title: Theatre of Dionysus

text: The Theatre of Dionysus (or Theatre of Dionysos, ) is an ancient Greek theatre in Athens. It is built on the south slope of the Acropolis hill, originally part of the sanctuary of Dionysus Eleuthereus (Dionysus the Liberator). The first "orchestra" terrace was constructed on the site around the mid- to late-sixth century BC, where it hosted the City Dionysia. The theatre reached its fullest extent in the fourth century BC under the "epistates" of Lycurgus when it would have had a capacity of up to 17,000, and was in continuous use down to the Roman period. The theatre then fell into decay in the Byzantine era and was not identified, excavated and restored to its current condition until the nineteenth century.


title: Theatre of Dionysus

text: The cult of Dionysus was introduced to Attica in the Archaic period with the earliest representation of the God dating to c. 580 BC. The City Dionysia (or Great Dionysia) began sometime in the Peisistratid era. and was reorganised during the Kleisthenic reforms of the 520s BC. The first dramatic performances likely took place in the Agora where it is recorded that the wooden bleachers set up for the plays ("ikria") collapsed. This disaster perhaps prompted the removal of dramatic production to the Sanctuary of Dionysus on the Akropolis, which took place by the time of the 70th Olympiad in 499/496 BC. At the "temenos" the earliest structures were the Older Temple, which housed the "xoanon" of Dionysos, a retaining wall to the north and slightly further up the hill a circular terrace that would have been the first "orchestra" of the theatre. The excavations by Wilhelm Dörpfeld identified the foundations of this terrace as a section of polygonal masonry, indicating an archaic date. It is probable there was an altar, or "thymele", in the centre of the "orchestra". No formally constructed stone seating existed at this point, only "ikria" and the natural amphitheatre of the hill served as "theatron".


title: Theatre of Dionysus

text: Besides the archaeological evidence, there is the literary testimonia of the contemporary plays from which there are clues as to the theatre’s construction and scenography. For this earliest phase of the theatre there is the work of Aeschylus, who flourished in the 480-460s. The dramatic action of the plays does point to the presence of a "skene" or background scenery of some description, the strongest evidence of which is from the "Oresteia" that requires a number of entrances and exits from a palace door. Whether this was a temporary or permanent wooden structure or simply a tent remains unclear since there is no physical evidence for a "skene" building until the Periclean phase. However, the hypothesis of a "skene" is not contradicted by the known archaeology of the site. The "Oresteia" also refers to a roof from which a watchman looks out, a step to the palace and an altar. It is sometimes argued that an "ekkyklema", a wheeled trolly, was used for the revelation of the bodies by Clytemnestra at line 1372 in "Agamemnon" amongst other passages. If so it was an innovation of Aeschylus' stagecraft. However, Oliver Taplin questions the seemingly inconsistent use of the device for the dramatic passages claimed for it, and doubts whether the mechanism existed in Aeschylus' lifetime.


title: Theatre of Dionysus

text: The substantial changes to the theatre in the late fifth century BC is conventionally called Periclean since they coincide with the completion of the Odeon of Pericles immediately adjacent and the wider Periclean building programme. However, there is no strong evidence to say the theatre’s reconstruction was of the same group as the other works or from Pericles’ lifetime. The new plan of the theatre consisted of a slight displacement of the performance area northward, a banking up of the auditorium, the addition of retaining walls to the west, east and north, a long hall south of the "skene" and abutting the Older Temple and a New Temple which was said to have contained a chryselephantine sculpture of Dionysus by Alkamenes. The seating during this phase was probably still in the form of "ikria" but it may be the case that some stone seating had been installed. Inscribed blocks, displaced but preserved in the retaining walls, with fifth-century BC epigraphy on them might indicate dedicated or numbered stone seats. The use of breccia in the foundations of the west wall and the long hall gives a "terminus ante quem" of the early fifth century BC, and a likely date of the last half of that century when its use was becoming common. Also the last recorded statue of Alkamenes was 404 BC, again placing the works in the late 400s. Pickard-Cambridge argues that the reconstruction was piecemeal over the last half of the century into the period of Kleophon.


title: Theatre of Dionysus

text: From the evidence of the plays there is a larger corpus to draw upon during this most vital period of Greek drama. Sophocles, Aristophanes and Euripides were all performed at the Theatre of Dionysus. From these we can deduce that stock sets may have been in use to meet the requirements of the plays such that the Periclean reconstruction included post-holes built into the terrace wall to provide sockets for movable scenery. The "skene" itself was likely unchanged from the theatre’s earlier phase, with a wooden structure of at most two floors and a roof. It is also possible that the stage building would have had three doors, with two in the projecting side-wings or "paraskenia". "Mechane" or "geranos" were used for the introduction of divine beings or flights through the air as in "Medea" or Aristophanes' "Birds".


title: Theatre of Dionysus

text: One point of contention has been the existence or otherwise of the "prothyron" or columned portico on a "skene" that represents the interior spaces of temples or palaces. It is a supposition partly supported by the texts, but also from vase painting believed to be depictions of plays. Aeschylus "Choēphóroi" 966 and Aristophanes' "Wasps" 800-4 both refer directly to a "prothyron", while the parodos-chant in Euripides’ "Ion" makes indirect reference to one. The mourning Niobe loutrophoros in Naples and the Boston volute krater, for example, both depict a "prothyron". Pickard-Cambridge questions if this was permanent structure since interior scenes were rare in tragedy. The evidence from the plays for the use of an "ekkyklema" in this period is ambiguous; passages such as "Acharnians" 407 ff or "Hippolytus" 170-1 suggest but don't require the device. The argument for its use depends largely on reference to the "ekkyklema" in later lexographers and scholiasts.


title: Theatre of Dionysus

text: Lycurgus was a leading figure in Athenian politics in the mid- to late-fourth century prior to the Macedonian supremacy, and controller of the state’s finances. In his role as "epistate" of the Theatre of Dionysus he was also instrumental in transforming the theatre into the stone-built structure seen today. There is a question of how far up the hill the stone "theatron" of this phase went; either all the way up to the rock of the Akropolis (the "kataome") or only as far as the peripatos. Since the Choragic Monument of Thrasyllos of 320/319 BC required the rock face to be cut back such that it is likely that the "epitheatron" beyond the peripatos would have reached that point by then.


title: Theatre of Dionysus

text: A coin of the Hadrianic period crudely suggests a division of the theatre into two sections, but only one "diazoma", or horizontal aisle, and not two if the "epitheatron" went past the peripatos. The auditorium was divided by twelve narrow stairways into thirteen wedge-shaped blocks, "kerkides", two additional staircases ran inside the two southern supporting walls. There is a slight slope to each step, the front edge is almost 10 cm lower than the back. The seats were 33 cm in depth and 33 cm in height with a forward projecting lip, with seventy-eight rows in total. The two fronts rows, still partially preserved today, consist of Pentelic stone chairs or thrones; these were the "prohedria" or seats of honour. Originally sixty-seven in number, the surviving ones each bear the name of the priest or official who occupied it, the inscriptions are all later than the fourth century, albeit with signs of erasure, and from the Hellenistic or Roman periods. The central throne belonged to the priest of Dionysus, which is tentatively dated to the first century BC. Towards the orchestra there is a barrier from the Roman era, then a drainage channel contemporary with the Lycurgan theatre.


title: Theatre of Dionysus

text: The "skene" of this phase was built back-to-back with the earlier long hall or stoa the breccia foundations of which remain. It is evident that the new "skene" building consisted of a long chamber from which projected at either end northward two rectangular "paraskenia". Whether there was also a distinct "proskenion" in the Lycurgan theatre is a subject of controversy, despite literary testimonia from the period there is no firm agreement where or of what form this took. This era is that of the new comedy of Menander and late tragedy of which it is sometimes supposed that the chorus disappeared from productions. It is further hypothesised that the decline in the use of the orchestra would imply, or permit, a raised stage where all the action would take place.


title: Theatre of Dionysus

text: Amongst the innovations of the Hellenistic period was the creation of a permanent stone "proskenion" and the addition of two flanking "paraskenia" in front. The date of this construction is not secure, it belongs to some point between the third and first centuries BC. The "proskenion" was fronted with fourteen columns. Immediately above was the "logeion", a roof to the "proskenion", which perhaps functioned as a high stage. On this second storey and set back from the "logeion" is conjectured to be the "episkenion" whose facade was punctured with several "thyromata" or apertures where the "pinakes" or painted scenery would have been displayed. The date of this change devolves onto the question of the date at which the action of the drama transferred from the "orchestra" to the raised stage, and by analogy with other Greek theatres of the period and the direction of influence between Athens and the other cities. Wilamowitz argues that Dithyrambic contest ended with the choregia in 315, however, Pickard-Cambridge notes that the last recorded victory was in 100 AD. Clearly, the chorus was in decline during this period, so would have been the use of the orchestra. The theatres of Epidaurus, Oropos and Sikyon all have ramps up the "logeion", their dates range from late fourth century to c. 250 BC. It remains an open question whether the existence of a "logeion" on these theatres implies a change in dramatic form at Athens.


title: Theatre of Dionysus

text: Another feature of the Hellenistic stage that might have been used in Athens was the "periaktoi", described by Vitruvius and Pollux, these were revolving devices for rapidly changing scenery. Vitruvius places three doors on the "scaenae frons" with a "periaktos" are the extreme ends which could be deployed to indicate that the actor coming stage-left or -right was at a given location in the dramatic context.


title: Theatre of Dionysus

text: With the conquest of Greece by Sulla and the partial destruction of Athens in 86 BC The Theatre of Dionysus entered into a long decline. King Ariobarzanes II of Cappadocia is attributed with the reconstruction of the Odeion and the presence of an honorary inscription to him found embedded in a late wall of the "skene" suggest he may have had a hand in the reconstruction of the theatre, There appears to have been a general refurbishment during the time of Nero whose name was erased from the entablature of an aedicule of the "scaenae frons" in antiquity. The "skene" foundation was underpinned with limestone blocks in this period, the orchestra was reduced in size and refloored in varicoloured marble with a rhombus pattern in the centre. A marble barrier was erected in 61 AD or later, enclosing the "orchestra" up to the "parodoi". The object of this might have been to protect the audience during gladiatorial combats. The last phase of restoration was in the Hadrianic or Antonine era with the construction of the Bema of Phaidros, an addition to the Neronian high pulpitum stage.


title: Theatre of Dionysus

text: After the late 5th century AD the theatre was abandoned: its orchestra became an enclosed courtyard for a Christian basilica ("aithrion") which was built into the eastern parados, while its cavea served as a stone quarry. The basilica was subsequently destroyed and by the mid-eleventh century the Rizokastro wall crossed the bema and the parodos walls. Archaeological examination of the site began in earnest in the nineteenth century with the excavation of Rousopoulos in 1861. Subsequent major archaeological campaigns were Dörpfeld-Reisch, Broneer and Travlos.


