title: Allegra Byron

text: Clairmont wrote that Allegra must be moved to a more healthy climate if she were to survive and pleaded with Byron to send their daughter to her in Bagni di Lucca, a town with a cool mountain climate. However, Byron didn't want to send Allegra back to be raised in the Shelley household, where he was sure she'd grow ill from eating a vegetarian diet and would be taught atheism. He pointed out that all of the other children in the Shelley household had died: the Shelleys' first three children had all died young. Byron believed the rumours that a fourth child, Elena Adelaide Shelley, was Clairmont's daughter by Shelley and Allegra's half-sister. Elena died in a foster home in 1820 aged seventeen months.


title: Allegra Byron

text: Shelley wrote to his wife Mary that Allegra looked pale and quiet when he saw her in 1818. When he saw her again in 1821 at the Capuchin convent in Bagnacavallo, when she was four, he again felt she looked pale and delicate and was infuriated by the Roman Catholic education she was receiving, though he had initially told Byron he approved of her being sent to a convent. "(Besides) Paradise & angels ... she has a prodigious list of saints—and is always talking of the Bambino ... The idea of bringing up so sweet a creature in the midst of such trash till Sixteen!" he wrote." However, though Shelley thought the little girl was more serious and contemplative than he remembered, he said she had not lost her "excessive vivacity." After five months in the convent school, her behaviour had also improved; she obeyed the nuns readily and was well-disciplined, though Shelley didn't think the nuns had been too severe with her. The child asked Shelley to "tell her mother she wanted a kiss and a gold dress and would he please beg her Papa and Mammina to visit her." Allegra no longer had any real memory of Clairmont, but had grown attached to "her Mammina," Byron's mistress Teresa, Countess Guiccioli, who had mothered her. Teresa gave the little girl her own childhood toys and played with her when she spent weeks recovering from a childhood illness.


title: Allegra Byron

text: Clairmont had always opposed Byron's decision to send Allegra to a convent, and shortly after the move, she wrote him a furious, condemnatory letter accusing him of breaking his promise that their daughter would never be apart from one of her parents. She felt that the physical conditions in convents were unhealthy and the education provided was poor and was responsible for "the state of ignorance & profligacy of Italian women, all pupils of Convents. They are bad wives & most unnatural mothers, licentious & ignorant they are the dishonour & unhappiness of society ... This step will procure to you an innumerable addition of enemies & of blame." In March 1822, she created a plan to kidnap her daughter from the convent and asked Shelley to forge a letter of permission from Byron. Shelley refused.


title: Allegra Byron

text: Byron had arranged for Allegra to be educated in the convent precisely because he, unlike his former lover Clairmont, thought favourably of the manners and attitudes of Italian women who had received convent educations. He disapproved of what he called Clairmont's "loose morals" and "Bedlam behaviour" and didn't want her to influence Allegra. He also believed that his daughter, given her illegitimacy, would have a far better chance of marrying well in Italy than she would in England. A Roman Catholic girl with a suitable dowry, raised in a convent, would have a decent chance of marrying into high Italian society. He wanted the child to become a Roman Catholic, which he viewed as the "best religion." "If Claire thinks that she shall ever interfere with the child's morals or education, she mistakes; she never shall," wrote Byron in a letter to Richard Belgrave Hoppner in September 1820. "The girl shall be a Christian and a married woman, if possible." Her mother could see Allegra, he added, only with the "proper restrictions."


title: Allegra Byron

text: Byron wrote to Hoppner in March 1821 that Allegra would receive better care in the convent than she would with him. His mistress, Teresa, Countess Guiccioli, had had a happy experience at the convent boarding school where she had lived from the age of five, and had persuaded Byron that a convent school would be the best place for Allegra. He also viewed the convent as the safest place for her with revolution brewing in the Kingdom of the Two Sicilies.


title: Allegra Byron

text: Allegra was doted on by the nuns at the convent, who called her "Allegrina," and was visited once by Teresa's relatives. Probably with considerable assistance from the nuns, four-year-old Allegra wrote her father a letter in Italian from the convent, dated 21 September 1821, asking him to visit her:


title: Allegra Byron

text: My dear Papa. It being fair-time, I should like so much a visit from my Papa as I have many wishes to satisfy. Won't you come to please your Allegrina who loves you so?


title: Allegra Byron

text: The abbess of the convent included her own note inviting Byron to come to see Allegra before he left for Pisa and assuring him "how much she is loved." On the back of this letter, Byron wrote: "Sincere enough, but not very flattering – for she wants to see me because 'it is the fair' to get some paternal Gingerbread – I suppose." Byron never responded to Allegra's letter or visited the child during the thirteen months she was in the convent.


title: Allegra Byron

text: Allegra developed a high fever on 13 April 1822. The nuns called a doctor to see her, who determined that Allegra was suffering "little slow fevers". Her father was informed but Byron did not visit. He approved the use of any medical interventions deemed necessary. On 15 April, she was considered out of danger, but died on 20 April, attended by three doctors and all of the nuns at the convent, of what some biographers have identified as typhus.


title: Allegra Byron

text: Byron sent her body to England and wrote an inscription for her gravestone that read: "In memory of Allegra, daughter of G.G., Lord Byron, who died at Bagna Cavallo in Italy, 20 April 1822, Aged Five Years and Three Months,-'I shall go to her, but she shall not return to me.'-2 Samuel, xii, 23"


title: Allegra Byron

text: Byron felt guilty about his neglect of the child after her death; he told Marguerite, Countess of Blessington, a few months afterwards:


title: Allegra Byron

text: Let the object of affection be snatched away by death, and how is all the pain ever inflicted upon them avenged! The same imagination that led us to slight or overlook their sufferings, now that they are forever lost to us, magnifies their estimable qualities ... How did I feel this when my daughter, Allegra, died! While she lived, her existence never seemed necessary to my happiness; but no sooner did I lose her, than it appeared to me as if I could not live without her.


title: Allegra Byron

text: Clairmont accused Byron of murdering Allegra and demanded that Byron send her a portrait of Allegra, a lock of the child's hair, and that she be placed in charge of the funeral arrangements. In the end, though, Clairmont could not bear to see Allegra's coffin or to hold a funeral service for her daughter. She blamed Byron for the rest of her life for Allegra's death.


title: Allegra Byron

text: Because of the child's illegitimacy, John William Cunningham, rector of St Mary's Church, Harrow on the Hill, refused to place a plaque on Allegra's grave; he permitted her only to be buried at the entrance of the church without a marker. Henry Drury conducted the funeral service. In 1980, The Byron Society placed a memorial plaque for Allegra at Harrow, inscribed with words from a letter Byron wrote to Shelley after her death: "I suppose that Time will do his usual work... – Death has done his."


title: Allegra Byron

text: The memory of Allegra haunted Shelley; before his own death by drowning in July 1822, Shelley had a vision of the dead child in which she rose naked from the sea, laughed, clapped her hands, and beckoned to him. He also immortalised the toddler as Count Maddalo's child in his 1819 poem "Julian and Maddalo: A Conversation":


title: Allegra Byron

text: In the next stanza he imagines her grown to a woman: "A wonder of this earth ... Like one of Shakespeare's women."


title: Risso's dolphin

text: Risso's dolphin (Grampus griseus) is a dolphin, the only species of the genus Grampus. Some of the closest related species to these dolphins include: pilot whales ("Globicephala" spp.), pygmy killer whales ("Feresa attenuata"), melon-headed whales ("Peponocephala electra"), and false killer whales ("Pseudorca crassidens").


title: Risso's dolphin

text: Risso's dolphin is named after Antoine Risso, whose study of the animal formed the basis of the recognised description by Georges Cuvier in 1812. The holotype referred to specimen at the Muséum National d'Histoire Naturelle, an exhibit using preserved skin and skull obtained at Brest, France.


title: Risso's dolphin

text: The type and sole species of the genus "Grampus" refers to Delphinus griseus Cuvier 1812. A proposition to name this genus Grampidelphis in 1933, when the taxonomic status of 'blackfish' was uncertain, and conserving the extensive use of ""Grampus"" for the 'killer' "Orcinus orca"", also suggested renaming this species ("Grampidelphis exilis" Iredale, T. & Troughton, E. le G. 1933). These were recognised as synonyms after publication of the "Catalog of Whales" (Hershkovitz, 1966).


title: Risso's dolphin

text: Another common name for the Risso's dolphin is grampus (also the species' genus), although this common name was more often used for the orca. The etymology of the word "grampus" is unclear. It may be an agglomeration of the Latin "grandis piscis" or French "grand poisson", both meaning big fish. The specific epithet "griseus" refers to the mottled (almost scarred) grey colour of its body.


title: Risso's dolphin

text: Risso's dolphin has a relatively large anterior body and dorsal fin, while the posterior tapers to a relatively narrow tail. The bulbous shape of the head has a vertical crease in front.


title: Risso's dolphin

text: Infants are dorsally grey to brown and ventrally cream-colored, with a white anchor-shaped area between the pectorals and around the mouth. In older calves, the nonwhite areas darken to nearly black, and then lighten (except for the always dark dorsal fin). Linear scars mostly from social interaction eventually cover the bulk of the body; scarring is a common feature of male to male competition in toothed whales, but Risso's dolphin tend to be unusually heavily scarred. The pronounced appearance of these scars results from the lack of repigmentation, which may be advantageous as a display that reduces further challenges from other males. Older individuals appear mostly white. Most individuals have two to seven pairs of teeth, all in the lower jaw.


title: Risso's dolphin

text: Length is typically , although specimens may reach . Like most dolphins, males are typically slightly larger than females. This species weighs , making it the largest species called "dolphin".


title: Risso's dolphin

text: Risso's dolphins are found worldwide in temperate and tropical waters, in the Indian, Pacific and Atlantic Oceans, also the Persian Gulf, Mediterranean and Red Seas, but not the Black Sea (a stranding was recorded in the Sea of Marmara in 2012). They range as far north as the Gulf of Alaska and southern Greenland and as far south as Tierra del Fuego.


title: Risso's dolphin

text: Their preferred environment is just off the continental shelf on steep banks, with water depths varying from and water temperatures at least and preferably . They are recorded diving to depths of 600 metres in pursuit of prey.


title: Risso's dolphin

text: The population around the continental shelf of the United States is estimated to be in excess of 60,000. In the Pacific, a census recorded 175,000 individuals in eastern tropical waters and 85,000 in the west. No global estimate exists.


title: Risso's dolphin

text: They feed almost exclusively on neritic and oceanic squid, mostly nocturnally. Predation does not appear significant. Mass strandings are infrequent. Analysis carried out on the stomach contents of stranded specimens in Scotland showed that the most important species preyed on in Scottish waters is the curled octopus ("Eledone cirrhosa").


