_girl|Ziegfeld Girl}}<br />
<br />
{{footer}}<br />
{{cat|Ziegfeld|Films}}</div>Robinr78http://www.sm-201.org/a/Muriel_BelmondoMuriel Belmondo2024-03-22T00:39:21Z<p>Robinr78: Created page with "{{Header|Muriel Belmondo 03/24}}{{DEFAULTSORT:Belmondo, Muriel}} {{Pixonly|March, 2024}} Muriel Belmondo}} {{bc|Picture is from Pinterest}} == Source == dancer-muriel-belmondo-on-stage-for-the-ballet-balletti-paris-23-may-1967_u-l-pwgi9a0.jpg == External links == {{Footer}} {{cat|Ballet dancers}}"</p>
<hr />
<div>{{Header|Muriel Belmondo 03/24}}{{DEFAULTSORT:Belmondo, Muriel}}<br />
<br />
{{Pixonly|March, 2024}}<br />
<br />
[[File:Muriel Belmondo-ballet.jpg|400px|center|thumb|{{bc|Muriel Belmondo}}]]<br />
<br />
{{bc|Picture is from Pinterest}}<br />
<br />
== Source ==<br />
<br />
dancer-muriel-belmondo-on-stage-for-the-ballet-balletti-paris-23-may-1967_u-l-pwgi9a0.jpg<br />
<br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
{{cat|Ballet dancers}}</div>Robinr78http://www.sm-201.org/a/KangarooKangaroo2024-03-21T17:58:17Z<p>Robinr78: </p>
<hr />
<div>{{Header|Sa-leather working 03/24}}<br />
{{cat-lthr|Kangaroo leather}}<br />
'''Kangaroo leather''' is a strong, lightweight leather derived from the hide of the kangaroo.<br />
<br />
Kangaroos are harvested. Both the meat and the hides are sold. Although hunting most species of macropod is prohibited, a small number of the large-sized species with high populations can be hunted by commercial hunters. This policy has been criticised by some wildlife activists.<br />
<br />
== Terminology ==<br />
[[File:kangaroo.jpg|200px|right|thumb|{{bc|Female kangaroo and Joey}}]]<br />
The word kangaroo derives from the Guugu Yimithirr word gangurru, referring to eastern grey kangaroos. The name was first recorded as "kanguru" on 12 July 1770 in an entry in the diary of Sir Joseph Banks; this occurred at the site of modern Cooktown, on the banks of the Endeavour River, where HMS ''Endeavour'' under the command of Lieutenant James Cook was beached for almost seven weeks to repair damage sustained on the Great Barrier Reef. Cook first referred to kangaroos in his diary entry of 4 August. Guugu Yimithirr is the language of the people of the area.<br />
<br />
A common myth about the kangaroo's English name is that it was a Guugu Yimithirr phrase for "I don't know" or "I don't understand". According to this legend, Cook and Banks were exploring the area when they happened upon the animal. They asked a nearby local what the creatures were called. The local responded "kangaroo", said to mean "I don't know/understand", which Cook then took to be the name of the creature. Anthropologist Walter Roth was trying to correct this legend as far back as in 1898, but few took note until 1972 when linguist John B. Haviland in his research with the Guugu Yimithirr people was able to confirm that gangurru referred to a rare large dark-coloured species of kangaroo. However, when Phillip Parker King visited the Endeavour River region in 1819 and 1820, he maintained that the local word was not kangaroo but menuah perhaps referring to a different species of macropod. There are similar, more credible stories of naming confusion, such as with the Yucatán Peninsula. Kangaroos are often colloquially referred to as "roos". Male kangaroos are called bucks, boomers, jacks, or old men; females are does, flyers, or jills; and the young ones are joeys. The collective noun for a group of kangaroos is a mob, court, or troupe.<br />
<br />
== Applications ==<br />
The leather is used in a wide variety of shoes. The unique structure of kangaroo leather allows it to be cut down to be very thin, but still retain strength.<br />
<br />
Kangaroo leather is also popular in the manufacture of motorbike leathers and is used for many other applications such as car upholstery, military, football and american football boots, and fashion accessories.<br />
<br />
Kangaroo leather is the material of choice for making whips, as the strips can be cut thin to keep the whip flexible, without sacrificing durability.<br />
<br />
== Properties ==<br />
Studies conducted by the Australian Commonwealth Scientific and Industrial Research Organisation (CSIRO) confirm that kangaroo is one of the strongest leathers of similar substance available.<br />
<br />