title: Theatre of Dionysus

text: Evidence points to the enormous popularity of theatre in ancient Greek society. From competition for scarce seating, the expanding number of festivals and performances to theatre lovers touring the Rural Dionysia. It is also clear from fragments of audience reaction that have come down to us that the public were active participants in the dramatic performance, and that there was reciprocal communication between performers and spectators. It is possible, for example, that laws were enacted in the late fifth century to curtail comic outspokenness such was the offence taken by some of the views expressed on the stage. One anecdote that illustrates the fraught nature of this highly partisan audience reaction is that recorded by Plutarch who writes that in 468 BC when Sophocles was competing against Aeschylus there was so much clamour Kimon had to march his generals into the theatre to replace the judges and secure Sophocles’ victory. While ancient drama undoubtedly excited passion in contemporary spectators there remains the question of to what degree did they value or appreciate the work before them? Aristotle's "Poetics" remarks: “[h]ence there is no need to adhere at all costs to the traditional stories, around which tragedies are constructed. For to try to do this would be ridiculous, since even the well-known materials well-known only to a few, but nevertheless delights all.” This raises the question of how uniform the response to Greek drama was, and whether communicative comprehension and audience competence can be taken for granted.


title: Theatre of Dionysus

text: While the plays of the time are addressed to the adult male citizen class of the city it is apparent that metics, foreigners and slaves were also in attendance, the cost of tickets was underwritten by the Theoric Fund. Much more controversial is whether women were also present. All arguments on the subject are "ex silentio" since there is no direct evidence that women attended the Theatre of Dionysus. Jeffrey Henderson argues that since women participated in other rites and festivals they could certainly have attended the theatre. In contrast, Simon Goldhill maintains that the City Dionysia was a socio-political event similar to the courts or the assembly which women were excluded from. No definite answer to the problem has been put forward.


title: Theatre of Dionysus

text: Due to the poor state of its preservation the acoustics of the Theatre of Dionysus cannot be reconstructed. However, by analogy with other, similar Greek amphitheatres some idea of the sound quality of the ancient theatre can be gleaned. Long renowned for their excellent acoustics, it is only recently that scientific analysis of this has taken place. The ERATO project in 2003–2006, Gade and Angelakis in 2006, Psarras et al. in 2013 used omnidirectional source-receivers to make measured maps of strength, reverberation and clarity. The most recent study, Hak et al 2016, used a large number of S-R to take the most detailed mapping yet. Their findings were that the speech clarity was best in the Odeon of Herodes Atticus and that there is a greater degree of reverberation at Epidaurus due to reflection from the opposing seats.


title: Park Sang-hoon (actor)

text: Park Sang-hoon (Korean: 박상훈; born on May 2, 2005) is a South Korean child actor. He made his acting debut in 2014, since then, he appeared in number of historical television series as child and young actor. He is known for his roles in "Warriors of the Dawn" (2017), "River Where the Moon Rises" (2021), "Lovers of the Red Sky" (2021) and "" (2021-22).


title: Park Sang-hoon (actor)

text: Park Sang-hoon made his debut in the film "Cat" in 2014 and later appeared as child actor in various historical dramas. In 2021 he played childhood counterparts of Grand Prince Juhyang in SBS historical-fantasy drama" Lovers of the Red Sky", Prince Go-won in KBS historical TV series "River Where the Moon Rises", Jeong Jin-soo in Netflix dark fantasy "Hellbound" and Baek Soo-hyeon intvN mystery thriller drama "". He also played a supporting role in Channel A's mystery drama "".


title: Park Sang-hoon (actor)

text: Park was nominated for Best Young Actor award at 2021 KBS Drama Awards for his portrayal of young prince Go-won in "River Where the Moon Rises".


title: Parle Agro

text: Parle Agro Private Limited (stylised as Parlé Agro) is an Indian company that owns Frooti, Appy, LMN, Hippo and Bailley brands.


title: Parle Agro

text: Parle Agro is an offshoot of Parle Products, which was founded in 1929 in British India. It was owned by the Chauhan family of Vile Parle, Mumbai. The original Parle company was split into three separate companies owned by the different factions of the original Chauhan family:


title: Parle Agro

text: Parle Agro commenced operations in 1984. It started with beverages, and later diversified into bottled water (1993), plastic packaging (1996) and confectionery (2007). Frooti, the first product rolled out of Parle Agro in 1985, became the largest selling mango drink in India.


title: Parle Agro

text: The original Parle group was amicably segregated into three non-competing businesses. But a dispute over the use of "Parle" brand arose, when Parle Agro diversified into the confectionery business, thus becoming a competitor to Parle Products. In February 2008, Parle Products sued Parle Agro for using the brand Parle for competing confectionery products. Later, Parle Agro launched its confectionery products under a new design which did not include the Parle brand name. In 2009, the Bombay High Court ruled that Parle Agro can sell its confectionery brands under the brand name "Parle" or "Parle Confi" on condition that it clearly specifies that its products belong to a separate company, which has no relationship with Parle Products.


title: Parle Agro

text: Parle Agro also diversified into production of PET preforms (semi-finished bottles) in 1996. Its customers include companies in the beverages, edible oil, confectionery and pharmaceutical segments.


title: Steve Redgrave

text: Sir Steven Geoffrey Redgrave (born 23 March 1962) is a British retired rower who won gold medals at five consecutive Olympic Games from 1984 to 2000. He has also won three Commonwealth Games gold medals and nine World Rowing Championships golds. He is the most successful male rower in Olympic history, and the only man to have won gold medals at five Olympic Games in an endurance sport.


title: Steve Redgrave

text: Redgrave is regarded as one of Britain's greatest-ever Olympians. As of 2016 he was the fourth-most decorated British Olympian, after cyclists Sir Chris Hoy, Sir Jason Kenny and Sir Bradley Wiggins. He has carried the British flag at the opening of the Olympic Games on two occasions. In 2002, he was ranked number 36 in the BBC poll of the 100 Greatest Britons. He received the BBC Sports Personality of the Year – Lifetime Achievement Award in 2011.


title: Steve Redgrave

text: Redgrave was born in Marlow, Buckinghamshire, to Geoffrey Edward Redgrave, a submariner in the Second World War who became a builder, and Sheila Marion, daughter of Harold Stevenson, a local bus driver. His great-grandparents Harry and Susannah Redgrave moved to Marlow from Bramfield, Suffolk, in 1887. He was educated at Great Marlow School.


title: Steve Redgrave

text: Redgrave's primary discipline was sweep rowing, in which he won Olympic Gold rowing both bowside and strokeside (port and starboard).


title: Steve Redgrave

text: From 1991, the crews in which he rowed became renowned for their consistent dominance, winning almost every time they raced.


title: Steve Redgrave

text: For much of his career he suffered illness: in 1992 he was diagnosed with ulcerative colitis, and in 1997 he was diagnosed with diabetes mellitus type 2.


title: Steve Redgrave

text: Redgrave won gold medals at five consecutive Olympic Games from 1984 to 2000, plus a bronze medal at the 1988 Summer Olympics.


title: Steve Redgrave

text: Immediately after winning the 1996 Olympic Gold Medal, he stated that if anyone found him close to a rowing boat again, they could shoot him. However, he changed his mind shortly afterward, and resumed training after a four-month break. The gold medal achieved by him and Matthew Pinsent in the coxless pair at the Atlanta 1996 games was particularly notable for being the only gold medal achieved by the entire British Olympic team across all sports during that particular Olympic games.


title: Steve Redgrave

text: In 2000, he won his fifth consecutive Olympic Gold Medal and retired from the sport. In August 2000, prior to his final Olympic Games, the BBC broadcast "Gold Fever", a three-part BBC documentary which had followed the coxless four in the years leading up to the Olympics. It included video diaries recording the highs and lows in the quest for gold. At the medal ceremony after the 2000 Summer Olympics he was also presented with a gold Olympic pin by IOC President Juan Antonio Samaranch in recognition of his achievement.


title: Steve Redgrave

text: He competed at Henley Royal Regatta for more than two decades, winning: the Silver Goblets & Nickalls' Challenge Cup for coxless pairs seven times (twice with Andy Holmes, once with Simon Berrisford and four times with Matthew Pinsent); the Stewards' Challenge Cup for coxless fours five times; the Diamond Challenge Sculls twice; the Double Sculls Challenge Cup with Eric Sims then with Adam Clift; and the Queen Mother Challenge Cup for quadruple sculls.


title: Steve Redgrave

text: He starred in "Top Ground Gear Force" for Sport Relief in 2008, where the "Top Gear" Team (Jeremy Clarkson, James May and Richard Hammond) took on "Ground Force" with predictable results, and trashed his garden.


title: Steve Redgrave

text: He launched his own Fairtrade Cotton Brand of clothing called FiveG, which is sold in Debenhams department stores.


title: Steve Redgrave

text: He was involved in starting a rowing academy in India at Lavasa, the new Hill City being developed near Pune City.


title: Steve Redgrave

text: In April 2008, Redgrave took part in the Olympic Torch relay for the games in Beijing, and he went on to be one of the final torch-bearers for the 2012 Summer Olympics in London, carrying the torch into the stadium, where seven young athletes shared the task of lighting the cauldron at the opening ceremony.


title: Steve Redgrave

text: In 2012, he took up kayaking and attempted the Devizes-to-Westminster marathon kayak race, but had to withdraw halfway through due to tiredness.


title: Steve Redgrave

text: In August 2014, Redgrave was one of 200 public figures who were signatories to a letter to "The Guardian" expressing their hope that Scotland would vote to remain part of the United Kingdom in September's referendum on that issue.


title: Steve Redgrave

text: In May 2018, Redgrave assumed the High-Level Performance Director role for the Chinese Rowing Association to help China's rowing team's target of one gold medal at the Tokyo 2020 Games and two golds at Paris 2024.


title: Steve Redgrave

text: He married Ann Callaway (now Ann, Lady Redgrave) in 1988; also an elite rower, she represented Great Britain in the women's eight at the Los Angeles Olympics in 1984. She was Chief Medical Officer to the GB rowing team from 1992 to 2001 and since 2009 their first full-time Medical Officer. He is the honorary president of British Rowing.


title: Steve Redgrave

text: Redgrave has three children, Natalie, Sophie and Zak. Natalie rowed with the Oxford University Women's Boat Club which won the women's boat race at Henley Boat Races in 2011.


title: Steve Redgrave

text: Redgrave was made a Member of the Order of the British Empire (MBE) in 1987, and promoted to Commander of the Order of the British Empire (CBE) in 1997. In the 2001 New Year Honours he was appointed a Knight Bachelor "for services to Rowing", which he received in Buckingham Palace from Queen Elizabeth II on 1 May 2001.


