title: Wells Cathedral

text: Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.


title: Wells Cathedral

text: The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.


title: Wells Cathedral

text: The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".


title: Wells Cathedral

text: The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.


title: Wells Cathedral

text: The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.


title: Wells Cathedral

text: Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.


title: Wells Cathedral

text: In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.


title: Wells Cathedral

text: The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.


title: Wells Cathedral

text: The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.


title: Wells Cathedral

text: The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.


title: Wells Cathedral

text: The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.


title: Wells Cathedral

text: Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.


title: Wells Cathedral

text: Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.


title: Wells Cathedral

text: The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.


title: Wells Cathedral

text: The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.


title: Wells Cathedral

text: The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.


title: Wells Cathedral

text: Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.


title: Wells Cathedral

text: The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.


title: Wells Cathedral

text: The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the "Tree of Jesse" (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.


title: Wells Cathedral

text: The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.


title: Wells Cathedral

text: The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.


title: Wells Cathedral

text: The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.


title: Wells Cathedral

text: Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.


title: Wells Cathedral

text: The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.


title: Wells Cathedral

text: Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".


title: Wells Cathedral

text: The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.


title: Wells Cathedral

text: The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.


title: Wells Cathedral

text: Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.


title: Wells Cathedral

text: Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.


title: Wells Cathedral

text: The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.


title: Wells Cathedral

text: In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.


title: Wells Cathedral

text: The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.


title: Wells Cathedral

text: On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.


title: Wells Cathedral

text: The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.


title: Wells Cathedral

text: The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.


title: Wells Cathedral

text: The cathedral also has a chamber organ, built by the Scottish organ-builders Lammermuir, which is normally kept in the choir but which can be moved around for services and concerts. It is regularly used for authentic accompaniment of Tudor and baroque music.


title: Wells Cathedral

text: The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019. The current Organist and Master of the Choristers is Jeremy Cole.


title: Wells Cathedral

text: There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.


title: Wells Cathedral

text: The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.


title: Wells Cathedral

text: In December 2010 Wells Cathedral Choir was rated by "Gramophone" magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.


title: Wells Cathedral

text: The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.


title: Wells Cathedral

text: The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's "Messiah") and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.


title: Wells Cathedral

text: The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing . They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.


title: Wells Cathedral

text: The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's "Natural History" printed in 1472, an "Atlas of the World" by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.


title: Wells Cathedral

text: Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – "Liber Albus I" (White Book; R I), "Liber Albus II" (R III) and "Liber Ruber" (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.


title: Wells Cathedral

text: Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.


title: Wells Cathedral

text: To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.


title: Wells Cathedral

text: To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.


title: Wells Cathedral

text: The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.


title: Wells Cathedral

text: The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.


title: Wells Cathedral

text: The cathedral served to inspire Ken Follett's novel "The Pillars of the Earth" and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 "Doctor Who" episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.


title: Wells Cathedral

text: An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's historical novel "Micah Clarke".


title: Frank O'Hara

text: Francis Russell "Frank" O'Hara (March 27, 1926 – July 25, 1966) was an American writer, poet, and art critic. A curator at the Museum of Modern Art, O'Hara became prominent in New York City's art world. O'Hara is regarded as a leading figure in the New York School, an informal group of artists, writers, and musicians who drew inspiration from jazz, surrealism, abstract expressionism, action painting, and contemporary avant-garde art movements.


title: Frank O'Hara

text: O'Hara's poetry is personal in tone and content, and has been described as sounding "like entries in a diary". Poet and critic Mark Doty has said O'Hara's poetry is "urbane, ironic, sometimes genuinely celebratory and often wildly funny" containing "material and associations alien to academic verse" such as "the camp icons of movie stars of the twenties and thirties, the daily landscape of social activity in Manhattan, jazz music, telephone calls from friends". O'Hara's writing sought to capture in his poetry the immediacy of life, feeling that poetry should be "between two persons instead of two pages."


title: Frank O'Hara

text: "The Collected Poems of Frank O'Hara" edited by Donald Allen (Knopf, 1971), the first of several posthumous collections, shared the 1972 National Book Award for Poetry. Brad Gooch's "City Poet" is the first substantial biography on the poet.


title: Frank O'Hara

text: Frank O'Hara, the son of Russell Joseph O'Hara and Katherine (née Broderick), was born on March 27, 1926, at Maryland General Hospital, Baltimore and grew up in Grafton, Massachusetts. He attended St. John's High School. He grew up believing he had been born in June, but in fact had been born in March - his parents disguised his true date of birth because he was conceived out of wedlock. He studied piano at the New England Conservatory in Boston from 1941 to 1944 and served in the U.S. Navy in the South Pacific and Japan as a sonarman on the destroyer USS "Nicholas" during World War II.


title: Frank O'Hara

text: With the funding made available to veterans he attended Harvard University, where artist and writer Edward Gorey was his roommate. O'Hara was heavily influenced by visual art and by contemporary music, which was his first love (he remained a fine piano player all his life and would shock new partners by suddenly playing swathes of Rachmaninoff when visiting them). His favorite poets were Pierre Reverdy, Arthur Rimbaud, Stéphane Mallarmé, Boris Pasternak, and Vladimir Mayakovsky. While at Harvard, O'Hara met John Ashbery and began publishing poems in the "Harvard Advocate". Despite his love of music, O'Hara changed his major and graduated from Harvard in 1950 with a degree in English.


title: Frank O'Hara

text: He then attended graduate school at the University of Michigan in Ann Arbor. While at Michigan, he won a Hopwood Award and received his master's degree in English literature in 1951.


title: Frank O'Hara

text: In the autumn of 1951, O'Hara moved into an apartment in New York City with Joe LeSueur, who was his roommate and sometime lover for the next 11 years. It was during this time that he began teaching at The New School.


title: Frank O'Hara

text: O'Hara was active in the art world, working as a reviewer for "ARTnews," and in 1960 was assistant curator of painting and sculpture exhibitions for the Museum of Modern Art. He was a friend of the artists Norman Bluhm, Mike Goldberg, Grace Hartigan, Alex Katz, Willem de Kooning, Joan Mitchell, and Larry Rivers.


title: Frank O'Hara

text: While O'Hara's poetry is generally autobiographical, it tends to be based on his observations of New York life rather than exploring his past. In his introduction to "The Collected Poems of Frank O'Hara", Donald Allen says "that Frank O'Hara tended to think of his poems as a record of his life is apparent in much of his work." O'Hara discussed this aspect of his poetry in a statement for Donald Allen's "The New American Poetry":


title: Frank O'Hara

text: What is happening to me, allowing for lies and exaggerations which I try to avoid, goes into my poems. I don't think my experiences are clarified or made beautiful for myself or anyone else, they are just there in whatever form I can find them. . .My formal "stance" is found at the crossroads where what I know and can't get meets what is left of that I know and can bear without hatred. . .It may be that poetry makes life's nebulous events tangible to me and restores their detail; or conversely that poetry brings forth the intangible quality of incidents which are all too concrete and circumstantial. Or each on specific occasions, or both all the time.


title: Frank O'Hara

text: His initial time in the Navy, during his basic training at Sampson Naval Training Center in upstate New York, along with earlier years spent at St. John's High School began to shape a distinguished style of solitary observation that would later inform his poems. Immersed in regimented daily routine, first Catholic school then the Navy, he was able to separate himself from the situation and make witty and often singular studies. Sometimes these were cataloged for use in later writing, or, perhaps more often, put into letters. This skill of scrutinizing and recording during the bustle and churn of daily life would, later, be one of the important aspects that shaped O'Hara as an urban poet writing off the cuff.