When split thinly, kangaroo leather retains considerably more of the original tensile strength of the unsplit leather than does calf leather. When split to 20% of original thickness kangaroo retains 30 to 60% of the tensile strength of the unsplit hide. Calf split to 20% of original thickness, on the other hand, retains only 1–4% of original strength.<br />
<br />
Kangaroo leather is lighter and stronger than the hide of a cow or goat. It has 10 times the tensile strength of cowhide and is 50% stronger than goatskin.<br />
<br />
Studies of the morphology of kangaroo leather help explain its particular properties.<br />
<br />
The collagen fibre bundles in cattle hide are arranged in a complex weaving pattern. The fibres are often at angles as much as 90 degrees to the skin surface. Cattle hide also contains sweat glands, erector pili muscles and a distinct gradation in elastin levels, concentrated in the upper part of the skin. Kangaroo hide on the other hand has been shown to have a highly uniform orientation of fibre bundles in parallel with the skin surface. It does not contain sweat glands or erector pili muscles, and elastin is evenly distributed throughout the skin thickness. This structural uniformity explains both the greater tensile strength of the whole leather and the greater retention of strength in splits. Bovine skin is much more complex in cross-section; in whole section it has many more weak points from which tears can start when placed under tension. In addition, when split the collagen fibres running at significant angles to the skin surface will be cut, becoming weak points.<br />
<br />
== Environmental aspects ==<br />
The Australian kangaroo industry produces a range of meat and leather products from animals harvested from the wild under strict government-controlled management plans intended to ensure that the harvest is sustainable and humane. A wide cross section of Australian ecologists support the kangaroo industry as being both sustainable and environmentally wise. Many argue that kangaroos, native to Australia, are a more environmentally friendly livestock option than introduced sheep and cattle. The two most important facets of kangaroos' better ecological fit than European agricultural animals relate to their adaptation to Australia's aridity.<br />
<br />
Kangaroos have small chest development and so require less water to breathe than placental mammals, which usually must expand a diaphragm, losing more moisture in respiration. Kangaroos just make small pants while immobile, and in motion expand and contract their lungs effectively using their leg muscles. The belly flops up, contracting the lungs, and down, expanding them.<br />
<br />
The kangaroo's paws are softer and do not compact the ground as hoofed cattle and sheep do. Instead, its hopping leaves very small bowl-shaped depressions in the surface of even dry clay soil, which let native grass seeds carried on the wind settle into them. The bowl shape concentrates any moisture that may fall into it into a wet point that the grass seed can use to germinate. Thus, kangaroos deplete the water table more slowly than cattle or sheep, and would even be viable in the absence of any bore water. The ecological arguments for kangaroos replacing sheep and cattle as arid land livestock are compelling, though they must be set against objections of kangaroos' lack of domestication and breeding rate.[citation needed] Kangaroos are eaten in most states.[citation needed]<br />
<br />
== See also ==<br />
{{Wl|Kangaroo industry}}<br />
<br />
== External links ==<br />
<br />
{{Footer}}<br />
<br />
{{Sa-leather working}}</div>Robinr78http://www.sm-201.org/a/UrethrotomyUrethrotomy2024-03-21T17:13:53Z<p>Robinr78: Created page with "{{Header| urethrotomy 03/24}} A '''urethrotomy''' is an operation that involves incision of the urethra, especially for relief of a stricture. It is most often performed in the outpatient setting, with the patient (usually) being discharged from the hospital or surgery center within six hours from the procedure's inception. Urethrotomy (also referred to as '''DVIU''', or '''Direct Visual Internal Urethrotomy''') is a popular treatment for male urethral strictures. Howev..."</p>
<hr />
<div>{{Header| urethrotomy 03/24}}<br />
A '''urethrotomy''' is an operation that involves incision of the urethra, especially for relief of a stricture. It is most often performed in the outpatient setting, with the patient (usually) being discharged from the hospital or surgery center within six hours from the procedure's inception.<br />
<br />
