title: Battle of Bamber Bridge

text: Two MPs, Corporal Roy A. Windsor and Private First Class Ralph F. Ridgeway, responded to a report of trouble at a local pub. The MPs had standing orders to arrest soldiers who were out of camp without a pass, were disorderly, or were not in proper uniform. On entering the pub, they encountered one soldier, Private Eugene Nunn who was dressed in a field jacket rather than the required class A uniform, and asked him to step outside. An argument ensued, with local people and British servicewomen of the Auxiliary Territorial Service siding with Nunn. One British soldier challenged the MPs by saying, "Why do you want to arrest them? They're not doing anything or bothering anybody."


title: Battle of Bamber Bridge

text: Staff Sergeant William Byrd, who was black, defused the situation but, as the MPs left, a beer was thrown at their jeep. After the MPs picked up two reinforcements, they spoke to Captain Julius F. Hirst and Lieutenant Gerald C. Windsor, who told the MPs to do their duty and to arrest the black soldiers. A group of MPs intercepted the soldiers on Station Road as they returned to their base at Mounsey Road. As a fight broke out, the MPs opened fire, and one bullet struck Private William Crossland of the 1511th in the back and killed him.


title: Battle of Bamber Bridge

text: Some of the injured black soldiers returned to their base, but the killing caused panic as rumours began to spread that the MPs were out to shoot black soldiers. Although the colonel was absent, acting CO Major George C. Heris did his best to calm the situation. Lieutenant Edwin D. Jones, the unit's only black officer, managed to persuade the soldiers that Heris would be able to round up the MPs and see that justice was done.


title: Battle of Bamber Bridge

text: However, at midnight, several jeeps full of MPs arrived at the camp, including one improvised armoured car armed with a large machine gun. That prompted black soldiers to arm themselves with weapons. Around two thirds of the rifles were taken, and a large group left the base in pursuit of the MPs. British police officers reported that the MPs set up a roadblock and ambushed the soldiers.


title: Battle of Bamber Bridge

text: The black soldiers warned the townsfolk to stay inside when a firefight broke out between them and the MPs, which resulted in seven wounded. The fighting stopped around 04:00 the next morning with an officer, three black soldiers, and one MP having been shot and two other MPs beaten. Eventually, the soldiers returned to the base, and by the afternoon, all but four rifles had been recovered.


title: Battle of Bamber Bridge

text: By one later account, the violence left one man dead and seven people (five soldiers and two MPs) injured. Although a court martial convicted 32 black soldiers of mutiny and related crimes, poor leadership and racist attitudes among the MPs was blamed as the cause.


title: Battle of Bamber Bridge

text: Two trials were conducted. In August, four of the black soldiers involved in the initial brawl were sentenced to hard labour, one to two and a half years and the others to three, and all to dishonourable discharges, with one of those convictions being overturned on review. The second trial involved 35 defendants. It concluded on 18 September with seven acquittals and 28 convictions. Sentences for those convicted ranged from three months to 15 years, with seven sentences of 12 years or more. Reviews resulted in the release of one man and reductions in all other sentences. Fifteen of the men returned to duty in June 1944 and six other sentences were further reduced. The defendant with the longest sentence returned to duty after serving 13 months.


title: Battle of Bamber Bridge

text: General Ira C. Eaker, commander of the Eighth Air Force, placed most of the blame for the violence on the white officers and MPs because of their poor leadership and use of racial slurs. To prevent similar incidents happening again, he combined the trucking units into a single special command. The ranks of that command were purged of inexperienced or racist officers, and the MP patrols were racially integrated. Morale among black troops stationed in England improved, and the rates of courts-martial fell. Although there were several more racial incidents between black and white American troops in Britain during the war, none was on the scale of that of Bamber Bridge.


title: Battle of Bamber Bridge

text: Reports of the mutiny were considerably censored, with newspapers disclosing only that violence had occurred in a town somewhere in North West England. The author Anthony Burgess, who lived in the Bamber Bridge area after the war, wrote about the event briefly in "The New York Times" in 1973 and in his autobiography, "Little Wilson and Big God".


title: Battle of Bamber Bridge

text: Popular interest in the event increased in the late 1980s after a maintenance worker discovered bullet holes from the battle in the walls of a Bamber Bridge bank.


title: Battle of Bamber Bridge

text: In June 2013, to commemorate the 70th anniversary of the incident, the University of Central Lancashire held a symposium. It included a screening of the 2009 documentary "Choc'late Soldiers from the USA" which was produced by Gregory Cooke, and a performance of "Lie Back and Think of America", a play written by Natalie Penn of Front Room, which had played at the Edinburgh Fringe Festival.


title: Battle of Bamber Bridge

text: In June 2022, a memorial garden commemorating the battle was created opposite the pub where the Battle of Bamber Bridge started. The incident inspired the plot of the film "The Railway Children Return".


title: Betula pendula

text: Betula pendula, commonly known as silver birch, warty birch, European white birch, or East Asian white birch, is a species of tree in the family Betulaceae, native to Europe and parts of Asia, though in southern Europe, it is only found at higher altitudes. Its range extends into Siberia, China, and southwest Asia in the mountains of northern Turkey, the Caucasus, and northern Iran. It has been introduced into North America, where it is known as the European white birch or weeping birch and is considered invasive in some states in the United States and parts of Canada. The tree can also be found in more temperate regions of Australia.


title: Betula pendula

text: The silver birch is a medium-sized deciduous tree that owes its common name to the white peeling bark on the trunk. The twigs are slender and often pendulous and the leaves are roughly triangular with doubly serrate margins and turn yellow and brown in autumn before they fall. The flowers are catkins and the light, winged seeds get widely scattered by the wind. The silver birch is a hardy tree, a pioneer species, and one of the first trees to appear on bare or fire-swept land. Many species of birds and animals are found in birch woodland, the tree supports a wide range of insects and the light shade it casts allows shrubby and other plants to grow beneath its canopy. It is planted decoratively in parks and gardens and is used for forest products such as joinery timber, firewood, tanning, racecourse jumps, and brooms. Various parts of the tree are used in traditional medicine and the bark contains triterpenes, which have been shown to have medicinal properties.


title: Betula pendula

text: The silver birch typically reaches tall (exceptionally up to ), with a slender trunk usually under diameter. The bark on the trunk and branches is golden-brown at first, but later this turns to white as a result of papery tissue developing on the surface and peeling off in flakes, in a similar manner to the closely related paper birch ("B. papyrifera"). The bark remains smooth until the tree gets quite large, but in older trees, the bark thickens, becoming irregular, dark, and rugged. Young branches have whitish resin warts and the twigs are slender, hairless, and often pendulous. The buds are small and sticky, and development is sympodial - the terminal bud dies away and growth continues from a lateral bud. The species is monoecious with male and female catkins found on the same tree. Some shoots are long and bear the male catkins at the tip, while others are short and bear female catkins. The immature male catkins are present during the winter, but the female catkins develop in the spring, soon after the leaves unfurl.


title: Betula pendula

text: The leaves have short, slender stalks and are long, triangular with broad, untoothed, wedge-shaped bases, slender pointed tips, and coarsely double-toothed, serrated margins. They are sticky with resin at first, but this dries as they age, leaving small, white scales. The foliage is a pale to medium green and turns yellow early in the autumn before the leaves fall. In midsummer, the female catkins mature and the male catkins expand and release pollen, and wind pollination takes place. A catkin of Silver birch could produce an average of 1.66 million pollen grains. The small, 1- to 2-mm winged seeds ripen in late summer on pendulous, cylindrical catkins long and broad. The seeds are very numerous and are separated by scales, and when ripe, the whole catkin disintegrates and the seeds are spread widely by the wind.


title: Betula pendula

text: Silver birch can easily be confused with the similar downy birch ("Betula pubescens"). Yet, downy birches are characterised by hairy leaves and young shoots, whereas the same parts on silver birch are hairless. The leaf base of silver birch is usually a right angle to the stalk, while for downy birches, it is rounded. In terms of genetic structure, the trees are quite different, but do, however, occasionally hybridize.


title: Betula pendula

text: The silver birch grows naturally from western Europe eastwards to Kazakhstan, the Sakha Republic in Siberia, Mongolia, and the Xinjiang province in China, and southwards to the mountains of the Caucasus and northern Iran, Iraq, and Turkey. It is also native to northern Morocco and has become naturalised in some other parts of the world. In the southern parts of its range, it is mainly found in mountainous regions. Its light seeds are easily blown by the wind and it is a pioneer species, one of the first trees to sprout on bare land or after a forest fire. It needs plenty of light and does best on dry, acid soils and is found on heathland, mountainsides, and clinging to crags. Its tolerance to pollution make it suitable for planting in industrial areas and exposed sites. It has been introduced into North America, where it is known as the European white birch, and is considered invasive in the states of Kentucky, Maryland, Washington, and Wisconsin. It is naturalised and locally invasive in parts of Canada.


title: Betula pendula

text: "B. pendula" is distinguished from the related "B. pubescens", the other common European birch, in having hairless, warty shoots (hairy and without warts in downy birch), more triangular leaves with double serration on the margins (more ovoid and with single serrations in downy birch), and whiter bark often with scattered black fissures (greyer, less fissured, in downy birch). It is also distinguished cytologically, silver birch being diploid (with two sets of chromosomes), whereas downy birch is tetraploid (four sets of chromosomes). Hybrids between the two are known, but are very rare, and being triploid, are sterile. The two have differences in habitat requirements, with silver birch found mainly on dry, sandy soils, and downy birch more common on wet, poorly drained sites such as clay soils and peat bogs. Silver birch also demands slightly more summer warmth than does downy birch, which is significant in the cooler parts of Europe. Many North American texts treat the two species as conspecific (and cause confusion by combining the downy birch's alternative vernacular name 'white birch', with the scientific name "B. pendula" of the other species), but they are regarded as distinct species throughout Europe.


title: Betula pendula

text: Several varieties of "B. pendula" are no longer accepted, including "B. pendula" var. "carelica", "fontqueri", "laciniata", "lapponica", "meridionalis", "microlepis", and "parvibracteata", as well as forms "Betula pendula" f. "bircalensis", "crispa", and "palmeri". Other synonyms include:


title: Betula pendula

text: The silver birch has an open canopy which allows plenty of light to reach the ground. This allows a variety of mosses, grasses, and flowering plants to grow beneath, which in turn attract insects. Flowering plants often found in birch woods include primrose ("Primula vulgaris"), violet ("Viola riviniana"), bluebell ("Hyacinthoides non-scripta"), wood anemone ("Anemone nemorosa"), and wood sorrel ("Oxalis acetosella"). Small shrubs that grow on the forest floor include blaeberry ("Vaccinium myrtillus") and cowberry ("Vaccinium vitis-idaea").