title: Frank O'Hara

text: Among his friends, O'Hara was known to treat poetry dismissively, as something to be done only in the moment. John Ashbery says he witnessed O'Hara "Dashing the poems off at odd moments – in his office at the Museum of Modern Art, in the street at lunchtime or even in a room full of people – he would then put them away in drawers and cartons and half forget them."


title: Frank O'Hara

text: In the summer of 1951, O'Hara read a manifesto in "The Kenyon Review" written by the poet, novelist and anarchistic social critic Paul Goodman. In the essay, Goodman argues that the postwar American "advanced guard" writers must articulate the deep-seated, personal disquiet felt across the culture but left unvoiced. The essay encouraged O'Hara to write poetry that was embarrassing in its directness, and even seen as hostile to literary standards then in place. O'Hara's poetry began to erase poetry's cautious border between what is public and what is private.


title: Frank O'Hara

text: In 1959, he wrote a mock manifesto (originally published in the NYC magazine "Yūgen" in 1961) called "Personism: A Manifesto", in which he explains his position on formal structure: "I don't ... like rhythm, assonance, all that stuff. You just go on your nerve. If someone's chasing you down the street with a knife you just run, you don't turn around and shout, 'Give it up! I was a track star for Mineola Prep.'" He says, in response to academic overemphasis on form, "As for measure and other technical apparatus, that's just common sense: if you're going to buy a pair of pants you want them to be tight enough so everyone will want to go to bed with you. There's nothing metaphysical about it." He claims that on August 27, 1959, while talking to LeRoi Jones, he founded a movement called Personism which may be "the death of literature as we know it."


title: Frank O'Hara

text: It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love's life-giving vulgarity, and sustaining the poet's feelings toward the poem while preventing love from distracting him into feeling about the person.


title: Frank O'Hara

text: His poetry shows the influence of Abstract Expressionism, Surrealism, Russian poetry, and poets associated with French Symbolism. Ashbery says, "The poetry that meant the most to him when he began writing was either French – Rimbaud, Mallarmé, the Surrealists: poets who speak the language of every day into the reader's dream – or Russian – Pasternak and especially Mayakovsky, for whom he picked up what James Schuyler has called the 'intimate yell.'" As part of the New York School of poetry, O'Hara to some degree encapsulated the compositional philosophy of New York School painters.


title: Frank O'Hara

text: Ashbery says, "Frank O'Hara's concept of the poem as the chronicle of the creative act that produces it was strengthened by his intimate experience of Pollock's, Kline's, and de Kooning's great paintings of the late '40s and early '50s and of the imaginative realism of painters like Jane Freilicher and Larry Rivers."


title: Frank O'Hara

text: O'Hara was also influenced by William Carlos Williams, so much so that he lists Williams (along with Hart Crane and Walt Whitman) as one of three poets who were "better than the movies." According to Marjorie Perloff in her book "Frank O'Hara, Poet among Painters", he and Williams both use everyday language and simple statements split at irregular intervals. Perloff points out the similarities between O'Hara's "Autobiographia Literaria" and Williams's "Invocation and Conclusion". At the end of "Autobiographia Literaria", the speaker says, "And here I am, the/center of all beauty!/writing these poems!/Imagine!" Similarly, Williams at the end of "Invocation and Conclusion" says, "Now look at me!" These lines show a shared interest in the self as an individual who can only be himself in isolation. A similar idea is expressed in a line from Williams's "Danse Russe": "Who shall say I am not/ the happy genius of my household?"


title: Frank O'Hara

text: Frank O'Hara met Joe LeSueur in 1951, and the two maintained a relationship until 1965, living together on and off from 1955 to 1965.


title: Frank O'Hara

text: From 1959 to 1963, the two lived at 441 East 9th Street in the East Village. Known throughout his life for his extreme sociability, passion, and warmth, O'Hara had hundreds of friends and lovers throughout his life, many from the New York art and poetry worlds. Soon after arriving in New York, he was employed at the Museum of Modern Art, selling postcards at the admissions desk, and began to write seriously.


title: Frank O'Hara

text: O’Hara met longtime partner Vincent Warren in the summer of 1959. Warren, a Canadian ballet dancer, was the inspiration for several of O'Hara's poems, including "Poem (A la Recherche d’Gertrude Stein)", "Les Luths", "Poem (So many echoes in my head)", and "Having a Coke With You". Warren died on October 25, 2017, 51 years after O'Hara's death.


title: Frank O'Hara

text: In the early morning hours of July 24, 1966, O'Hara was struck by a jeep on the Fire Island beach, after the beach taxi in which he had been riding with a group of friends broke down in the dark. He died the next day at age 40 of a ruptured liver at Bayview Hospital in Mastic Beach, Long Island. Attempts to bring negligent homicide charges against 23-year-old driver Kenneth L. Ruzicka were unsuccessful; many of O'Hara's friends felt the local police had conducted a lax investigation to protect one of their own locals. O'Hara was buried in Green River Cemetery on Long Island. The painter Larry Rivers, a longtime friend and lover, delivered one of the eulogies, along with Bill Berkson, Edwin Denby, and René d'Harnoncourt.


title: Frank O'Hara

text: In First Aid Kit's song "To A Poet", there is the lyric, "But Frank put it best when he said "you can't plan on the heart"", a reference to O'Hara's poem, "My Heart".


title: Frank O'Hara

text: In Martha's song "1967, I Miss You, I'm Lonely", the lyric, "I look at you and I am confident that I'd rather look at you than all the portraits in existence in the world, except possibly O'Hara by Grace Hartigan," references both O'Hara's poem, "Having a Coke With You", and Grace Hartigan's portrait of O'Hara.


title: Frank O'Hara

text: Rilo Kiley's 2004 album "More Adventurous" is titled after a line in O'Hara's poem "Meditations in an Emergency": "Each time my heart is broken it makes me feel more adventurous..." The title track references the same line: "I read with every broken heart, we should become more adventurous"


title: Frank O'Hara

text: Frankie Cosmos's music is influenced by O'Hara's works, visible in two of her albums, "Zentropy" and "Next Thing". Greta Kline has stated that her stage name derived from the poet.


title: Frank O'Hara

text: Irish artist David Kitt released "Having a Coke with You", sampling O'Hara's poem, under his New Jackson moniker in 2014.


title: Frank O'Hara

text: In the 2011 film "Beastly", the lovestruck main characters read O'Hara's poem "Having a Coke with You" aloud to each other.


title: Frank O'Hara

text: In the season 1 episode of the HBO series "Bored to Death", "The Case of the Missing Screenplay", the main character loses a screenplay written by Jim Jarmusch about the life of Frank O'Hara.


title: Frank O'Hara

text: Several episodes of "Mad Men" (season 2) reference O'Hara's collection of poetry, "Meditations in an Emergency". The first episode shows a character reading from it over lunch in a bar (recalling O'Hara's 1964 collection "Lunch Poems") as does the last episode, which uses the book's title as its episode title. In the twelfth episode, Don Draper finds his copy of "Meditations in an Emergency" in Anna Draper's home in California.


title: Frank O'Hara

text: In the final episode of “Normal People”, based on Sally Rooney's eponymous novel, Connell gives Marianne a book of Frank O’Hara's poetry for her birthday.


title: Frank O'Hara

text: On June 10, 2014, a plaque was unveiled outside one of O'Hara's New York City residences, at 441 East Ninth Street. Poets Tony Towle, who inherited the apartment from O'Hara, and Edmund Berrigan read his works at the event.


title: Mercedes-Benz M272 engine

text: The Mercedes-Benz M272 engine is an automobile piston V6 engine family used in the 2000s (decade). Introduced in 2004, it is based on the M112 V6 introduced in 1998.


