title: Industrialization in the Soviet Union

text: Despite the development of output, industrialisation was carried out mainly by extensive methods: economic growth was ensured by an increase in the gross capital formation rate in fixed capital, a savings rate (due to a fall in the consumption rate), employment rates and the exploitation of natural resources. British scientist Don Filzer believes that this was due to the fact that as a result of collectivisation and a sharp decline in the standard of living of the rural population, human labor was greatly devalued. Vadim Rogovin notes that the desire to fulfill the plan led to a situation of overstretching forces and a permanent search for reasons to justify the non-fulfillment of excessive tasks. Because of this, industrialisation could not feed solely on enthusiasm and demanded a series of compulsory measures. Since October 1930, the free movement of labor was prohibited and criminal penalties were imposed for violations of labor discipline and negligence. Since 1931, workers had become responsible for damage to equipment. In 1932 the forced transfer of labor between enterprises became possible and the death penalty was introduced for the theft of state property. On December 27, 1932, an internal passport was restored, which Lenin at one time condemned as "czarist backwardness and despotism". The seven-day week was replaced by a full working week, the days of which, without names, were numbered from 1 to 5. On every sixth day, there was a day off for work shifts, so that factories could work without interruption. Prisoners' labor was actively used (see Gulag). In fact, during the first five-year plan the communists laid the foundations of forced labor for the Soviet population. All this became the subject of sharp criticism in democratic countries, and not only by the liberals, but also by the social democrats.


title: Industrialization in the Soviet Union

text: Workers' discontent from time to time turned into strikes: at the Stalin plant, the Voroshilov plant, the Shosten plant in Ukraine, at the Krasnoye Sormovo plant near Nizhny Novgorod, at the Serp and Molot plant of Mashinootrest in Moscow, at the Chelyabinsk Traktorstroy and other enterprises.


title: Industrialization in the Soviet Union

text: Industrialisation also entailed the collectivisation of agriculture. First of all, agriculture had become a source of primary accumulation, due to low purchase prices for grain and subsequent export at higher prices, as well as due to the so-called "super tax in the form of overpayments for manufactured goods". In the future, the peasantry also ensured the growth of heavy industry by labor. The short-term result of this collectivisation policy was a temporary drop in agricultural production. The consequence of this was the deterioration of the economic situation of the peasantry, famine in the Soviet Union of 1932–33. To compensate for the losses of the village required additional costs. In 1932–1936, the collective farms received about 500,000 tractors from the state, not only for mechanizing the cultivation of the land, but also to compensate for the damage from the reduction in the number of horses by 51% (77 million) in 1929–1933. The mechanisation of labor in agriculture and the unification of separate land plots ensured a significant increase in labor productivity.


title: Industrialization in the Soviet Union

text: Trotsky and foreign critics argued that, despite efforts to increase labor productivity, in practice, average labor productivity fell. This is stated in a number of modern publications, according to which for the period 1929–1932 value added per hour of work in industry fell by 60% and returned to the level of 1929 only in 1952. This is explained by the emergence in the economy of chronic commodity shortages, collectivisation, mass hunger, a massive influx of untrained workforce from the countryside and an increase in their labor resources by enterprises. At the same time, the specific gross national product per worker in the first 10 years of industrialisation grew by 30%.


title: Industrialization in the Soviet Union

text: As for the records of the Stakhanovists, a number of historians note that their methods were a continuous method of increasing productivity, previously popularised by Frederick Taylor and Henry Ford, which Lenin called the "sweatshop system". In addition, records were largely staged and were the result of the efforts of their assistants, and in practice turned the pursuit of quantity at the expense of product quality. Due to the fact that wages were proportional to productivity, the wages of Stakhanovists were several times higher than the average wages in industry. This caused a hostile attitude towards the Stakhanovists from the "backward" workers, who reproached them with the fact that their records lead to higher standards and lower prices. Newspapers talked about the "unprecedented and blatant sabotage" of the Stakhanov movement by masters, shop managers, trade union organisations.


title: Industrialization in the Soviet Union

text: The exclusion of Trotsky, Kamenev and Zinoviev from the party at the 15th Congress of the All-Union Communist Party (Bolsheviks) gave rise to a wave of repressions in the party that spread to the technical intelligentsia and foreign technical specialists. At the July plenum of the Central Committee of the All-Union Communist Party (Bolsheviks) of 1928, Stalin advanced the thesis that "as we move forward, the resistance of the capitalist elements will increase, the class struggle will escalate". In the same year, the campaign against sabotage began. The "pests" were blamed for failing to achieve the targets of the plan. The first high-profile trial of the "pest" case was the Shakhty Trial, after which charges of sabotage could follow the company's failure to comply with the plan.