title: Risso's dolphin

text: A population is found off Santa Catalina Island where they are sympatric with short-finned pilot whales ("Globicephala macrorhynchus") and both species feed on the squid population. Although these species have not been seen to interact with each other, they take advantage of the commercial squid fishing that takes place at night. They have been seen by fishermen to feed around their boats. They also travel with other cetaceans. They surf the bow waves of gray whales, as well as ocean swells.


title: Risso's dolphin

text: Risso's dolphins have a stratified social organisation. These dolphins typically travel in groups of between 10 and 51, but can sometimes form "super-pods" reaching up to a few thousand individuals. Smaller, stable subgroups exist within larger groups. These groups tend to be similar in age or sex. Risso's experience fidelity towards their groups. Long-term bonds are seen to correlate with adult males. Younger individuals experience less fidelity and can leave and join groups. Mothers show a high fidelity towards a group of mother and calves, but it is unclear whether or not these females stay together after their calves leave or remain in their natal pods.


title: Risso's dolphin

text: Like many dolphin species, they use echolocation to target cephalapods and fish that are feeding below. Tagging of a population in the Azores revealed that "Grampus griseus" plan whether to make a shallow or deep dive, with different strategies that create profitable foraging for the considerable expenditure in time and energy. Risso's can achieve depths over 600 metres by exhausting their lungs and using several spins to rapidly descend, almost vertically, and increase the time spent foraging. This allows the species to exploit a deep and dispersed layer of prey such as squid, those taking refuge during daylight when they become more vulnerable to predation.


title: Risso's dolphin

text: Risso's dolphins do not require cutting teeth to process their cephalopod prey, which has allowed the species to evolve teeth as display weapons in mating conflicts.


title: Risso's dolphin

text: Gestation requires an estimated 13–14 months, at intervals of 2.4 years. Calving reaches seasonal peaks in the winter in the eastern Pacific and in the summer and fall in the western Pacific. Females mature sexually at ages 8–10, and males at age 10–12. The oldest specimen reached 39.6 years.


title: Risso's dolphin

text: Risso's dolphins have successfully been taken into captivity in Japan and the United States, although not with the regularity of bottlenose dolphins or orcas. Hybrid Risso's-bottlenose dolphins have been bred in captivity.


title: Risso's dolphin

text: Like other dolphins and marine animals, there have been documentations of these dolphins getting caught in seine-nets and gillnets across the globe. Many of these incidents have resulted in death. Small whaling operations have also been cause of some of these deaths. Pollution has also affected many individuals who have ingested plastic. Samples from these animals shows contamination within their tissue.


title: Risso's dolphin

text: In Ireland, though not apparently in England, Risso's Dolphin was one of the royal fish which by virtue of the royal prerogative were the exclusive property of the English Crown.


title: Risso's dolphin

text: A famed individual named Pelorus Jack was widely reported between 1888 and 1912, travelling with ships navigating the Cook Strait in New Zealand. A law protecting the animal was passed after a public outcry, renewed twice more, but suggested be invalid by its reference to Fisheries acts that did not concern marine mammals.


title: Risso's dolphin

text: The Risso's dolphin populations of the North, Baltic, and Mediterranean Seas are listed on Appendix II of the Convention on the Conservation of Migratory Species of Wild Animals (CMS), since they have an unfavourable conservation status or would benefit significantly from international co-operation organised by tailored agreements.


title: Risso's dolphin

text: In addition, Risso's dolphin is covered by the Agreement on the Conservation of Small Cetaceans of the Baltic, North East Atlantic, Irish and North Seas (ASCOBANS), the Agreement on the Conservation of Cetaceans in the Black Sea, Mediterranean Sea and Contiguous Atlantic Area (ACCOBAMS), the Memorandum of Understanding for the Conservation of Cetaceans and Their Habitats in the Pacific Islands Region (Pacific Cetaceans MoU) and the Memorandum of Understanding Concerning the Conservation of the Manatee and Small Cetaceans of Western Africa and Macaronesia (Western African Aquatic Mammals MoU).


title: Risso's dolphin

text: Risso's dolphins are protected in the United States under the Marine Mammal Protection Act of 1992. Currently, Japan, Indonesia, the Solomon Islands, and The Lesser Antilles hunt Risso's dolphins.


title: Risso's dolphin

text: At least one case report of strandings in Japan's Goto Islands has been associated with parasitic neuropathy of the eighth cranial nerve by a trematode in the genus "Nasitrema". There was a recent reporting of a juvenile male Risso's dolphin that was stranded alive on the coast of Gran Canaria on 26 April 2019. This was the first documented case of capture myopathy and stress cardiomyopathy in a male juvenile Risso's dolphin that has received rehabilitation.


title: Kathryn Kelly

text: Kathryn Kelly (March 18, 1904 – May 28, 1985) was an American criminal active during the prohibition era. She was involved in bootlegging, assisted her fourth husband, George Kelly Barnes ("Machine Gun Kelly"), in his crimes and actively encouraged the idea that her husband was a dangerous criminal. Kelly was convicted along with her husband for the kidnapping of oil tycoon and businessman Charles F. Urschel.


title: Kathryn Kelly

text: Kathryn was born Cleo Lera Mae Brooks on March 18, 1904 in Saltillo, Mississippi, to James Emory Brooks and Ora (née Coleman). When she was nine years old, her family moved to Coleman. Her parents divorced and her mother started work as a hotel manager, subsequently marrying rancher and local political figure Robert G. "Boss" Shannon of Paradise, Texas, in 1927.


title: Kathryn Kelly

text: Cleo changed her name to Kathryn before marrying her first husband, Lonnie Clyde Fry, at the age of 14. She gave birth to her only child, Pauline, in 1919. After two years she separated from her husband. She married again, this time to L. G. Brewer, but they soon separated and she moved to Fort Worth, Texas, with her mother and stepfather.


title: Kathryn Kelly

text: Her third husband was a bootlegger called Charlie Thorne. After a quarrel, Thorne (who was illiterate) was found dead with a typed suicide note. The judge looked past this and Kathryn was never convicted for the murder.


title: Kathryn Kelly

text: Kathryn was already an experienced criminal by the time she met George Kelly. Together they operated as bootleggers in Fort Worth. She bought him a machine gun and gave him the nickname "Machine Gun Kelly". Together they planned their various kidnapping schemes, including their successful July 1933 abduction and ransoming of Charles F. Urschel. They used the farm of Kathryn's mother to hide Urschel. For this kidnapping they collected a ransom of $200,000 ($ million today).


title: Kathryn Kelly

text: While on the run with her husband, Kelly tried to broker a deal with an FBI agent for a lenient sentence for herself and her mother in exchange for turning in George. This deal never went through, as the FBI captured her husband before they finalized it. Kelly, her husband, her mother and her stepfather, Shannon, were sentenced to prison as a result. Kelly and her mother were sentenced to life; Shannon was sentenced to 25 years; and George "Machine Gun" Kelly later died in prison in Leavenworth, Kansas.


title: Kathryn Kelly

text: Kelly and her mother served 25 years together at a women's correctional establishment in West Virginia before being released. Shannon was released after serving eleven years of his sentence and returned to Home, where he died twelve years later. Upon the death of "Machine Gun" Kelly, whose family did not claim the body, Shannon arranged for his burial in the Shannon family plot.


title: Kathryn Kelly

text: Upon their release, Kelly and her mother Ora lived quietly in Oklahoma City. Kathryn changed her name to Lera Cleo Kelly and worked as a bookkeeper at the Oklahoma County Poor Farm, which was at that time a hospital and nursing home. Ora died in 1980, aged 92, followed by Kelly—aged 81—in 1985. Both women are buried at the Tecumseh Cemetery, near Oklahoma City.


title: 2022 season of The Hundred

text: The 2022 season of The Hundred was the second season of The Hundred, a professional franchise 100-ball cricket tournament involving eight men's and women's teams located in major cities across England and Wales.


title: 2022 season of The Hundred

text: The competition returned after its first season, which was impacted by the COVID-19 pandemic and faced strong opposition from traditional cricket fans. Despite this more than 500,000 tickets were sold for the first year of the competition and the contest was seen as a major boost for the women's game.


title: 2022 season of The Hundred

text: The Hundred's organisers hope that more overseas players are able to take part in this second season due to the relaxation of lockdown restrictions as the pandemic recedes.


title: 2022 season of The Hundred

text: Salaries for male players increased by 25% on the previous year, with each team allowed to spend up to £1m on wages for the month-long contest. Pay for female players have been more than doubled on the previous year, with each team given £250,000 to spend on salaries.


title: 2022 season of The Hundred

text: The eight teams that competed in the 2021 season will return for a second year. They are all franchises, operating separately from the existing county cricket clubs, with each representing a large area of England and Wales.


title: 2022 season of The Hundred

text: In the inaugural competition in 2021, eight city-based teams competed for the men's and women's titles over a month between 21 July and 21 August 2021.


title: 2022 season of The Hundred

text: For 2022 the same eight city-based teams competed over 56 matches in the group stage (32 men's, 24 women's). The majority of the men's and women's matches were held on the same day at the same grounds, with one ticket giving access to both contests.


title: 2022 season of The Hundred

text: Each men's team play four matches at home and four matches away. This included one match against every other side in the competition and then a bonus match against their nearest regional rivals.


title: 2022 season of The Hundred

text: The women's competition was curtailed due to the inclusion of women's cricket at the 2022 Commonwealth Games in Birmingham, reducing the number of players who were available for the start of the contest. As a result, the women's contest started a week later and each women's team will only play six matches in the group stage, meaning some sides will not meet each other at this point in the competition.


title: 2022 season of The Hundred

text: Once the league stage is completed the top three teams will compete in the knockout stage to decide the ultimate champions. The second and third teams will meet in a semi-final, which will be at the Rose Bowl in Southampton. The winner of the semi-final then meets the team that finished top of the league in the final at Lord's.


title: 2022 season of The Hundred

text: Men's teams were allowed to retain up to ten of the previous season's men's players by negotiating new contracts directly with players until the retention window closed in February. In addition, all England centrally contracted players were retained by their respective franchises. James Anderson and Stuart Broad were the only two Test-contracted players not to be allocated a franchise.


title: 2022 season of The Hundred

text: A player draft then took place on 6 April to fill the forty-two remaining squad players, with teams taking turns to sign available players in vacant salary bands. Picks were in reverse order of where a side finished in the previous season, beginning with London Spirit and ending with Southern Brave. Each side was given a 'Right to Match', allowing them to retain one further player from their 2021 squad if they match the bid of another franchise at the draft.