Urethrotomy (also referred to as '''DVIU''', or '''Direct Visual Internal Urethrotomy''') is a popular treatment for male urethral strictures. However, the performance characteristics are poor. Success is less than 9% for the first or subsequent urethrotomies. Most patients will be expected to experience failure with longer followup and the expected long-term success rate from any urethrotomy approach is 0%. Beginning in 2003, several urology residency programs in the northeastern section of the United States began advocating the use of urethrotomy as initial treatment in the young stricture patient, versus urethral dilatation. It is theorized that the one-to-two years of relief from stricture disease will allow the practitioner and the patient to plan the most effective treatment regimen without having the concern that undergoing multiple dilatations cloud the judgment of the patient. Furthermore, should urethroplasty be selected by the patient, minimal scar tissue will have developed at the site of the stricture in the urethrotomy patient, as opposed to the patient who had undergone the more conventional (dilatation) route.<br />
<br />
== The procedure ==<br />
Now the diagnosis has been confirmed by either cystoscopy or a prior urethrography, the patient is placed in the lithotomy position, and the urinary meatus is cleansed with an appropriate surgical cleansing agent (scrub), usually containing Povidone-iodine, then surgically draped. An IV antibiotic or other anti-infective medication is administered in conjunction with intravenous normal saline, and allowed to run until administration of the prescribed dose is completed. Most often, procedural sedation will be the chosen adjunct to patient comfort, and the patient will have received intravenous anxiolytic medication at sometime prior to, or during the surgical preparation. This medication is usually a benzodiazepine, often, diazepam or midazolam is employed. The urological surgeon or anesthesia practitioner may also choose to administer a narcotic analgesic such as fentanyl citrate, depending on the level of discomfort anticipated by the surgeon. In some cases, usually where longer strictures are present, a rapidly metabolized hypnotic agent such as propofol may be selected, as this allows for the immediate induction of short-term general anesthesia (note:endotracheal intubation will also be necessary if general anesthesia is administered). Constant monitoring of vital signs including pulse oximetry, cardiac monitoring (ECG), body temperature and blood pressure are carried out by the anesthesia practitioner until the patient is discharged post-operatively to the post-surgical recovery unit.<br />
<br />
A topical anesthetic, usually viscous lidocaine is instilled into the urethra, and a penile (crown) clamp is applied for at least five minutes, then removed immediately prior to the insertion of a cystoscope equipped with a transurethral injection system containing a local anesthetic (most often 2% (plain) lidocaine, or 0.5% (plain) bupivicaine). The urological surgeon will inject the anesthetic at the twelve o'clock, four o'clock, and eight o'clock positions at the face of the stricture using infiltrative technique, and ensuring that the entire length of the stricture has been medicated. The cystoscope (and injection system) will be withdrawn, and sufficient time will be allowed for the local anesthetic to take effect (usually five-to-ten minutes).<br />
<br />
At this time a rigid urethrotome or a flexible cystoscope/urethrotome combination will be inserted and guided to the face of the stricture and a small blade towards the tip of the instrument will be deployed using a trigger mechanism to cut the stricture at locations determined by the surgeon. Upon completion of the internal incision(s), the instrument is withdrawn and an appropriately sized Foley catheter will be inserted through the repair and into the urinary bladder, and locked into place by filling its balloon (positioned inside of the bladder near the urethral junction) with sterile water. The Foley catheter serves two purposes, first, it provides drainage of the urine produced in the kidneys, and secondly, it secures the incised areas, holding them open for three to seven days to permit thorough healing of the urethra. The catheter is then attached to a urinary catheter drainage system (large bag or leg bag) via clear polypropylene tubing.<br />
<br />
== Post procedural care ==<br />