title: Industrialization in the Soviet Union

text: One of the main goals of forced industrialisation was to overcome the backlog from the developed capitalist countries. Some critics argue that this lag was in itself primarily a consequence of the October Revolution. They draw attention to the fact that in 1913 Russia ranked fifth in world industrial production and was the world leader in industrial growth with an indicator of 6.1% per year for the period 1888–1913. However, by 1920, the level of production fell ninefold compared with 1916.


title: Industrialization in the Soviet Union

text: Soviet propaganda claimed that economic growth was unprecedented. On the other hand, in a number of modern studies, it is proved that the growth rate of gross domestic product in the Soviet Union (the above-mentioned 3–6.3%) were comparable with the similar figures in Germany in 1930–38 (4.4%) and Japan (6.3%), although they were significantly superior to those of countries such as United Kingdom, France and the United States that were experiencing the Great Depression at that time.


title: Industrialization in the Soviet Union

text: For the Soviet Union of that period, authoritarianism and central planning in the economy were characteristic. At first glance, this gives weight to the popular belief that the high rates of increasing industrial output of the Soviet Union were obliged to the authoritarian regime and planned economy. However, a number of economists believe that the growth of the Soviet economy was achieved only due to its extensive nature. As part of counterfactual historical studies, or so-called "virtual scenarios", it was suggested that, if the New Economic Policy were preserved, industrialisation and rapid economic growth would also be possible.


title: Industrialization in the Soviet Union

text: During the years of industrialisation in the Soviet Union there was an average population growth of 1% per year, while in England it was 0.36%, the USA was 0.6%, and in France it was 0.11%.


title: Industrialization in the Soviet Union

text: One of the main goals of industrialisation was building up the military potential of the Soviet Union. So, if as of January 1, 1932, there were 1,446 tanks and 213 armored vehicles in the Red Army, then as of January 1, 1934—7574 tanks and 326 armored vehicles—more than in the armies of United Kingdom, France and Nazi Germany combined.


title: Industrialization in the Soviet Union

text: The relationship between industrialisation and the victory of the Soviet Union over Nazi Germany in the "Great Patriotic War" is a matter of debate. In Soviet times, the view was adopted that industrialisation and pre-war rearmament played a decisive role in the victory. However, the superiority of Soviet technology over the German one on the western border of the country on the eve of the war could not stop the enemy.


title: Industrialization in the Soviet Union

text: According to the historian Konstantin Nikitenko, the command-administrative system that was built up nullified the economic contribution of industrialisation to the country's defense capability. Vitaly Lelchuk also draws attention to the fact that by the beginning of the winter of 1941 the territory was occupied, where before the war 42% of the population of the Soviet Union lived, 63% of coal were mined, 68% of pig iron smelted, etc. Lelchuk notes that "Victory had to be forged not with the help of the powerful potential that was created during the years of accelerated industrialisation". The material and technical base of such giants built during the years of industrialisation, such as Novokramatorsk and Makeevka metallurgical plants, DneproGES, etc., was at the disposal of the invaders.


title: Industrialization in the Soviet Union

text: But supporters of the Soviet point of view object that industrialisation most affected the Urals and Siberia, while pre-revolutionary industry turned out to be in the occupied territories. They also indicate that the prepared evacuation of industrial equipment to the regions of the Urals, the Volga region, Siberia and Central Asia played a significant role. In the first three months of the war alone, 1,360 large (mostly military) enterprises were displaced.


title: Industrialization in the Soviet Union

text: André Gide, who visited the Soviet Union in 1936, recalled that before opening stores lined up hundreds of people in length. At the same time, the goods, with rare exceptions, were "completely unfit".


title: National Civil Rights Museum

text: The National Civil Rights Museum is a complex of museums and historic buildings in Memphis, Tennessee; its exhibits trace the history of the civil rights movement in the United States from the 17th century to the present. The museum is built around the former Lorraine Motel, which was the site of the assassination of Martin Luther King Jr. in 1968; King died at St. Joseph's Hospital. Two other buildings and their adjacent property, also connected with the King assassination, have been acquired as part of the museum complex.