title: 2022 season of The Hundred

text: Following the draft, sides will have two wildcard picks immediately prior to the tournament. The Vitality Wildcard allows one domestic player who impressed in the 2022 T20 Blast, while the Overseas Wildcard allows one further overseas player to be selected.


title: 2022 season of The Hundred

text: In the women's competition, an unlimited number of players can be retained from the previous year's competition. There will not be a draft in the women's competition and instead teams can recruit players from around the world until the end of June, providing they do not break their overall salary cap.


title: 2022 season of The Hundred

text: Sky Sports will show every match in the competition live on its subscription television service, while the BBC will also show some matches live on free-to-air television and broadcast commentary on its radio services. Some of the games shown on Sky will be simulcast on YouTube and TikTok.


title: 2022 season of The Hundred

text: The following sides will not play each other in the group stage, due to the shortened women's competition: Oval Invincibles and Welsh Fire, Northern Superchargers and Trent Rockets, London Spirit and Manchester Originals, Southern Brave and Birmingham Phoenix.


title: Nine (musical)

text: Nine is a musical whose original conception and music and lyrics are by Maury Yeston, with a book by Arthur Kopit. It is based on Federico Fellini's semi-autobiographical 1963 film "8½".


title: Nine (musical)

text: The show tells the story of film director Guido Contini, who is dreading his imminent 40th birthday and facing a midlife crisis, which is blocking his creative impulses and entangling him in a web of romantic difficulties in early-1960s Venice.


title: Nine (musical)

text: Conceived and written and composed by Yeston as a class project in the BMI Lehman Engel Musical Theatre Workshop in 1973, it was later adapted with a book by Mario Fratti, and then with another a book by Arthur Kopit. The original Broadway production opened in 1982 and ran for 729 performances, starring Raul Julia. The musical won five Tony Awards, including Best Musical, and has enjoyed a number of revivals.


title: Nine (musical)

text: Yeston began to work on the musical in 1973. As a teenager, he had seen the Fellini film and was intrigued by its themes. "I looked at the screen and said 'That's me.' I still believed in all the dreams and ideals of what it was to be an artist, and here was a movie about an artist in trouble. It became an obsession," Yeston told the "New York Times". He would go on to say ""Nine" was the thing I really desperately wanted to write—never thinking for a minute that it would ever be produced. The movie had a phenomenal impact on me when I saw it as a teenager when it first came out. I was fascinated with Guido who was going through a second adolescence when I was going through my first! As I grew I began to realize that there was room to explore the reactions of the inner workings of the women in Guido’s wake. I think that’s what opened the gateways of creativity for "Nine"—to hear from these extraordinary women. The great secret of "Nine" is that it took 8 1/2 and became an essay on the power of women by answering the question, “What are women to men?” And "Nine" tells you: they are our mothers, our sisters, our teachers, our temptresses, our judges, our nurses, our wives, our mistresses, our muses." Playwright Mario Fratti began working on the book of the musical in 1977, but the producers and director Tommy Tune eventually decided his script did not work, and brought in Arthur Kopit in 1981 to write an entirely new book, working (as Fratti had) with Maury Yeston as composer/lyricist, but now using Yeston's music, and Fellini's film, as the source. Kopit's new book, along with Yeston's now completed score, became the script that was produced on Broadway in 1982.


title: Nine (musical)

text: Fellini had entitled his film "8½" in recognition of his prior body of work, which included six full-length films, two short films, and one film that he co-directed. Yeston's title for the musical adaptation adds another half-credit to Fellini's output and refers to Guido's age during his first hallucination sequence. Yeston called the musical "Nine", explaining that if you add music to 8½, "it's like half a number more."


title: Nine (musical)

text: Guido Contini, famous Italian film director, has turned forty and faces double crises: he has to shoot a film for which he can't write the script, and his wife of twenty years, the film star Luisa del Forno, may be about to leave him if he can't pay more attention to the marriage. As it turns out, it is the same crisis.


title: Nine (musical)

text: Luisa's efforts to talk to him seem to be drowned out by voices in his head: voices of women in his life, speaking through the walls of his memory, insistent, flirtatious, irresistible, potent. Women speaking beyond words (Overture delle Donne). And these are the women Guido has loved, and from whom he has derived the entire vitality of a creative life, now as stalled as his marriage.


title: Nine (musical)

text: In an attempt to find some peace and save the marriage, they go to a spa near Venice (Spa Music), where they are immediately hunted down by the press with intrusive questions about the marriage and—something Guido had not told Luisa about—his imminent film project (Not Since Chaplin).


title: Nine (musical)

text: As Guido struggles to find a story for his film, he becomes increasingly preoccupied—his interior world sometimes becoming indistinguishable from the objective world (Guido's Song). His mistress Carla arrives in Venice, calling him from her lonely hotel room (A Call from the Vatican), his producer Liliane La Fleur, former vedette of the Folies Bergeres, insists he make a musical, an idea which itself veers off into a feminine fantasy of extraordinary vividness (The Script/Folies Bergeres). And all the while, Luisa watches, the resilience of her love being consumed by anxiety for him and a gathering dismay for their lives together (My Husband Makes Movies / Only With You).


title: Nine (musical)

text: Guido's fugitive imagination, clutching at women like straws, eventually plunges through the floor of the present and into his own past where he encounters his mother, bathing a nine-year-old boy—the young Guido himself (Nine). The vision leads him to re-encounter a glorious moment on a beach with Saraghina, the prostitute and outcast to whom he went as a curious child, creeping out of his Catholic boarding school St. Sebastian, to ask her to tell him about love. Her answer, be yourself (Ti Voglio Bene / Be Italian), and the dance she taught him on the sand echoes down to the forty-year-old Guido as a talisman and a terrible reminder of the consequences of that night—punishment by the nuns and rejection by his appalled mother (The Bells of St. Sebastian). Unable to bear the incomprehensible dread of the adults, the little boy runs back to the beach to find nothing but the sand and the wind—an image of the vanishing nature of love, and the cause of Guido Contini's artistry and unanchored peril: a fugitive heart.


title: Nine (musical)

text: Back into the present, Guido is on a beach once more. With him, Claudia Nardi, a film star, muse of his greatest successes, who has flown from Paris because he needs her, but this time she does not want the role. He cannot fathom the rejection. He is enraged. He fails to understand that Claudia loves him, too, but wants him to love her as a woman 'not a spirit'—and he realizes too late that this was the real reason that she came—in order to know, and now she does. He cannot love her that way. She is in some way released to love him for what he is, and never to hope for him again. Wryly she calls him "My charming Casanova!" thereby involuntarily giving Guido the very inspiration he needs and for which has always looked to her. As Claudia lets him go with "Unusual Way," Guido grasps the last straw of all—a desperate, inspired movie—a 'spectacular in the vernacular'—set on "The Grand Canal" and cast with every woman in his life.


title: Nine (musical)

text: The improvised movie is a spectacular collision between his real life and his creative one—a film that is as self-lacerating as it is cruel, during which Carla races onto the set to announce her divorce and her delight that they can be married only to be brutally rejected by Guido in his desperate fixation with the next set-up, and which climaxes with Luisa, appalled and moved by his use of their intimacy—and even her words—as a source for the film, finally detonating with sadness and rage. Guido keeps the cameras rolling, capturing a scene of utter desolation—the women he loves, and Luisa whom he loves above all, littered like smashed porcelain across the frame of his hopelessly beautiful failure of a film. "Cut. Print!"


title: Nine (musical)

text: The film is dead. The cast leaves. They all leave. Carla, with "Simple"—words from the articulate broken heart, Claudia with a letter from Paris to say that she has married, and Luisa in a shattering exit from a marriage that has, as she says, been 'all of me' (Be On Your Own).


title: Nine (musical)

text: Guido is alone. "I Can't Make This Movie" ascends into the scream of "Guido out in space with no direction,' and he contemplates suicide. But, as the gun is at his head, there is a final life-saving interruption—from his nine-year-old self (Getting Tall), in which the young Guido points out it is time to move on. To grow up. And Guido surrenders the gun. As the women return in a reprise of the Overture (Reprises), but this time to let him go, only one is absent: Luisa. Guido feels the aching void left by the only woman he will ever love. In the 2003 Broadway production, as the boy led the women off into his own future to the strains of "Be Italian", Luisa steps into the room on the final note, and Guido turned toward her—this time ready to listen.


title: Nine (musical)

text: Originally conceived as a male/female cast, many of the changes into a mostly all women cast were created in a workshop that rehearsed in the upstairs theatre at the New Amsterdam Theatre in the Fall of 1981. For their participation, the workshop cast was given a small percentage of the show for a limited amount of time. Kathi Moss was the only cast member of the original Broadway cast that did not participate in the workshop (Pat Ast played the role of Saraghina in the workshop).


title: Nine (musical)

text: After nineteen previews, the Broadway production, directed by Tommy Tune and choreographed by Thommie Walsh, opened on May 9, 1982, at the 46th Street Theatre, where it ran for 729 performances. The cast included Raul Julia as Guido, Karen Akers as Luisa, Liliane Montevecchi as Liliane, Anita Morris as Carla, Shelly Burch as Claudia, Camille Saviola as Mama Maddelena, Kathi Moss as Saraghina, Cameron Johann as Young Guido, and Taina Elg as Guido's mother. Rounding out the cast were Christopher Evans Allen, Jeanie Bowers, Stephanie Cotsirilos, Kim Criswell, Kate DeZina, Colleen Dodson, Lulu Downs, Louise Edeiken, Laura Kenyon, Linda Kerns, Nancy McCall, Cynthia Meryl, Rita Rehn, Dee Etta Rowe, Jadrien Steele, Frankie Vincent, Patrick Wilcox, Alaina Warren Zachary. Raul Julia played Guido for one year, from May 9, 1982, to May 8, 1983. (Bert Convy replaced Julia while he was on vacation for two weeks, beginning January 10, 1983.) Sergio Franchi starred as Guido for 330 performances, from May 9, 1983, to February 4, 1984, the date the production closed; composer Maury Yeston added a Franchi-style ballad, "Now Is the Moment," to the lovely Italian-sounding score. Other replacements were Maureen McGovern and then Eileen Barnett as Luisa, Wanda Richert as Carla, Priscilla Lopez as Liliane, and Barbara Stock as Claudia. Once the original boys reached the required height for their roles, they were replaced by Derek Scott Lashine as Little Guido, Jeffrey Vitelli (also the understudy for Little Guido), Braden Danner, and Peter Brendon. The musical won five Tony Awards, including best musical and three Drama Desk Awards, including Best Music, Best Lyrics, and Best Musical. An original cast recording was released by Sony and was nominated for a Grammy Award.