Prior to discharge from the surgical facility, the patient will be instructed on proper care of the urinary drainage system, how to monitor for signs of infection, and the limitations of physical activity necessary for the safety of the patient, and the success of the procedure. A course of oral antibiotics or anti-infective agents will be prescribed. Additionally, a urinary analgesic such as phenazopyridine or urinary analgesic/anti-spasmodic combination containing methanamine, methylene blue, and hyoscyamine sulfate will be offered. Palliative medications may sometimes be prescribed, but are often not necessary because there is usually minimal discomfort post-procedure.<br />
<br />
A few steps can be taken before surgery to reduce the discomfort of recovery. It is suggested to wear loose fitting undergarments after the procedure as there is a chance of having a catheter after the procedure. Men's cotton boxers work well for both comfort and containing any bleeding that may occur. (Note: bleeding after a urethrotomy is expected and can last up to 48 hours.) Purchasing cheap black or dark grey undergarments can help with post-surgery anxiety as light-colored undergarments can make the bleeding appear worse than it actually is and the undergarments can be thrown out after use. Additionally, applying water-based lubricant to the catheter and allowing it to run down and coat the opening of the urethra will prevent the catheter from rubbing and irritating the urethral opening. Lastly, preparing lean meals before surgery such as grilled chicken or salad is a good idea to ease recovery for the 48 hours after surgery.<br />
<br />
== Post surgical evaluation and care ==<br />
The surgeon will remove the catheter three to seven days after the surgery is completed. A baseline uroflowmetric study will be performed, and the patient will be instructed to return in thirty days for a follow-up evaluation. This evaluation will include another uroflowmetric study and a complete urinalysis. Follow-up visits are scheduled at six-month intervals, as determined by the practitioner responsible for the treatment plan.<br />
<br />
It has become common practice for urologists to prescribe self-catheterization at weekly intervals for the post-urethrotomy patient. After voiding, and using sterile technique, a lubricated Foley catheter is passed into the urethra, through the surgically modified area, into the bladder and allowed to remain in place for up to ten minutes. The catheter is then carefully withdrawn and discarded, and the patient is then instructed to void as soon as possible (this helps to cleanse the urethra of any blood or water-based lubricant and lessen the possibility of infection). Although no formal studies have been conducted, there does appear to be an improvement in intervals between subsequent urethrotomies and an improvement in uroflowmetric data for most patients who have undergone this regimen.<br />
<br />
== Controversy ==<br />
Many leading urologists in the United States consider urethrotomy to be (almost) totally ineffective at providing long-term resolution of urethral stricture disease, and advocate excision of the damaged area followed by either a surgical anastomosis of the (now) patent urethral ends, or a grafting of similar tissue harvested from elsewhere on the patients body.<br />
<br />
The procedure's cost-effectiveness has been questioned. In the May 2006 issue of "Urology," a study undertaken by the Urology Department of the University of Washington essentially concluded that there is a statistical correlation between the length of the stricture and the cost versus benefit ratio of subsequent urethrotomies performed prior to the performance of urethroplasty in males suffering from bulbar strictures.<br />
<br />
Urethrotomy is a much simpler operation requiring much less recovery time. Even if initially successful, open surgical excision of a simple, short stricture may still require the same repeated postoperative self-dilation that the simpler urethrotomy often requires. A longer, complicated stricture may be better treated with an open procedure while the shorter, simpler one with a urethrotomy.<br />
<br />
== Research ==<br />
=== Urethrotomy vs. urethroplasty ===<br />
Comparing the two surgical procedures, a UK trial found that both urethrotomy and urethroplasty are effective in treating urethral stricture in the bulbar region. At the same time the more invasive urethroplasty had longer-lasting benefit and was associated with fewer re-interventions. The results were integrated into the new UK guidelines on the treatment urethral narrowing by British Association of Urological Surgeons.<br />