title: Betula pendula

text: Birds found in birch woodland include the chaffinch, tree pipit, willow warbler, nightingale, robin, woodcock, redpoll, and green woodpecker.


title: Betula pendula

text: The branches of the silver birch often have tangled masses of twigs known as witch's brooms growing among them, caused by the fungus "Taphrina betulina". Old trees are often killed by the decay fungus "Fomitopsis betulina" and fallen branches rot rapidly on the forest floor. This tree commonly grows with the mycorrhizal fungus "Amanita muscaria" in a mutualistic relationship. This applies particularly to acidic or nutrient-poor soils. Other mycorrhizal associates include "Leccinum scabrum" and "Cantharellus cibarius". In addition to mycorrhiza, the presence of microfauna in the soil assists the growth of the tree, as it enhances the mobilization of nutrients.


title: Betula pendula

text: The larvae of a large number of species of butterflies, moths, and other insects feed on the leaves and other parts of the silver birch. In Germany, almost 500 species of insects have been found on silver and downy birch including 106 beetles and 105 lepidopterans, with 133 insect species feeding almost exclusively on birch. Birch dieback disease can affect planted trees, while naturally regenerated trees seem less susceptible. This disease also affects "B. pubescens" and in 2000 was reported at many of the sites planted with birch in Scotland during the 1990s. In the United States, the wood is attacked by the bronze birch borer ("Agrilus anxius"), an insect pest to which it has no natural resistance.


title: Betula pendula

text: "Betula pendula" is considered a species of least concern by the IUCN Red List. The synonym "Betula oycowiensis" (as "B. oycoviensis") was previously listed on the Red List as vulnerable, though it is now considered a synonym of "B. pendula" subsp. "pendula". "B. szaferi" was previously considered extinct in the wild on the Red List, but is now considered a form of "B. pendula" with the presence of a mutant gene, causing it to grow weakly and fruit heavily.


title: Betula pendula

text: The silver birch is Finland's national tree. Leafy, fragrant bunches of young silver birch boughs (called "vihta" or "vasta") are used to gently beat oneself while bathing in the Finnish sauna. Silver birch is often planted in parks and gardens, grown for its white bark and gracefully drooping shoots, sometimes even in warmer-than-optimum places such as Los Angeles and Sydney. In Scandinavia and other regions of northern Europe, it is grown for forest products such as lumber and pulp, as well as for aesthetic purposes and ecosystem services. It is sometimes used as a pioneer and nurse tree elsewhere.


title: Betula pendula

text: Silver birch wood is pale in colour with a light reddish-brown heartwood and is used in making furniture, plywood, veneers, parquet blocks, skis, and kitchen utensils, and in turnery. It makes a good firewood, but is quickly consumed by the flames. Slabs of bark are used for making roof shingles and strips are used for handicrafts such as bast shoes and small containers. Historically, the bark was used for tanning. Bark can be heated and the resin collected; the resin is an excellent waterproof glue and useful for starting fires. The thin sheets of bark that peel off young wood contain a waxy resin and are easy to ignite even when wet. The dead twigs are also useful as kindling for outdoor fires. The removal of bark was at one time so widespread that Carl Linnaeus expressed his concern for the survival of the woodlands.


title: Betula pendula

text: Birch brushwood is used for racecourse jumps and besom brooms. In the spring, large quantities of sap rise up the trunk and this can be tapped. It contains around 1% sugars and can be used in a similar way to maple syrup, being drunk fresh, concentrated by evaporation, or fermented into a "wine".


title: Betula pendula

text: Birch trees are often used to create living art in the form of bonsai. Their interesting bark and small leaves make them ideally suited for creating nature in miniature.


title: Betula pendula

text: The outer part of the bark contains up to 20% betulin. The main components in the essential oil of the buds are α-copaene (~10%), germacrene D (~15%), and δ-cadinene (~13%). Also present in the bark are other triterpene substances which have been used in laboratory research to identify its possible biological properties.


title: Betula pendula

text: Standardized allergen extract, white birch, sold under the brand name Itulatek, is indicated for the treatment of allergy to tree pollen from birch, alder and/or hazel and have allergic rhinitis (with or without conjunctivitis).


title: Betula pendula

text: Successful birch cultivation requires a climate cool enough for at least the occasional winter snowfall. As they are shallow-rooted, they may require water during dry periods. They grow best in full sun planted in deep, well-drained soil.


title: Halime Hatun

text: Halime Hatun () was, according to some Ottoman folklore, the wife of Ertuğrul (13th century) and possibly the mother of Osman I.


title: Halime Hatun

text: Her origins are unknown; she is variously referred to as "Hayme Ana" in later legends, and is not mentioned at all in any historical Ottoman texts. Hayme Ana is also a traditional name of Ertuğrul's mother.


title: Halime Hatun

text: Historian Heath W. Lowry, among other Ottoman scholars, states that Osman I's mother is unknown. The burial place of Halime Hatun, which was added in the late 19th century by Sultan Abdul Hamid II, is located in the garden of the Ertuğrul Gazi's grave in Söğüt, present-day Turkey. According to historian Cemal Kafadar, the 19th century "recovery" and "rebuilding" of this tomb by the Sultan, with the name added later, was politically motivated. Additionally, according to author Turgut Güler, "Hayme Ana", buried in Domanic, was most likely the wife of Ertuğrul.


title: Halime Hatun

text: A türbe (tomb) was built for a Halime Hatun in Gevaş in 1358. This Halime is said to have been the daughter of a Seljuk ruler, Melik Izeddin, and perhaps a member of the Karakoyunlu dynasty.


title: Halime Hatun

text: Esra Bilgiç appeared as Halime Hatun in the Turkish TV series "". In this story, she is a Seljuk princess.


title: Robin Askwith

text: Robin Mark Askwith (born 12 October 1950) is an English actor, singer and former model who has appeared in a number of film, television and stage productions.


title: Robin Askwith

text: Making his film debut as Keating in the film "if..." (1968), a role he would reprise in "Britannia Hospital" (1982), Askwith went on to appear in many films including "Otley" (1969), "Alfred the Great" (1969), "Nicholas and Alexandra" (1971) and "The Canterbury Tales" (1972), the horror films "Tower of Evil" (1972), "The Flesh and Blood Show" (1972) and "Horror Hospital" (1973) and the comedy films "Bless This House" (1972), "Carry On Girls" (1973) and "No Sex Please, We're British" (1973). However it was his role as Timothy Lea in "Confessions" film series that would make him a household name.


title: Robin Askwith

text: He has appeared on television as Fred Pickering in "Beryl's Lot" (1973–1975), Dave Deacon in "Bottle Boys" (1984–1985) and Ritchie de Vries in "Coronation Street" (2013–2014).


title: Robin Askwith

text: In 1975, at Drury Lane's New London Theatre, he was voted Most Promising Newcomer – Male at the "Evening Standard British Film Awards". Askwith's most recent television roles include "Hollyoaks", "Emmerdale" and "Benidorm".


title: Robin Askwith

text: Askwith was born in Southport, Lancashire, England, the eldest child of Nelson and Hazel Askwith (née Cookson). His father was an accountant but served in the Royal Navy during the Second World War and his mother in the Women's Royal Naval Service (WRENs). Unbeknown to Askwith, still a young child, he swam in a pool contaminated with insects; later that day Askwith's mother found him fully submerged underwater in the bath. Taken to hospital in an ambulance, Askwith was found to have contracted polio and had to spend nine months in an isolation ward at Southport Infirmary and had to learn how to walk again. Shortly after this, the family moved from Southport to Eastcote, London where Askwith was educated at Orley Farm in nearby Harrow. Particularly sporty at school, Askwith represented the school at football, rugby and cricket and after joining the Ruislip and Northwood Swimming Club, he represented the South Counties at backstroke.


title: Robin Askwith

text: Askwith began an interest in acting because his neighbour was the floor manager at Pinewood Studios where he and his neighbour's son would watch movies being filmed, including "The Servant" (1963) and "Cleopatra" (1963). The next-door neighbour of a friend was "Carry On" actor Kenneth Connor, and so Askwith began attending a local amateur dramatics group. He also did a stint of modelling for catalogues and appeared in several commercials for baked beans and Fairy Liquid. After finishing at Orley Farm at the age of twelve, Askwith attended Merchant Taylors' School, Northwood. He found the school unduly strict and became a rebellious student to the extent that Askwith and two friends stole several rifles from the school armoury and held up Pinner post office stealing hundreds of pounds' worth of stamps with the intention of returning them the following week. Askwith also persuaded a crane operator, who was carrying out work at the school, to lift the headmaster's car onto the school roof.


title: Robin Askwith

text: As a result of playing King Edward IV during a school production of "Richard III", Askwith was approached by film director Lindsay Anderson, who had been in the audience, and encouraged to audition for a role in his upcoming film "if...". Following a successful audition he played the role of Keating in the film.


title: Robin Askwith

text: Following the success of "if...", Askwith made his television debut as a yob in the BBC series "Scene". He would also attend the Corona Theatre School in between acting jobs. Askwith had roles in the historical epic film "Alfred the Great"(1969), the thriller "Otley" (1969), and, playing the title role, in the film version of "Hans Brinker and the Silver Skates" (1969). In 1970, Askwith had his first major role in the comedy film "Cool It Carol!" (1970).


title: Robin Askwith

text: Askwith then appeared on television in series' such as "Randall and Hopkirk (Deceased)" and "Father, Dear Father" and a recurring role as Eddie in "Please Sir!" and its spin-off "The Fenn Street Gang", before having his first regular role as Harvey Micklethwaite in the sitcom "On The House" in 1971. In 1970, Askwith starred in "Scramble" (1970), the first of four films he would make for the Children's Film Foundation, the others being "All Coppers Are..." (1971), "Hide and Seek" (1972) and "The Hostages" (1975). Askwith also had a role in the epic film "Nicholas and Alexandra" (1971). He would then have roles in television series' including "Dixon of Dock Green", "Public Eye", "The Main Chance" and "Bless This House", and in a deleted scene from the film "Brother Sun, Sister Moon" (1972). Askwith also starred in a string of horror films: "Tower of Evil" (1972), "The Flesh and Blood Show" (1973) and "Horror Hospital" (1973).