title: Nine (musical)

text: The original plans were for the Broadway show to continue even as the National tour commenced. However the new producers (James Nederlander and Zev Buffman) made the right offer for the road show, and the Broadway production was closed so that the whole Broadway cast could go on the road with Sergio Franchi as the headliner. Nineteen cities were originally planned, but several venue changes were made during the tour. The most prominent was the canceling of a Baton Rouge venue so that show could serve for the Grand Opening of the Los Angeles Civic Light Opera season. This was to accommodate the cancellation of "On Your Toes" after Leslie Caron (the star) was hospitalized due to a hip injury. When the decision was made to close the road show after the San Francisco shows, Louisiana fans were upset that an alternate date had not been created for them. (Sergio Franchi was extremely popular in Louisiana.) The reviews were generally very favorable, although a DC reviewer lamented some production changes (although admitting that they had not viewed the original Broadway production). The production venue was changed from a spa to a railroad station, principally to accommodate the volume of scenery that needed to be transported from location to location. The other change lamented in DC was the lighting. One review of the Florida production acknowledged that the grey railroad station with light-studded arches may have been "even more surreal than its creators may have intended." In contrast, the San Diego reviewer expressed admiration for Marcia Madeira's "flattering light design" and declared "Nine" to be "wonderful to watch."


title: Nine (musical)

text: On June 7, 1992, the largest production of "Nine" to date was presented in concert in London at Royal Festival Hall with Jonathan Pryce, Becky Norman, Elizabeth Sastre, Ann Crumb, Kate Copstick, and Liliane Montevecchi. 165 people were in the cast, including male characters, as originally conceived. The production was directed by Andrew MacBean and a recording of the concert (with Elaine Paige stepping in as Claudia) was released by RCA Victor.


title: Nine (musical)

text: On December 12, 1996, a small-scale production directed by David Leveaux and choreographed by Jonathan Butterell opened at the Donmar Warehouse, where it ran for three months. Performers included Larry Lamb (Guido Contini), Ian Covington (Young Guido), Sara Kestelman (Liliane La Fleur), Clare Burt (Carla), Eleanor David (Claudia), Susannah Fellows (Luisa), Jenny Galloway (Saraghina), Ria Jones (Stephanie Necrophorus), Dilys Laye (Guido's Mother), Kiran Hocking (Our Lady of the Spa). Other cast members included Emma Dears, Kristin Marks, Tessa Pritchard, Sarah Parish, Norma Atallah and Susie Dumbreck. It was designed by Anthony Ward.


title: Nine (musical)

text: In 2003, the Roundabout Theatre Company produced a Broadway revival with director Leveaux and choreographer Butterell. It opened on April 10, 2003, at the Eugene O'Neill Theatre, where it ran for 283 performances and 23 previews and won two Tony Awards, including Best Revival of a Musical. The cast included Antonio Banderas as Guido (who received a Tony Award nomination), Mary Stuart Masterson as Luisa (who received a Tony Award nomination), Chita Rivera as Liliane, Jane Krakowski as Carla (winning the Tony), Laura Benanti as Claudia, and Mary Beth Peil as Guido's mother. Replacements later in the run included John Stamos as Guido, Eartha Kitt as Liliane, Rebecca Luker as Claudia, and Marni Nixon as Guido's mother. Yeston replaced a waltz dance from the original Folies Bergere number with a showstopping Tango Duet for Banderas and Rivera, A revival cast recording was released by PS Classics. Jenna Elfman was hired and advertised to join the cast as Carla at the same time that Stamos and Kitt were joining the production. A few days before the opening it was announced she needed more rehearsal time and that her understudy Sara Gettelfinger would take over temporarily. Elfman never did join the company and Gettelfinger played the rest of the run.


title: Nine (musical)

text: The European premiere of "Nine" opened in Sweden, at the Oscarsteatern, Stockholm, September 23, 1983, with Ernst-Hugo Järegård (Guido), Siw Malmkvist (Luisa), Viveka Anderberg (Claudia), Suzanne Brenning (Carla), Anna Sundqvist (Saraghina), Berit Carlberg (Liliane La Fleur), Helena Fernell (Stephanie), Maj Lindström (Guido's Mother), Moa Myrén (Lady of the Spa), Ewa Roos (Mama Maddalena), Lena Nordin(Maria). Other cast members included Monica Janner, Marit Selfjord, Berit Bogg, Ragnhild Sjögren, Solgärd Kjellgren, Ann-Christine Bengtsson, Siw Marie Andersson, Anna Maria Söderström, Susanne Sahlberg, Vivian Burman, Hanne Kirkerud, Susie Sulocki, Annika Persson, Charlotte Assarsson, Anna-Lena Engström, and Kim Sulocki (Guido as a child).


title: Nine (musical)

text: The Australian premiere of "Nine" was staged in Melbourne at the Comedy Theatre in 1987. John Diedrich produced, directed and starred as Guido Contini. As Luisa Contini, Maria Mercedes's portrayal received critical acclaim and nominations for Best Actress in a Musical at the Melbourne Green Room Awards and the Sydney Theatre Critics Circle Awards . Maury Yeston after attending the Sydney opening night proclaimed that Maria Mercedes was the definitive Luisa Contini. The cast also included a young Tina Arena, the Australian singer, songwriter and actress who went on to have an international recording and performing career. Other cast members included Nancye Hayes (as Liliane La Fleur), Peta Toppano as Claudia, Caroline Gillmer as Sarragina, Jackie Rees, Gerda Nicholson, Kerry Woods, Anna Lee, Sally Anne Bourne, Alana Clark, Sally Clark, Alison Jiear, Donna Lizzio, Cammie Munro, Marie-Jackson, Sharon Jessop, Alix Longman, Lisa O'Dea, Anne Sinclair, Janice Torrens, Penny Richards, and Mimi Rubin. A cast recording of the Australian production was recorded for Polydor and later released on CD by the TER record label. It won the ARIA Award for Best Original Soundtrack or Cast Album.


title: Nine (musical)

text: The Argentinian premiere of "Nine" (1998) won several ACE Awards including "Mejor Musial". Performers included Juan Darthes (as Guido), Elena Roger, Ligia Piro, Luz Kerz, Sandra Ballesteros and Mirta Wons.


title: Nine (musical)

text: The musical played in Malmö, Sweden at Malmö Opera in 2002 with Jan Kyhle (Guido), Marie Richardson (Luisa), Sharon Dyall (Claudia), Petra Nielsen (Carla), Marianne Mörck (Sarraghina), Lill Lindfors (Liliane La Fleur), Annica Edstam (Stephanie Nechrophorus), Victoria Kahn (Gudio's Mother).


title: Nine (musical)

text: A Dutch production of "Nine" opened in an open-air theatre in Amersfoort in June 2005. Directed by Julia Bless, the production starred René van Zinnicq Bergmann, Frédèrique Sluyterman van Loo, Marleen van der Loo, Kirsten Cools, Tine Joustra, Veronique Sodano, Aafke van der Meij and Donna Vrijhof. The Dutch translation was by Theo Nijland.


title: Nine (musical)

text: The original Japanese production premiered in Tokyo in 2005 with Tetsuya Bessho as Guido Contini and Mizuki Ōura as Liliane La Fleur. In 2021 the Umeda Arts 2021 production in Tokyo and Osaka "Nine" won Japan's Yomiuri Theatre Award for Best Musical, Best Leading Actor: Yu Shirota, and Best Director: Shuntaro Fujita.


title: Nine (musical)

text: The musical premiered in San Juan, Puerto Rico in the fall of 2010 with Ernesto Concepción as Guido Contini, Sara Jarque as Luisa, Wanda Sais as Carla, Marian Pabón as Lilliane Le Fleur, Tita Guerrero as Lina Darling, Michelle Brava as Claudia Nardi, Aidita Encarnación as Saraghina, Yezmín Luzzed as Stephanie Necrophorus and Hilda Ramos as Mamma. The production was directed by Miguel Rosa who previously directed the Puerto Rico premiere of "Rent" in 2009.


title: Nine (musical)

text: The Phoenix Theatre in Arizona revived "Nine" in the spring of 2011, starring Craig Laurie (Guido), Patti Davis Suarez (Mother), Jeannie Shubitz (Luisa), Kim Manning (Liliane), Jenny Hintze (Claudia), and Johanna Carlisle (Saraghina).


title: Nine (musical)

text: The musical premiered in Manila, the Philippines, in September 2012, produced by Atlantis Productions. Jett Pangan starred as Guido Contini alongside an all-star cast of women, scenic design by Tony Award-winning David Gallo and costume design by Robin Tomas.


title: Nine (musical)

text: The musical premiered in the Czech Republic, at the Josef Kajetán Tyl Theatre in Pilsen in December 2012.


title: Nine (musical)

text: The Greek production opened in theatre Pantheon in Athens in November 2015, starring Vassilis Charalampopoulos as Guido, Helena Paparizou as Saraghina.


title: Nine (musical)

text: The musical premiered in Brazil, at Teatro Porto Seguro, in São Paulo, directed by Charles Möeller and Claudio Botelho, starring Italian actor Nicola Lama as Guido, Carol Castro as Luisa, Totia Meireles as Lili la Fleur, Malu Rodrigues as Carla, Karen Junqueira e Vanessa Costa alternating as Claudia, Letícia Birkheuer as Stephanie, Beatriz Segall, Sonia Clara alternating as Guido's mother and Myra Ruiz as Saraghina .


title: Nine (musical)

text: A Spanish production is scheduled to premiere on 7 June 2018 at the Teatro Amaya in Madrid, with a cast formed by Alvaro Puertas as Guido Contini, Roko as Luisa Contini, Patrizia Ruiz as Claudia Nardi, Chanel Terrero as Carla Albanese, Marcela Paoli as Liliane Le Fleur, Idaira Fernández as Saraghina, Chus Herranz as Stephanie and Angels Jiménez as Guido's Mother.


title: Nine (musical)

text: On April 12, 2007, "Variety" announced that Rob Marshall would direct a feature film adaptation of "Nine" for the Weinstein Company. Marshall had previously directed "Chicago" for the Weinsteins while they were still at Miramax. The screenplay is written by Anthony Minghella with Michael Tolkin serving as an uncredited co-scripter. The cast consists of Academy Award winners Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Nicole Kidman, and Sophia Loren, with Academy Award nominee and Golden Globe winner Kate Hudson and Grammy winning singer Fergie. Among other cast changes in the film version, the character of Mama Maddelena does not appear, and Claudia's surname was changed from Nardi to Jenssen. The script makes Guido 50 (Day-Lewis's actual age), not 40 as in the stage original. The film's final coda is more hopeful and optimistic than the stage version. In addition, director Marshall cut most of the original production's score, with only "Overture delle Donne," "Guido's Song," "A Call from the Vatican," "Folies Bergeres," "Be Italian," "My Husband Makes Movies," "Unusual Way," and an extended version of "I Can't Make This Movie" making it into the final edit of the film. Composer Maury Yeston wrote three new songs for the movie including "Cinema Italiano," "Guarda la Luna" to replace the title song, and "Take It All" in place of "Be On Your Own," as well as the instrumental concluding the film. The film is co-produced by Marshall's own production company Lucamar Productions. The film was released in the US on December 18, 2009, in New York and Los Angeles and opened for wide release on December 25, 2009.