title: Mercedes-Benz M272 engine

text: All M272 engines have aluminum engine blocks with a 90° V-angle with silicon/aluminum lined cylinders. The aluminum DOHC cylinder heads have 4 valves per cylinder. All have forged steel connecting rods, one-piece cast crankshaft, iron-coated aluminum pistons and a magnesium intake manifold. Like the M112, a balance shaft is installed in the engine block between the cylinder banks to deal with vibrations in the 90 degree V6 design. This essentially eliminates first and second order moments. A dual-length Variable Length Intake Manifold is fitted to optimize engine flexibility.


title: Mercedes-Benz M272 engine

text: Continuous VVT was adopted for the first time. Featured on both the intake and exhaust camshafts, each can be varied through a range of 40 degrees. The twin spark plug system was replaced by a regular single spark plug per cylinder. New electronic coolant flow control has replaced the mechanical thermostat for improved engine warm-up and optimum control of engine temperature. Also tumble flaps are used to improve output at low engine speeds.


title: Mercedes-Benz M272 engine

text: The E25 is a version. Bore and stroke dimension is . Output is at 6100 rpm with of torque at 2900-5500 rpm.


title: Mercedes-Benz M272 engine

text: The E35 is a version. Bore and stroke dimension is . Output is at 6000 rpm with of torque at 3500 rpm. A direct injected variant debuted in 2006 under the name Stratified-Charged Gasoline Injection (CGI). First fitted to the CLS350 CGI, it produces and of torque while lowering fuel consumption. In 2008, the non-CGI engine was uprated to at 6500 rpm and of torque at 4900 rpm with 350Nm being delivered at 2000rpm. This was achieved by raising the rev-limit to 7200 rpm, increasing the compression ratio using enhanced, weight-optimized pistons with a curved surface, reinforcements in the area of the piston pins, deeper pockets for the valve seats, single-stage intake manifold, lightweight valves with sodium cooling, conical valve springs, tri-oval chain sprocket, and a new cylinder head.


title: Mercedes-Benz M272 engine

text: M272 engines that were sold between 2004 and 2008 with engine serial numbers below 2729..30 468993 often show early wear of the balance shaft gears, requiring extensive repairs at a retail cost of over $4,000. These complaints led to a class action lawsuit against Mercedes-Benz (Greg Suddreth and Paul Dunton v. Mercedes-Benz USA, LLC), which alleged the M272 engines are equipped with defective balance shafts gears which "wear out prematurely, excessively and without warning, purportedly causing the vehicles to malfunction, the check engine light to illuminate and the vehicle to misfire and/or stop driving." The suit further alleged that Mercedes knew of this problem, sending out repair bulletins on how to address this issue and ultimately changing the balance shaft gears to avoid this problem. This suit was ultimately dismissed with the judge agreeing with Mercedes that because the gears fail at 60 -80K miles and outside of the warranty period, Mercedes is not legally responsible for these problems.


title: Mercedes-Benz M272 engine

text: However, a second class action lawsuit was filed in October 2012 in Northern California, covering Mercedes-Benz models manufactured between 2005 and 2007. A preliminary settlement was reached on April 8, 2015, which would see owners compensated for up to 70% of the cost of the repair.


title: Mercedes-Benz M272 engine

text: These engines also have a common issue with their intake manifolds. The M273 also has similar issues but not to the same extent. The plastic lever that operates the opening and closing of the variable length intake manifold can break prematurely. Mercedes doesn't have this particular part listed, instead they sell the whole intake manifold as one unit which can cost upwards of $800 US. There are a number of third-party companies that sell a replacement lever made out of metal at a much cheaper cost.


title: Kakori conspiracy

text: The Kakori Train robbery ("prapt" of Kakori Conspiracy) was a train robbery that took place at Kakori, a village near Lucknow, on 9 August 1925, during the Indian Independence Movement against the British Raj. It was organised by Hindustan Republican Association (HRA).


title: Kakori conspiracy

text: The robbery was conceived by Ram Prasad Bismil and Ashfaqullah Khan who belonged to the HRA, which later became the Hindustan Socialist Republican Association. This organisation was established to carry out revolutionary activities against the British Empire with the objective of achieving independence. Since the organisation needed money for the purchase of weaponry, Bismil and his party made a plan to rob a train on the Saharanpur Railway lines. The robbery plan was executed by Bismil, Khan, Rajendra Lahiri, Chandrashekhar Azad, Sachindra Bakshi, Keshab Chakravarty, Manmathnath Gupta, Mukundi Lal, Murari Lal Gupta and Banwari Lal. One passenger was killed unintentionally.


title: Kakori conspiracy

text: On 9 August 1925, the Number 8 Down Train was travelling from Shahjahanpur to Lucknow. When it passed Kakori, one of the revolutionary, Rajendra Lahiri pulled the emergency chain to stop the train and subsequently, the other revolutionaries overpowered the guard. It is believed that they looted that specific train because it was carrying the money bags (taxes) which belonged to the Indians and was being transferred to the British government treasury. They looted only these bags (which were present in the guards' cabin and contained about ₹ 4600) and escaped to Lucknow. The objectives of this robbery were to:


title: Kakori conspiracy

text: One lawyer, Ahmad Ali, who was a passenger, had got down to see his wife in the ladies compartment and was killed in an unintentional discharge by Manmathnath Gupta, but this made it a manslaughter case. Following the incident, the British administration started an intense manhunt and arrested several of the revolutionaries who were members or part of the HRA. Their leader, Ram Prasad Bismil was arrested at Shahjahanpur on 26 October 1925 and Ashfaqullah Khan was arrested on 7 December 1926 at Delhi.


title: Kakori conspiracy

text: Of the above, Sachindranath Sanyal, Rajendra Lahiri, and Jogesh Chandra Chatterjee had already been arrested in Bengal. Lahiri was prosecuted in a Dakshineshwar bombing case, while Ashfaqullah Khan and Sachindranath Bakshi were arrested later when the main Kakori conspiracy case was over. A supplementary case was filed against these two and they were prosecuted in the same manner.


title: Kakori conspiracy

text: Bismil and some others were charged with various offences, including robbery and murder. Fourteen people were released due to a lack of evidence. Two of the accused – Ashfaqullah Khan and Sachindranath Bakshi were captured after the trial. Chandrashekhar Azad reorganized the HRA in 1928 and operated it till his death 27 February 1931.


title: Kakori conspiracy

text: Charges pressed against further three men were dropped. Damodar Swarup Seth was discharged due to illness, while Veer Bhadra Tiwari & Jyoti Shankar Dixit were suspected of providing information to the authorities. Two other individuals – Banarsi Lal and Indubhushan Mitra came to be approvers in return for a lenient sentence.


title: Kakori conspiracy

text: Charges against 19 of the accused were withdrawn (2 had become approvers while 17 people had been released). The trial against the remaining 21 began on 1 May 1926 in the Special Sessions Court of Justice Archibald Hamilton. Abbas Salim Khan, Banwari Lal Bhargava, Gyan Chatterjee, and Mohammad Ayuf were the assessors of the case. Of the 21 accused, two people namely Sachindranath Biswas and Lala Hargovind were released due to lack of evidence, while Gopi Mohan became an approver.


title: Kakori conspiracy

text: The court had appointed Jagat Narayan Mulla as public prosecutor knowingly; he had a prejudice against Ram Prasad Bismil since 1916, when Bismil led the grand procession of Bal Gangadhar Tilak at Lucknow. He had also been the public prosecutor in the Mainpuri conspiracy case of 1918.