title: Robin Askwith

text: After starring in Pasolini's "The Canterbury Tales" (1972) and the comedy film "Four Dimensions of Greta" (1972), Askwith played Mike Abbot in film version of television sitcom "Bless This House" (1972). During filming, Askwith became good friends with co-star Sid James. Other members of the cast included comedy stalwarts Peter Butterworth, Terry Scott, June Whitfield and Wendy Richard. Impressed by his performance, the producers offered Askwith a role in "Carry On Girls" (1973) which also starred Sid James.


title: Robin Askwith

text: Shortly after starring in Antony Balch's "Horror Hospital" (1973), Askwith was offered the starring role in "Confessions of a Window Cleaner" (1974), directed by Val Guest. The part had been turned down by Richard Beckinsale, Richard O'Sullivan, Nicky Henson and Dennis Waterman. The success of the film led to three sequels, "Confessions of a Pop Performer" (1975), "Confessions of a Driving Instructor" (1976) and "Confessions from a Holiday Camp" (1977).


title: Robin Askwith

text: Although the "Confessions" series came to an end with "Confessions from a Holiday Camp", a fifth and a sixth film, "Confessions of a Plumber's Mate" and "Confessions of a Private Soldier" had been planned. Askwith even expressed a desire to direct "Private Soldier", but neither film materialised. Plans to shoot a further made-for-video "Confessions" film in the 1980s also came to nothing, although by this time he was appearing in the poorly received ITV sitcom "Bottle Boys" (1984–1985).


title: Robin Askwith

text: He has also had roles in the soap operas "EastEnders", "Doctors", "Hollyoaks" and "Coronation Street" where he played a holiday tour guide named Aidan. The episodes of the soap that featured Askwith were filmed in Malta, close to the island of Gozo where he lived for many years. Askwith returned to "Coronation Street" on 11 December 2013 as musician Ritchie de Vries.


title: Robin Askwith

text: Askwith published his autobiography, titled "The Confessions of Robin Askwith" in 1999. In 2000, Askwith starred in the war-submarine film "U-571" before having a role in the horror film "The Asylum" later that same year.


title: Robin Askwith

text: Askwith made a cameo appearance in the film "Run For Your Wife", released in the UK on 14 February 2013. Askwith also appeared in an episode of "Emmerdale" in 2015. His role as con-man Marcus Hornby in the TV comedy drama "Benidorm" was broadcast in January 2016, and his episode of "Casualty" aired later that year.


title: Robin Askwith

text: In 2021, he joined the cast of Channel 5's popular drama series "The Madame Blanc Mysteries" appearing alongside Sue Holderness, Sally Lindsay and Paul Chuckle in several episodes.


title: Robin Askwith

text: In December 2022, Askwith appeared in the fourth and final episode of the quartet, Strike: Troubled Blood, on BBC1, his character Steve, plays one of the suspected killers in the J.K. Rowling inspired, mystery crime drama.


title: Robin Askwith

text: Askwith's extensive work on stage, includes numerous farces such as "Run For Your Wife", "Casanova's Last Stand", "One for the Road" plus the stage "Confessions" sequel "The Further Confessions of a Window Cleaner" and Terry Johnson's "Dead Funny". From 11 December 2012 – 27 January 2013, he appeared at the Mill at Sonning, Reading, Berkshire in Ray Cooney's farce "Caught in the Net".


title: Robin Askwith

text: In pantomimes, Askwith has appeared with the Chuckle Brothers in Dick Whittington, with Frank Bruno and Sooty in a Wolverhampton production of "Goldilocks and the 3 Bears" and in various productions of "Aladdin" as Abanazar.


title: Robin Askwith

text: More unusual stage roles include the title role in a production of Brecht's "The Resistible Rise of Arturo Ui", and the Child Catcher in a 2006 touring production of "Chitty Chitty Bang Bang".


title: Robin Askwith

text: Askwith had relationships with the actresses Cheryl Hall and later Linda Hayden during the 1970s. Askwith married actress Leonie Mellinger in 1988 but they later divorced. In 1996, he married Mary Smith, an aromatherapist but they divorced in 2002.


title: Robin Askwith

text: Askwith lives in Gozo, a Mediterranean island near Malta, having moved there in 1991, where his hobbies include swimming, underwater diving and yachting, however he regularly returns to the UK for tours, events and filming.


title: Love's Labour's Lost

text: Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to swear off the company of women for three years in order to focus on study and fasting. Their subsequent infatuation with the Princess of France and her ladies makes them forsworn (break their oath). In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalisation, and reality versus fantasy.


title: Love's Labour's Lost

text: Though first published in quarto in 1598, the play's title page suggests a revision of an earlier version of the play. There are no obvious sources for the play's plot. The use of apostrophes in the play's title varies in early editions, though it is most commonly given as "Love's Labour's Lost".


title: Love's Labour's Lost

text: Shakespeare's audiences were familiar with the historical personages portrayed and the political situation in Europe relating to the setting and action of the play. Scholars suggest the play lost popularity as these historical and political portrayals of Navarre's court became dated and less accessible to theatergoers of later generations. The play's sophisticated wordplay, pedantic humour and dated literary allusions may also be cause for its relative obscurity, as compared with Shakespeare's more popular works. "Love's Labour's Lost" was rarely staged in the 19th century, but it has been seen more often in the 20th and 21st centuries, with productions by both the Royal Shakespeare Company and the National Theatre, among others. It has also been adapted as a musical, an opera, for radio and television and as a musical film.


title: Love's Labour's Lost

text: "Love's Labour's Lost" features the longest scene (5.2), the longest single word 'honorificabilitudinitatibus' (5.1.39–40), and (depending on editorial choices) the longest speech (4.3.284–361) in all of Shakespeare's plays (see "Date and Text" below).


title: Love's Labour's Lost

text: Ferdinand, King of Navarre, and his three noble companions, the Lords Berowne, Dumaine, and Longaville, take an oath not to give in to the company of women. They devote themselves to three years of study and fasting; Berowne agrees somewhat more hesitantly than the others. The King declares that no woman should come within a mile of the court. Don Adriano de Armado, a Spaniard visiting the court, writes a letter to tell the King of a tryst between Costard and Jaquenetta. After the King sentences Costard, Don Armado confesses his own love for Jaquenetta to his page, Moth. Don Armado writes Jaquenetta a letter and asks Costard to deliver it.


title: Love's Labour's Lost

text: The Princess of France and her ladies arrive, wishing to speak to the King regarding the cession of Aquitaine, but must ultimately make their camp outside the court due to the decree. In visiting the Princess and her ladies at their camp, the King falls in love with the Princess, as do the lords with the ladies. Berowne gives Costard a letter to deliver to the lady Rosaline, which Costard switches with Don Armado's letter that was meant for Jaquenetta. Jaquenetta consults two scholars, Holofernes and Sir Nathaniel, who conclude that the letter is written by Berowne and instruct her to tell the King.


title: Love's Labour's Lost

text: The King and his lords lie in hiding and watch one another as each subsequently reveals his feelings of love. The King ultimately chastises the lords for breaking the oath, but Berowne reveals that the King is likewise in love with the Princess. Jaquenetta and Costard enter with Berowne's letter and accuse him of treason. Berowne confesses to breaking the oath, explaining that the only study worthy of mankind is that of love, and he and the other men collectively decide to relinquish the vow. Arranging for Holofernes to entertain the ladies later, the men then dress as Muscovites and court the ladies in disguise. The Queen's courtier Boyet, having overheard their planning, helps the ladies trick the men by disguising themselves as each other. When the lords return as themselves, the ladies taunt them and expose their ruse.


title: Love's Labour's Lost

text: Impressed by the ladies' wit, the men apologize, and when all identities are righted, they watch Holofernes, Sir Nathaniel, Costard, Moth and Don Armado present the Nine Worthies. The four lords and Boyet heckle the play, saving their sole praise for Costard. Don Armado and Costard almost come to blows when Costard reveals mid-pageant that Don Armado has got Jaquenetta pregnant. Their spat is interrupted by news that the Princess's father has died. The Princess makes plans to leave at once, and she and her ladies, readying for mourning, declare that the men must wait a year and a day to prove their loves lasting. Don Armado announces he will swear a similar oath to Jaquenetta and then presents the nobles with a song.


title: Love's Labour's Lost

text: "Love's Labour's Lost" may be found to have a number of sources for various aspects, but a primary source for the story is not extant. It has this in common with two other plays — "A Midsummer Night's Dream" and "The Tempest". Some possible influences on "Love's Labour's Lost" can be found in the early plays of John Lyly, Robert Wilson's "The Cobbler's Prophecy" (c. 1590) and Pierre de la Primaudaye's "L'Academie française" (1577). Michael Dobson and Stanley Wells comment that it has often been conjectured that the plot derives from "a now lost account of a diplomatic visit made to Henry in 1578 by Catherine de Medici and her daughter Marguerite de Valois, Henry's estranged wife, to discuss the future of Aquitaine, but this is by no means certain."


title: Love's Labour's Lost

text: The four main male characters are all loosely based on historical figures; Navarre is based on Henry of Navarre (who later became King Henry IV of France), Berowne on Charles de Gontaut, duc de Biron, Dumain on Charles, duc de Mayenne and Longaville on Henri I d'Orléans, duc de Longueville. Biron in particular was well known in England because Robert Devereux, 2nd Earl of Essex, had joined forces with Biron's army in support of Henry in 1591. Albert Tricomi states that "the play's humorous idealization could remain durable as long as the French names of its principal characters remained familiar to Shakespeare's audiences. This means that the witty portrayal of Navarre's court could remain reasonably effective until the assassination of Henry IV in 1610. ... Such considerations suggest that the portrayals of Navarre and the civil-war generals presented Elizabethan audiences not with a mere collection of French names in the news, but with an added dramatic dimension which, once lost, helps to account for the eclipse "Love's Labour's Lost" soon underwent."


title: Love's Labour's Lost

text: Critics have attempted to draw connections between notable Elizabethan English persons and the characters of Don Armado, Moth, Sir Nathaniel, and Holofernes, with little success.


title: Love's Labour's Lost

text: Most scholars believe the play was written 1594―1595, but not later than 1598. "Love's Labour's Lost" was first published in quarto in 1598 by the bookseller Cuthbert Burby. The title page states that the play was "Newly corrected and augmented by W. Shakespere," which has suggested to some scholars a revision of an earlier version. The play next appeared in print in the First Folio in 1623, with a later quarto in 1631. "Love's Labour's Won" is considered by some to be a lost sequel.


title: Love's Labour's Lost

text: "Love’s Labour’s Lost" features the longest scene in all of Shakespeare’s plays (5.2), which, depending upon formatting and editorial decisions, ranges from around 920 lines to just over 1000 lines. The First Folio records the scene at 942 lines.