title: Ford F-Series (fourteenth generation)

text: The fourteenth generation Ford F-Series is a range of pickup trucks produced by Ford, introduced for the 2021 model year. This was the first generation to include a fully-electric and hybrid pickup truck among the offerings, with the F-150 Lightning model having entered production in 2022.


title: Ford F-Series (fourteenth generation)

text: Sharing a strong visual resemblance to the previous generation, the 2021 F-150 underwent a redesign of 92% of its parts, carrying over only its cab and pickup box structure. The bed and cab configurations remain the same: regular cab and SuperCab trucks are available with 6.5- and 8-foot beds, while SuperCrew (crew cab) trucks are available with 5.5- and 6.5-foot beds. Along with exterior design changes to enhance aerodynamics, many changes were made to the interior, adding fold-flat front seats and larger touchscreens (including a fully digital instrument panel on higher-end trims).


title: Ford F-Series (fourteenth generation)

text: The powertrain line is largely carried over from the previous generation, with a 3.3 L V6, 2.7 L and 3.5 L EcoBoost twin-turbo V6s, a 5.0 L V8, and a 3.0 L turbo diesel V6. However, the 5.0 L V8 receives a new cylinder deactivation system, called Variable Displacement Engine technology, similar to GM's Active Fuel Management and Chrysler's Multi-Displacement System. The six-speed automatic was dropped, with all engines now being paired to a 10-speed automatic. New for this generation of F-150 is a gasoline-electric hybrid powertrain. Dubbed "PowerBoost", this powertrain is the first to be offered in a Ford pickup truck, pairing an electric motor with the 3.5 L V6 EcoBoost engine.


title: Ford F-Series (fourteenth generation)

text: Available only with the SuperCrew, the hybrid version of the F-150, called the PowerBoost, combines a 3.5 L EcoBoost V6 with a hybrid motor/generator between the engine and transmission. A 1.5kWh lithium-ion battery pack is located under the bed. The net gain is and . All the electrical power also allowed Ford to have up to 7200 watts in the bed of a truck, far exceeding the capacity of a normal 120V receptacle. A 20 percent fuel economy increase over a base 3.5 EcoBoost has been observed at combined city/highway driving. The hybrid option is $2,500 added to the base price, although it can be more depending on the trim.


title: Ford F-Series (fourteenth generation)

text: Ford unveiled an electric version of the Ford F-150 called the F-150 Lightning, reviving the model name for the first time since the previous Lightning was discontinued after the 2004 model year. It debuted on May 19, 2021, and deliveries to customers began in May 2022. The F-150 Lightning has dual motors. It is built at the new Ford Rouge Electric Vehicle Center in Michigan.


title: Ford F-Series (fourteenth generation)

text: Ford had previously announced the intention to produce a fully-electric light pickup at the 2019 Detroit Auto Show in January 2019. Prototype electric test mules on an existing F-150 chassis were tested during 2019, including a record-setting demonstration test tow of on rails. Ford unveiled the truck, and released the model name—F-150 Lightning—on May 19, 2021.


title: Ford F-Series (fourteenth generation)

text: The F-150 Raptor was announced in February 2021, and features a 3.5 L twin-turbocharged V6 gasoline engine carried over from the previous generation.


title: Ford F-Series (fourteenth generation)

text: For the 2022 model year, the F-150 saw several minor updates, alongside the major introduction of the electrified F-150 Lightning. Most notably, the 3.0 L Power Stroke turbo-diesel engine was discontinued because of low consumer demand. In addition, a new "Black Appearance Package" is available to order on XL (only with the optional STX package), XLT, Lariat, and Platinum trims.


title: Ford F-Series (fourteenth generation)

text: For the 2023 model year, Ford launched a special F-150 Heritage Edition to honor the 75th anniversary of the first Ford F-Series pickup. The Heritage Edition, available only with the XLT trim, features special two-tone paint jobs in five different color combinations and exclusive seat coverings. The SuperCab was dropped from the Lariat trim, leaving only the SuperCrew available in either a 5-1/2 or 6-1/2 ft bed. Also for the 2023 model year, the F-150 Raptor R was introduced to compete with the Ram 1500 TRX.


title: Ford F-Series (fourteenth generation)

text: In March 2022, Ford announced plans to officially export the F-150 to Australia in 2023. Vehicles imported would be converted to right hand drive to conform to Australian Design Rules by RMA Automotive in Mickleham, Victoria. At launch, only the crew-cab body style with the XLT and Lariat trims would be offered and powered by the 3.5 L EcoBoost V6 mated to the 10-speed Ford 10R80 automatic.


title: Siege of Delhi

text: The rebellion against the authority of the East India Company was widespread through much of Northern India, but essentially it was sparked by the mass uprising by the sepoys of the units of the Army which the company had itself raised in its Bengal Presidency (which actually covered a vast area from Assam to Peshawar). Seeking a symbol around which to rally, the first sepoys to rebel sought to reinstate the power of the Mughal Empire, which had ruled the entire Indian subcontinent during the previous centuries. Lacking overall direction, many who subsequently rebelled also flocked to Delhi.


title: Siege of Delhi

text: This made the siege decisive for two reasons. Firstly, large numbers of rebels were committed to the defence of a single fixed point, perhaps to the detriment of their prospects elsewhere, and their defeat at Delhi was thus a very major military setback. Secondly, the British recapture of Delhi and the refusal of the aged Mughal Emperor Bahadur Shah II to continue the struggle, deprived the rebellion of much of its national character. Although the rebels still held large areas, there was little co-ordination between them and the British were inevitably able to overcome them separately.


title: Siege of Delhi

text: After several years of increasing tension among the sepoys (Indian soldiers) of the British East India Company's Bengal Army, the sepoys at Meerut, northeast of Delhi, openly rebelled against their British officers. The flashpoint was the introduction of the Pattern 1853 Enfield rifle. The cartridges for this were widely believed to be greased with a mixture of cow and pig fat, and to bite them open when loading the rifle (as required by the drill books) would defile both Hindu and Muslim soldiers.


title: Siege of Delhi

text: Eighty-five men of the 3rd Bengal Cavalry stationed at Meerut refused to accept their cartridges. They were hastily court martialled, and on 9 May 1857 they were sentenced to long periods of imprisonment and were paraded in irons before the British and Bengal regiments in the garrison. On the evening of the following day, soldiers of the Bengal regiments (3rd Light Cavalry, 11th and 20th Infantry) rebelled, releasing the imprisoned troopers and killing their British officers and many British civilians in their cantonment.


title: Siege of Delhi

text: The senior Company officers at Meerut were taken by surprise. Although they had ample warning of disaffection among the Bengal Army after earlier outbreaks of unrest at Berhampur, Barrackpur and Ambala, they had assumed that at Meerut, where the proportion of European to Indian troops was higher than anywhere else in India, the Bengal units would not risk open revolt. They were fortunate that they did not suffer disaster. The Bengal regiments broke into rebellion on Sunday, when European troops customarily attended evening Church parade without arms. Due to the increasingly hot summer weather, the Church services on 10 May took place half an hour later than on previous weeks, and when the outbreak occurred, the British troops had not yet left their barracks and could quickly be mustered and armed.


title: Siege of Delhi

text: Other than defending their own barracks and armouries, the Company's commanders at Meerut took little action, not even notifying nearby garrisons or stations. (The telegraph had been cut, but dispatch riders could easily have reached Delhi before the sepoys, had they been sent immediately.) When they had rallied the British troops in the cantonment and prepared to disperse the sepoys on 11 May, they found that Meerut was quiet and the sepoys had marched off to Delhi.


title: Siege of Delhi

text: Delhi was the capital of the Mughal Empire, which had been reduced to insignificance over the preceding century. The Emperor, Bahadur Shah II, who was eighty-two, had been informed by the East India Company that the title would die with him. At the time, Delhi was not a major centre of Company administration although Company officials controlled the city's finances and courts. They and their families lived in the "Civil Lines" to the north of the city.


title: Siege of Delhi

text: There were no units of the British Army or "European" units of the East India Company forces at Delhi. Three Bengal Native Infantry regiments (the 38th, 54th and 74th) were stationed in barracks north-west of the city. They provided guards, working parties and other details to a "Main Guard" building just inside the walls near the Kashmiri Gate on the northern circuit of walls, the arsenal in the city and other buildings. By coincidence, when the regiments paraded early in the morning of 11 May, their officers read out to them the General Order announcing the execution of sepoy Mangal Pandey, who had attempted to start a rebellion near Barrackpur earlier in the year, and the disbandment of his regiment (the 34th Bengal Native Infantry). This produced much muttering in the ranks.


title: Siege of Delhi

text: Later in the morning, the rebels from Meerut arrived quite unexpectedly, crossing the bridge of boats over the Jumna River. The leading sowars (troopers) of the 3rd Light Cavalry halted under the windows of the Palace and called on the Emperor to lead them. Bahadur Shah called for them to go to another palace outside the city, where their case would be heard later. Company officials then tried to close all the city gates but were too late to prevent the sowars gaining entry through the Rajghat Gate to the south. Once inside, the sowars were quickly joined by mobs which began attacking Company officials and looting bazaars.


title: Siege of Delhi

text: Some Company officers and civilians tried to take refuge in the Main Guard, but the sepoys there joined the revolt, and they were slaughtered. Other officers arrived from the barracks, accompanied by two field guns and several companies of sepoys who had not yet joined the rebellion, and recaptured the Main Guard, sending the bodies of the dead officers to the cantonments in a cart. In the city meanwhile nine British officers from the Ordnance Corps, led by George Willoughby were conducting the Defence of the Magazine (containing artillery, stocks of firearms and ammunition). They found that their troops and labourers were deserting, using ladders provided from the palace to climb over the walls. The officers opened fire on their own troops and the mobs, to prevent the arsenal falling intact into the rebels' hands. After five hours, they had run out of ammunition and blew up their magazine, killing many rioters and onlookers, and badly damaging nearby buildings. Only three of them escaped and received the Victoria Cross.


title: Siege of Delhi

text: Shortly after this, the troops at the Main Guard were ordered to withdraw. The sepoys there who had hitherto remained aloof from the revolt turned on their officers, a few of whom escaped after the sepoys left to join the looting.