title: Kakori conspiracy

text: The government officers had also bribed many of the accused to become government approvers. The trials were mainly based on the statements given by Banwari Lal who had met the revolutionaries and was also involved in the planning the robbery activities taken up by the group in Bamrauli (25 December 1924), Bichpuri (9 March 1925) & Dwarikapur (25 May 1925). So, his statement was used as the main evidence to prove the HRA members guilty.


title: Kakori conspiracy

text: Ram Prasad Bismil, Roshan Singh and Rajendra Nath Lahiri were sentenced to death. Sachindranath Sanyal was given life imprisonment. Manmathnath Gupta was sentenced to 14 yrs imprisonment. Jogesh Chandra Chatterjee, Govind Charan Kar, Raj Kumar Sinha, Ram Krishna Khatri and Mukundi Lal were sentenced to 10 yrs imprisonment, while Suresh Charan Bhattacharya and Vishnu Sharan Dublish were given 7 yrs imprisonment. Bhupendra Nath Sanyal, Ram Dulare Trivedi, Prem Krishna Khanna and Pranawesh Chatterjee were sentenced to imprisonment for 5 years and the least punishment (3 yrs imprisonment) was given to Ram Nath Pandey and Banwari Lal.


title: Kakori conspiracy

text: Following the arrest of Ashfaqullah Khan, the police interrogated him to try to gain supplementary evidence against his accomplices but he refused. Another supplementary case was filed against Ashfaqulla Khan and Sachindranath Bakshi in the court of Special Sessions Judge John Reginald William Bennett. An appeal was filed in the then Chief Court of Awadh (now in Uttar Pradesh) on 18 July 1927. The case trials started the next day. The judgement of the trial was pronounced a month later on 11 August.


title: Kakori conspiracy

text: After the court gave the judgement of the main Kakori Conspiracy Case on 6 April 1927, a group photograph was taken and all the accused were sent to the different jails of the United Provinces. In the prisons, they were asked to wear jail uniforms like the other prisoners which lead to immediate protests and hunger strikes. The revolutionaries argued that since they had been charged with crimes against the British rule (and supposedly overturning the British Raj), they should be treated as political prisoners and thus should possess the rights and amenities provided to political prisoners.


title: Kakori conspiracy

text: The legal defence for the arrested revolutionaries was provided by Gobind Ballabh Pant, Mohan Lal Saxena, Chandra Bhanu Gupta, Ajit Prasad Jain, Gopi Nath Srivastava, R. M. Bahadurji, B. K. Chaudhury and Kripa Shankar Hajela.


title: Kakori conspiracy

text: Pandit Jagat Narayan Mulla, a leading advocate from Lucknow and uncle-in-law of Pt. Jawaharlal Nehru refused to defend the arrested revolutionaries. He was appointed as public prosecutor by the law of court.


title: Kakori conspiracy

text: Among the political figures who came out in support of those arrested for the Kakori train robbery were: Motilal Nehru, Madan Mohan Malviya, Muhammad Ali Jinnah, Lala Lajpat Rai, Jawaharlal Nehru , Ganesh Shankar Vidyarthi, Shiv Prasad Gupta, Shri Prakash and Acharya Narendra Dev.


title: Kakori conspiracy

text: There were widespread protests against the court's decision all over the country. Members of the Central Legislature even petitioned the Viceroy of India to commute the death sentences given to the four men to life sentences. Appeals were also sent to the Privy Council. However, these requests were turned down and the men were finally executed. Appeals were claimed to have been also made by Mahatma Gandhi, despite his lack of executive authority.


title: Kakori conspiracy

text: On 11 August 1927, the Chief Court endorsed the original judgement with an exception of one (7 yrs) punishment from the judgement of 6 April. A mercy appeal was filed in due course before the Provincial Governor of U.P. by the members of the legislative council which was dismissed. Ram Prasad Bismil wrote a letter to Madan Mohan Malviya on 9 September 1927 from Gorakhpur Jail. Malviya sent a memorandum to the then Viceroy and Governor-General of India Lord Irwin with the signatures of 78 Members of Central Legislature, which was also turned down.


title: Kakori conspiracy

text: On 16 September 1927, the final mercy appeal was forwarded to Privy Council at London and to the King-Emperor through a famous lawyer of England, Henry S. L. Polak, but the British Government, who had already decided to hang them, sent their final decision to the India office of Viceroy that all the four condemned prisoners were to be hanged till death by 19 December 1927 positively.


title: Social control

text: Social control is a concept within the disciplines of the social sciences. Social control is described as a certain set of rules and standards in society that keep individuals bound to conventional standards as well as to the use of formalized mechanisms. The disciplinary model was the forerunner to the control model.


title: Social control

text: The term "social control" was first introduced to sociology by Albion Woodbury Small and George Edgar Vincent in 1894; however, at the time, sociologists only showed sporadic interest in the subject.


title: Social control

text: Some social philosophers have played a role in the development of social control such as Thomas Hobbes in his work "Leviathan" that discusses social order and how the state exerts this using civil and military power; as well as Cesare Beccaria's "On Crimes and Punishments" that argues that people will avoid criminal behavior if their acts result in harsher punishment, stating that changes in punishment will act as a form of social control. Sociologist Émile Durkheim also explored social control in the work "The Division of Labour in Society" and discusses the paradox of deviance, stating that social control is what makes us abide by laws in the first place.


title: Social control

text: Society uses certain sanctions to enforce a standard of behavior that is deemed socially acceptable. Individuals and institutions utilize social control to establish social norms and rules, which can be exercised by peers or friends, family, state and religious organizations, schools, and the workplace. The goal of social control is to maintain order in society and ensure conformity in those who are deemed deviant or undesirable in society.


title: Social control

text: As briefly defined above, the means to enforce social control can be either informal or formal. Sociologist Edward A. Ross argues that belief systems exert a greater control on human behavior than laws imposed by government, no matter what form the beliefs take.


title: Social control

text: While the concept of social control has been around since the formation of organized sociology, the meaning has been altered over time. Originally, the concept simply referred to society's ability to regulate itself. However, in the 1930s, the term took on its more modern meaning of an individual's conversion to conformity. Academics began to study Social control theory as a separate field in the early 20th century.


title: Social control

text: The concept of social control is related to the notion of social order, which is identified as existing in the following areas of society:


title: Social control

text: The term social control has also been linked to the term delinquency, defined as deviancy, which is the violation of established mores, social norms, and laws. More serious acts of delinquency are defined as consensus crimes and conflict crimes that are determined by society and the law to inhibit unwanted or negative behavior as a form of social control.


title: Social control

text: Social values present in individuals are products of informal social control, exercised implicitly by a society through particular customs, norms, and mores. Individuals internalize the values of their society, whether conscious or not of the indoctrination. Traditional society relies mostly on informal social control embedded in its customary culture to socialize its members. The internalization of these values and norms is known as a process called socialization.


title: Social control

text: Informal sanctions may include shame, ridicule, sarcasm, criticism, and disapproval, which can cause an individual to stray towards the social norms of the society. In extreme cases sanctions may include social discrimination and exclusion. Informal social control usually has more effect on individuals because the social values become internalized, thus becoming an aspect of the individual's personality.


title: Social control

text: Informal sanctions check "deviant" behavior. An example of a negative sanction comes from a scene in the film "Pink Floyd – The Wall", whereby the young protagonist is ridiculed and verbally abused by a high school teacher for writing poetry in a mathematics class. Another example from the movie "About a Boy", when a young boy hesitates to jump from a high springboard and is ridiculed for his fear. Though he eventually jumps, his behavior is controlled by shame.