title: Steve Redgrave

text: He was voted the BBC Sports Personality of the Year in 2000, , and received the BBC Sports – Lifetime Achievement Award in 2011.


title: Steve Redgrave

text: He was awarded the Honorary Degree of Doctor of the University from Heriot Watt University in November 2001, having previously been awarded an Honorary Blue in 1997.


title: Steve Redgrave

text: In 2000, his fifth Olympic gold was voted the greatest sporting moment in Channel 4's 100 Greatest Sporting Moments.


title: Steve Redgrave

text: The Redgrave Pinsent Rowing Lake was opened by him and Matthew Pinsent in 2006. The lake and boathouse provide training, medical and scientific facilities for the GB rowing squad.


title: Steve Redgrave

text: In 2013, he was awarded an honorary doctorate by the University of Edinburgh "in recognition of his outstanding sporting achievements and role as a sports ambassador".


title: Isla de la Juventud

text: Isla de la Juventud (; ) is the second-largest Cuban island (after Cuba's mainland) and the seventh-largest island in the West Indies (after mainland Cuba itself, Hispaniola, Jamaica, Puerto Rico, Trinidad, and Andros Island). The island was called the Isle of Pines () until 1978. It has an area and is south of the island of Cuba, across the Gulf of Batabanó. The island lies almost directly south of Havana and Pinar del Río and is a Special Municipality (), not part of any province and is therefore administered directly by the central government of Cuba. The island has only one municipality, also named Isla de la Juventud.


title: Isla de la Juventud

text: The largest of the 350 islands in the Canarreos Archipelago ("Archipiélago de los Canarreos"), the island has an estimated population of 83,544 (in 2019). The capital and largest city is Nueva Gerona in the north, and the second largest and oldest city is Santa Fe in the interior. Other communities include Columbia, La Demajagua (formerly Santa Bárbara), Mac Kinley, Cuchilla Alta, Punta del Este, Sierra de Caballos and Sierra de Casas.


title: Isla de la Juventud

text: Little is known of the pre-Columbian history of the island, though a cave complex near the Punta del Este beach preserves 235 ancient drawings made by the native population. The island was first sighted by Europeans in 1494 during Christopher Columbus's second voyage to the New World.


title: Isla de la Juventud

text: Columbus named the island La Evangelista, claiming it for Spain. The island was also known, at various points in its history, as Isla de Cotorras (Isle of Parrots) and Isla de Tesoros (Treasure Island).


title: Isla de la Juventud

text: Pirate activity in and around the area left its trace in English literature; notably, "Treasure Island" by Robert Louis Stevenson, and "Peter Pan" by J. M. Barrie, each drawing on accounts of the island and its native and pirate inhabitants, by reflecting the long dugout canoes that both pirates and the indigenous peoples used, and the American crocodile ("Crocodylus acutus").


title: Isla de la Juventud

text: Following its defeat in the Spanish–American War and the Cuban War of Independence, Spain dropped all claims to Cuba under the terms of the 1898 Treaty of Paris. The Platt Amendment of 1901, which defined Cuba's boundaries for the purposes of U.S. authorities, left the U.S. position on sovereignty over the then Isla de Pinos undetermined. This led to competing claims to the island by the United States and Cuba. In 1907, the U.S. Supreme Court decided, in "Pearcy v. Stranahan", that control of the island was a political decision, not a judicial one. In 1916, a pamphlet titled "Isle of Pines: American or What?" called for the U.S. to annex or purchase the island to settle the issue.


title: Isla de la Juventud

text: In 1904, Cuba and the United States negotiated and signed the Hay-Quesada Treaty, which recognized Cuba's sovereignty over the island. The U.S. Senate ratified this agreement on March 13, 1925, over the objections of some four hundred United States citizens and companies, who owned or controlled about 95% of the island's land.


title: Isla de la Juventud

text: Prior to 1976, the island was part of La Habana Province. With the political and administrative reorganization of Cuban provinces in 1976, the island was given the status of "special municipality".


title: Isla de la Juventud

text: Fidel Castro presided at a ceremony changing the name of the island from Isla de Pinos to Isla de la Juventud on 3 August 1978. This was the realization of a promise that he had made in 1967, when he said "Let’s call it the Isle of Youth when the youth have done something grand with their work here, when they have revolutionized the natural environment, when they see the fruits of their labor and have revolutionized society here."


title: Isla de la Juventud

text: Much of the island is covered in pine forests, which is the source of the island's large lumber industry (as well as its original name). The northern region of the island has low ridges from which marble is quarried, while the southern region is an elevated plain. Agriculture and fishing are the island's main industries, with citrus fruit and vegetables being grown. A black sand beach was formed by volcanic activity.


title: Isla de la Juventud

text: The island has a mild climate but is known for frequent hurricanes. It is a popular tourist destination, with many beaches and resorts, including Bibijagua Beach. Until the Cuban government expropriated all foreign-owned property in the early 1960s, much land was owned by Americans, and the island contained a branch of the Hilton Hotels chain.


title: Isla de la Juventud

text: In the 2012 official census, the Special Municipality of Isla de la Juventud had a population of 84,751. The racial makeup of the population was white 50,732 (59.9%), mestizo or mulatto 26,013 (30.7%) and black 8,006 (9.4%).


title: Isla de la Juventud

text: "Caimaneros", the inhabitants of the south coast of the island, are descended from settlers from the Cayman Islands and Jamaica, and are English-speaking Cubans.


title: Isla de la Juventud

text: The main transportation to the island is by boat or aircraft. Hydrofoils (kometas) and motorized catamarans will make the journey from Batabanó to Nueva Gerona in between two and three hours. A much slower and larger cargo ferry takes around six hours to make the crossing but is cheaper.


title: Isla de la Juventud

text: The Presidio Modelo was erected between 1926 and 1928. The model panopticon penitentiary is on the outskirts of Nueva Gerona. It was the place where, after leading a failed attack on the Moncada Barracks in July 1953, Fidel Castro, along with his brother Raúl Castro, was imprisoned by the regime of Fulgencio Batista from 1953 to 1955.


title: Isla de la Juventud

text: Following the Cuban Revolution, the same facility was used to imprison the new regime's enemies and political dissidents. They included Huber Matos, an officer in the revolutionary army who attempted to resign and who said he was tortured there. Armando Valladares wrote a memoir describing the prison's harsh conditions and cruel treatment of political prisoners. Presidio Modelo ceased functioning as a prison in 1967. It has been declared a national monument and its hospital rooms converted into a museum.


title: Transatlantic flight of Alcock and Brown

text: British aviators John Alcock and Arthur Brown made the first non-stop transatlantic flight in June 1919. They flew a modified First World War Vickers Vimy bomber from St. John's, Newfoundland, to Clifden, County Galway, Ireland. The Secretary of State for Air, Winston Churchill, presented them with the "Daily Mail" prize for the first crossing of the Atlantic Ocean by aeroplane in "less than 72 consecutive hours." A small amount of mail was carried on the flight, making it the first transatlantic airmail flight. The two aviators were awarded the honour of Knight Commander of the Most Excellent Order of the British Empire (KBE) by King George V at Windsor Castle a week later.


text: John Alcock was born in 1892 in Basford House on Seymour Grove, Firswood, Manchester, England. Known to his family and friends as "Jack", he first became interested in flying at the age of seventeen and gained his pilot's licence in November 1912. Alcock was a regular competitor in aircraft competitions at Hendon in 1913–14. He became a military pilot during the First World War and was taken prisoner in Turkey after his Handley Page bomber was shot down over the sea. After the war, Alcock wanted to continue his flying career and took up the challenge of attempting to be the first to fly directly across the Atlantic.


text: Arthur Whitten Brown was born in Glasgow, Scotland in 1886 and shortly afterwards the family moved to Manchester. Known to his family and friends as "Teddie", he began his career in engineering before the outbreak of the First World War.


text: The competition was suspended with the outbreak of war in 1914 but reopened after Armistice was declared in 1918.


text: Brown became a prisoner of war after being shot down over Germany. Alcock, too, was imprisoned and had resolved to fly the Atlantic one day. As Brown continued developing his aerial navigation skills, Alcock approached the Vickers engineering and aviation firm at Weybridge, who had considered entering their Vickers Vimy IV twin-engined bomber in the competition but had not yet found a pilot. The Vimy had originally been manufactured at Vickers in Crayford, the first twelve being made there and tested at Joyce Green airfield, Dartford. It was a great inconvenience to have to dismantle the aircraft to move them to Joyce Green so production was moved to Weybridge. The thirteenth Vimy assembled was the one used for the trans-Atlantic crossing. Alcock said 13 was his lucky number. Sir Henry Norman got involved in the detailed planning for a proposed transatlantic flight using the F.B.27. This planning included the route to be flown and of course, the hangar facilities and the provision of fuel needed for preparation of the aircraft in Newfoundland.


text: Alcock's enthusiasm impressed the Vickers' team and he was appointed as their pilot. Work began on converting the Vimy for the long flight, replacing the bomb racks with extra petrol tanks. Shortly afterwards, Brown, who was unemployed, approached Vickers seeking a post and his knowledge of long-distance navigation persuaded them to take him on as Alcock's navigator.


text: Several teams had entered the competition and, when Alcock and Brown arrived in St. John's, Newfoundland, the Handley Page team were in the final stages of testing their aircraft for the flight, but their leader, Admiral Mark Kerr, was determined not to take off until the plane was in perfect condition. The Vickers team quickly assembled their plane and, at around 1:45 p.m. on 14 June, whilst the Handley Page team were conducting yet another test, the Vickers plane took off from Lester's Field. Alcock and Brown flew the modified Vickers Vimy, powered by two Rolls-Royce Eagle 360 hp engines which were supported by an on-site Rolls Royce team led by engineer Eric Platford. The pair brought toy cat mascots with them for the flight – Alcock had 'Lucky Jim' while Brown had 'Twinkletoes'.


text: It was not an easy flight. The overloaded aircraft had difficulty taking off the rough field and only barely missed the tops of the trees.


text: At 17:20 the wind-driven electrical generator failed, depriving them of radio contact, their intercom and heating.


text: An exhaust pipe burst shortly afterwards, causing a frightening noise which made conversation impossible without the failed intercom.


text: At 5.00 p.m., they had to fly through thick fog. This was serious because it prevented Brown from being able to navigate using his sextant.


text: Blind flying in fog or cloud should only be undertaken with gyroscopic instruments, which they did not have. Alcock twice lost control of the aircraft and nearly hit the sea after a spiral dive. He also had to deal with a broken trim control that made the plane become very nose-heavy as fuel was consumed.


text: At 12:15 a.m., Brown got a glimpse of the stars and could use his sextant and found that they were on course. Their electric heating suits had failed, making them very cold in the open cockpit.