title: Siege of Delhi

text: About half the European civilians in Delhi and in the cantonments and Civil Lines were able to escape and fled as best they could, first to the Flagstaff Tower on the ridge to the north-west of Delhi where telegraph operators were trying to warn other British stations of the uprising. After it became clear that no help could arrive from Meerut or elsewhere, and the cart carrying the bodies of the officers killed at the Main Guard in the morning arrived at the tower by mistake, most of the Europeans fled to Karnal, several miles west. Some were helped by villagers on the way, others fell prey to plunderers.


title: Siege of Delhi

text: On 12 May, Bahadur Shah held his first formal audience for several years. It was attended by several excited sepoys who treated him familiarly or even disrespectfully. Although Bahadur Shah was dismayed by the looting and disorder, he gave his public support to the rebellion. On 16 May, sepoys and palace servants killed 52 British who had been held prisoner within the palace or who had been discovered hiding in the city. The killings took place under a peepul tree in front of the palace, despite Bahadur Shah's protests. The avowed aim of the killers was to implicate Bahadur Shah in the killings, making it impossible for him to seek any compromise with the Company.


title: Siege of Delhi

text: The administration of the city and its new occupying army was chaotic, although it continued to function haphazardly. The Emperor nominated his eldest surviving son, Mirza Mughal, to be commander in chief of his forces, but Mirza Mughal had little military experience and was treated with little respect by the sepoys. Nor did the sepoys agree on any overall commander, with each regiment refusing to accept orders from any but their own officers. Although Mirza Mughal made efforts to put the civil administration in order, his writ extended no further than the city. Outside, Gujjar herders began levying their own tolls on traffic, and it became increasingly difficult to feed the city.


title: Siege of Delhi

text: News of the rebellion at Meerut and the capture of Delhi spread rapidly throughout India. Rumours and envoys from the rebels spread the tidings fast, and precipitated widespread rebellions and uprisings, but the Company learned of the events at Delhi even more quickly, thanks to the telegraph. Where the commanders of stations were energetic and distrustful of their sepoys, they were able to forestall some of the most dangerous revolts.


title: Siege of Delhi

text: Although there were several Company units available in the cool "hill stations" in the foothills of the Himalayas, it took time before any action could be taken to recapture Delhi. This was partly due to lack of transport and supplies. After the end of the Second Anglo-Sikh War, the Bengal Army's transport units had been disbanded as an economy measure, and transport had to be improvised from scratch. Also, many of the senior British officers were widely regarded as dotards, far too senile to act decisively or sensibly.


title: Siege of Delhi

text: Nevertheless, a Company force under General George Anson, the commander in chief in India, was able to move from Ambala to Karnal starting on 17 May. On 7 June, they were joined at Alipur by a force from Meerut, which had fought several skirmishes "en route". The Meerut force was led by Brigadier Archdale Wilson, who had conspicuously failed to prevent the rebel sepoys' move to Delhi on 11 May. Anson died of cholera at Karnal on 27 May. Under his successor, Major General Henry Barnard, the combined force advanced on Delhi.


title: Siege of Delhi

text: On 8 June, they found the mutineers had entrenched themselves outside the city. They drove the large but disorganised rebel force from the field at the Battle of Badli-ki-Serai west of Delhi, and captured Delhi ridge north of the city and the Bengal infantry units' barracks to the west of it. As a gesture of defiance and contempt, they set fire to the barracks. This was a senseless act, as it condemned the besiegers (and all their sick and wounded and noncombatants) to live in tents through the hot weather and monsoon rain seasons.


title: Siege of Delhi

text: The ridge was of hard rock, about high, and ran from a point only east of the Kabul Gate on the city walls to the Yamuna River north of the city. Fortunately for the besiegers, a canal ran from the Yamuna west of their encampments, protecting the rear of their camp and also providing drinking water. The besiegers occupied various fortified posts along the top of the Ridge. The nearest to the city and the most exposed was known as "Hindu Rao's house", defended by the 60th Rifles and Gurkhas of the 8th (Sirmoor) Local Battalion. South of it was a maze of villages and walled gardens, called the Subzi Mundi, in which the rebel forces could gather before launching attacks on the British right.


title: Siege of Delhi

text: It was quickly apparent that Delhi was too well-fortified and strongly held to fall to a "coup de main". Barnard ordered a dawn assault on 13 June, but the orders were confused and failed to reach most of his subordinates in time. The attack had to be called off, amidst much recrimination. After this, it was accepted that the odds were too great for any assault to be successful until the besiegers were reinforced.


title: Siege of Delhi

text: Large contingents of rebellious sepoys and volunteers continued to arrive in Delhi. The majority of no less than ten regiments of cavalry and fifteen of infantry of the Bengal army rebelled and made their way to Delhi during June and July, along with large numbers of irregulars, mainly Muslim "mujahaddin". As each new contingent arrived, the rebels made attacks on Hindu Rao's house and other outposts on several successive days. A major attack was mounted from three directions on 19 June, and nearly forced the exhausted besiegers to retreat, but the rebels did not know how close they came to success. Another major attack was made on 23 June, the centenary of the Battle of Plassey. (It was believed that the presence of East India Company in India would end one hundred years after this famous battle).


title: Siege of Delhi

text: Although all these attacks were beaten off, the besiegers were ground down through exhaustion and disease. Conditions on the ridge and in the encampment were extremely unhealthy and unpleasant. General Barnard died of cholera on 5 July. His successor (Reed) was also stricken with cholera and forced to hand over command to Archdale Wilson, who was promoted to Major General. Although Wilson made efforts to clear the unburied corpses and other refuse from the ridge and encampment and reorganise the outposts and reliefs, he himself was scarcely capable of exercising command, and in every letter he wrote, he complained of his exhaustion and prostration. Brigadier Neville Chamberlain, a much younger officer who might have provided better leadership, was severely wounded repelling a sortie on 14 July.


title: Siege of Delhi

text: Meanwhile, in Delhi, there had been some loss of morale due to the failures of Mirza Moghul and Bahadur Shah's equally unmilitary grandson, Mirza Abu Bakr. A large party of reinforcements arrived from Bareilly under Bakht Khan, a veteran artillery officer of the Company's army. Pleased with the loot they brought with them, Bahadur Shah made Bakht Khan the new commander in chief. Bakht Khan was able to replenish the city's finances and inspire the rebel soldiers to renewed efforts. Bahadur Shah however, was growing discouraged, and turned away offers of assistance from other rebel leaders.


title: Siege of Delhi

text: In one vital area of India, the Punjab (which had been annexed by the East India Company only eight years before), the Bengal Native units were quickly disarmed to prevent them rebelling, or were defeated when they did rebel. Most of the available Company units were stationed there, along with units of the Punjab Irregular Force which were formed from Sikhs and Pakhtuns who had little in common with the high caste Hindus of the Bengal Native Infantry units.


title: Siege of Delhi

text: As the situation in the Punjab stabilised, units could be dispatched to reinforce the besiegers at Delhi. Also, the rulers of the states of Patiala, Jhind and Nabha were induced to support the East India Company, sending contingents of their armies to secure the lines of communication between the besiegers and the Punjab.


title: Siege of Delhi

text: The first reinforcements to arrive at Delhi, the Corps of Guides, made an epic forced march of several hundred miles through the hottest season of the year, which also coincided with the month of Ramadan during which their Muslim soldiers could neither eat nor drink during the day. They nevertheless went into action almost immediately when they arrived at the Ridge.


title: Siege of Delhi

text: The major force dispatched from the Punjab to Delhi were a "Flying Column" of 4,200 men under Brigadier John Nicholson and a siege train. Nicholson himself arrived on 14 August. The rebels had heard of the imminent arrival of the siege train, and sent a force out of the city to intercept it. On 25 August, Nicholson led a force against their position at the Battle of Najafgarh. Although the monsoon had broken, and the roads and fields were flooded, Nicholson drove his force to make a rapid march and gained an easy victory, raising European morale and lowering that of the rebels.


title: Siege of Delhi

text: The siege train arrived at the beginning of September, comprising six 24-pounders, eight 18-pounder long guns, six 8 inch howitzers and four 10 inch mortars, with almost 600 ammunition carts. On 8 September a further 4 guns arrived. With the guns already present, the besiegers had a total of fifteen 24-pounder guns, twenty 18-pounder guns and twenty-five mortars and howitzers.


title: Siege of Delhi

text: By early September, the British had assembled a force of some 9,000, which consisted of 3,000 regular troops and 6,000 Sikhs, Punjabis, and Ghurkas.


title: Siege of Delhi

text: Wilson's chief Engineer Officer, Richard Baird Smith, had drawn up a plan to breach the city walls and make an assault. Wilson was unwilling to risk any attack, but was urged by Nicholson to agree to Baird Smith's plan. There were moves among the British officers, in which Nicholson was prominent, to replace Wilson as commander if he failed to agree to make the attack.


title: Siege of Delhi

text: As a preliminary step, on 6 September the Company forces constructed "Reid's Battery", or the "Sammy House Battery", of two 24-pounder and four 9-pounder guns, near the southern end of the ridge, to silence the guns on the Mori Bastion. Under cover of Reid's Battery, on 7 September the first siege battery proper was established, from the Mori Bastion. Opening fire on 8 September, four of its guns engaged the artillery on the Kashmir Bastion, while six guns and a heavy mortar silenced the rebels' guns on the Mori Bastion after a long duel. The direction of this attack also deceived the rebels that the storming attempt would be made from the east, rather than the north.


title: Siege of Delhi

text: A second battery, consisting of nine 24-pounder guns, two 18-pounder guns and seven 8-inch howitzers, was set up near a flamboyantly-designed house known as "Ludlow Castle" in the Civil Lines, and opened fire against the Kashmir Bastion on 10 September. A third battery of six 18-pounder guns and 12 Coehorn mortars was set up near the old Custom House less than from the city walls, and opened fire against the Water Bastion near the Yamuna next day. A fourth battery of ten heavy mortars was set up in cover near the Khudsia Bagh, opening fire on 11 September. Because the element of surprise had been lost and these batteries were being enfiladed from across the river, the Indian sappers and pioneers who carried out much of the work of constructing the second and third batteries and moving the guns into position suffered over 300 casualties, but the batteries quickly made breaches in the bastions and walls. 50 guns continued to fire day and night and the walls began to crumble away.


title: Siege of Delhi

text: The opening of this phase of the siege seems to have coincided with the exhaustion of the ammunition the rebels had captured from the magazine, as the rebel fire became suddenly much less effective. By this time also, the rebels had become depressed through lack of supplies and money, and by defeatist rumours which were spread by agents and spies organised by William Hodson.