title: Social control

text: Informal controls reward or punish acceptable or unacceptable behavior (i.e., deviance) and are varied from individual to individual, group to group, and society to society. For example, at a Women's Institute meeting, a disapproving look might convey the message that it is inappropriate to flirt with the minister. In a criminal gang, on the other hand, a stronger sanction applies in the case of someone threatening to inform to the police of illegal activity.


title: Social control

text: Social control by use of reward is known as positive reinforcement. In society and the laws and regulations implemented by the government tend to focus on punishment or the enforcing negative sanctions to act as a deterrent as means of social control.


title: Social control

text: Theorists such as Noam Chomsky have argued that systemic bias exists in the modern media. The marketing, advertising, and public relations industries have thus been said to utilize mass communications to aid the interests of certain political and business elites. Powerful ideological, economic and religious lobbyists have often used school systems and centralized electronic communications to influence public opinion.


title: Social control

text: Formal sanctions are usually imposed by the government and organizations in the form of laws to reward or punish behavior. Some formal sanctions include fines and incarceration in order to deter negative behavior.


title: Social control

text: Other forms of formal social control can include other sanctions that are more severe depending on the behavior seen as negative such as censorship, expulsion, and limits on political freedom.


title: Social control

text: Examples of this can be seen in law. If a person breaks a law set forth by the government and is caught, they will have to go to court and depending on the severity, will have to pay fines or face harsher consequences.


title: Social control

text: According to a study done on crime in cities, in cities that have a higher incarceration rate and those that police make more arrests for public offenses, tend to have lower crime rates and incarceration rates.


title: Social control

text: Social control developed together with civilization, as a rational measure against the uncontrollable forces of nature which tribal organisations were at prey to within archaic tribal societies.


title: Social control

text: Criminal persecutions first emerged around sixth century B.C. as a form of formal social control in Athens, Greece. The purpose of these persecutions were to check certain groups and protect them from malicious interests.


title: Social control

text: Rulers have used legitimized torture as a means of mind control, as well as murder, imprisonment and exile to remove from public space anyone the state authorities deemed undesirable.


title: Social control

text: In the Age of Enlightenment, harsh penalties for crimes and civil disobedience were criticized by philosophers such as Cesare Beccaria and Jeremy Bentham, whose work inspired reform movements. These movements eventually led to the Universal Declaration of Human Rights in 1948, which informs most western jurisdictions and the similar Cairo Declaration on Human Rights in Islam in 1990.


title: Social control

text: The word "crime" became part of the vocabulary of the English language via Old French, during the Middle Ages, and within the Middle English phase of the language.


title: Social control

text: In history, religion provided a moral influence on the community and each person, providing an internal locus of control oriented toward a morality, so that each person was empowered to have a degree of control over themselves within society.


title: Social control

text: As Auguste Comte instituted sociology (1830-1842), already certain thinkers predicted the discontinuation of a perceived "false consciousness" intrinsic to religious belief. Nevertheless, within the twentieth century, social scientists presumed that religion was still a principal factor of social control.


title: Social control

text: Comte, and those who preceded him, were breathing the air of a revolution in the latter part of the eighteenth century (French Revolution) to bring about a so-called enlightened way of being in society, which brought about a new liberty for the individual, without the constraints of an over-seeing aristocracy.


title: Social control

text: In the context social control through penal and correctional services, the "rehabilitative ideal" (Francis Allen 1964) is a key idea that formed within the 20th century—the first principle of which is that behavior is first caused by things that happened before ("Human behaviour is a product of antecedent causes"). The idea was later thought to have less relevancy to the philosophy and exaction or execution of correctional measures, at least according to a 2007 publication (and elsewhere).


title: Social control

text: Law is a technique used for the purposes of social control. For example, there are certain laws regarding appropriate sexual relationships; these are largely based on societal values. Historically, homosexuality has been criminalised in the West. In modern times, due to shifts in societal values, Western societies have mostly decriminalized homosexual relations. However, there are still laws regarding age of consent and incest, as these are still deemed as issues in society that require means of control.


title: Social control

text: A mechanism of social control occurs through the use of selective incentives. Selective incentives are private goods, which are gifts or services, made available to people depending on whether they do or don't contribute to the good of a group, collective, or the common good. If people do contribute, they are rewarded, if they don't they are punished. Mancur Olson gave rise to the concept in its first instance (c.f. "The Logic of Collective Action").


title: Social control

text: Oberschall, in his work, identifies three elements to the pragmatics of social control as they exist in our current society. These are, confrontational control, such as riot control and crowd control, preventative measures to deter non-normal behaviors, which is legislation outlining expected boundaries for behavior, and measures complementary to preventative measures, which amount to punishment of criminal offences.


title: Social control

text: Cities can implement park exclusion orders (prohibiting individuals from frequenting some or all of the parks in a city for an extended period due to a previous infraction), trespass laws (privatizing areas generally thought of as public so police can choose which individuals to interrogate), and off-limit orders (Stay Out of Drug Areas (SODA) and Stay Out of Areas of Prostitution (SOAP) that obstruct access to these spaces). These are just a few of the new social control techniques cities use to displace certain individuals to the margins of society. Several common themes are apparent in each of these control mechanisms. The first is the ability to spatially constrain individuals in their own city. Defying any of the above statutes is a criminal offense resulting in possible incarceration. Though not all individuals subjected to an exclusion order obey it, these individuals are, at the very least, spatially hindered through decreased mobility and freedom throughout the city. This spatial constrain on individuals leads to disruption and interference in their lives. Homeless individuals generally frequent parks since the area provides benches for sleeping, public washrooms, occasional public services, and an overall sense of security by being near others in similar conditions. Privatizing areas such as libraries, public transportation systems, college campuses, and commercial establishments that are generally public gives the police permission to remove individuals as they see fit, even if the individual has ethical intent in the space. Off-limit orders attempting to keep drug addicts, prostitutes, and others out of concentrated areas of drug and sex crimes commonly restricts these individuals' ability to seek social services beneficial to rehabilitation, since these services are often located within the SODA and SOAP territories.


title: Social control

text: In the United States, early societies were able to easily expel individuals deemed undesirable from public space through vagrancy laws and other forms of banishment. In the 1960s and 1970s, however, these exclusion orders were denounced as unconstitutional in America and consequently were rejected by the US Supreme Court. The introduction of broken windows theory in the 1980s transformed the concepts cities used to form policies, to circumvent the previous issue of unconstitutionality. According to the theory, the environment of a particular space signals its health to the public, including to potential vandals. By maintaining an organized environment, individuals are dissuaded from causing disarray in that particular location. However, environments filled with disorder, such as broken windows or graffiti, indicate an inability for the neighborhood to supervise itself, therefore leading to an increase in criminal activity. Instead of focusing on the built environment, policies substantiated by the Broken Windows Theory overwhelmingly emphasize undesirable human behavior as the environmental disorder prompting further crime. The civility laws, originating in the late 1980s and early 1990s, provide an example of the usage of this latter aspect of the Broken Windows Theory as legitimization for discriminating against individuals considered disorderly in order to increase the sense of security in urban spaces. These civility laws effectively criminalize activities considered undesirable, such as sitting or lying on sidewalks, sleeping in parks, urinating or drinking in public, and begging, in an attempt to force the individuals doing these and other activities to relocate to the margins of society. Not surprisingly then, these restrictions disproportionally affect the homeless.