title: Love's Labour's Lost

text: The play also features the single longest word in all of Shakespeare's plays: "honorificabilitudinitatibus", spoken by Costard at 5.1.30.


title: Love's Labour's Lost

text: The speech given by Berowne at 4.3.284–361 is potentially the longest in all of Shakespeare's plays, depending on editorial choices. Shakespeare critic and editor Edward Capell has pointed out that certain passages within the speech seem to be redundant and argues that these passages represent a first draft which was not adequately corrected before going to print. Specifically, lines 291–313 are "repeated in substance" further in the speech and are sometimes omitted by editors. With no omissions, the speech is 77 lines and 588 words.


title: Love's Labour's Lost

text: The title is normally given as "Love's Labour's Lost". The use of apostrophes varies in early editions. In its first 1598 quarto publication it appears as "Loues labors loſt". In the 1623 First Folio it is "Loues Labour's Lost" and in the 1631 quarto it is "Loues Labours Lost". In the Third Folio it appears for the first time with the modern punctuation and spelling as "Love's Labour's Lost". Critic John Hale notes that the title could be read as "love's labour is lost" or "the lost labours of love" depending on punctuation. Hale suggests that the witty alliteration of the title is in keeping with the pedantic nature of the play. In 1935 Frances Yates asserted that the title derived from a line in John Florio's "His firste Fruites" (1578): "We neede not speak so much of loue, al books are ful of lou, with so many authours, that it were labour lost to speake of Loue", a source from which Shakespeare also took the untranslated Venetian proverb "Venetia, Venetia/Chi non ti vede non ti pretia" (LLL 4.2.92–93) ("Venice, Venice, Who does not see you cannot praise you").


title: Love's Labour's Lost

text: "Love's Labour's Lost" abounds in sophisticated wordplay, puns, and literary allusions and is filled with clever pastiches of contemporary poetic forms. Critic and historian John Pendergast states that "perhaps more than any other Shakespearean play, it explores the power and limitations of language, and this blatant concern for language led many early critics to believe that it was the work of a playwright just learning his art." In "" (1994), Harold Bloom lauds the work as "astonishing" and refers to it as Shakespeare's "first absolute achievement". It is often assumed that the play was written for performance at the Inns of Court, whose students would have been most likely to appreciate its style. It has never been among Shakespeare's most popular plays, probably because its pedantic humour and linguistic density are extremely demanding of contemporary theatregoers. The satirical allusions of Navarre's court are likewise inaccessible, "having been principally directed to fashions of language that have long passed away, and [are] consequently little understood, rather than in any great deficiency of invention."


title: Love's Labour's Lost

text: Masculine desire structures the play and helps to shape its action. The men's sexual appetite manifests in their desire for fame and honour; the notion of women as dangerous to masculinity and intellect is established early on. The King and his Lords' desires for their idealized women are deferred, confused, and ridiculed throughout the play. As the play comes to a close, their desire is deferred yet again, resulting in an increased exaltation of the women.


title: Love's Labour's Lost

text: Critic Mark Breitenberg commented that the use of idealistic poetry, popularized by Petrarch, effectively becomes the textualized form of the male gaze. In describing and idealizing the ladies, the King and his Lords exercise a form of control over women they love. Don Armado also represents masculine desire through his relentless pursuit of Jacquenetta. The theme of desire is heightened by the concern of increasing female sexuality throughout the Renaissance period and the consequent threat of cuckoldry. Politics of love, marriage, and power are equally forceful in shaping the thread of masculine desire that drives the plot.


title: Love's Labour's Lost

text: The term 'reckoning' is used in its multiple meanings throughout the Shakespeare canon. In "Love's Labour's Lost" in particular, it is often used to signify a moral judgement; most notably, the idea of a final reckoning as it relates to death. Though the play entwines fantasy and reality, the arrival of the messenger to announce the death of the Princess's father ultimately brings this notion to a head. Scholar Cynthia Lewis suggested that the appearance of the final reckoning is necessary in reminding the lovers of the seriousness of marriage. The need to settle the disagreement between Navarre and France likewise suggests an instance of reckoning, though this particular reckoning is settled offstage. This is presented in stark contrast to the final scene, in which the act of reckoning cannot be avoided. In acknowledging the consequences of his actions, Don Armado is the only one to deal with his reckoning in a noble manner. The Lords and the King effectively pass judgement on themselves, revealing their true moral character when mocking the players during the representation of the Nine Worthies.


title: Love's Labour's Lost

text: Similar to reckoning is the notion of rationalization, which provides the basis for the swift change in the ladies' feelings for the men. The ladies are able to talk themselves into falling in love with the men due to the rationalization of the men's purported flaws. Lewis concluded that "the proclivity to rationalize a position, a like, or a dislike, is linked in "Love's Labour's Lost" with the difficulty of reckoning absolute value, whose slipperiness is indicated throughout the play."


title: Love's Labour's Lost

text: Critic Joseph Westlund wrote that "Love's Labour's Lost" functions as a "prelude to the more extensive commentary on imagination in "A Midsummer Night's Dream"." There are several plot points driven by fantasy and imagination throughout the play. The Lords and the King's declaration of abstinence is a fancy that falls short of achievement. This fantasy rests on the men's idea that the resulting fame will allow them to circumvent death and oblivion, a fantastical notion itself. Within moments of swearing their oath, it becomes clear that their fantastical goal is unachievable given the reality of the world, the unnatural state of abstinence itself, and the arrival of the Princess and her ladies. This juxtaposition ultimately lends itself to the irony and humour in the play.


title: Love's Labour's Lost

text: The commoners represent the theme of reality and achievement versus fantasy via their production regarding the Nine Worthies. Like the men's fantastical pursuit of fame, the play within a play represents the commoners' concern with fame. The relationship between the fantasy of love and the reality of worthwhile achievement, a popular Renaissance topic, is also utilized throughout the play. Don Armado attempts to reconcile these opposite desires using Worthies who fell in love as model examples. Time is suspended throughout the play and is of little substance to the plot. The Princess, though originally "craving quick dispatch," quickly falls under the spell of love and abandons her urgent business. This suggests that the majority of the action takes place within a fantasy world. Only with the news of the Princess's father's death are time and reality reawakened.


title: Love's Labour's Lost

text: Unlike many of Shakespeare’s plays, music plays a role only in the final scene of "Love's Labour's Lost". The songs of spring and winter, titled "Ver and Hiems" and "The Cuckoo and the Owl", respectively, occur near the end of the play. Given the critical controversy regarding the exact dating of "Love's Labour's Lost", there is some indication that "the songs belong to the 1597 additions."


title: Love's Labour's Lost

text: Different interpretations of the meaning of these songs include: optimistic commentary for the future, bleak commentary regarding the recent announcement of death, or an ironic device by which to direct the King and his Lords towards a new outlook on love and life. In keeping with the theme of time as it relates to reality and fantasy, these are seasonal songs that restore the sense of time to the play. Due to the opposing nature of the two songs, they can be viewed as a debate on the opposing attitudes on love found throughout the play. Catherine McLay comments that the songs are functional in their interpretation of the central themes in "Love's Labour's Lost". McLay also suggests that the songs negate what many consider to be a "heretical" ending for a comedy. The songs, a product of traditional comedic structure, are a method by which the play can be "[brought] within the periphery of the usual comic definition."


title: Love's Labour's Lost

text: Critic Thomas Berger states that, regardless of the meaning of these final songs, they are important in their contrast with the lack of song throughout the rest of the play. In cutting themselves off from women and the possibility of love, the King and his Lords have effectively cut themselves off from song. Song is allowed into the world of the play at the beginning of Act III, after the Princess and her ladies have been introduced and the men begin to fall in love. Moth’s song "Concolinel" indicates that the vows will be broken. In Act I, Scene II, Moth recites a poem but fails to sing it. Don Armado insists that Moth sing it twice, but he does not. Berger infers that a song was intended to be inserted at this point, but was never written. Had a song been inserted at this point of the play, it would have followed dramatic convention of the time, which often called for music between scenes.


title: Love's Labour's Lost

text: The earliest recorded performance of the play occurred at Christmas in 1597 at the Court before Queen Elizabeth. A second performance is recorded to have occurred in 1605, either at the house of the Earl of Southampton or at that of Robert Cecil, Lord Cranborne. The first known production after Shakespeare's era was not until 1839, at the Theatre Royal, Covent Garden, with Madame Vestris as Rosaline. "The Times" was unimpressed, stating: "The play moved very heavily. The whole dialogue is but a string of brilliant conceits, which, if not delivered well, are tedious and unintelligible. The manner in which it was played last night destroyed the brilliancy completely, and left a residuum of insipidity which was encumbered rather than relieved by the scenery and decorations." The only other performances of the play recorded in England in the 19th century were at Sadler's Wells in 1857 and the St. James's Theatre in 1886.


title: Love's Labour's Lost

text: Notable 20th-century British productions included a 1936 staging at the Old Vic featuring Michael Redgrave as Ferdinand and Alec Clunes as Berowne. In 1949, the play was given at the New Theatre with Redgrave in the role of Berowne. The cast of a 1965 Royal Shakespeare Company production included Glenda Jackson, Janet Suzman and Timothy West. In 1968, the play was staged by Laurence Olivier for the National Theatre, with Derek Jacobi as the Duke and Jeremy Brett as Berowne. The Royal Shakespeare Company produced the play again in 1994. The critic Michael Billington wrote in his review of the production: "The more I see "Love's Labour's Lost", the more I think it Shakespeare's most beguiling comedy. It both celebrates and satisfies linguistic exuberance, explores the often painful transition from youth to maturity, and reminds us of our common mortality."


title: Love's Labour's Lost

text: In late summer 2005, an adaptation of the play was staged in the Dari language in Kabul, Afghanistan by a group of Afghan actors, and was reportedly very well received.


title: Love's Labour's Lost

text: A 2009 staging by Shakespeare's Globe theatre, with artistic direction by Dominic Dromgoole, toured internationally. Ben Brantley, in "The New York Times", called the production, seen at Pace University, "sophomoric". He postulated that the play itself "may well be the first and best example of a genre that would flourish in less sophisticated forms five centuries later: the college comedy."


title: Love's Labour's Lost

text: In 2014, the Royal Shakespeare Company completed a double-feature in which "Love's Labour's Lost", set on the eve of the First World War, is followed by "Much Ado About Nothing" (re-titled "Love's Labour's Won"). Dominic Cavendish of the "Telegraph" called it "the most blissfully entertaining and emotionally involving RSC offering I’ve seen in ages" and remarked that "Parallels between the two works – the sparring wit, the sex-war skirmishes, the shift from showy linguistic evasion to heart-felt earnestness – become persuasively apparent."