text: Then at 3:00 a.m., they flew into a large snowstorm. They were drenched by rain, their instruments iced up, and the plane was in danger of icing and becoming unflyable. The carburettors also iced up; it has been said that Brown had to climb out onto the wings to clear the engines, although he made no mention of that.


text: They made landfall in County Galway, landing at 8:40 a.m. on 15 June 1919, not far from their intended landing place, after less than sixteen hours' flying time.


text: The aircraft was damaged upon arrival because they landed on what appeared from the air to be a suitable green field, but which turned out to be Derrigimlagh Bog, near Clifden in County Galway in Ireland. This caused the aircraft to nose-over, although neither of the airmen was hurt.


text: Their altitude varied between sea level and 12,000 ft (3,700 m). They took off with 865 imperial gallons (3,900 L) of fuel. They had spent around fourteen-and-a-half hours over the North Atlantic crossing the coast at 4:28 p.m., having flown 1,890 miles (3,040 km) in 15 hours 57 minutes at an average speed of 115 mph (185 km/h; 100 knots). Their first interview was given to Tom 'Cork' Kenny of "The Connacht Tribune".


text: Alcock and Brown were treated as heroes on the completion of their flight. In addition to a share of the "Daily Mail" award of £10,000, Alcock received 2,000 guineas (£2,100) from the State Express Cigarette Company and £1,000 from Laurence R Philipps for being the first Briton to fly the Atlantic Ocean. Both men were knighted a few days later by King George V.


text: Alcock and Brown flew to Manchester on 17 July 1919, where they were given a civic reception by the Lord Mayor and Corporation, and awards to mark their achievement.


text: Alcock was killed on 18 December 1919 when he crashed near Rouen whilst flying the new Vickers Viking amphibian to the Paris Airshow. Brown died on 4 October 1948.


text: Two memorials commemorating the flight are sited near the landing spot in County Galway, Ireland. The first is an isolated cairn four kilometres south of Clifden on the site of Marconi's first transatlantic wireless station from which the aviators transmitted their success to London, and around from the spot where they landed. In addition there is a sculpture of an aircraft's tail-fin on Errislannan Hill two kilometres north of their landing spot, dedicated on the fortieth anniversary of their landing, 15 June 1959.


text: Three monuments mark the flight's starting point in Newfoundland. One was erected by the Government of Canada in 1952 at the junction of Lemarchant Road and Patrick Street in St. John's, a second monument is located on Lemarchant Road, while the third was unveiled by Premier of Newfoundland and Labrador Joey Smallwood on Blackmarsh Road.


text: A memorial statue was erected at London Heathrow Airport in 1954 to celebrate their flight. There is also a monument at Manchester Airport, less than 8 miles from John Alcock's birthplace. Their aircraft (rebuilt by the Vickers Company) is located in the Science Museum in South Kensington, London.


text: The Royal Mail issued a 5d (approximately 2.1p in modern UK currency) stamp commemorating the 50th anniversary of the flight on 2 April 1969.


text: In June 2019, the Central Bank of Ireland issued 3,000 €15 silver commemorative coins, commemorating the 100th anniversary of the flight.


text: From April to October 2019 various events were held in Crayford and Bexley to commemorate the Centenary of the flight, and the visit of Alcock and Brown to Crayford in July 1919 when they were surprise guests at the reopening of The Princesses Theatre by the Duke of York (later King George VI). The events included talks, exhibitions, a celebration day at Hall Place and Gardens attended by c3,500 people, and chiefly a visit by the Duke of Kent to unveil a new bench in the centre of Crayford with a life size Alcock and Brown seated at each end, and to view public artwork designed by local schools.


text: On 19 March 2017 an edition of the "Antiques Roadshow" was broadcast in the UK in which the granddaughter of Alcock's cousin presented a handwritten note which was carried by Alcock on the flight. The note, which was valued at £1,000–£1,200, read as follows:


text: Two weeks before Alcock and Brown's flight, the first 'stopping' flight of the Atlantic had been made by the NC-4, a United States Navy flying boat, commanded by Lt. Commander Albert Cushing Read, who flew from Naval Air Station Rockaway, New York to Plymouth with a crew of five, over 23 days, with six stops along the way. This flight was not eligible for the "Daily Mail" prize since it took more than 72 consecutive hours and also because more than one aircraft was used in the attempt.


text: A month after Alcock and Brown's achievement, British airship R34 made the first double crossing of the Atlantic. Leaving England July 2, it arrived July 4 carrying 31 people (one a stowaway) and a cat. For the return flight, 29 of this crew, plus two flight engineers and a different American observer, returned to Europe.


text: On 2–3 July 2005, American adventurer Steve Fossett and co-pilot Mark Rebholz recreated the flight in a replica of the Vickers Vimy aeroplane. They did not land in the bog near Clifden, but a few miles away on the Connemara golf course.


text: A replica Vimy, NX71MY, was built in Australia and the US in 1994 for an American, Peter McMillan, who flew it from England to Australia with Australian Lang Kidby in 1994 to re-enact the first England-Australia flight by Ross & Keith Smith with Vimy G-EAOU in 1919. In 1999, Mark Rebholz and John LaNoue re-enacted the first flight from London to Cape Town with this same replica, and in late 2006 the aeroplane was donated to Brooklands Museum at Weybridge, Surrey. After making a special Alcock and Brown 90th anniversary return visit to Clifden in June 2009 (flown by John Dodd and Clive Edwards), and some final public flying displays at the Goodwood Revival that September, the Vimy made its final flight on 15 November 2009 from Dunsfold Park to Brooklands crewed by John Dodd (pilot), Clive Edwards and Peter McMillan. It is now on public display as the centre-piece of a new 'First to the Fastest' Transatlantic flight exhibition in the Museum's Vimy Pavilion but is maintained as a 'live' aeroplane and occasionally performs engine ground running demonstrations outside.


text: One of the propellers from the Vickers Vimy was given to Arthur Whitten Brown and hung for many years on the wall of his office in Swansea before he presented it to the RAF College Cranwell. It is believed to have been displayed in the RAF Careers Office in Holborn until 1990. It is believed to be in use today as a ceiling fan in Luigi Malone's Restaurant in Cork, Ireland.


text: The other propeller, serial number G1184.N6, was originally given to the Vickers Works Manager at Brooklands, Percy Maxwell Muller and displayed for many years suspended inside the transatlantic terminal (Terminal 3) at London's Heathrow Airport. In October 1990 it was donated by the BAA (via its former chairman, Sir Peter Masefield) to Brooklands Museum, where it is now displayed as part of a full-size Vimy wall mural in the Vickers Building.


text: A small amount of mail, 196 letters and a parcel, was carried on Alcock and Brown's flight, the first time mail was carried by air across the ocean. The government of the Dominion of Newfoundland overprinted stamps for this carriage with the inscription "Transatlantic air post 1919".


text: Upon landing in Paris after his own record breaking flight in 1927, Charles Lindbergh told the crowd welcoming him that "Alcock and Brown showed me the way!"


text: To mark the original transatlantic crossing, on 1 June 1979 two Royal Air Force McDonnell Douglas Phantom FGR.2s – XV424 (of No. 56 Squadron) and (RAF Coningsby based) XV486, were painted in special commemorative schemes. The scheme was designed by aviation artist Wilfred Hardy. As well as marking the anniversary of the crossing, the scheme also made reference to usage of Rolls-Royce engines in both aircraft: the Rolls-Royce Eagle in the Vimy and the Rolls-Royce Spey in the Phantom FGR.2, and on top of this it also marked the 30th anniversary of North Atlantic Treaty Organization (NATO).


text: It was decided that XV424 would make the flight and that XV486 would serve as backup. On 19 June, XV424 departed from RAF St. Athan to CFB Goose Bay from where the crossing would be made. The crew chosen for the crossing were: Squadron Leader A. J. N. "Tony" Alcock (pilot and nephew of Sir John Alcock who made the original crossing) and Flight Lieutenant W. N. "Norman" Browne (navigator). For the journey the pair brought with them Brown's original cat toy mascot 'Twinkletoes.'


text: On 21 June, XV424 took off from Goose Bay, Labrador and began the crossing to Ireland. Flying subsonically the entire time, the journey took 5 hours and 40 minutes, setting The Phantom was refuelled five times throughout the crossing, with that being taken care of by Handley-Page Victor K.2 tankers of No. 57 Squadron. XV424 today is preserved at the RAF Museum in Hendon, sporting colours of No. 56 (Fighter) Squadron, while XV486 was scrapped in 1993.


title: Enslaved (band)

text: Enslaved is a Norwegian extreme metal band formed by Ivar Bjørnson and Grutle Kjellson in Haugesund in June 1991. They are currently based in Bergen. The band's lineup has changed many times over the years, and Bjørnson and Kjellson have been the sole constant members. The current lineup also includes lead guitarist Arve Isdal, keyboardist/singer Håkon Vinje, and drummer Iver Sandøy.


title: Enslaved (band)

text: The band's music draws heavily on the Viking cultural and religious heritage of their home country of Norway for inspiration, and most of the band's lyrics relate to Norse mythology. Though they began as a traditional black metal band their sound has undergone significant changes over time resulting in a more progressive sound. In 2014, members of Enslaved were commissioned by the Norwegian government to create a musical piece in celebration of the 200th anniversary of the Norwegian constitution. This was later released as a studio album called "Skuggsjá" in 2016. To date, the bands has released fifteen full-length studio albums; the most recent of which, "Utgard", was released in October 2020 on Nuclear Blast Records.


title: Enslaved (band)

text: Enslaved was formed in July 1991 by Ivar Bjørnson and Grutle Kjellson (also known as Kjetil Grutle) when they were 13 and 17 years old, respectively. The band name was inspired by an Immortal demo track, "Enslaved in Rot." After many line-up changes throughout their career, Bjørnson and Kjellson are the only remaining original members. By 2004 the line-up solidified with guitarist Arve "Ice Dale" Isdal, drummer Cato Bekkevold, and keyboardist/vocalist Herbrand Larsen.


title: Enslaved (band)

text: Prior to forming Enslaved, Bjørnson and Kjellson had been playing in a death metal band called Phobia, but like many in the burgeoning extreme metal movement, they were looking for new sources of inspiration and expression. Though Enslaved began as a prototypical Norwegian black metal band in 1991, by 1993 they were incorporating song structures unusual for the genre; several of their earlier songs reach the ten-minute mark (their debut album, "Vikingligr Veldi", has only one song that is under ten minutes). As such, the band has rejected the black metal label and prefers the term "extreme metal". "Mardraum" (2000) contained several multi-part epics such as "Større enn tid - Tyngre enn natt" and "Entrance – Escape". Several of the band's tracks (most prominently, "As Fire Swept Clean the Earth" from "Below the Lights") have used mellotron. "Isa" (2004) and "Ruun" (2006) show a marked departure from previous sounds, most notably with the inclusion of sharp dynamic shifts, and Bjørnson considers the former a turning point for the band. Following "Ruun", in 2007–2008, Bjørnson, Kjellson, and Isdal collaborated with the Norwegian noise duo Fe-Mail under the name Trinacria.