title: Siege of Delhi

text: The attack was scheduled for 3 a.m. on 14 September. The storming columns moved into position during the night of 13 September. The future Field Marshal Lord Roberts, then a junior staff officer, recorded their composition:


title: Siege of Delhi

text: The first three columns, under Nicholson's overall command, gathered in and behind a building known as the Khudsia Bagh, a former summer residence of the Mughal Kings, about a quarter of a mile from the north walls. The fourth column was intended to attack only when the Kabul Gate on the west of the city walls was opened from behind by the other columns. The fifth column and the cavalry were in reserve.


title: Siege of Delhi

text: The attack was supposed to be launched at dawn, but the defenders had repaired some of the breaches overnight with sandbags, and further bombardment was required. Eventually, Nicholson gave the signal and the attackers charged. The first column stormed through the breach in the Kashmir Bastion and the second through that in the Water Bastion, by the Jumna River, but this was not without difficulty as most of the scaling ladders were broken before they could be emplaced.


title: Siege of Delhi

text: The third column attacked the Kashmiri Gate on the north wall. Two sapper officers, Lieutenants Home and Salkeld (both of whom subsequently won the Victoria Cross), led a suicidal mission, a small party of British and Indian sappers which placed four gunpowder charges and sandbags against the gate, under fire from just away. Several of them were wounded and killed trying to light the fuse. The explosion demolished part of the gate, a bugler with the party signalled success and the third column charged in.


title: Siege of Delhi

text: Meanwhile, the fourth column encountered a rebel force in the suburb of Kishangunj outside the Kabul Gate before the other columns attacked, and was thrown into disorder. Major Reid, its commander, was seriously injured and the column retired. The rebels followed up, capturing four guns from the Kashmiri troops, and threatened to attack the British camp, which had been emptied of its guards to form the assault force. The artillery batteries at Hindu Rao's House (directed by Chamberlain from a doolie) stopped them until Hope Grant's cavalry and horse artillery could move up to replace Reid's column. The cavalry remained in position under fire from guns on the Kabul Gate and suffered heavy casualties, until relieved by infantry.


title: Siege of Delhi

text: In spite of this reverse, Nicholson was keen to press on into the city. He led a detachment down a narrow lane to try to capture the Burn Bastion, on the walls north of the Kabul Gate. Rebel soldiers held most of the flat rooftops and walled compounds, and guns mounted on the bastion fired grapeshot down the lanes between the houses. After two rushes were stopped with heavy casualties, Nicholson led a third charge and was mortally wounded.


title: Siege of Delhi

text: Temporarily repulsed, the British now withdrew to the Church of Saint James, just inside the walls of the Kashmir Bastion. They had suffered 1,170 casualties in the attack. Archdale Wilson moved to the Church, and faced with the setback, he wished to order a withdrawal. When he heard of Wilson's indecision, the dying Nicholson threatened to shoot him. Eventually, Baird Smith, Chamberlain and other officers persuaded Wilson to hold on to the British gains.


title: Siege of Delhi

text: The British and Company forces were disordered. Many British officers had been killed or wounded, and their units were now in confusion. The British foothold included many of the liquor stores and over the next two days, many British soldiers became drunk and incapacitated on looted spirits. However, the rebel sepoy regiments had become discouraged by their defeats and lack of food, while the irregular "mujahhadin" defended their fortified compounds with great determination but could not be organised to make a coordinated counter-attack.


title: Siege of Delhi

text: Wilson eventually ordered all liquor to be destroyed, and discipline was restored. Slowly, the attackers began to clear the rebels from the city. They captured the magazine on 16 September. Another Victoria Cross was earned here, by Lieutenant Thackerey for extinguishing a fire in the magazine, whilst under musket fire. Bahadur Shah and his entourage abandoned the palace on 18 September, and a British force captured the great mosque, the Jama Masjid, and the abandoned palace the next day. They also captured the Selimgarh Fort, attached to the palace and dominating the bridge of boats over the River Yamuna. Most rebels who had not already left the city now did so before the Company forces captured all the gates and trapped them.


title: Siege of Delhi

text: The cost to the British, Company, and loyal Indian armies in besieging Delhi from the start of the siege to the capture of the city was 1,254 killed, and 4,493 wounded, of which 992 were killed, 2,795 were wounded and 30 missing in action during the last six days of brutal fighting in the city during the final assault. Of that total of 3,817 casualties during the capture of the city, 1,677 were loyalist Indian soldiers. It is almost impossible to say how many rebels and their supporters were killed during the siege, but the number was far greater. Unofficial sources place the rebel casualties at over 5,000.


title: Siege of Delhi

text: It is also impossible to estimate how many civilians died during the fighting in Delhi which included those killed by the rebels, those killed by the British, or those killed randomly and accidentally in the cross-fire. After the siege, many civilians were subsequently expelled from the city to makeshift camps in the nearby countryside, as there was no way of feeding them until order was restored to the entire area. The British, Sikh and Pakhtun soldiers were all fairly callous with regard to life. For four days, after the fall of the city, there was extensive looting, although many British soldiers were more interested in drink than material possessions. Prize agents later moved into the city behind the troops, and organised the search for concealed treasure on a more systematic basis.


title: Siege of Delhi

text: But the British, eager to avenge the killing of several hundred of their countryfolk in Delhi, Cawnpore, and elsewhere in India, were in no mood to take prisoners. Several hundred rebel prisoners as well as suspected rebels and sympathisers were subsequently hanged without a trial or much legal process. In many cases, the officers of the "Queen's" Army were inclined to be lenient, but East India Company officials such as Theophilus Metcalfe were vengeful.


title: Siege of Delhi

text: Bahadur Shah and three of his sons had taken refuge at Humayun's Tomb, south of Delhi. Although he was urged to accompany Bakht Khan and rally more troops, the aged King was persuaded that the British were seeking vengeance only against the sepoys they regarded as mutineers, and he would be spared. On 20 September, a party under William Hodson took him into custody on promise of clemency, and brought him back to the city. The next day, Hodson also took prisoner three of Bahadur Shah's sons, but with no guarantee of any sort. On the pretext that a mob was about to release them, Hodson executed the three princes at "Khooni Darwaza" (Bloody Gate). Their heads were later presented to Bahadur Shah, who was subsequently put on trial by the British Military Commission.


title: Siege of Delhi

text: By recapturing the Indian capital city, the British and Company forces dealt the Indian Army mutineers a major military and psychological blow, while releasing troops to assist in the relief of Lucknow, thus contributing to another British victory.


title: Siege of Delhi

text: A total of 29 Victoria Crosses were awarded to recipients for bravery in the Siege of Delhi. A Delhi clasp was authorised for the Indian Mutiny Medal.


title: District Six

text: District Six (Afrikaans "Distrik Ses") is a former inner-city residential area in Cape Town, South Africa. Over 60,000 of its inhabitants were forcibly removed during the 1970s by the apartheid regime.


title: District Six

text: The area of District Six is now partly divided between the suburbs of Walmer Estate, Zonnebloem, and Lower Vrede, while the rest is generally undeveloped land.


title: District Six

text: The area was named in 1966 as the "Sixth Municipal District of Cape Town". The area began to grow after the freeing of the enslaved in 1833. The District Six neighbourhood is bounded by Sir Lowry Road on the north, Buitenkant Street to the west, Philip Kgosana Drive on the south and Mountain Road to the East. By the turn of the century it was already a lively community made up of former slaves, artisans, merchants and other immigrants, as well as many Malay people brought to South Africa by the Dutch East India Company during its administration of the Cape Colony. It was home to almost a tenth of the city of Cape Town's population, which numbered over 1,700–1,900 families.


title: District Six

text: After World War II, during the earlier part of the Apartheid Era, District Six was relatively cosmopolitan. Situated within sight of the docks, its residents were largely classified as coloured under the Population Registration Act, 1950 and included a substantial number of coloured Muslims, called Cape Malays. There were also a number of black Xhosa residents and a smaller number of Afrikaners, English-speaking whites, and Indians. In the 1960/70's large slum areas were demolished as part of the apartheid movement which the Cape Town municipality at the time had written into law by way of the Group Areas Act (1950). This however did not come into enforcement until 1966 when District Six was declared a 'whites only' area, the year demolition began. New buildings soon arose from the ashes of the demolished homes and apartments.


title: District Six

text: Government officials gave four primary reasons for the removals. In accordance with apartheid philosophy, it stated that interracial interaction bred conflict, necessitating the separation of the races. They deemed District Six a slum, fit only for clearance, not rehabilitation. They also portrayed the area as crime-ridden and dangerous; they claimed that the district was a vice den, full of immoral activities like gambling, drinking, and prostitution. Though these were the official reasons, most residents believed that the government sought the land because of its proximity to the city centre, Table Mountain, and the harbour.


title: District Six

text: On 2 October 1964, a departmental committee established by the Minister of Community Development met to investigate the possible replanning and development of District Six and adjoining parts of Woodstock and Salt River. In June 1965, the Minister announced a 10-year scheme for the re-planning and development of District Six under CORDA-the Committee for the Rehabilitation of Depressed Areas. On 12 June 1965, all property transactions in District Six were frozen. A 10-year ban was imposed on the erection or alteration of any building.


title: District Six

text: On 11 February 1966, the government declared District Six a whites-only area under the Group Areas Act, with removals starting in 1968. About 30,000 people living in the specific group area were affected. In 1966, the City Engineer, Dr S.S.Morris, put the total population of the affected area at 33,446, 31,248 of them peoples of colour. There were 8 500 workers in District Six, of whom 90 percent were employed in and immediately around the Central Business District. At the time of proclamation there were 3,695 properties, 2076 (56 percent) owned by whites, 948 (26 percent) owned by coloured people and 671 (18 percent) by Indians. But whites made up only one percent of the resident population, coloured people 94 percent and Indians 4 percent. The government's plan for District Six, finally unveiled in 1971, was considered excessive even for that time of economic boom. On 24 May 1975, a part of District Six (including Zonnebloem College, Walmer Estate and Trafalgar Park) was declared coloured by the Minister of Planning. Most of the approximately 20,000 people removed from their homes were moved to townships on the Cape Flats.


title: District Six

text: By 1982, more than 60,000 people had been relocated to a Cape Flats township complex roughly 25 kilometres away. The old houses were bulldozed. The only buildings left standing were places of worship. International and local pressure made redevelopment difficult for the government, however. The Cape Technikon (now Cape Peninsula University of Technology) was built on a portion of District Six which the government renamed Zonnebloem. Apart from this and some police housing units, the area was left undeveloped.


title: District Six

text: Since the fall of apartheid in 1994, the South African government has recognised the older claims of former residents to the area, and pledged to support rebuilding.