<br />
{{Sa-bodymod}}<br />
<br />
== External links ==<br />
<br />
{{Footer}}</div>Robinr78http://www.sm-201.org/a/Herb_RittsHerb Ritts2024-03-21T07:03:13Z<p>Robinr78: Created page with "{{Header|Herb Ritts 03/24}}{{DEFAULTSORT:Ritts, Herb}} {{Infobox person | name = Herb Ritts | color = lightblue | image = Herb Ritts.jpg | birthname = Herbert Ritts Jr. | birthdate = {{dob|1952|08|13}} | birthplace = Los Angeles, California, U.S. | deathdate = {{dod|2002|12|26|1952|08|13|mf=y}} | deathplace = Los Angeles, California, U.S. | deathcause = Pneumonia | alma_mater = Bard College | occupation = Photographer | known_for = | awar..."</p>
<hr />
<div>{{Header|Herb Ritts 03/24}}{{DEFAULTSORT:Ritts, Herb}}<br />
{{Infobox person<br />
| name = Herb Ritts<br />
| color = lightblue<br />
| image = Herb Ritts.jpg<br />
| birthname = Herbert Ritts Jr.<br />
| birthdate = {{dob|1952|08|13}}<br />
| birthplace = Los Angeles, California, U.S.<br />
| deathdate = {{dod|2002|12|26|1952|08|13|mf=y}}<br />
| deathplace = Los Angeles, California, U.S.<br />
| deathcause = Pneumonia<br />
| alma_mater = Bard College<br />
| occupation = Photographer<br />
| known_for = <br />
| awards = [[GLAAD]] Media Awards<br />Pioneer Award 2008<br />
}}<br />
'''Herbert Ritts Jr.''' ({{star}}August 13, 1952 – {{dag}}December 26, 2002) was an American fashion photographer and director known for his photographs of celebrities, models, and other cultural figures throughout the 1980s and 1990s. His work concentrated on black-and-white photography and portraits, often in the style of classical Greek sculpture, which emphasized the human shape.<br />
<br />
== Early life and education ==<br />
Ritts was born on August 13, 1952, in Brentwood, Los Angeles. His father, Herb Ritts Sr. (née Rittigstein), was a furniture designer and his mother, Shirley Ritts (née Roos), was an interior designer. Together, their furniture business helped to popularize rattan furniture in the 1950s and 1960s. Raised in an affluent Jewish family, he and his three younger siblings lived next door to actor Steve McQueen, whom he considered to be "like a second father".<br />
<br />
At his bar mitzvah, his father gifted him with a Kodak Brownie camera. He attended Palisades High School and moved to upstate New York in 1972 to study at Bard College, where he received a degree in economics with a minor in art history. Upon graduation in 1975, he moved back to California to work as a sales representative in the family business.<br />
<br />
: "I’m glad I didn’t go to school for photography. Other photographers I know, Helmut Newton and Bruce Weber didn’t either. Even Steven Meisel didn’t, really—he went to fashion school. For me, the most important thing I learned was just honing my eye. [...] I was tutoring myself, I suppose. Many people who excel are self-taught".<br />
<br />
Ritts bought his first camera in 1976, a 35mm Miranda DX-3.<br />
<br />
== Career ==<br />
Later, while living in Los Angeles, he became interested in photography when he and friend Richard Gere, then an aspiring actor, decided to shoot some photographs in front of an old Buick. The picture gained Ritts some coverage and he began to be more serious about photography. He photographed Brooke Shields for the cover of the October 12, 1981 edition of Elle and he photographed Olivia Newton-John for her Physical album in 1981. Five years later, he replicated that cover pose with [[Madonna]] for her 1986 release "True Blue". That year he photographed Tina Turner for the album Break Every Rule.<br />
<br />
During the 1980s and 1990s, Ritts photographed celebrities in various locales throughout California. Some of his subjects during this time included musical artists. He also took fashion and nude photographs of models Naomi Campbell, Stephanie Seymour, Tatjana Patitz, Christy Turlington, and Cindy Crawford, including "Tatjana, Veiled Head, Tight View, Joshua Tree, 1988." Ritts' work with them ushered in the 1990s era of the supermodel and was consecrated by one of his most celebrated images, "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" taken for Rolling Stone.<br />
<br />