title: Love's Labour's Lost

text: Alfred Tennyson's poem "The Princess" (and, by extension, Gilbert and Sullivan's comic opera "Princess Ida") is speculated by Gerhard Joseph to have been inspired by "Love's Labour's Lost".


title: Love's Labour's Lost

text: Thomas Mann in his novel "Doctor Faustus" (1943) has the fictional German composer Adrian Leverkühn attempt to write an opera on the story of the play.


title: Love's Labour's Lost

text: An opera of the same title as the play was composed by Nicolas Nabokov, with a libretto by W. H. Auden and Chester Kallman, and first performed in 1973.


title: Love's Labour's Lost

text: In the summer of 2013, The Public Theater in New York City presented a musical adaptation of the play as part of their Shakespeare in the Park programming. This production marked the first new Shakespeare-based musical to be produced at the Delacorte Theater in Central Park since the 1971 mounting of "The Two Gentlemen of Verona" with music by Galt MacDermot. The adaptation of "Love's Labour's Lost" featured a score by "Bloody Bloody Andrew Jackson" collaborators Michael Friedman and Alex Timbers. Timbers also directed the production, which starred Daniel Breaker, Colin Donnell, Rachel Dratch, and Patti Murin, among others.


title: Love's Labour's Lost

text: Marc Palmieri's 2015 play "The Groundling", a farce the "NY Times" referred to as "half comedy and half tragedy", was billed as a "meditation on the meaning of the final moments of "Love's Labour's Lost"".


title: Love's Labour's Lost

text: Kenneth Branagh's 2000 film adaptation relocated the setting to the 1930s and attempted to make the play more accessible by turning it into a musical. The film was a box office disappointment.


title: Love's Labour's Lost

text: The play was one of the last works to be recorded for the BBC Television Shakespeare project, broadcast in 1985. The production set events in the eighteenth century, the costumes and sets being modeled on the paintings of Jean-Antoine Watteau. This was the only instance in the project of a work set in a period after Shakespeare's death. The play is featured in an episode of the British TV show, "Doctor Who". The episode, entitled "The Shakespeare Code", focuses on Shakespeare himself and a hypothetical follow-up play, "Love's Labour's Won", whose final scene is used as a portal for alien witches to invade Earth. All copies of this play disappear along with the witches.


title: Love's Labour's Lost

text: BBC Radio 3 aired a radio adaptation on 16 December 1946, directed by Noel Illif, with music by Gerald Finzi scored for a small chamber orchestra. The cast included Paul Scofield. The music was subsequently converted into an orchestral suite. BBC Radio 3 aired another radio adaptation on 22 February 1979, directed by David Spenser, with music by Derek Oldfield. The cast included Michael Kitchen as Ferdinand; John McEnery as Berowne; Anna Massey as the Princess of France; Eileen Atkins as Rosaline; and Paul Scofield as Don Adriano.


title: Love's Labour's Lost

text: A modern-language adaptation of the play, titled "Groups of Ten or More People", was released online by Chicago-based company Littlebrain Theatre in July 2020. This adaptation, set during the early days of the COVID-19 pandemic, was filmed entirely over the digital conferencing program Zoom.


title: O Maidens in Your Savage Season

text: An anime television series adaptation by Lay-duce was broadcast on MBS's Animeism programming block from July to September 2019. A live-action television series adaptation was broadcast from September to October 2020.


title: O Maidens in Your Savage Season

text: "O Maidens in Your Savage Season", written by Mari Okada and illustrated by Nao Emoto, was serialized in Kodansha's "shōnen" manga magazine "Bessatsu Shōnen Magazine" from December 9, 2016, to September 9, 2019. Kodansha collected its chapters in eight "tankōbon" volumes, released from April 7, 2017, to October 9, 2019.


title: O Maidens in Your Savage Season

text: In North America, the manga was licensed for English release by Kodansha USA. The eight volumes were published from April 23, 2019, to November 3, 2020.


title: O Maidens in Your Savage Season

text: An anime television series adaptation was announced on November 30, 2018. The series was animated by Lay-duce and directed by Masahiro Andō and Takurō Tsukada, with Mari Okada handling series composition, and Kaori Ishii designing the characters. Moe Hyūga composed the music. The series aired from July 5 to September 20, 2019, on the Animeism programming block on MBS, TBS, and BS-TBS, as well as AT-X. CHiCO with Honeyworks performed the series' opening theme song , while Momo Asakura performed the series' ending theme song . Sentai Filmworks has licensed the series worldwide excluding Asia, Germany, France, and Australia. In Southeast Asia and South Asia, Muse Communication holds the show's rights.


title: O Maidens in Your Savage Season

text: A live-action television series adaptation was announced on July 9, 2020. On July 30, 2020, the main cast list and the production crew was announced, as well as that the series would be premiered on MBS and TBS on September 8, 2020.


title: Gordon Jump

text: Alexander Gordon Jump (April 1, 1932 – September 22, 2003) was an American actor best known as the clueless, yet occasionally wise, radio station manager Arthur "Big Guy" Carlson in the TV series "WKRP in Cincinnati" and the incompetent Chief of Police Tinkler in the sitcom "Soap". Jump guest starred on a two-part episode of the 1980s sitcom "Diff'rent Strokes", in which he portrayed a pedophile who tries to molest main characters Arnold and his friend, Dudley. He also played the "Maytag Repairman" in commercials for Maytag brand appliances, from 1989 until his retirement from the role in July 2003.


title: Gordon Jump

text: Born Alexander Gordon Jump, Jump was raised in Centerville, Ohio, a suburb of Dayton. Jump graduated from Centerville High School and enrolled in Otterbein College. After his first year, Jump transferred to Kansas State University, where he studied broadcasting and communications and was a member of Kappa Sigma fraternity. Jump got his first job in the broadcasting industry with WIBW-TV in Topeka. There, he dabbled in "writing, producing, and directing." Jump was the title character in WIBW's "WIB the Clown" production, an educational children's program. Jump reported the weather on the same channel, and was not always able to get his clown makeup off in time.


title: Gordon Jump

text: In September 1961 he returned to Dayton and joined WLWD as the station's director of special broadcast services. He continued as a producer and on-air personality at WLWD, hosting "Gordon Jumps Fun Time", a popular show for younger children, and "High Time", a variety series, before moving to Los Angeles in 1963 to pursue acting. Later in his life, Jump converted to the Church of Jesus Christ of Latter-day Saints (LDS Church).


title: Gordon Jump

text: Jump's acting career began at age 32. Jump participated in a theatre production at the Glendale Centre Theatre in Glendale, California, where he was noticed for talent and offered an agent. The theatre was owned by Nathan and Ruth Hale, a family who were members of the LDS Church. It was there that Jump first learned about the LDS Church.


title: Gordon Jump

text: Jump's first break on television was his guest role as Marcus Clements in CBS's Daniel Boone, where he had eight lines. During the 1960s, he landed minor roles in television on such shows as "Get Smart", "Lancer", "Here Come the Brides", and "Green Acres". He guest-starred in a number of series during the 1970s and through the 1990s.


title: Gordon Jump

text: In the 1960s, Jump converted to the LDS Church. Subsequently, he acted in several church-produced instructional and educational productions, including "When Thou Art Converted" (1967), "Pioneers In Petticoats" (1969), and "What About Thad?" (1970). In 1967, he played the role of Lehi in the Burbank pageant "People of the Book". He also appeared as the apostle Peter in a 1969 film used as part of the church's temple ceremonies. Jump would return to church-related films with a small role in the 2002 comedy "The Singles Ward". Jump and Robert Starling, an independent filmmaker, founded Associated Latter-day Media Artists (ALMA) together.


title: Gordon Jump

text: Jump's first recurring role came in 1977, as Chief of Police Tinkler in "Soap". In 1978, he landed his signature role of Arthur "Big Guy" Carlson on the situation comedy "WKRP in Cincinnati", portraying a bumbling radio station manager. Jump stated that the character of Arthur Carlson was based on a real-world WQXI executive.


title: Gordon Jump

text: After "WKRP in Cincinnati" folded in 1982, Jump made an appearance on a two-part episode of "Diff'rent Strokes", titled "The Bicycle Man". He played Mr. Horton, the owner of a bicycle shop who attempts to molest series protagonist Arnold Jackson and his friend, Dudley. While his "Los Angeles Times" obituary called this role a "daring career turn," Genevieve Koski at the "AV Club"<nowiki>'</nowiki>s roundtable found the laughtrack that played during the scene in which the boys see nude photographs "horrifying". Koski's fellow roundtable member Donna Bowman disagreed, stating that the special humanized the situation.


title: Gordon Jump

text: In 1989, Jump took over the Maytag repairman role from Jesse White. In the 1990s, Jump starred in a short-lived revival of "WKRP in Cincinnati" entitled "The New WKRP in Cincinnati". He also appeared in the ninth and final season of "Seinfeld", in which he played George Costanza's boss at a playground equipment company over two episodes. Jump's last movie role was in the 2004 film "Changing of the Guard", released after his death.


title: Gordon Jump

text: Jump died on September 22, 2003 from pulmonary fibrosis, leading to respiratory failure at his home near Los Angeles, California.


title: Gordon Jump

text: Jump believed the film and television industry to be "the most powerful tool" that can both "communicate" and "give... a positive outlook of life to many people." According to his personal religious faith, Jump also believed theatre and television had the ability to uplift and edify individuals, and speculated that God uses a similar medium to guide his children.


title: Gordon Jump

text: When certain scripts required Jump to act in ways that went against his religious convictions, he stated that his acting required the same "honesty and judiciousness" as the rest of his life. He would portray the fictional character as accurately as possible so as to deliver an honest representation of the story to his audience. He warned against portraying all theatrical characters like "missionaries," and instead encouraged actors to "stay true to their craft," through which their inner virtue would be able to shine through. Additionally, Jump did not believe in censorship, claiming instead that "if you teach people correct principles, they can govern themselves," a paraphrase of a teaching by Joseph Smith.""


title: Gordon Jump

text: When Jump was offered the role of Chief Tinkler in "Soap", he and his current LDS Church bishop were wary that the content of the program was contrary to his faith. Jump returned to the producers the next day with the intention of refusing the role. The directors heard Jump's concerns and suggested that the underlying messages of the show were more aligned to Jump's beliefs as a Latter-day Saint than he realized. He was encouraged him to read the "retribution scenes" in the script. Jump was impressed by the depth of the lessons in the show, told through humor. He took the role in "Soap," and recommends to viewers of faith to evaluate the lessons taught by the finished artistic product of a film or show, rather than evaluate whether an actor would actually do some of the things they portray on screen.