title: District Six

text: The District Six area is situated in the city bowl of Cape Town. It is made up of Walmer Estate, Zonnebloem, and Lower Vrede (the former Roeland Street Scheme). Some parts of Walmer Estate, like Rochester Street, were completely destroyed, while some parts like Cauvin Road were preserved, but the houses were demolished. In other parts of Walmer Estate, like Worcester Road and Chester Road, people were evicted, but only a few houses were destroyed. Most of Zonnebloem was destroyed except for a few schools, churches and mosques. A few houses on the old Constitution street (now Justice Road) were left, but the homes were sold to white people. This was the case with Bloemhof flats (renamed Skyways). Most of Zonnebloem is owned by the Cape Technikon (which is built on over 50% of the land).


title: District Six

text: Rochester Road and Cauvin Road were called Dry Docks or incorrectly spelt in Afrikaans slang as Draaidocks (turn docks), as the Afrikaans word 'draai' sounds like the English word 'Dry'. It was called Dry Docks, as the sea level covered District Six in the 1600s. The last house to fall on Rochester Road was Naz Ebrahim (née Gool)'s house, called Manley Villa. Naz was an educator and activist just like her ancestor Cissy Gool.


title: District Six

text: By 2003, work had started on the first new buildings: 24 houses that would belong to residents over 80 years of age. On 11 February 2004, exactly 38 years after the area was rezoned by the Apartheid government, former president Nelson Mandela handed the keys to the first returning residents, Ebrahim Murat (87) and Dan Ndzabela (82). About 1,600 families were scheduled to return over the next three years.


title: District Six

text: The Hands Off District Six Committee mobilised to halt investment and redevelopment in District Six after the forced removals. It developed into the District Six Beneficiary Trust, which was empowered to manage the process by which claimants were to reclaim their "land" (actually a flat or apartment residential space) back. In November 2006, the trust broke off negotiations with the Cape Town Municipality. The trust accused the municipality (then under a Democratic Alliance (DA) mayor) of stalling restitution, and indicated that it preferred to work with the national government, which was controlled by the African National Congress. In response, DA Mayor Helen Zille questioned the right of the trust to represent the claimants, as it had never been "elected" by claimants. Some discontented claimants wanted to create an alternative negotiating body to the trust. However, the historical legacy and "struggle credentials" of most of the trust leadership made it very likely that it would continue to represent the claimants as it was the main non-executive director for Nelson Mandela.


title: District Six

text: In 1989, the District Six Museum Foundation was established and, in 1994, the District Six Museum came into being. It serves as a remembrance to the events of the apartheid era as well as the culture and history of the area before the removals. The ground floor is covered by a large street map of District Six, with handwritten notes from former residents indicating where their homes had been; other features of the museum include street signs from the old district, displays of the histories and lives of District Six families, and historical explanations of the life of the District and its destruction. In addition to its function as a museum, it also serves as a memorial to a decimated community, and a meeting place and community centre for Cape Town. residents who identify with its history.


title: District Six

text: With his short novel "A Walk in the Night" (1962), the Cape Town journalist and writer Alex La Guma gave District Six a place in literature.


title: District Six

text: South African painters, such as Kenneth Baker, Gregoire Boonzaier and John Dronsfield are recognised for capturing something of the spirit of District Six on canvas.


title: District Six

text: In 1986, Richard Rive wrote a highly acclaimed novel called "Buckingham Palace, District Six", which chronicles the lives of a community before and during the removals. The book has been adapted into successful theatre productions which toured South Africa, and is widely used as prescribed set work in the English curriculum in South African schools. Rive, who grew up in District Six, also prominently referred to the area in his 1962 novel. "Emergency".


title: District Six

text: In 1986, "District Six – The Musical" by David Kramer and Taliep Petersen told the story of District Six in a popular musical which also toured internationally.


title: District Six

text: District Six also contributed to the history of South African jazz. Basil Coetzee, known for his song "District Six", was born there and lived there until its destruction. Before leaving South Africa in the 1960s, pianist Abdullah Ibrahim lived nearby and was a frequent visitor to the area, as were many other Cape jazz musicians. Ibrahim described the area to "The Guardian" as a "fantastic city within a city", explaining, "[W]here you felt the fist of apartheid it was the valve to release some of that pressure. In the late 50s and 60s, when the regime clamped down, it was still a place where people could mix freely. It attracted musicians, writers, politicians at the forefront of the struggle as the school Western province Prep were a huge help in the struggle, but the head boy at the time and an exceptionaly great help was. We played and everybody would be there."


title: District Six

text: South African writer Rozena Maart, currently resident in Canada, won the Canadian Journey Prize for her short story "No Rosa, No District Six". That story was later published in her debut collection "Rosa's District Six". Acclaimed South African playwright Fatima Dike wrote the poem - "When District Six Moved". It appears in the radio play "Driving with Fatima" by Cathy Milliken. The production was by Deutschlandfunk, Cologne in 2017, Redaction was by Sabine Küchler.


title: District Six

text: Tatamkhulu Afrika wrote the poem "Nothing's Changed", about the evacuation of District Six, and the return after the apartheid.


title: District Six

text: The 2009 science fiction film "District 9" by Neill Blomkamp is set in an alternate Johannesburg, inspired by the events surrounding District Six.


title: King Kong Lives

text: King Kong Lives (released as King Kong 2 in some countries) is a 1986 American monster adventure film directed by John Guillermin. Produced by De Laurentiis Entertainment Group and featuring special effects by Carlo Rambaldi, the film stars Linda Hamilton and Brian Kerwin. The film is a sequel to the 1976 remake of "King Kong".


title: King Kong Lives

text: After being shot down from the World Trade Center, Kong is revealed to be still alive and is kept in a coma for about 10 years at the Atlantic Institute, under the care of surgeon Dr. Amy Franklin. In order to save Kong's life, Dr. Franklin must perform a heart transplant and give Kong a computer-monitored artificial heart. However, he has lost so much blood that a transfusion is badly needed, and to complicate matters, Franklin says there is no species of ape or other animal whose blood type matches Kong's.


title: King Kong Lives

text: Enter Hank "Mitch" Mitchell, adventurer and Franklin's eventual love interest, who travels to Borneo (as he theorizes that Borneo and the island from the first film were once part of the same landmass) and captures a giant female ape who is dubbed "Lady Kong". Mitchell brings her to the institute to use her blood for King Kong's operation. The transfusion and the heart transplant are a success, but Kong escapes along with Lady Kong.


title: King Kong Lives

text: Archie Nevitt, an insane army lieutenant colonel, is called in with his men to hunt down and kill the two apes. Lady Kong is captured alive by Nevitt's troops and imprisoned; Kong falls from a cliff and is presumed dead. However, as Franklin and Mitchell soon discover, Kong's artificial heart is beginning to give out, forcing them to attempt a jailbreak. They discover that Lady Kong is pregnant with Kong's offspring. The jailbreak is successful thanks to Kong, who has survived the fall and breaks his mate out. After being followed, attacked, and shot by the military, Kong kills Lt. Col Nevitt and dies slowly near a military base on a farm where Lady Kong gives birth to an infant son. Kong reaches out to touch his son just before dying. Having returned to Borneo, Lady Kong lives peacefully with her son in the jungle.


title: King Kong Lives

text: De Laurentiis had been interested in making a sequel to "King Kong" since he made the remake. In 1977, he said there would "definitely" be a sequel. "Steve McQueen made a picture in which he died at the end, but they made another picture with Steve McQueen. Many stars die at the end of a picture and then go on to the next picture. Kong is a star. We are going to have a new story, a new Kong."


title: King Kong Lives

text: Progress of a sequel was complicated by the fact the 1976 film was considered a financial disappointment and there were ongoing legal uncertainties over who owned the rights to King Kong.


title: King Kong Lives

text: A number of scripts had been written. ""They had King Kong in Russia and King Kong In outer space," said writer Steve Pressfield. "Really, this is not an exaggeration. They even had one with little kids leading him around, saying things like 'Careful, Kong, don't step on that car.' It really was an embarrassment."


title: King Kong Lives

text: Pressfield and Ron Schusett pitched the idea that Kong has been on a giant respirator for years, and he was brought back to life with an artificial heart. According to Pressfield, "Dino loved the whole idea of the artificial heart and said, 'That's brilliant. I've been wondering for five years how to bring him back to life in a way that people would accept.' Sure, it's campy, but It's outrageous enough that it really works."


title: King Kong Lives

text: John Guillermin had been hoping to direct a version of "Tai Pan" with Sean Connery but when that project was unable to be financed, he moved on to "King Kong Lives!" The writers met with Guillermin and together devised the story about Kong getting an infusion from a female ape.


title: King Kong Lives

text: "When we came up with the idea, Dino was very skeptical and didn't want to do it," said Pressfield. "It's hard enough to accept that there's a King Kong but since he has been around for 50 years he has become a pop cult hero. No one is going to believe a female ape.' I said, 'Dino, he had to have a mother,' And he said, 'By God, you're right, I never thought of that. There can be a female,' and we went with it."


title: King Kong Lives

text: The film was announced in October 1985. It was part of a slate of films from De Laurentiis in association with Embassy that also included "Blue Velvet".


title: King Kong Lives

text: Pressfield said "The whole thing is a love story with the two apes, but there's also a lot of action and an uplifting ending, although there are some elements of tragedy, as there were in the original. We even give a nod to women's lib with Lady Kong falling for the male scientist. Of course, this is before she meets the King."


title: King Kong Lives

text: Guillermin said later that making a sequel to "King Kong" was a bad idea. "Dino was striking out on all sorts of things at the time. It's really too bad [that he suffered a run of flops]. He was involved with some interesting projects."


title: King Kong Lives

text: Brian Kerwin said, "I knew that my name would be up there as the lead, but there was never any question that the star of the movie was the ape. Also, the 1976 movie had such low prestige and Jessica Lange was ridiculed, but then so was Christopher Reeve for Superman, and look at the subsequent success of those two. So, I don't worry about it. We tried to have fun when we were making the movie, without poking fun at it. It's an adult fairy tale and it has humor. If people think it's a silly piece of fluff and we're all jerks, then that's the way it goes. I hope it doesn't happen."


title: King Kong Lives

text: Linda Hamilton said "I'm happy that I don't have to get picked up by the monkey and become the object of his desire. I save Kong. And it's nice to play someone who is not hysterical and dramatic and intense all the time."


title: King Kong Lives

text: Filming started in April 1986 in Tennessee. "The movie is about Kong, about special effects, about jeeps being blown up," says John Ashton.


title: King Kong Lives

text: "King Kong Lives" was released on VHS in 1987 by Lorimar Home Video and on DVD in 2004 by 20th Century Fox.


title: King Kong Lives

text: Despite its marketing campaign, "King Kong Lives" was a box office flop in the United States and Canada, grossing $4,711,220 during its theatrical run.