He also worked for Interview, Esquire, Mademoiselle, Glamour, GQ, Newsweek, Harper's Bazaar, Rolling Stone, Time, Vogue, Allure, Vanity Fair, Details, and Elle. Ritts took publicity portraits for Batman, Batman Forever, and Batman & Robin which appeared on magazine covers and merchandise throughout the 1990s. He published books on photography for various fashion designers.<br />
<br />
From 1996 to 1997 Ritts' work was displayed at the Boston Museum of Fine Arts in Boston, attracting more than 250,000 people to the exhibit, and in 2003 a solo exhibition was held at the Daimaru Museum, in Kyoto, Japan.[citation needed]<br />
<br />
== Personal life ==<br />
Ritts was openly gay. He was in a relationship with entertainment lawyer Erik Hyman from 1996 until his death in 2002. His parents were accepting and supportive of his sexuality. Ritts was [[HIV|HIV-positive]]. He was first diagnosed in 1989, and used alternative herbal treatments to fight his condition. He never publicly disclosed his diagnosis.<br />
<br />
== Death ==<br />
On December 26, 2002, Ritts died in Los Angeles from pneumonia at the age of 50. According to Ritts' publicist, "Herb was HIV-positive, but this particular pneumonia was not PCP (pneumocystis pneumonia), a common opportunistic infection of AIDS. But at the end of the day, his immune system was compromised."<br />
<br />
{{wr}}<br />
<br />
== External links ==<br />
* {{Official website|http://www.herbritts.com}}<br />
* [http://www.artnet.com/awc/Herb-Ritts.html Herb Ritts on artnet Monographs]<br />
* {{IMDb name|728851|Herb Ritts}}<br />
* [http://www.staleywise.com/collection/ritts/herbritts.html Staley Wise Gallery: Herb Ritts collection]<br />
<br />
{{footer}}<br />
<br />
{{cat|Photographers}}</div>Robinr78http://www.sm-201.org/a/Arlette_Dorg%C3%A8reArlette Dorgère2024-03-21T00:10:53Z<p>Robinr78: </p>
<hr />
<div>{{Header| 03/24}}{{DEFAULTSORT:Dorgere, Arlette}}<br />
{{Infobox person<br />
| name = Arlette Dorgère<br />
| color = mistyrose<br />
| image = Arlette Dorgère.jpg<br />
| caption = <br />
| birthname = Anna Mathilde Irma Jouve<br />
| birthdate = {{dob|1880}06|08}}<br />
| birthplace = Paris, French Third Republic<br />
| deathdate = 1965 (aged 84–85)<br />
| deathplace = Morocco<br />
| nationality = French<br />
| spouse = Louis Margerie (m.1958)<br />
}}<br />
'''Arlette Dorgère''' (born '''Anna Mathilde Irma Jouve''', {{star}}8 June 1880 &ndash; 1965) was a French [[actress]], dancer and singer. She was born Anna Mathilde Irma Jouve on June 8, 1880 in the 8th arrondissement of Paris. Dorgère appeared in dozens of plays throughout her career. She is represented on a large number of postcards of the [[Belle Époque]]. She was also a popular model for posters. <br />
<br />
While she was a lead dancer for the Scala in 1904, she purchased the château of Vigneux-sur-Seine, which was so named at the beginning of 20th century by Dorgère. She sold her property on September 28, 1948 to settle in Morocco. In 1958, she married Louis Margerie in Monaco and died there in 1965. Along with her theatre career Dorgère also [[Model (person)|model]]ed for a time. She appeared in multiple French magazines.<ref>{{cite web | url = http://archives.paris.fr/s/4/etat-civil-actes/resultats/? | title = Archives de Paris , acte de naissance, année 1880 (vue 21/29) }}</ref><br />
<br />
[[File:Arlette_Dorgère-a.jpg|thumb|center|200px|{{bc|Arlette Dorgère}}]]<br />
<br />
==Theatre appearances==<br />
{| class="wikitable"<br />
|-<br />
! Year<br />
! Title<br />
! Personnel<br />
! Theatre<br />
|-<br />
| 1907 <br />
| ''L'Ingénu libertin ou La Marquise et le marmiton''<br />
| Louis Artus<br />
| Théâtre des Bouffes-Parisiens<br />
|-<br />
| 1909<br />
| ''Les Deux Visages''<br />
| Fernand Nozière<br />
| Théâtre Michel<br />
|-<br />
| 1911<br />
| L'Amour en manœuvres d'André Mouëzy-Éon<br />
| André Mouëzy-Éon<br />
| Théâtre du Palais-Royal<br />
|-<br />
| 1911<br />
| ''La Revue des X''<br />
| Gaston Arman de Caillavet, Romain Coolus, Francis de Croisset, Albert Guinon, Max Maurey and Jacques Richepin<br />
| Théâtre des Bouffes-Parisiens<br />
|-<br />
| 1912<br />
| ''La Part du feu d'André Mouëzy-Éon'’<br />
| Marcel Nancey<br />
| Théâtre des Bouffes-Parisiens<br />
|-<br />
| 1913<br />
| ''Les Honneurs de la guerre''<br />
| Maurice Hennequin<br />
| Théâtre du Vaudeville<br />
|}<br />
<br />
[[File:Arlette_Dorgère-a.jpg|thumb|right|200px|{{bc|Arlette Dorgère}}]]<br />
==References==<br />
{{Reflist}}<br />
<br />
==External links==<br />
<br />
{{footer}}<br />
[[Category:Belle Époque]]</div>Robinr78