title: Gordon Jump

text: Gordon Jump was the surveyor on season 4 episode 12 of Green Acres 1968, "How to Get from Hooterville to Pixley Without Moving".


title: Siddharth Ray

text: Siddharth Ray (19 July 1963– 8 March 2004), born Sushant Ray, was a film actor in Hindi and Marathi films. He also appeared in a few south Indian films. He was the grandson of filmmaker V. Shantaram.


title: Siddharth Ray

text: Siddharth Ray was born into a film family. He was the grandson of V. Shantaram. His mother, Charusheela Ray, was the daughter of V. Shantaram by his first wife Vimla Shantaram. His father was Dr. Subrato Ray, a Bengali economist, who had a Ph.D. from Indian Statistical Institute, Kolkata. He was of Marathi descent, from his maternal side of the family, and Bengali descent, from his paternal side of the family.


title: Siddharth Ray

text: He was also an accomplished sitar player. Charusheela and Dr. Ray had met in one of the recording sessions. Sushanta was born into privileges from both sides. They lived in a comfortable house in Dadar, Mumbai. His father Dr. Ray was the then Chief Economic Advisor of Bombay Port Trust.


title: Siddharth Ray

text: In 1999, Siddharth Ray married South Indian actress, Shantipriya, sister of actress Bhanupriya. They became the parents of two sons, within a span of less than five years, post their marriage. Ray died of a massive heart attack in 2004, at the age of only 40. He was survived by his wife and two sons, both of whom were less than four years old.


title: Siddharth Ray

text: Ray acted in the film "Chaani" as a child artist. That movie was directed by his grandfather V. Shantaram. He also played young Nagya is famous marathi film 'Jait Re Jait'. As an adult, his debut film was "Thodisi Bewafaii" in 1980, where he appeared opposite Padmini Kolhapure. He made a mark especially with "Vansh" (1992), the remake of Mani Ratnam's "Agni Natchathiram". He appeared in several Hindi films in the 1990s such as "Vansh" (1992), "Parwane" (1993), "Baazigar" (1993), "Pehchaan" (1993). Other films starring him are "Ganga Ka Vachan", "Tilak" and "Military Raaj". He also starred in "Baazigar" along with Shahrukh Khan.


title: Siddharth Ray

text: He was known as Sushant Ray in the Marathi film industry and acted in commercially successful movies such as "Ashi Hi Banwa Banwi" with noteworthy Marathi actors such as Laxmikant Berde, Ashok Saraf and Sachin.


title: Matías Soulé

text: Matías Soulé Malvano (born 15 April 2003) is an Argentine professional footballer who plays as midfielder or forward for club Juventus.


title: Matías Soulé

text: Soulé started his career aged six for Kimberley and six years later moved to Vélez with whom he refused the proposal to sign a professional contract. In January 2020, he moved to Juventus as free transfer. Soulé scored five goals and five assists in 30 appearances with under-19s in the 2020–21 season.


title: Matías Soulé

text: Soulé made his first appearance for Juventus on 24 July 2021 in a 3–1 preseason friendly win against Cesena, scoring his team's third goal in the 64th minute. On 22 August, Soulé made his official debut for Juventus U23—the reserve team of Juventus—in a first-round Coppa Italia Serie C 3–2 win against Pro Sesto. He made his Serie C debut on 28 August in a 2–1 win to Pergolettese. On 10 September, first-team manager Massimiliano Allegri included Soulé in the match-day squad for the Serie A game against Napoli.


title: Matías Soulé

text: On 15 September, Soulé scored his first two career goals in a 3–2 win against Feralpisalò in the second round of Coppa Italia Serie C. On 24 September, he extended his contract with Juventus until 2024 with option until 2026. On 7 November, he scored his first goal in Serie C in a 1–0 win against Lecco with a curling shoot in the 43rd minute. On 30 November, Soulé made his official debut for the first team in a 2–0 win against Salernitana coming on as substitute during the stoppage time.


title: Matías Soulé

text: Throughout the season, he also played for Juventus U19 in the UEFA Youth League. With two goals in six games, Soulé helped the U19s reach the semifinals, their best-ever placing in the competition. During the semifinal against Benfica, Soulé took the last penalty of the game which he missed causing his side's 4–3 lost at penalty shoot-outs after a 2–2 draw.


title: Matías Soulé

text: On 11 October, Soulé made his UEFA Champions League debut, playing for 15 minutes in a defeat against Maccabi Haifa.


title: Matías Soulé

text: On 3 November 2021, he was first called up for the Argentina national team ahead of the qualification rounds for the 2022 World Cup against Uruguay and Brazil; but didn't make either of the match day squads.


title: Matías Soulé

text: Soulé is a left-footed right winger, noted for his dribbling ability and set-piece taking, earning him comparisons to Angel Di Maria.


title: Matías Soulé

text: Soulé has an Italian passport. Soulé considers Independiente his favourite team and Lionel Messi is favourite player.


title: Steel Wheels

text: Steel Wheels is the 19th British (and 21st American) studio album by the English rock band the Rolling Stones, released on 25 August 1989 in the US and on 11 September in the UK. It was the final album of new material that the band would record for Columbia Records.


title: Steel Wheels

text: Hailed as a major comeback upon its release, "Steel Wheels" is notable for the patching up of the working relationship between Mick Jagger and Keith Richards, a reversion to a more classic style of music and the launching of the band's biggest world tour to date. It is also the final full-length studio album to involve long-time bassist Bill Wyman, preceding the announcement of his departure in January 1993. Wyman's final tenure with the band would be on two studio tracks for the 1991 album "Flashpoint". "Steel Wheels" was also the first album not to feature former member and frequent contributor on piano Ian Stewart, who died shortly before the release of their previous album "Dirty Work". It was produced by Richards and Jagger, along with Chris Kimsey, who had previously produced the Stones' 1983 "Undercover".


title: Steel Wheels

text: After the relative disappointment of their prior two albums, "Steel Wheels" was a hit, reaching multi-platinum status in the United States, Top 5 status in numerous markets around the world, and spawning two hit singles: "Mixed Emotions", which peaked at No. 1 in Canada and No. 5 in the United States, and "Rock and a Hard Place", the band's last Top-40 hit in the US. Critics were generally lukewarm towards the album, exemplified by Stephen Thomas Erlewine: "It doesn't make for a great Stones album, but it's not bad, and it feels like a comeback."


title: Steel Wheels

text: Following the release of 1986's "Dirty Work", and Jagger's pursuit of a solo career, relations between him and the Stones-committed Richards worsened considerably. While Jagger released the tepidly received "Primitive Cool" in 1987, Richards recorded "Talk Is Cheap", his solo debut, released in 1988 to positive reviews. The two years apart appeared to have healed the wounds sufficiently to begin resurrecting their partnership and band.


title: Steel Wheels

text: Meeting in January 1989, just preceding the Stones' induction into the Rock and Roll Hall of Fame, the chemistry between Jagger and Richards easily outshone whatever differences they had, and after composing some 50 songs in a matter of weeks, Ronnie Wood, Wyman and Charlie Watts were called in to begin recording what would become "Steel Wheels", beckoning "Undercover" co-producer Chris Kimsey to perform the same role.


title: Steel Wheels

text: Recording in Montserrat and London during the spring, "Steel Wheels" was designed to emulate a classic Rolling Stones sound. One notable exception was "Continental Drift," an Eastern-flavoured piece, with The Master Musicians of Jajouka led by Bachir Attar, recorded in June 1989 in Tangier, coordinated by Cherie Nutting. With much of the past disagreements behind them, sessions for "Steel Wheels" were fairly harmonious.


title: Steel Wheels

text: The massive, worldwide Steel Wheels Tour was launched in late August 1989, concurrently with "Steel Wheels" arrival and the release of lead single "Mixed Emotions," a partially biographical reference to Jagger and Richards' recent woes that proved to be the Rolling Stones' last major hit single in the United States, reaching No. 5. Critical reaction was warm, with "Steel Wheels" reaching No. 2 in the UK and No. 3 in the US where it went double-platinum. Follow-up singles were "Rock and a Hard Place," "Almost Hear You Sigh" and "Terrifying."


title: Steel Wheels

text: The Steel Wheels Tour, which finished in mid-1990 after being re-titled the Urban Jungle Tour, was a financial success. In 1990, FOX aired a 3-D television special of the Steel Wheels tour. Unlike anaglyphic 3-D which requires the familiar red and green glasses, the method used was the Pulfrich Effect which permitted full-colour video. The film was shot by Gerald Marks of PullTime 3-D in NYC. An IMAX film of the tour was released the next year, which still plays sporadically at IMAX venues around the world.


title: Steel Wheels

text: Anthony DeCurtis of "Rolling Stone" writes "All the ambivalence, recriminations, attempted rapprochement and psychological one-upmanship evident on "Steel Wheels" testify that the Stones are right in the element that has historically spawned their best music – a murky, dangerously charged environment in which nothing is merely what it seems. Against all odds, and at this late date, the Stones have once again generated an album that will have the world dancing to deeply troubling, unresolved emotions."


title: Steel Wheels

text: Stephen Thomas Erlewine of AllMusic writes "The Stones sound good, and Mick and Keith both get off a killer ballad apiece with "Almost Hear You Sigh" and "Slipping Away," respectively. It doesn't make for a great Stones album, but it's not bad, and it feels like a comeback – which it was supposed to, after all."


title: Steel Wheels

text: The album was the Rolling Stones' first digital recording. In 1994, "Steel Wheels" was remastered and reissued by Virgin Records, and again in 2009 by Universal Music. An SHM-CD version was released on 2 December 2015 by Universal Japan, mastered from the original British master tape.


title: News presenter

text: A news presenter – also known as a newsreader, newscaster (short for "news broadcaster"), anchorman or anchorwoman, news anchor or simply an anchor – is a person who presents news during a news program on TV, radio or the Internet. They may also be a working journalist, assisting in the collection of news material and may, in addition, provide commentary during the program. News presenters most often work from a television studio or radio studio, but may also present the news from remote locations in the field related to a particular major news event.


title: News presenter

text: The role of the news presenter developed over time. Classically, the presenter would read the news from news "copy" which they may or may not have helped write with a news writer. This was often taken almost directly from wire services and then rewritten. Prior to the television era, radio-news broadcasts often mixed news with opinion and each presenter strove for a distinctive style. These presenters were referred to as commentators. The last major figure to present commentary in a news broadcast format in the United States was Paul Harvey.