title: Social control

text: Individuals are deemed undesirable in urban space because they do not fit into social norms, which causes unease for many residents of certain neighborhoods. This fear has been deepened by the Broken Windows Theory and exploited in policies seeking to remove undesirables from visible areas of society. In the post-industrial city, concerned primarily with retail, tourism, and the service sector, the increasing pressure to create the image of a livable and orderly city has no doubt aided in the most recent forms of social control. These new techniques involve even more intense attempts to spatially expel certain individuals from urban space since the police are entrusted with considerably more power to investigate individuals, based on suspicion rather than on definite evidence of illicit actions.


title: Social control

text: In the decades leading up to the end of the 1980s, an increased prevalence of the individual as a feature within society led to many new therapies, suggesting the use of therapy as a means of social control (Conrad & Scheider, 1980: Mechanic 1989).


title: Infamous 2

text: Infamous 2 (stylized as inFAMOUS 2) is an action-adventure video game developed by Sucker Punch Productions and published by Sony Computer Entertainment for PlayStation 3 video game console. It is a sequel to the 2009 video game "Infamous". Announced on June 4, 2010, the game was released on June 7, 2011.


title: Infamous 2

text: The story follows protagonist Cole MacGrath on his quest in New Marais to grow powerful enough to be able to face his nemesis, the Beast. Cole possesses electricity-based superpowers which are used in combat and navigating the city. The player is given several opportunities to use these powers for good or selfish purposes in the game's Karma system. The Karma system affects what powers become available, the reaction of the city's populace towards Cole, and the story.


title: Infamous 2

text: Development on "Infamous 2" began immediately after Sucker Punch finished the first "Infamous", led by returning game director Nate Fox. The game's music was composed by James Dooley, Bryan Mantia, the band Galactic, and Jonathan Mayer. Both the game's music and fictional city were inspired by New Orleans. Jason Cottle, the original voice actor for Cole, was replaced by Eric Ladin as Sucker Punch wanted somebody who could perform Cole's physical reactions with motion capture, a new addition to the series.


title: Infamous 2

text: The game was generally well received by gaming media upon release. Praise was particularly directed at its city design, traversal, and graphics, though it was criticized for its Karma system and camera. A standalone expansion titled "" was released on October 25, 2011. "Infamous Second Son", a standalone sequel for PlayStation 4, was released on March 21, 2014.


title: Infamous 2

text: "Infamous 2 " is an action-adventure game set in an open world environment and played from a third-person perspective. The player controls Cole in the world of New Marais. Cole's electricity-based powers are used in movement, offense and defense in combat, and either for better or worse in dealing with the citizens of New Marais. Cole can climb buildings and other structures, grind along power cables and powered train rails, and hover for a short time. Cole can engage in melee combat with enemies using a weapon called the Amp. The game features many different powers, ranging from simple electric bolts to large electric rockets.


title: Infamous 2

text: In order for Cole to use his powers, he must have stored electrical power, represented by an energy meter on the player's heads-up display (HUD). The player can recharge Cole by draining electricity from powered sources, recharging also restores Cole's health, though Cole's health can regenerate over time without recharging. Many powers are acquired over the course of the game. The player can use experience points to increase powers' effectiveness or unlock new powers. Experience points are awarded for actions including defeating enemies, healing citizens and completing missions. The player can use such powers to destroy environmental scenery such as towers and stone columns. Depending on the player's choices, the player can gain ice or fire powers from the game's female protagonists, Kuo and Nix. Additionally, passive abilities based on Karma level called Karmic Boosts can be unlocked.


title: Infamous 2

text: Starting in a neutral position, Karma can reach up to Hero on the Good side or Infamous on the Evil side. Certain actions, such as stopping to help injured citizens or killing them to restore Cole's health, will affect the Karma level in either direction. Normal story missions may also alter the Karma level. During the game the player will encounter Karma moments, the Karma moments are delivered with 3D cutscenes and character-driven dialogue, the action pauses and the player has two actions that can be taken, always a Good and Evil option. There are also Good and Evil side missions in the game as well as random events which provide Karma decisions. Completion of Karma awarding missions helps gain access to unique powers based on the Karma level. The player is not locked into choosing either Karma path, and may opt to play towards one extreme and later switch to the other mid-game. Karma also influences the way that citizens view Cole in addition to altering Cole's appearance and certain aspects of the game's story. Citizens may throw rocks at and turn on Cole if he has Evil Karma or take pictures of and compliment Cole if he has Good Karma.


title: Infamous 2

text: New Marais is built on two islands, and the player must work through main story missions on the first island before being able to access the next one, though future missions may involve the first island. The player can undertake side missions to make the city safer. A feature called User Generated Content, or UGC, allows players to make their own missions and share them through PlayStation Network for others to play. Scattered around the city are hundreds of "Blast Shards" which Cole can collect to increase the amount of electricity he can store. There are also "Dead Drops" that help to reveal more of the back-story in the game. A mini-map on the player's HUD shows their location in New Marais and what is nearby. The mini-map can be used to locate Blast Shards, Dead Drops and power sources.


title: Infamous 2

text: A month following the events of "Infamous", Cole (Eric Ladin) and his friend Zeke (Caleb Moody) meet with NSA agent Lucy Kuo (Dawn Olivieri), who informs them that Dr. Sebastian Wolfe (Michael Ensign), the man responsible for creating the Ray Sphere that gave Cole his powers, has developed an even stronger version that would give him enough strength to stop the Beast. Before they can depart for Wolfe's lab in New Marais, the Beast attacks Empire City. Cole tries to fight him off, but even his most powerful attack proves useless, resulting in the Beast draining Cole of most of his powers. The group is subsequently forced to flee as Empire City is completely and utterly destroyed.


title: Infamous 2

text: Arriving in New Marais, Cole and his allies learn that energy magnate Joseph Bertrand III (Graham McTavish), an anti-Conduit demagogue, has seized control of the city. Aware of Wolfe's intentions, Bertrand has his private army, the Militia, destroy the doctor's lab. Rescuing Wolfe, Cole learns that he has developed the Ray Field Inhibitor, a device capable of stripping Conduits of their powers. Before he can help Cole locate the energy cores needed to power the RFI, which also allows Cole to regain most of his stolen powers along with a few new ones, he is killed by the Militia, who also takes Kuo captive. While working to free her, Cole and Zeke meet Roscoe Laroche, a Vietnam veteran who leads a resistance movement opposed to Bertrand, and Nix (Nika Futterman), a Conduit with the ability to manipulate and ignite a black, napalm-like substance, who has been waging war on the Militia. Using intelligence gathered by Zeke, Cole, and Nix, locate a secret lab where Kuo, revealed to be a Conduit, has been forced to transfer her ice-generating powers to an army of human mercenaries controlled by Bertrand. The two free her but release the mentally unstable mercenaries into the city in the process.


title: Infamous 2

text: With Kuo and Nix's help, Cole undermines Bertrand's influence over New Marais, eventually discovering that Bertrand, who is also a Conduit, has been transforming large numbers of kidnapped civilians into mutant monsters so that he can terrorize the people into supporting him. After exposing Bertrand's plans, Nix explains that when she was young, Bertrand, then a member of the First Sons, used a Ray Sphere built by Wolfe to gain powers, killing hundreds of innocent people, including her mother. After realizing that his powers were only capable of turning him into a deformed monster, Bertrand vowed to cleanse the world of Conduits by unleashing hordes of them upon the world in the hope that humans would ultimately rebel and exterminate them. With the Conduits and the resistance movement joining forces, Bertrand is killed in his mutated form, ending his authoritarian rule.