title: Enslaved (band)

text: Enslaved released the album "Vertebrae" in September 2008, their tenth studio album and their first on Nuclear Blast. Terrorizer Magazine named it the album of the year in 2008, notably above other metal releases such as Meshuggah's "obZen" and Opeth's "Watershed". After touring Europe extensively, Enslaved embarked on a North American tour with the progressive death metal band Opeth in May 2009. The album is noted for its shift in its approach and its diverse sounds; Sammy O'Hagar from MetalSucks.net even says that "to call [Vertebrae] black metal would be quite a stretch" because "there's an impressive depth to [it] that surpasses the sour misanthropy so often (and rightfully) associated with the genre", and furthermore describing their sound as "heavy and surprisingly soft, focused and curious, true to their roots and longing to forget them". The album's sound has been said to be akin to Pink Floyd's sound on a few occasions, as well as other black metal releases in a similar vein.


title: Enslaved (band)

text: Enslaved released their eleventh studio album, "Axioma Ethica Odini", on 27 September 2010 in Europe and the following day in North America. In 2011 Enslaved released two new EPs. The first EP, entitled "The Sleeping Gods", which was produced in partnership with Scion Audio/Visual, was released on 10 May 2011 and made available as a free download consisting of 5 original tracks. The second EP, entitled "Thorn", was released on 27 August 2011 in partnership with Soulseller Records in fulfillment of a decade-old agreement. The "Thorn" EP, released on seven-inch vinyl, was strictly limited to 1,000 copies and featured a more atmospheric sound than the band is currently known for. Enslaved started their 20th anniversary tour "Circling Above and Within North America Tour Part IV" in September 2011 with Alcest and Junius in the United States and Canada. An official tribute album called "Önd – A Tribute" was released on Pictonian Records in July 2012. It contains twenty covers from twenty bands (including Dordeduh, Fen, Kraków, Vreid and Wodensthrone) to celebrate the two first decades of Enslaved's career.


title: Enslaved (band)

text: After having signed to Nuclear Blast in Europe, too, Enslaved released their 12th studio album, "RIITIIR", on 28 September 2012 in Europe and 9 October in North America. The album received positive reviews from music critics. In 2013 they contributed to the book "Think like a rockstar" Tenk som en rockestjerne, written by Ståle Økland.


title: Enslaved (band)

text: Enslaved released their 13th full-length studio album, "In Times", on 10 March 2015 through Nuclear Blast. The album received positive reviews from music critics, with AllMusic's Thom Jurek noting that the band are "still pushing at the boundaries of the music that inspired them back in 1991 when guitarist Ivar Bjørnson and vocalist/bassist Grutle Kjellson (13 and 17 years old at the time) first formed the band." In 2016 the band celebrated their 25th anniversary with a series of exclusive shows and merchandise designs. Their Spinning Wheel Ritual tour across Europe with Ne Obliviscaris and Oceans of Slumber will take place from late September to early November. They also announced their plans to release a new compilation album on 11 November 2016, titled "The Sleeping Gods – Thorn". The album compiles rare and experimental material from 2010 to 2011 which were previously available as two separate EPs released in 2011: "The Sleeping Gods" and "Thorn".


title: Enslaved (band)

text: In December 2016, keyboardist Herbrand Larsen left the band amicably after 12 years. The band then recruited Håkon Vinje of Seven Impale, a Norwegian band that opened for them at a concert in Bergen. Enslaved's 14th studio album "E" was released on 13 October 2017. In June 2018, drummer Cato Bekkevold retired from the band amicably, and was replaced by Iver Sandøy, who had previously played in the side project Trinacria and co-produced several recent Enslaved albums. The band's 15th album "Utgard" was initially announced for Spring 2020, but was delayed by the COVID-19 pandemic; it was finally released in October 2020. The four-song EP "Caravans to the Outer Worlds" was released in October 2021; the EP was described by the band as a bridge between "Utgard" and their next full-length album in the future.


title: Enslaved (band)

text: The band's early music was rooted in traditional black metal and Viking metal, however the band moved away from this sound with 2001's "Monumension" and 2003's "Below the Lights". It was at this point that the band was reduced to its two founding members, Bjørnson and Kjellson. They began to incorporate elements of progressive rock, jazz, and other distinct influences into their sound, and over time have continued this progression. Kjellson has named Pink Floyd, King Crimson, Rush, Genesis, Darkthrone, early Mayhem, and Bathory as important influences on the band's sound.


title: Brigid Brannagh

text: Brigid Brannagh (born August 3, 1972) is an American actress. She has been credited as Brigid Brannagh, Brigid Brannah, Brigid Brannaugh, Brigid Walsh, and Brigid Conley Walsh.


title: Brigid Brannagh

text: Born in San Francisco, California, Brannagh is of Irish ancestry. She is the fourth child of nine children. She began auditioning for roles around age 13.


title: Brigid Brannagh

text: She is a frequent guest star on various television programs, including a recurring role on "", playing serial felon Tammy Felton in the first and second seasons. She starred in "" and "Over There". She also had the recurring role of Virginia Bryce, Wesley Wyndam-Pryce's girlfriend, during the second season of "Angel".


title: Brigid Brannagh

text: In 1999, Brannagh guest starred on a season 2 episode of the TV series "Charmed" ("That Old Black Magic") as an evil witch named Tuatha.


title: Brigid Brannagh

text: In 2007, she landed a role in the Lifetime series "Army Wives", in which she portrayed Pamela Moran for six seasons until Spring 2012.


title: Brigid Brannagh

text: She starred in Hallmark movie "Crush on You", which aired in June 2011 and in independent movie "Not That Funny".


title: Brigid Brannagh

text: Soon after leaving "Army Wives", Brannagh joined the cast of the proposed ABC drama series "Gilded Lillys" as Elizabeth, the matriarch of the Lily family. The show began filming in March 2012 in Boston after being ordered in late January. "Gilded Lillys" was created and produced by Shonda Rhimes. However, ABC did not pick up the series.


title: Haworth

text: Haworth () is a village in the City of Bradford, West Yorkshire, England, in the Pennines, south-west of Keighley, west of Bradford and east of Colne in Lancashire. The surrounding areas include Oakworth and Oxenhope. Nearby villages include Cross Roads, Stanbury and Lumbfoot.


title: Haworth

text: Haworth is a tourist destination known for its association with the Brontë sisters and the preserved heritage Keighley and Worth Valley Railway.


title: Haworth

text: Haworth is first mentioned as a settlement in 1209. The name may refer to a "hedged enclosure" or "hawthorn enclosure". The name was recorded as "Howorth" on a 1771 map.


title: Haworth

text: In 1850, local parish priest Patrick Brontë invited Benjamin Herschel Babbage to investigate the village's high early mortality rate, which had led to all but one of his six children, including the writers Emily and Anne Brontë, dying by the age of 31. Babbage's inspection uncovered deeply unsanitary conditions, including there being no sewers, excrement flowing down Haworth's streets, waste from slaughterhouses and pigsties being held for months in fenced-in areas, overcrowded and poorly-ventilated housing, and a poorly-oxygenated and overcrowded graveyard that filtered into the village's water supply. These conditions contributed to an average life expectancy of 25.8 years and 41.6% of the village's residents dying before the age of 6. This report was presented to the General Board of Health and prompted work to improve conditions in the village.


title: Haworth

text: Haworth is part of the civil parish of Haworth, Cross Roads and Stanbury, which in turn is part of the Bradford Metropolitan District Council, one of the five metropolitan boroughs of West Yorkshire.


title: Haworth

text: Between 1938 and 1974, Haworth was part of the Municipal Borough of Keighley, and before that it had been a civil parish and urban district in its own right.


title: Haworth

text: Haworth is in the Worth Valley amid the Pennines. It is north of London, west of York and west of Bradford.


title: Haworth

text: Tourism accounts for much of the local economy, with the major attractions being the heritage railway and Brontë Parsonage Museum.


title: Haworth

text: In Haworth, there are tea rooms, souvenir and antiquarian bookshops, restaurants, pubs and hotels, including the Black Bull, where Branwell Brontë's decline into alcoholism and opium addiction allegedly began. Haworth is a base for exploring Brontë Country, while still being close to the major cities of Bradford and Leeds.


title: Haworth

text: On 22 November 2002, Haworth was granted Fairtrade Village status. On 21 October 2005, Haworth Fairtrade officially signed an agreement to twin with Machu Picchu in Peru.


title: Haworth

text: Haworth's traditional events were an annual service at Haworth Spa and the rushbearing. Spa Sunday died out in the early 20th century and the rushbearing ceremony has not been held for many years. A modern event organised by the Haworth Traders' Association is ""Scroggling the Holly"", which takes place in November. Bands and Morris men lead a procession of children in Victorian costume following the Holly Queen up the cobblestones to a crowning ceremony on the church steps. She unlocks the church gates to invite the spirit of Christmas into Haworth. Father Christmas arrives bringing glad tidings.


title: Haworth

text: The first Haworth Arts Festival took place in 2000 and was repeated in 2001. It was revived in 2005 as a festival combining performing and visual arts and street performance. The festival has community involvement and uses local professional and semi-professional musicians, artists and performers and a larger name to headline each year. It has provided a stage for John Cooper Clarke and John Shuttleworth. The festival has expanded across the Worth Valley outside Haworth and is held on the first weekend in September.


title: Haworth

text: Haworth Band is one of the oldest secular musical organisations in the Keighley area. Historic records indicate that there was a brass band at nearby Ponden in 1854 with a body of excellent performers. It was founded by John Heaton, who lived at Ponden. The band played at a celebration in Haworth at the conclusion of the Crimean War. "Over the years the world of brass band music went from strength to strength, during which time the Haworth Band went with it."


title: Haworth

text: Every year the village hosts a 1940s weekend where locals and visitors don wartime attire for a host of nostalgic events.


title: Haworth

text: From 1971 to 1988, 25 and 27 Main Street housed the Haworth Pottery, where Anne Shaw produced hand-thrown domestic stoneware derived from the arts & crafts tradition. She exhibited widely in the UK and USA in public and private exhibitions and received an arts association award for her ceramic sculptures. Her husband, Robert Shaw, depicted life (and prominent residents) in the village in the 1970s and 80s, in two collections of satires, "The Wrath Valley Anthology", 1981, and "Grindley's Bairns", 1988, praised by "The Times Literary Supplement".


title: Haworth

text: On 13 January 2009, it was announced that a permanent library would be established in the village, replacing the mobile service which visits the village once a week. Haworth last had its own library in 1978. The library is yet to be established.