title: News presenter

text: With the development of the 24-hour news cycle and dedicated cable news channels, the role of the anchor evolved. Anchors would still present material prepared for a news program, but they also interviewed experts about various aspects of breaking news stories, and themselves provided improvised commentary, all under the supervision of the lead (or main) producer, who coordinated the broadcast by communicating with the anchor through an earphone. Many anchors help write or edit news for their programs, although modern news formats often distinguish between anchor and commentator in an attempt to establish the "character" of a news anchor. The mix of "straight" news and commentary varies depending on the type of program and the skills and knowledge of the particular anchor.


title: News presenter

text: The terms "anchor", "anchorman", or "anchorwoman" are derived from the usage common in relay racing, specifically the anchor leg, where the position is typically given to the fastest or most experienced competitor on a team. In 1948, "anchor man" was used in the game show "Who Said That?" to refer to John Cameron Swayze, who was a permanent panel member of the show, in what may be the first usage of this term on television. The "anchor" term then became commonly used by 1952 to describe the most prominent member of a panel of reporters or experts. The term "anchorman" also was used to describe Walter Cronkite's role at the Democratic and Republican National Conventions, where he coordinated switches between news points and reporters.


title: News presenter

text: The widespread claim that news anchors were called "cronkiters" in Swedish has been debunked by linguist Ben Zimmer.


title: News presenter

text: Anchors occupy a contestable role in news broadcasts. Some argue anchors have become sensationalized characters whose identities overshadow the news itself, while others cite anchors as necessary figureheads of "wisdom and truth" in the news broadcast. The role of the anchor has changed in recent years following the advent of satirical journalism and citizen journalism, both of which relocate the interpretation of truth outside traditional professional journalism, but the place anchormen and anchorwomen hold in American media remains consistent. "Just about every single major news anchor since the dawn of the medium after World War II has been aligned with show business," says Frank Rich, writer-at-large for New York Magazine, in a polemic against commoditized news reporting, "reading headlines to a camera in an appealing way is incentivized over actual reporting".


title: News presenter

text: Brian Williams, an anchor for NBC Nightly News, evidences this lapse in credibility generated by the celebration of the role of the anchor. In early 2015, Williams apologized to his viewers for fabricating stories of his experiences on the scene of major news events, an indiscretion resulting in a loss of 700,000 viewers for NBC Nightly News. David Folkenflik of NPR asserted that the scandal "corrodes trust in the anchor, in NBC and in the greater profession", exhibiting the way in which the credibility of the anchor extends beyond their literal place behind the news desk and into the expectation of the news medium at large. CBS's long-running nighttime news broadcast "60 Minutes" displays this purported superfluousness of anchors, insofar as it has no central figurehead in favor of many correspondents with similarly important roles. Up-and-coming news networks like Vice Magazine's documentary-style reporting also eschew traditional news broadcast formatting in this way, suggesting an emphasis on on-site reporting and deemphasizing the importance of the solitary anchor in the news medium. In her essay, "News as Performance", Margaret Morse posits this connection between anchor persona newsroom as an interconnected identity fusing many aspects of the newsroom dynamic:


title: News presenter

text: For the anchor represents not merely the news "per se", or a particular network or corporate conglomerate that owns the network, or television as an institution, or the public interest; rather, he represents the complex nexus of all of them. In this way, the network anchor position is a "symbolic representation of the institutional order as an integrated totality" (Berger and Luckmann 1967, p. 76), an institutional role on par with that of the president or of a Supreme Court justice, although the role originates in corporate practices rather than political or judicial processes. [...]


title: News presenter

text: Despite the anchor's construction of a commodified, aestheticized version of the news, some critics defend the role of the anchor in society, claiming that they function as a necessary conduit of credibility. The news anchor's position as an omnipotent arbiter of information results from their place behind a typically elevated desk, wherefrom they interact with reporters through a screen-within-screen spatial setup. A criticism levied against the role of anchor stems from this dynamic, insofar as anchors simply "... regurgitat[e] or reproduc[e] the report of others...", differentiating them from the productive occupations of journalists and on-site reporters. However, journalism professor Elly Alboim articulates the pro-anchor position by characterizing the anchor's nightly presence as a necessary way to build familiarity and trust between the network and its viewers: "People tend to want to believe and trust in television new and start, really, from the anchor". Beneficial or not, the anchor fits snugly into the "personality cult" engendered within American society that encourages celebrity that demands a hierarchy of authority, evidenced by the negligible change in ratings following implementation of new anchors in broadcast lineups. The identity of a particular anchor seems to influence viewer perception less than the presence of an anchor in general.


title: News presenter

text: The role of the anchor correlates with the analogous, authority- and information-bearing positions already well-established in American politics, and the benefits it confers upon the political realm elucidate the compatibility between these two systems of information. Once again, Morse outlines this relationship between the anchor and the larger context in which they operate: "[s]ince there are few other organs for inclusive and substantial discourse on social and cultural values in American life, the responsibility for interpreting the world and posing a political course of action and a social agenda falls on a very limited number of public personas, including such news personalities and the president". She levies a criticism against the anchor in this case, claiming that by decreasing the number of people responsible for delivering the news, American viewers receive a bottlenecked stream of information about their surroundings. The choreography and performativity involved in the construction of the news broadcast dramatizes political processes, but in doing so, exposes its flattening of subjectivity and insistence upon itself as the final word of truth. More specifically, "the news media may do 'an important social good when using the techniques of dramaturgy to make governance more interesting to people than would be the case otherwise.' At the same time, however, 'there is an important difference between drama and democracy, with the former requiring spectators and the latter participants.'"


title: News presenter

text: In contrast to perceptions of the news as a one-sided relationship with its viewers, some believe that the news works in conjunction with its audience to produce the most efficient picture possible of the world. Tom Brokaw, in speaking about his experiences as a news anchor for NBC, explained how news stories for the length of their duration tend to feed off viewers' demands, and that news is inherently a "populist medium", and that "[p]eople are not going to turn to television networks for a historically accurate and detailed description of what happened."


title: Holy Fvck

text: Holy Fvck is the eighth studio album by American singer Demi Lovato. It was released on August 19, 2022, through Island Records. "Holy Fvck" is primarily a pop punk and hard rock record, being a return to her early rock-influenced roots from her first two studio albums "Don't Forget" (2008) and "Here We Go Again" (2009). It also contains glam rock and heavy metal sounds.


title: Holy Fvck

text: Most of the album was produced by Warren "Oak" Felder, Mitch Allan, Alex Niceforo and Keith "Ten4" Sorrells. Yungblud, Royal & the Serpent and Dead Sara were featured artists. The album's lead single "Skin of My Teeth" was released on June 10, 2022. "Substance" and "29" were released as the second and third singles respectively.


title: Holy Fvck

text: "Holy Fvck" debuted in the top ten of the US "Billboard" 200 and the UK Albums Chart, where it peaked at number seven. In support of the album, Lovato embarked on the Holy Fvck Tour, which commenced on August 13, 2022 and ended on November 10.


title: Holy Fvck

text: Lovato first considered the kind of music she wished to make for her eighth studio album in 2021, following the release of American rock band Dead Sara's album "Ain't It Tragic", released that year. She remarked that "it reignited this flame inside of me. I was like, 'I want to do rock music.' I saw them on tour and was super stoked about their music and was just like, 'That's what I want to go back to.' It felt right to me because I hadn't done it in a while. I wanted to return to my roots."


title: Holy Fvck

text: In January 2022, Lovato posted on Instagram that she held a "funeral" for her former pop music, with a picture of Lovato with label and management executives all wearing black and Lovato holding up two middle fingers. This was later clarified to be a music label meeting and the fact everyone was wearing black was simply a coincidence, but Lovato had felt it was symbolic of a change in direction that her music was taking. In the months following this event, Lovato enthusiastically shared various snippets of a more rock sound on her social media, with "crashing guitars, soaring vocals and cutting lyrics". In an interview with "Rolling Stone" in February 2022, Lovato confirmed a return to "emo-rock" that was "reminiscent of my first era". Lovato clarified, however, that her new studio album would differ from her debut album "Don't Forget" (2008), in that it has a "heaviness" not lyrically, but "heaviness as in some of the sound that I haven't done before". Lovato also spoke to "Inked", confirming her new album is "definitely not R&B or soulful, I would say it's more rock than anything" and that it was inspired by punk rock musicians that Lovato was currently listening to, such as Royal & the Serpent and Turnstile.


title: Holy Fvck

text: On Instagram stories in April 2022, the singer confirmed her upcoming album to reflect on "the artist's ups and downs during her personal journey". Lovato further explained, "getting emotional listening to my new album because I'm so proud of it", as well as labeling it her "absolute best yet and so representative of me, where I started and who I am today". At this point, a lead single was just "weeks away" per Lovato's communication with fans. Lovato finally confirmed the lead single would be titled "Skin of My Teeth" on May 23, 2022, indirectly through a short tweet that was responding to fan speculation. A few days later, Lovato officially announced the song's release and shared the cover art for the single. Lovato announced the album with its cover art and release date on June 6, 2022, with a link to her official store where fans could order physical copies of the record.


title: Holy Fvck

text: A press release indicated that the album would include sixteen tracks and included a statement from Lovato, who shared:


title: Holy Fvck

text: "Holy Fvck" is seen to be a sonic shift for Lovato, and has been described as a hard rock and pop punk album, featuring elements of heavy metal and various rock styles. Regarding her decision to revert to a rock-based sound, Lovato said "Back when I worked on Disney Channel, I knew I could go this hard, but it wasn't until recently that I felt like I could accomplish this sound." She further stated "I've had a lot of anger since coming out of treatment. These new songs are about taking the power back and owning my anger — something I pushed aside for years, because I thought it would make me less spiritual."


title: Holy Fvck

text: One lyrical theme of the album was of a religious undertone, which Lovato told British "Vogue" "just came out in the writing process. I wanted to take my power back. I grew up in the church as a Christian, and I had some anger towards it. Being queer, I definitely felt like I was misunderstood." Lovato also referred to "Holy Fvck" as her most authentic album to date, and that she felt proud of her previous work but "it didn't make me happy. There was always this kind of emptiness that I felt, because I was trying to be someone that I wasn't. Now, I identify as non-binary, so when I say, 'Would you like me better if I was still her,' it's also a reference to people wanting me to stay who they wanted me to be in their eyes."