title: Infamous 2

text: With the Beast in New Marais, Cole reunites with John White (Phil LaMarr), who he thought had died in the process of destroying the first Ray Sphere. John admits that he has become the Beast and gives Cole a vision of humanity perishing from a plague born of the radiation from the Empire City Incident. As Conduits are immune, White uses his newfound powers to activate the Conduit gene in plague victims, claiming that the only way Cole can save the world is to turn his back on humanity. After locating and absorbing the last core, Cole prepares to activate the RFI. However, he realizes that while doing so will cure the plague, it will also kill every Conduit on Earth. Kuo abandons humanity out of fear and sides with White, while Nix sides with humanity since she will no longer be unique in a world of conduits.


title: Infamous 2

text: In the good ending, Cole sides with humanity. Cole and Nix work to charge the RFI, while Laroche and most of his followers sacrifice themselves to hold back the Beast. Nix eventually sacrifices herself as well, injuring the Beast and leaving Cole with just enough time to finish the process and supercharge his powers. After defeating the Beast, Cole activates the device, killing himself, Kuo, the Beast, and thousands of other Conduits, even those who had not yet developed their powers; yet, the plague is completely and permanently erased, saving everyone. In honor of Cole's heroism, he is given the posthumous title of "Patron Saint of New Marais." As Zeke takes his coffin out to sea for burial, a lightning bolt strikes in the distance.


title: Infamous 2

text: In the evil ending, Cole sides with White, causing Nix and Zeke to turn against him and steal the RFI. Together with Kuo and the Beast, Cole rampages through New Marais, killing Laroche and what remains of the Militia. He eventually catches up with his former friends, killing them and destroying the RFI. The Beast, weak from overusing his power, dies after tasking Cole and Kuo with finishing his plan and transferring his powers over to Cole. Fully embracing his role as the new Beast, Cole prepares to build a new era for the Conduits.


title: Infamous 2

text: Gaming journals reported the likelihood of a sequel to "Infamous" due to a Twitter post made by actor David Sullivan reporting on auditioning for the role of Cole in the game's sequel. In April 2010, Sony purchased the domain name "infamousthegame.com", increasing speculation that a sequel was in development. The game was unveiled on June 4, 2010, when "Game Informer" released the cover for their July 2010 issue which featured a preview of the game. Development of "Infamous 2" started immediately after the first "Infamous" had finished development. Sucker Punch hired their own QA staff to test and report bugs for the game. Game director Nate Fox, director of the original, also directed "Infamous 2". The core development team consisted of 65 to 75 people, an amount considered "small".


title: Infamous 2

text: When designing "Infamous 2", Sucker Punch decided to look at everything that could be improved, saying "everything was on the table". Due to negative feedback from fans, they redesigned the main character, Cole. Cole initially underwent many changes, to the extent of making him look like a different character. However, after being "taken aback by the uproar of fan support for the original Cole," Sucker Punch combined elements of the original with the new design. Some of Cole's clothing was changed to suit the new setting of the game. Eric Ladin was also brought in to replace Jason Cottle as the voice of Cole because Sucker Punch felt that they needed someone who could perform Cole's physical reactions as well as his voice with the use of their new motion capture technology.


title: Infamous 2

text: The 3D cutscenes were improved with motion capture technology to create a more cinematic experience. The stylized comic-like cut scenes from the first game carried over into the sequel, though they were reserved for bigger moments in the game. The 3D cutscenes were used to tell the story going on in the moment, while the comic-like cutscenes were used to tell a large piece of the story in a short amount of time. In addition to the cut scenes, the moral element of the original also transferred to the sequel. When incorporating the player's Karma decisions from the first game into the second, it was found challenging to balance the effects of importing saves from the original "Infamous" and keeping the game interesting for those who did not. The melee combat in the game was redesigned from the original with finishing moves being added. A large focus on the melee combat was the presentation, which was meant to make the player feel super-powered.


title: Infamous 2

text: The game's fictional city, New Marais, was inspired by New Orleans, though many other southern influences were mixed and matched. It was thought New Orleans was architecturally the "coolest city in America" and well suited to a superhero who climbs and also allowed Sucker Punch to have environmental variety. New Marais was designed to have distinct neighborhoods with tonal as well as architectural shifts between them. Parkour elements, such as the game's grind rails, were integrated more into the environment to improve the flow of it, while powers such as the vertical grind, were incorporated into the parkour. The goal of the city was to have a "big old jungle gym". Street musicians were added to the city because they were considered an integral part of the New Orleans vibe. "" was seen by game director Nate Fox as extremely inspirational and stated that the city's role in the story was something they wanted to replicate in "Infamous 2".


title: Infamous 2

text: The game's music was composed by James Dooley, Bryan "Brain" Mantia, Melissa Reese, the New Orleans band Galactic, and Jonathan Mayer. All of the music was recorded live with a total of four hours of music being recorded. Starting from the first day of recording, the music was composed in a year. Many of the music's sounds were produced unconventionally, with some of the largest percussion coming from things such as fingernails on an amplified tin plate. Collaboration was considered a major part of writing the music, with the composers "ripping each other off." Themes were composed for the main characters, such as Cole and Nix. A dynamic music system was developed for non-mission gameplay. The game would track a music tension value with thresholds set to determine what the music would be. While missions used the dynamic music system too, the music was laid out more like a movie with set music occurring for specific events. The music of the game was inspired by the city, meant to be "organic" compared to the industrial and electronic music of the first "Infamous". The score was released as two soundtracks, "Infamous 2 The Blue Soundtrack" and "Infamous 2 The Red Soundtrack".


title: Infamous 2

text: Sucker Punch was using around 30% of the Cell processor by the end of "Infamous", and for "Infamous 2", they were "creeping up over 50 and 60%, because [they] know how to put things on to the Cell processor." With the additional power, Sucker Punch was able to "have more characters on-screen, more complicated shaders, and much greater layering". For the game, a new method of ambient occlusion (AO) was developed, a hybrid of precomputed AO and dynamic AO. The new method was used to render contact shadows and self-occlusion for moveable objects and was meant to complement the other methods of AO already used.


title: Infamous 2

text: On March 1, 2011, Sucker Punch announced a mission creation feature for "Infamous 2" that had been in development since 2009. A limited beta for testing this feature was released in April 2011. Sucker Punch wanted to give players a way to continue enjoying the game after completing it and felt there was immense pressure to incorporate multiplayer and that many games were tacking it on. They considered cooperative gameplay, though found it did not make for an experience you wanted to keep playing, saying "ultimately, the game still ends."


title: Infamous 2

text: In October 2011, it was announced that PlayStation Move support would cover the whole game as part of an update which would come out sometime after "Infamous: Festival of Blood" was released, along with a new cutscene creation tool for the UGC creator. The update was released on November 2, 2011.


title: Infamous 2

text: The game was released in North America on June 7, 2011, in Europe on June 8, 2011, in Australia on June 9, 2011, in the United Kingdom, Ireland, and Germany on June 10, 2011, and in Japan on July 7, 2011. On February 18, 2011, before the game's release, "Special Edition" and "Hero Edition" versions of "Infamous 2" were announced for pre-order. The "Special Edition" included an Original Cole skin, a Golden Amp skin, and the Electrocution Grenade power. The "Hero Edition" included everything from the "Special Edition" but also included: a Cole MacGrath statue, a sportable sling pack modeled after Cole's, a Kessler skin, the Lightning Hook power, a Reaper skin, a Sly Cooper's cane skin, a samurai sword skin, a caveman club skin, the "Infamous #1" comic, and "Infamous 2 The Red Soundtrack". The Hero Edition came with all of the DLC except for the Stalker Grenades and the Sniper Blast powers, and the three extra Subway Missions, which are now all available via the PlayStation Store.