title: Haworth

text: Haworth railway station is part of the Keighley and Worth Valley Railway, an authentic, preserved steam railway.


title: Haworth

text: The Brontë Way leads past Lower Laithe Reservoir, Stanbury, to the Brontë waterfalls, the Brontë Bridge and the Brontë Stone Chair, in which (it is said) the sisters took turns to sit and write their first stories. It then leads out of the valley and up on the moors to Ponden Hall (reputedly "Thrushcross Grange" in Emily Brontë's "Wuthering Heights") and Top Withens, a desolate ruin which was reputedly the setting for the farmstead "Wuthering Heights". Top Withens can also be reached by a shorter walking route departing from the nearby village of Stanbury.


title: Haworth

text: Haworth is served by Keighley Bus Company rural bus service which provides links to the main local town of Keighley and the local villages of Oxenhope, Stanbury and Oakworth. There is also a service to Hebden Bridge. Evening and Sunday services are partly paid for by Metro. Overall there are approximately three buses every hour between Haworth and Keighley, with one per hour to each of Stanbury, Oakworth, and Oxenhope (continuing to Hebden Bridge).


title: Haworth

text: Central North Street Car Park Haworth, formerly Changegate Car Park, has been subject of a Channel 4 television documentary "The Yorkshire Clamper", regarding their tactics.


title: Haworth

text: Haworth Primary School on Rawdon Road is the only school in the village and takes children from age 3 to 11. Children from 12 to 18 attend secondary schools outside the village at Beckfoot Oakbank in Keighley and Parkside School in Cullingworth.


title: Haworth

text: St Michael and All Angels' Church is situated on Church Street, next to the parsonage. It is part of the Church of England Deanery of Craven.


title: Haworth

text: Baptists in the area met in a barn at the bottom of Brow Road in 1785. They subsequently moved to Hall Green Baptist Church at the junction of Bridgehouse Lane and Sun Street.


title: Haworth

text: Haworth Cricket Club was established in 1887 as Haworth Wesleyan Cricket Club and were members of the English Cricket Board. They had a permanent ground north-west of the village centre, but the club was closed down in 2015. Haworth West End Cricket Club was formed in 1900 as the Haworth West Lane Baptist Cricket Club.


title: Haworth

text: On 6 July 2014, Stage 2 of the 2014 Tour de France from York to Sheffield, passed through the village.


title: Haworth

text: The Brontë sisters were born in Thornton near Bradford, but wrote most of their novels while living at Haworth Parsonage when their father was the parson at the Church of St. Michael and All Angels. In the 19th century, the village and surrounding settlements were largely industrialised, which put it at odds with the popular portrayal in "Wuthering Heights", which only bore resemblance to the upper moorland that Emily Brontë was accustomed to. The Parsonage is now a museum owned and maintained by the Brontë Society.


title: Haworth

text: Haworth and Haworth railway station have been used as settings for numerous period films and TV series, including "The Railway Children" (starring Jenny Agutter), "Yanks" (starring Richard Gere and Vanessa Redgrave), and Alan Parker's film version of Pink Floyd's "The Wall" (starring Bob Geldof). It also featured in "Wild Child" (starring Emma Roberts), and "The Souk" (a high-class vintage shop) was depicted as a charity shop.


title: Haworth

text: In 2016 the BBC drama "To Walk Invisible" was shot in and around Haworth and included a full-scale replica of the Brontë Parsonage, Old School Rooms and Haworth Church at the time of the Brontës on nearby Penistone Hill.


title: Thomas H. Ince

text: Thomas Harper Ince (November 16, 1880 – November 19, 1924) was an American silent film - era filmmaker and media proprietor.


title: Thomas H. Ince

text: Ince was known as the "Father of the Western" and was responsible for making over 800 films. He revolutionized the motion picture industry by creating the first major Hollywood studio facility and invented movie production by introducing the "assembly line" system of filmmaking. He was the first mogul to build his own film studio dubbed "Inceville" in Palisades Highlands. Ince was also instrumental in developing the role of the producer in motion pictures. Three of his films, "The Italian" (1915), for which he wrote the screenplay, "Hell's Hinges" (1916) and "Civilization" (1916), which he directed, were selected for preservation by the National Film Registry. He later entered into a partnership with D. W. Griffith and Mack Sennett to form the Triangle Motion Picture Company, whose studios are the present-day site of Sony Pictures. He then built a new studio about a mile from Triangle, which is now the site of Culver Studios. Ince's untimely death at the height of his career, after he became severely ill aboard the private yacht of media tycoon William Randolph Hearst, has caused much speculation, although the official cause of his death was heart failure.


title: Thomas H. Ince

text: Thomas Harper Ince was born on November 16, 1880 in Newport, Rhode Island, the middle of three sons and a daughter raised by English immigrants, John E. and Emma Ince. His father was born in Wigan, Lancashire in 1841, and was the youngest of nine boys who enlisted in the British Navy as a "powder monkey". He later disembarked at San Francisco, and found work as a reporter and coal miner. Around 1887, when Ince was about seven, the family moved to Manhattan to pursue theater work. Ince's father worked as both an actor and musical agent and his mother, Ince himself, sister Bertha and brothers, John and Ralph all worked as actors. Ince made his Broadway debut at 15 in a small role of a revival 1893 play, "Shore Acres" by James A. Herne. He appeared with several stock companies as a child and was later an office boy for theatrical manager Daniel Frohman. He later formed an unsuccessful vaudeville company known as "Thomas H. Ince and His Comedians" in Atlantic Highlands, New Jersey. In 1907, Ince met actress Elinor Kershaw ("Nell") and they were married on October 19 of that year. They had three children.


title: Thomas H. Ince

text: Ince's directing career began in 1910 through a chance encounter in New York City with an employee from his old acting troupe, William S. Hart. Ince found his first film work as an actor for the Biograph Company, directed by his future partner, D.W. Griffith. Griffith was impressed enough with Ince to hire him as a production coordinator at Biograph. This led to more work coordinating productions at Carl Laemmle's Independent Motion Pictures Co. (IMP). That same year, a director at IMP was unable to complete work on a small feature film, so in a moment of bravado, Ince suggested that Laemmle hire him as a full-time director to complete the film. Impressed with the young man, Laemmle sent him to Cuba to make one-reel shorts with his new stars, Mary Pickford and Owen Moore, out of the reach of Thomas Edison's Motion Picture Patents Company-—the trust that was attempting to crush all independent production companies and corner the market on film production. Ince's output, however, was small. Although he tackled many different subjects, he was strongly drawn to westerns and American Civil War dramas.


title: Thomas H. Ince

text: Clashes between the trust and independent films became exacerbated, so Ince moved to California to escape these pressures. He hoped to achieve the effects accomplished with minimal facilities like Griffith, which he believed, could only be accomplished in Hollywood. After only a year with IMP, Ince quit. In September 1911, Ince walked into the offices of actor-financier Charles O. Baumann (1874–1931) who co-owned the New York Motion Picture Company (NYMP) with actor-writer Adam Kessel, Jr. (1866–1946). Ince had found out that NYMPC had recently established a West Coast studio named Bison Studios at 1719 Alessandro (now known as Glendale Blvd.) in Edendale (present-day Echo Park) to make westerns and he wanted to direct those pictures.


title: Thomas H. Ince

text: "The offer came as a distinct shock, but I kept cool and concealed my excitement. I tried to convey the impression that he would have to raise the ante a trifle if he wanted me. That also worked, and I signed a contract for three months at $150 a week. Very soon after that, with Mrs. Ince, my cameraman, property man and Ethel Grandin, my leading woman, I turned my face westward."


title: Thomas H. Ince

text: Together with his young wife and a small entourage, Ince moved to Bison Studios to begin work immediately. He was shocked, however, to discover that the studio was nothing more than a "tract of land graced only by a four-room bungalow and a barn."


title: Thomas H. Ince

text: Ince's aspirations soon led him to leave the narrow confines of Edendale and find a location that would give him greater scope and variety. He settled upon a tract of land called "Bison Ranch" located at Sunset Blvd. and Pacific Coast Highway in the Santa Monica Mountains, (the present-day location of the Self-Realization Fellowship Lake Shrine) which he rented by the day. By 1912, he had earned enough money to purchase the ranch and was granted permission by NYMP to lease another in the Palisades Highlands stretching up Santa Ynez Canyon between Santa Monica and Malibu where Universal Studios was eventually established, which was owned by The Miller Bros of Ponca City, Oklahoma. And it was here Ince built his first movie studio.


title: Thomas H. Ince

text: The "Miller 101 Bison Ranch Studio", which the Millers dubbed "Inceville" (and was later re-christened "Triangle Ranch") was the first of its kind in that it featured silent stages, production offices, printing labs, a commissary large enough to serve lunch to hundreds of workers, dressing rooms, props houses, elaborate sets, and other necessities – all in one location. While the site was under construction, Ince also leased the 101 Ranch and Wild West Show from the Miller Bros., bringing the whole troupe from Oklahoma out to California via train. The show consisted of 300 cowboys and cowgirls; 600 horses, cattle and other livestock (including steers and bison) and a whole Sioux tribe (200 of them in all) who set up their teepees on the property. They were then renamed "The Bison-101 Ranch Co.", and specialized in making westerns released under the name World Famous Features.


title: Thomas H. Ince

text: When construction was completed, the streets were lined with many types of structures, from humble cottages to mansions, mimicking the style and architecture of different countries. Extensive outdoor western sets were built and used on the site for several years. According to Katherine La Hue in her book, "Pacific Palisades: Where the Mountains Meet the Sea":


title: Thomas H. Ince

text: "Ince invested $35,000 in building, stages and sets ... a bit of Switzerland, a Puritan settlement, a Japanese village ... beyond the breakers, an ancient brigantine weighed anchor, cutlassed men swarming over the sides of the ship, while on the shore performing cowboys galloped about, twirling their lassos in pursuit of errant cattle ... The main herds were kept in the hills, where Ince also raised feed and garden produce. Supplies of every sort were needed to house and feed a veritable army of actors, directors and subordinates."


title: Thomas H. Ince

text: While the cowboys, Native Americans and assorted workmen lived at "Inceville", the main actors came from Los Angeles and other communities as needed, taking the red trolley cars to the Long Wharf at Temescal Canyon, where buckboards conveyed them to the set.


title: Thomas H. Ince

text: Ince lived in a house overlooking the vast studio, later the location of Marquez Knolls. Here he functioned as the central authority over multiple production units, changing the way films were made by organizing production methods into a disciplined system of filmmaking. Indeed, "Inceville" became a prototype for Hollywood film studios of the future, with a studio head (Ince), producers, directors, production managers, production staff, and writers all working together under one organization (the unit system) and under the supervision of a General Manager, Fred J. Balshofer.