title: Holy Fvck

text: "Holy Fvck"s opening track "Freak", featuring British singer Yungblud, features "carnivalesque goth-rock guitars and bursts of industrial glam and hardcore, finds Lovato bewailing her status as a "piece of meat" carved up for entertainment" featuring the lyrics "came for the trauma, stayed for the drama". "Skin of My Teeth" was compared by NPR to the sound of "Celebrity Skin" by Hole with the vocal affectations of "Born This Way" by Lady Gaga; and was praised by "Loudwire" for tackling addiction, while describing it as having "an immediate sense of urgency, opening with two snare hits and some chord strumming" after which Lovato begins to sing in a sardonic vocal tone.


title: Holy Fvck

text: Third track and second single "Substance" was described by Emily Zemler of "Rolling Stone" as a "raucous", "anthemic pop-punk" song, featuring Lovato singing loudly over guitars and drums inspired by the earlier years of punk music. The lyrics present in the song are a direct criticism of contemporary society, as well as evoking Lovato's previous drug-related problems and mental health problems. "Eat Me", featuring Royal & the Serpent, is the album's fourth track, and was compared by Beaumont to "Muse's more grinding synth-rock" and "swivels the target from herself to the industry that shackled her to their lucrative expectations. "Be more predictable, be less political, not too original, keep the tradition but stay individual," she groans, listing A&R notes before kicking back on a power punk chorus: "I know the girl that you adored, she's dead, it's time to fucking mourn… you'll have to eat me as I am." "USA Today" further compared "Eat Me" to the music of Nine Inch Nails, which sees Lovato and Royal & the Serpent "tiptoe in on a creeping goth vibe before the song explodes into a fireball of anger".


title: Holy Fvck

text: The fifth track is the album's title track, with Callie Ahlgrim of Insider Inc. calling it "a solid, throaty head-banger", with lyrics of "biblical imagery" which "alludes to sex so good that it feels sacred". Sixth track "29" was described by James Hall of "The Daily Telegraph" as "a soaring slab of radio-friendly rock", and features lyrics referring to age gaps in relationships, with media speculation that Lovato's ex-boyfriend Wilmer Valderrama is the subject of the song. "Happy Ending" was described by Beaumont as "a rousing slab of grunge pop soul-searching" with Lovato confessing that "I miss my vices", "demons are calling and tearing me to shreds".


title: Holy Fvck

text: The eighth track "Heaven" is an "industrial goth-rock" song which features a "glam drumbeat" and was likened by Hall to "sound[ing] like a mash-up between The Sweet and Megadeth", In an interview with "Los Angeles Times", Lovato states that the song's lyrics are "actually based on a Bible verse" further explaining " says, 'If your right hand causes you to sin, cut it off; [for] it's better to lose one part of your body than your entire body to hell.' That was a Bible verse I heard since I was young — too young to know what masturbation was. And now, I have my own [line of] sex toys. Masturbation can be a form of self-care, it's not something to be ashamed of at all." "City of Angels" is "Holy Fvck"s ninth track, and was compared by Beaumont to the music of Avril Lavigne and Blink-182, with sexual innuendo-based lyrics featuring "Lovato imagin[ing] "christening" a wide array of Los Angeles landmarks from the Viper Room to Splash Mountain". Tenth track "Bones" was said by Hannah Mylrea of "NME" to be "a mosh-pit inducing mating call" which incorporates "throbbing Royal Blood riffs and Lovato's purred chorus that begins with the no-nonsense declaration "Let me jump your bones"".


title: Holy Fvck

text: "Come Together", the album's twelfth track, is a pop rock song which "excellently blends the singer's two most prominent sounds into an explosion of euphoric expression. A masterclass in using production to your advantage, the song leans back when it needs to in order to let a blast of joyful noise wash over you on the infectious chorus." "Dead Friends", the thirteenth track, is a "banging pop punk jam session, filled with fast guitars and plenty of double-time drum patterns"; and was said by Lovato in an interview with British "Vogue" to have originally been "a slower song, but I ended up turning it into a faster one. I wanted to pay homage to the friends that I missed, while keeping it upbeat and a feel-good homage to them." The fifteenth track "Feed" "starts as a piano ballad, cataloging "scars I've caused and scars I've earned," before it bursts into a raw celebration of self-actualization and determination. "I decide which one to feed" becomes a simple yet persuasive mantra in the midst of chaos." "4 Ever 4 Me" is "Holy Fvck"s sixteenth and final track, a love song which was likened by Olivia Horn of "Pitchfork" to the music of the Goo Goo Dolls, which "wraps Lovato in acoustic chords and bittersweet strings as they sing to a new partner about wanting to meet his mother".


title: Holy Fvck

text: The album announcement was supported by the release of an album trailer on June 6, 2022, with a snippet of "Skin of My Teeth" serving as the background music to a series of clips of Lovato creating the album in the studio. The trailer ends with a snippet of "Freak", with the lyrics "Get your tickets to the freak show baby, step right up to watch the freak go crazy". Lovato premiered "Skin of My Teeth" on June 9 with a performance on "The Tonight Show Starring Jimmy Fallon". During her interview on the show, Lovato revealed that "Holy Fvck" contains three collaborations. A second single, "Substance", was released on July 15, 2022. Lovato premiered the song on "Jimmy Kimmel Live!" on July 14 and announced the track listing for the album that day. According to "Billboard", the song "29" will serve as the album's third single. Upon posting a snippet on TikTok, fans speculated that the lyrics are a reference to ex-boyfriend Wilmer Valderrama. The song was officially released on August 17, 2022. Internationally, three alternative versions of the album were made available from Lovato's online store; each new version features the same track listing but an alternative cover-art for the album.


title: Holy Fvck

text: "Holy Fvck" received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from publications, the album received a weighted average score of 78, based on 12 reviews, indicating "generally favorable reviews"—Lovato's highest-rated album on the site.


title: Holy Fvck

text: Writing for "The Independent", Mark Beaumont reviewed the album positively, describing "Holy Fvck" as "a horny, hard-rock rebirth album" and as "a classic shedding-the-pop-facade record, bristling with defiance and real-me rebirth". George Griffiths of Official Charts Company called it "a dark and dangerous collection of high-throttle pop-punk stompers which contain some really genuine, heartbreaking lyrical revelations." "Clash"s review of the album by Emily Swingle remarked that "riling with a dark punk-rock attitude, this is an album that thrives in its heaviness, searing with venom and gloriously bold. Truly proving Lovato as a multi-faceted force to be reckoned with, ["Holy Fvck"] is a howl of brilliance."


title: Holy Fvck

text: In a review from "Pitchfork", Olivia Horn awarded the album a 6.5 out of 10 rating and wrote that it is "genuinely exciting to see Lovato enter chaos mode on "Holy Fvck", opting to break shit rather than publicly mend herself" and "within the anger, there's plenty of room for humor and irreverence", complimenting "Substance", "29" and Lovato's vocals. Horn also noted that "at times Lovato pushes the irreverence to the extreme", referencing the album's artwork and some of the songs' sexual lyrics, and that "by the album's midpoint, you start to wish for just a little more subtlety".


title: Holy Fvck

text: Giving "Holy Fvck" three starts out of five, "NME" contributor Hannah Mylrea was also mixed. Mylrea praised "Substance" and the "saucy" "City of Angels" as "cantering pop-punk moments", and Lovato's "powerhouse vocals" which "shine throughout, dripping with emotion and demonstrating impressive gymnastics" and was critical of the "slower, saccharine cuts such as 'Happy Ending', '4 Ever 4 Me' and 'Wasted'" and the length of the album's track list.


title: Holy Fvck

text: Various critics, such as "Insider"s Callie Ahlgrim, added the album and its songs to the list of the biggest snubs of the 2023 Grammys nominations.


title: Holy Fvck

text: "Holy Fvck" debuted at number 7 on the US "Billboard" 200, including number 1 on the Top Alternative Albums and Top Rock Albums charts, marking both Lovato’s first entry onto these charts with 33,000 album-equivalent units (of which 20,000 were pure album sales), marking Lovato's eighth consecutive top-ten album in the country.


title: Holy Fvck

text: All songs were written by Demi Lovato, Warren "Oak" Felder, Alex Niceforo and Keith "Ten4" Sorrells. All songs were produced by Oak and co-produced Alex Nice and Keith "Ten4" Sorrells. Additional writers and producers given below.


title: Thrall

text: A thrall (, , , , , ) was a slave or serf in Scandinavian lands during the Viking Age. The corresponding term in Old English was . The status of slave (, ) contrasts with that of the freeman (, ) and the nobleman (, ). The Middle Latin rendition of the term in early Germanic law is .


title: Thrall

text: Thrall is from the Old Norse , meaning a person who is in bondage or serfdom. The Old Norse term was lent into late Old English, as .


title: Thrall

text: The term is from a Common Germanic ("runner", from a root "to run"). Old High German had a cognate, , meaning "servant, runner".


title: Thrall

text: The English derivation "thraldom" is of High Medieval date. The verb "to enthrall" is of Early Modern origin (metaphorical use from the 1570s, literal use from 1610).


title: Thrall

text: The corresponding native term in Anglo-Saxon society was (from Germanic , perhaps from a PIE root , "to run")


title: Thrall

text: A related Old English term is "labourer, hireling" (from Germanic , cognate with Gothic "hireling", a derivation from "reward", from the same root as English "earn").


title: Thrall

text: The term was borrowed into Irish as , where is it used interchangeably with which is a cognate of the English slave (likewise for Slav is disputed).


title: Thrall

text: The "thrall" represents the lowest of the three-tiered social order of the Germanic peoples, noblemen, freemen and slaves, in Old Norse , and (c.f. "Rígsþula"), in Old English corresponding to , and , in Old Frisian , , , etc.


title: Thrall

text: The division is of importance in the Germanic law codes, which make special provisions for slaves, who were property and could be bought and sold, but they also enjoyed some degree of protection under the law.


title: Thrall

text: The death of a freeman was compensated by a weregild, usually calculated at 200 solidi (shillings) for a freeman, whereas the death of a slave was treated as loss of property to his owner and compensated depending on the value of the worker.


title: Thrall

text: Thralls were the lowest class of workers in Scandinavian society. They were Europeans who were enslaved by being prisoners of war, incurring debt or being born into the class via their parents. The living conditions of thralls in Scandinavia varied depending on the master. The thrall trade as the prize of plunder was a key part of the Viking economy. While there are some estimates of as many as thirty slaves per household, most families owned only one or two slaves.


title: Thrall

text: In 1043, Hallvard Vebjørnsson, the son of a local nobleman in the district of greater Lier, was killed while he was trying to defend a thrall woman from men who accused her of theft. The Church strongly approved of his action, recognised him as a martyr and canonized him as Saint Hallvard, the patron saint of Oslo.