title: Infamous 2

text: "Infamous 2" – along with "Infamous" and "Infamous: Festival of Blood" – was released on August 28, 2012, as part of the "Infamous Collection" under Sony's new line of PlayStation Collections for the PlayStation 3.


title: Infamous 2

text: A six issue "Infamous" comic series, which bridges the stories of the first "Infamous" and "Infamous 2", was published by DC Comics. Cole appeared as a guest character for the PlayStation 3 and PlayStation Vita versions of "Street Fighter X Tekken". Additionally, Good and Evil Cole appeared as playable characters in the PlayStation 3 and PlayStation Vita exclusive "PlayStation All-Stars Battle Royale". An "Infamous 2" mini-pack was released as downloadable content to "LittleBigPlanet 2", containing Good and Evil Cole costumes.


title: Infamous 2

text: The story of "Infamous 2" was divisive. Sterling McGarvey from GameSpy thought the story was a "pulpy comic book narrative", Colin Moriarty of IGN found the story well-delivered and "incredible", and Eurogamer's Christian Donlan found the endings of the game to be "genuinely satisfying" and an improvement on the overarching storyline of the series. Conversely, Andrew Reiner of "Game Informer" found the story disengaging with confusing narrative threads, Giant Bomb's Brad Shoemaker felt the story was scattered and had too much going to find its center, and Tom Mc Shea from GameSpot described the story as bland and lacking a hook to invest the player in Cole's affairs.


title: Infamous 2

text: IGN's Moriarty thought that New Marais was more living and breathing than Empire City and the overall look of the game was improved over the original. "Game Informer"'s Reiner saw the city as a "sightseeing marvel." GameSpy's McGarvery found the game was much cleaner-looking than the first. GameSpot's Mc Shea noted the city's neighborhoods were varied and felt alive, and found the visuals "great-looking". Eurogamer's Donlan wrote "New Marais is every bit as good at its job as Empire City was".


title: Infamous 2

text: GameSpot's Mc Shea considered movement through the city a pleasure, but many fights tedious. Eurogamer's Donlan stated "Infamous 2" is "video games' true master of parkour" and found the combat struggled to match the thrills of traversal but that the combat had improved since the original. "Game Informer"'s Reiner enjoyed combat, describing the situations as "amazing open-world superhero fights." Giant Bomb's Brad Shoemaker felt enemies were overwhelming at times during combat like in the original "Infamous". Mc Shea found the pacing uneven and the morality system "laughable". Shoemaker felt the powers of Good and Evil Cole were better balanced than in the first game and saw morality as only a gateway to cutscenes and the possible powers. GameTrailers's reviewer said the morality system did not provide tough decisions, but provided two dramatically different gameplay experiences. Both Mc Shea and Reiner thought UGC was a "great" addition to the game. 1UP reviewer Thierry Nguyen hoped Sucker Punch would mix the combat and traversal of the game with the pacing and storytelling of the first "Infamous" to create an "utterly fantastic" superhero game.


title: Infamous 2

text: GameSpot's Mc Shea found that problems would occur during precise climbing because of Cole getting "sucked" towards objects during climbing, though found it made climbing easier in other aspects. Giant Bomb's Brad Shoemaker also appreciated the way Cole would be drawn to things while climbing but found that it led to frustrating moments where Cole would grab onto the wrong area. IGN's Moriarty criticized the game's camera, calling it "wonky", while GameSpy's McGarvey thought the game needed a better targeting system as the camera could not consistently keep up with the action. Eurogamer's Donlan found the draw distance was low, though the frame rate improved from the first game. Shoemaker also noticed the frame rate had been mostly corrected since the first, making the game more fluid.


title: Infamous 2

text: The game was listed on IGN's Top 25 PlayStation 3 Games, achieving rank 14. The game was nominated for Outstanding Achievement in Original Music Composition at the 15th D.I.C.E. Awards and nominated for Best PS3 Game at the 2011 Spike Video Game Awards.


title: Infamous 2

text: According to the NPD Group, "Infamous 2" sold 369,200 copies in North America during the month of June and was the third highest selling game of the month, though the best selling SKU of the month according to Sony.


title: Infamous 2

text: A stand-alone expansion for "Infamous 2", titled "Infamous: Festival of Blood", was announced at Gamescom and released on October 25, 2011. A vampire-themed spinoff, "Infamous: Festival of Blood" features a non-canon story set in New Marais. The story follows an infected Cole that must kill the vampire which bit him in order to save his soul. The game featured new enemies and powers. A stand-alone sequel to "Infamous 2", titled "Infamous Second Son", was announced at PlayStation Meeting 2013 for PlayStation 4 and was released worldwide on March 31, 2014. The game takes place seven years after "Infamous 2" and follows Delsin Rowe, a new protagonist in the city of Seattle.


title: S.V. Zulte Waregem

text: Sportvereniging Zulte Waregem (), commonly known as Zulte Waregem or by their nickname Essevee (), is a Belgian professional football club based in Waregem, West Flanders. Zulte Waregem plays in the Belgian First Division A. Their highest finish at the highest level was second place in 2012–13. They have won two Belgian Cups. They qualified for the 2006–07 UEFA Cup, losing in the round of 32 to Newcastle United. Also in the seasons 2013–2014 and 2017–2018 they managed to play in the Europa League group stages. On both occasions the club ended 3rd in their group.


title: S.V. Zulte Waregem

text: The club is a product of a partnership in 2001 between Zultse VV and KSV Waregem, a former first division regular. No merger was applied. Zulte Waregem first reached the highest level in Belgian football by winning the 2004–05 second division. The club uniforms are red and green. They play their home matches at the Regenboogstadion, the former stadium of KSV Waregem.


title: S.V. Zulte Waregem

text: Zulte Sportief was founded in 1950 and directly became a member of the national association (matricule n° 5381). The club Zultse V.V. (with the same matricule) was started after the 1976 merger between Zulte Sportief and S.K. Zulte. In 2001, the team merged with K.S.V. Waregem, who had played in the first division for many years. No team from Zulte ever achieved promotion to the second division before S.V. Zulte Waregem in 2002. Zultse V.V., though, gained access to the third division in 1995. The club finished 14th out of 16 for two seasons and was relegated the second time after the playoff.


title: S.V. Zulte Waregem

text: In 1999, the season in which it came back, Zultse finished fourth in this division. Two years later, the new club became champion of the 3rd division A. The registered office of Zulte Waregem lies in Zulte, but the club is based in the stadium of K.S.V. Waregem in Waregem and the red and white colours of K.S.V. Waregem prevail.


title: S.V. Zulte Waregem

text: The club got a chance to shine on the European stage during the 2006–07 UEFA Cup, reaching the round of 32, playing against English club Newcastle United, although they lost 4–1 on aggregate. Their second European appearance was in the 2013–14 season, as Zulte Waregem finished second in 2012–13 Belgian Pro League and qualified for the third qualifying stage of the 2013–14 UEFA Champions League, where they lost to PSV (5–0 on aggregate). Zulte Waregem dropped to the 2013–14 UEFA Europa League play-off round, where they defeated APOEL, drawing 1–1 at home and winning 1–2 in Nicosia thanks to a late goal from Jens Naessens. At the group stage, they were drawn alongside Rubin Kazan, Wigan Athletic and Maribor. Zulte Waregem started with a draw against Wigan. After, they lost to Rubin (4–0) and Maribor (1–3), but later managed to defeat Maribor at Ljudski vrt (0–1) and Wigan at DW Stadium (1–2). Finally, a loss against Rubin at home and Maribor's win over Wigan eliminated Zulte Waregem from the European competition. In the 2016–17 season, Zulte Waregem drew an average home attendance of 9,578.