title: Thomas H. Ince

text: Before this, the director and cameraman controlled the production of the picture, but Ince put the producer in charge of the film from inception to final product. He defined the producer's role in both a creative and industrial sense. He was also one of the first to hire a separate screenwriter, director, and editor (instead of the director doing everything themselves). By 1913, the concept of the production manager had been created. With the aid of George Stout, an accountant for NYMP, Ince re-organized how films were outputted to bring discipline to the process. After this adjustment the studio's weekly output increased from one to two, and later three two-reel pictures per week, released under such names as "Kay-Bee" (Kessel-Baumann), "Domino" (comedy), and "Broncho" (western) productions. These were written, produced, cut, and assembled, with the finished product delivered within a week. By enabling more than one film to be made at a time, Ince decentralized the process of movie production to meet the increased demand from theaters. This was the dawning of the assembly-line system that all studios eventually adopted.


title: Thomas H. Ince

text: With this model, developed between 1913 and 1918, Ince gradually exercised even more control over the film production process as a director-general. In 1913 alone, he made over 150 two-reeler movies, mostly Westerns, thereby anchoring the popularity of the genre for decades. While many of Ince's films were praised in Europe, many American critics did not share this high opinion. One such picture was "The Battle of Gettysburg" (1913) which was five reels long. The picture helped bring into vogue the idea of the feature-length film. Another important early movie for Ince was "The Italian" (1915), which depicted immigrant life in Manhattan. Two of his most successful films were among his first, "War on the Plains" (1912) and "Custer's Last Fight" (1912), which featured many Native Americans who had actually been in the battle.


title: Thomas H. Ince

text: Even though he was the first producer-director and directed most of his early productions, by 1913 Ince eventually ceased full-time directing to concentrate on producing, transferring this responsibility to such proteges as Francis Ford and his brother John Ford, Jack Conway, William Desmond Taylor, Reginald Barker, Fred Niblo, Henry King and Frank Borzage. The story was the preeminent aspect of Ince's pictures. Films such as The Italian, The Gangsters and the Girl (1914), and The Clodhopper (1917) are excellent examples of the dramatic structure that resulted from his masterful editing. Film preservationist David Shepard said of Ince in "The American Film Heritage":


title: Thomas H. Ince

text: Ince also discovered many talents, including his old actor friend, William S. Hart, who made some of the best early westerns, beginning in 1914. Later, a rift developed between the two over sharing of profits. Portentously, on January 16, 1916, a few days after the opening of his first Culver City studio, a fire broke out at "Inceville", the first of many that eventually destroyed all of the buildings.


title: Thomas H. Ince

text: Ince later gave up on the studio and sold it to Hart, who renamed it "Hartville." Three years later, Hart sold the lot to Robertson-Cole Pictures Corporation, which continued filming there until 1922. La Hue writes that "the place was virtually a ghost town when the last remnants of "Inceville" were burned on July 4, 1922, leaving only a "weatherworn old church, which stood sentinel over the charred ruins."


title: Thomas H. Ince

text: By 1915, Ince was considered one of the best-known producer-directors. Around this time, real estate mogul Harry Culver noticed Ince shooting a western in Ballona Creek. Impressed with his talents, Culver convinced Ince to move from Inceville and re-locate to what was to become Culver City. Taking Culver's advice, Ince left NYMP and on July 19 partnered with D.W. Griffith and Mack Sennett to form The Triangle Motion Picture Company based on their prestige as producers. Triangle (so named because from an aerial point of view the property had a triangular shape) was built at 10202 West Washington Boulevard (which became the Ince/Triangle Studios, before becoming Lot 1 of the prestigious MGM Studios, and is now Sony Pictures Studios as a result the aftermath of Griffith's "The Birth of a Nation." Although a box-office success, the film led to riots in major northern cities due to its controversial content.


title: Thomas H. Ince

text: Triangle was one of the first vertically integrated film companies. By combining production, distribution, and theater operations under one roof, the partners created the most dynamic studio in Hollywood. They attracted directors and stars of the day, including Pickford, Lillian Gish, Roscoe "Fatty" Arbuckle, and Douglas Fairbanks, Sr. They also produced some of the most enduring films of the silent era, including the Keystone Kops comedy franchise. Originally a distributor of films produced by NYMP, the Reliance Motion Picture Corp., Majestic Motion Picture Co., and The Keystone Film Co., by November 1916 the company's distribution was handled by Triangle Distributing Corporation.


title: Thomas H. Ince

text: Though Ince had many credits as a director at Triangle, he only supervised the production of most pictures, working primarily as executive producer. One of his important pictures as a director was "Civilization" (1916), an epic plea for peace and American neutrality set in a mythical country and dedicated to the mothers of those who died in World War I. The film competed with Griffith's famous epic, "Intolerance" and beat it at the box office. "Civilization" was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: Thomas H. Ince

text: Ince added a few stages and an administration building to Triangle Studios before selling his shares to Griffith and Sennett in 1918. Three years later, the studios were acquired by Goldwyn Pictures, and in 1924 the facility became Metro-Goldwyn-Mayer studios. Although many believe that such classics as Gone with the Wind and King Kong were later filmed on that same lot, those movies in fact had been shot at 9336 West Washington Blvd at the Thomas H. Ince Studios.


title: Thomas H. Ince

text: For a while, Ince joined competitor Adolph Zukor to form Paramount-Artcraft Pictures (later Paramount Pictures). However, he yearned to go back to running his own studio. On July 19, 1918, following Samuel Goldwyn's acquisition of the Triangle lot, he purchased a 14-acre (57,000 m) property at 9336 West Washington Blvd. on an option basis from Culver along with a $132,000 loan. Thus was formed Thomas H. Ince Studios, which operated from 1919 to 1924. (The area later known as RKO Forty Acres was southeast of the studio.) Ince Studios was to be another Culver City historic landmark. When Ince conceived the idea of building his own studio, he was determined to have it different from the others. Plans submitted to him by architects Meyer & Holler, included having a whole front administrative building made into a replica of George Washington's home at Mount Vernon. The resulting administration building, known as "The Mansion", was the first building on the lot.


title: Thomas H. Ince

text: In back of the impressive office building were approximately 40 buildings, most of which were designed in the Colonial Revival style. A small group of bungalows, built for various movie stars and designed in styles popular in the 1920s and '30s, were constructed on the west side of the lot. By 1920, two glass stages, a hospital, fire department, reservoir/swimming pool, and the back lot were completed. That same year, President Woodrow Wilson took a tour of the studios as did the King and Queen of Belgium, along with their son, Prince Leopold, among much pomp and ceremony.


title: Thomas H. Ince

text: Ince had two or three companies working continuously on the lot at any given time. According to film historian Marc Wanamaker, Ince worked with a team of eight directors but "he retained creative control of his films, developing the shooting scripts" and personally assembling each of his films. By now, Ince had drifted away from westerns in favor of social dramas and he made a few significant films including "Anna Christie" (1923), based on the play by Eugene O'Neill, and "Human Wreckage" (1923), which was an early anti-drug film starring Dorothy Davenport (widow of addicted star Wallace Reid).


title: Thomas H. Ince

text: Although Ince found distribution for his films through Paramount and MGM, he was no longer as powerful as he once had been and tried to regain his status in Hollywood. In 1919, with several other independent entrepreneurs (notably his old partner at Triangle, Mack Sennett, Marshall Neilan, Allan Dwan and Maurice Tourneur) he co-founded the independent releasing company, Associated Producers, Inc., to distribute their films. However, Associated Producers merged with First National in 1922.


title: Thomas H. Ince

text: Though Ince still made some significant motion pictures, the studio system was starting to take over Hollywood. With little room for an independent producer and despite his attempts, Ince could not regain the powerful standing he once held in the industry. He and other independent producers tried to form the Cinematic Finance Corporation in 1921, which made loans to producers who already had been successful, but only accomplished its goal in a limited sense.


title: Thomas H. Ince

text: In 1925, a year after Ince's death, the studio was sold (with Pathé America) to Ince's friend Cecil B. DeMille. Besides DeMille, among those who had offices on the lot were producer Howard Hughes and Selznick International Pictures. About four years later, DeMille sold his interest to Pathé and the studio became known as the Pathé Culver City Studio. By 1928 after mergers, the studio became RKO/Pathé. By 1957, a number of other studios followed: Desilu Culver, Culver City Studios, Laird International Studios, etc.


title: Thomas H. Ince

text: In 1991, Sony Pictures Entertainment purchased the property as the home for its television endeavors, renaming it Culver Studios, and eventually selling it in 2004 to a group of investors; the street intersecting the studios was renamed Ince Blvd. The studio is still home to Brooksfilms today.


title: Thomas H. Ince

text: Ince's death at the age of 44 has been the subject of much speculation and scandal, with rumors of murder, mystery, and jealousy. The official cause of his death was heart failure, and while witnesses (including his widow Nell) corroborate that his medical condition brought about his death, rumors and sensationalism continued decades later, fueled with the 2001 release of the movie "The Cat's Meow".


title: Thomas H. Ince

text: Ince and William Randolph Hearst had been negotiating a deal under which Hearst's Cosmopolitan Productions would use Ince's studio. Hearst visited Ince at his home, his "Dias Dorados" estate at 1051 Benedict Canyon Drive, on Saturday November 15 and invited him for a weekend cruise on his yacht to honor Ince's birthday and to work out details of the Ince/Cosmopolitan deal.


title: Thomas H. Ince

text: According to Ince's widow, Nell, Ince took a train to San Diego, where he joined the guests the next morning. At dinner that Sunday night, the group celebrated his birthday but later Ince suffered an acute bout of indigestion due to his consumption of salted almonds and champagne, both forbidden as he had peptic ulcers. Accompanied by Dr. Goodman, a licensed though non-practicing physician, Ince traveled by train to Del Mar, where he was taken to a hotel and given medical treatment by a second doctor and a nurse. Ince then summoned his wife and Dr. Ida Cowan Glasgow (Ince's personal physician) to Del Mar with Ince's eldest son William accompanying them. The group traveled by train to his Los Angeles home where Ince died. Nell said that Ince had been treated for chest pains caused by angina, but years later his son William became a physician and said that his father's illness resembled thrombosis.


title: Thomas H. Ince

text: Dr. Glasgow signed the death certificate citing heart failure as the cause of death. The front page of the Wednesday morning "Los Angeles Times" supposedly sensationalized the story: '"Movie Producer Shot on Hearst Yacht!", but the headlines vanished in the evening edition. On November 20, the "Los Angeles Times" published Ince's obituary citing heart disease as the cause of death along with his failing health from an automobile accident two years earlier. A month later, the "New York Times" reported that the San Diego District Attorney announced that Ince's death was caused by heart failure and no further investigation was necessary. Both Ince and his wife were practicing Theosophists who preferred cremation and had arranged for it long before Ince's death. While rumors prevailed that Ince's widow suddenly departed the country after her husband's death, she actually left for Europe about seven months later in July 1925.


title: Thomas H. Ince

text: However, several conflicting stories circulated about the incident, often revolving around a claim that Hearst shot Ince in the head after mistaking him for Charlie Chaplin. Chaplin's valet, Toraichi Kono, claimed to have seen Ince when he came ashore via stretcher in San Diego. Kono told his wife that Ince's head was "bleeding from a bullet wound." The story quickly spread among Japanese domestic workers throughout Beverly Hills. Charles Lederer, the nephew of Hearst's longtime partner Marion Davies, also told a similar story to Peter Bogdanovich, the director of "The Cat's Meow". Elinor Glyn, who was on the yacht, told Eleanor Boardman that everyone aboard the yacht had been sworn to secrecy about the events, which would indicate more than a death under natural circumstances. But during Ince's funeral, the "Los Angeles Times" noted that his casket would remain open for one hour "to afford friends and studio employees to pass for one last glimpse of the man they loved and respected", with no witnesses ever mentioning a bullet wound. Ince's body was cremated on November 21 in Hollywood Forever Cemetery and the ashes returned to his family on December 24, 1924 who reportedly scattered them at sea.


title: Thomas H. Ince

text: Movie columnist Louella Parsons' name also figured into the Ince scandal, with some speculating that she had been aboard the "Oneida" that fatal day. When the "Oneida" sailed, Parsons was a New York movie columnist for one of Hearst's papers. Supposedly, after the Ince affair, Hearst gave her a lifetime contract and expanded her syndication. However, other sources show that Parsons did not gain her position with Hearst as part of "hush money" but had been the motion picture editor of the Hearst-owned "New York American" in December 1923 and her contract was signed a year before Ince's death. Another story circulated that Hearst provided Nell Ince with a trust fund just before she left for Europe and that Hearst paid off Ince's mortgage on his Château Élysée apartment building in Hollywood. But Nell was left a very wealthy woman and the Château Élysée was an apartment she had already owned and had built on the grounds where the Ince home once stood.


title: Thomas H. Ince

text: Years later, Hearst spoke to a journalist about the rumor that he had murdered Tom Ince. "Not only am I innocent of this Ince murder," he said, "So is everybody else." Nell Ince herself was increasingly frustrated over the Hearst rumors surrounding her husband's death and remarked: "Do you think I would have done nothing if I even suspected that my husband had been victim of foul play on anyone's part?"


title: Thomas H. Ince

text: But the myth of Ince's death overshadowed his reputation as a pioneering filmmaker and his role in the growth of the film industry. His studio was sold soon after he died. His final film, "Enticement", a romance set in the French Alps, was released posthumously in 1925.


title: Thomas H. Ince

text: "Murder at San Simeon" (Scribner), a 1996 novel by Patricia Hearst (William Randolph's granddaughter) and Cordelia Frances Biddle, is a mystery based on the 1924 death of producer Thomas Ince aboard the yacht of William Randolph Hearst. This fictitious version presents Chaplin and Davies as lovers and Hearst as the jealous old man unwilling to share his mistress.


title: Thomas H. Ince

text: "RKO 281" is a 1999 film about the making of "Citizen Kane". The movie includes a scene depicting screenwriter Herman Mankiewicz telling director Orson Welles his account of the incident.


title: Thomas H. Ince

text: "The Cat's Meow", the 2001 film directed by Peter Bogdanovich, is another fictitious version of Ince's death. Bogdanovich notes that he heard the story from director Orson Welles, who said he heard it from screenwriter Charles Lederer (Marion Davies's nephew). In Bogdanovich's film, Ince is portrayed by Cary Elwes. The movie was adapted by Steven Peros from his own play, which premiered in Los Angeles in 1997.


title: Procol Harum (album)

text: Procol Harum is the debut studio album by English rock band Procol Harum. It was released in September 1967 by record label Deram in the US, following their breakthrough and immensely popular single "A Whiter Shade of Pale". The track doesn't appear on the UK version of the album, but was included on the US issue. The UK version of the album was released in December 1967 by record label Regal Zonophone.


title: Procol Harum (album)

text: All songs were originally credited to Gary Brooker (music) and Keith Reid (lyrics), except "Repent Walpurgis" written by Matthew Fisher, after works by French organist Charles-Marie Widor and German composer Johann Sebastian Bach.


title: Procol Harum (album)

text: In 2005, Matthew Fisher filed suit in the Royal Courts of Justice against Gary Brooker and his publisher, claiming that Fisher co-wrote the music for "A Whiter Shade of Pale". On 30 July 2009, the House of Lords issued a final verdict on the case in Fisher's favour. A lower court had ruled in Fisher's favour in 2006, granting him co-writing credits and a share of the royalties. A higher court partly overturned the ruling in 2008, giving Fisher co-writing credit but no money. The Court of Appeal had previously held that Fisher had waited too long to bring his claim to court. The House of Lords disagreed, stating there was no time limitation for such claims. Lord David Neuberger of Abbotsbury's opinion stated: "Fisher's subsequent contribution was significant, and, especially the introductory eight bars, an important factor in the work's success...".


title: Procol Harum (album)

text: Procol Harum's lyricist Keith Reid told Songfacts that the music for "Conquistador" was written before the lyrics. He added that this was unusual as "99 out of 100" of the Procol Harum songs, back then, "were written the words first, and then were set to music."


title: Procol Harum (album)

text: "Procol Harum" was released in September 1967 in the US, and in December 1967 in the UK. Though the album was recorded on multitrack, it was issued as mono-only in the UK, and in mono and rechannelled stereo in the US. Despite extensive searching, the original multitrack tapes have not been located and thus a stereo mix of the original ten tracks may never be possible. Several alternate takes, however, have been mixed into stereo and are available on CD. As recently as 2004, the original single, mixed to stereo, has appeared on a "Dick Bartley Presents: Classic Oldies" compilation on Eric Records.


title: Procol Harum (album)

text: The original North American release included a poster of the album cover. The artwork by Dickinson, the then-girlfriend, and subsequently wife of Keith Reid was heavily influenced by the style of the late-Victorian illustrator Aubrey Beardsley.


title: Procol Harum (album)

text: The album has been repackaged and reissued many times. Two of the significant reissues are "Procol Harum...Plus!", a 1998 CD compilation on the Westside label including all the songs from both the Deram and Regal Zonophone release, plus "Homburg" (the group's second single) and nine additional tracks from the period; and a monaural audiophile vinyl LP edition released in 2003 by Classic Records, with yet a different track order, including "Homburg" as the opening track and without "A Whiter Shade of Pale" or "Good Captain Clack". The set includes bonus singles of the original monaural and alternate stereo versions of "A Whiter Shade of Pale". A 2009 remaster by Salvo Records, using the original mono masters, was released, with bonus tracks including the singles "A Whiter Shade of Pale", "Homburg", B-sides and alternate stereo takes. However, many of the tracks are played at a higher speed. A 2015 remaster by Cherry Red Records expands the album into a 2-CD set.


title: Procol Harum (album)

text: A live version of the track "Conquistador", from the album "Procol Harum Live with the Edmonton Symphony Orchestra", was released as a single in 1972 and charted to #16 in the US on the "Billboard Hot 100" after 10 weeks on the chart.


title: Procol Harum (album)

text: In his retrospective review of the album, Bruce Eder of AllMusic wrote: "Not everything here works, but it holds up better than most psychedelic or progressive rock."


title: Procol Harum (album)

text: The album was included on ""Classic Rock" magazine"<nowiki>'</nowiki>s list "50 Albums That Built Prog Rock". It was included in "Rolling Stone"<nowiki>'</nowiki>s 2007 list of "The 40 Essential Albums of 1967".


title: Procol Harum (album)

text: In a major Tate Britain exhibition of the work of Aubrey Beardsley during 4 March – 25 May 2020, the "Procol Harum" album cover was shown alongside The Beatles "Revolver" artwork by Klaus Voormann to show how interest in Beardsley's monochrome pen-and-ink style was revived in the 1960s.


title: Audi A2

text: The Audi A2 (internally designated "Typ" 8Z) is a compact MPV-styled supermini car, with a five-door hatchback body style and four or five seats, produced by the German manufacturer Audi from November 1999 (for the 2000 model year) to August 2005. Based on the Audi Al concept car first shown at the Frankfurt Motor Show in 1997, the A2 was notable for being constructed from aluminium, which in combination with its efficient engines, made it an extremely economical car on fuel.


title: Audi A2

text: Packages available in Germany included 'Advance', 'Style', 'High Tech', and later 'S line'; whereas in the United Kingdom, the A2 was available in various trim levels, including: 'Standard', 'SE' (for 'Special Equipment'), 'Sport', 'Special Edition' (2005 only).


title: Audi A2

text: The A2 was produced at Audi's "aluminium" Neckarsulm plant in Germany on a special line purpose-built for it. It was the first five-door vehicle on sale in Europe with an average fuel consumption less than , although these figures only applied to the special "3L" version with a diesel engine, automatic gearbox, stop-start system, less power and narrower tyres. Due to its construction, the average A2 weighs 830 kg. The last A2s to be produced were built in August 2005.


title: Audi A2

text: The A2 was a surprise when it debuted only two years after the original Al study. Many initial reviews, including those from "What Car?" and "Autocar" in the UK commented on the design.


title: Audi A2

text: ""The best thing about the A2 is that it isn’t merely a design exercise. Yes, it’s a great car to look at, sit in and touch, but it’s also a riot to drive"".


title: Audi A2

text: The avant-garde styling did not, however, win favour with some potential customers. Audi was reported to be disappointed with the level of sales. The final production was only 176,377 units, in comparison to rival Mercedes-Benz's A-Class sales of 1 million.


title: Audi A2

text: The overriding theme in the design and engineering of the A2 was summarized by the then Audi UK product manager in an interview after the car won a design award in 2001 as "create a small Audi, not a cheap Audi", and the creative brief is said to have been "Transport four people from Stuttgart to Milan on a single tank of petrol".


title: Audi A2

text: The A2 is built with a considerable amount of aluminium and aluminium alloy, making it weigh significantly less than cars of similar size. Its reduced weight helps it to use much less fuel than vehicles using traditional steel monocoques. Under certain circumstances, consumption for the 1.2 TDI model can be as low as just over . This version of the Audi A2 won the "Nordic Eco Run" fuel economy race in 2003, with a consumption of . Even the normal versions with petrol engines are capable of . The A2 was also notable for being the first Audi model since the 1970s Audi 50 (type 86) and Audi 100 (type 43) not to be offered with its 'trademark' quattro four-wheel drive option. The A2 has a coefficient of drag of between 0.25 and 0.29, depending on the specific version.