title: National Civil Rights Museum

text: The museum reopened in 2014 after renovations that increased the number of multi-media and interactive exhibits, including numerous short movies to enhance features. The museum is owned and operated by the Lorraine Civil Rights Museum Foundation, based in Memphis. The Lorraine Motel is owned by the Tennessee State Museum and leased long term to the Foundation to operate as part of the museum complex. In 2016, the museum was honored by becoming a Smithsonian Affiliate museum. It is also a contributing property to the South Main Street Historic District of the National Register of Historic Places.


title: National Civil Rights Museum

text: The site began as the 16-room Windsorlorrine Hotel around 1925 and was later known as the Marquette Hotel. In 1945, Walter Bailey purchased it and renamed it for his wife Loree and the song "Sweet Lorraine".


title: National Civil Rights Museum

text: During the segregation era, Bailey operated the motel as upscale lodging that catered to a black clientele. He added a second floor, a swimming pool, and drive-up access for more rooms on the south side of the complex. He changed the name from Lorraine Hotel to Lorraine Motel. Among its guests through the 1960s were musicians going to Stax Records, including Ray Charles, Lionel Hampton, Aretha Franklin, Ethel Waters, Otis Redding, the Staple Singers and Wilson Pickett.


title: National Civil Rights Museum

text: In 1984, the group changed the name of their organization to the Lorraine Civil Rights Museum Foundation. The Lorraine finally closed as an SRO motel on March 2, 1988. Sheriff's deputies were needed to evict the last holdout tenant, Jacqueline Smith, in preparation for an $8.8 million overhaul. Lorraine Motel owner Walter Bailey died in July 1988, before getting to see the results of his efforts to establish the museum.


title: National Civil Rights Museum

text: The Foundation worked with Smithsonian Institution curator Benjamin Lawless to develop a design to save historical aspects of the site. The Nashville, Tennessee firm McKissack and McKissack was tapped to design a modern museum on those portions of the grounds that were not directly related to the assassination.


title: National Civil Rights Museum

text: The museum was dedicated on July 4, 1991, and officially opened to the public on September 28, 1991. D'Army Bailey was the founding president of the museum.


title: National Civil Rights Museum

text: In 1999, the Foundation acquired the Young and Morrow Building, and its associated vacant lot on the West side of Mulberry, as part of the museum complex. A tunnel was built under the lot to connect the building with the motel. The Foundation became the custodian of the police and evidence files associated with the assassination, including the rifle and fatal bullet. The latter are on display in a 12,800 sq. foot exhibit in the former Y & M building, which opened September 28, 2002.


title: National Civil Rights Museum

text: Through the years, there has been controversy over composition of the board of the museum Foundation and of the mission of the museum, as people have differing opinions. These issues came to a head in December 2007, as the museum foundation was asking the state, which owned the property, to extend its lease for 50 years rent-free. Bailey, a circuit court judge, said he was disappointed with the museum's emphasis on history. He said that he had envisioned it as an institution to inspire activism. By 2007, members of the board included whites from the corporate world. Bailey and other community activists criticized the board as "too white" and claimed they were shutting out the community. Beverly Robertson, then director of the museum, defended the board and the museum's operation.


title: National Civil Rights Museum

text: Gregory Duckett, a board member, disagreed with Bailey's interpretation, saying the museum was never designed as an activist institution. Robertson noted that many board members were African Americans who had been activists and also entered corporate life. In 2007, the state agreed to a 20-year lease, while taking over major maintenance of the complex. It required the museum board to hold annual public meetings and increase the number of African-American board members.


title: National Civil Rights Museum

text: The main museum closed in November 2012 for a $27.5 million renovation, to include changes to exhibits and upgrades to building systems. The exhibits were updated for historical accuracy and to add to their evocative power; the work was guided by a group of recognized civil rights scholars. Many of the museum's most popular exhibits did not change, such as Room 306 (where King was staying when he died), the replica sanitation truck (King came to Memphis to support an AFSCME sanitation workers' strike), and the replica of the bus Rosa Parks rode in Montgomery, Alabama, before initiating the Montgomery bus boycott of 1955–1956. The original bus resides at the Henry Ford Museum in Dearborn, Michigan.


title: National Civil Rights Museum

text: In the 2014 reopening, a major new exhibit featured is a replica of the U.S. Supreme Court room where oral argument was heard in 1954 in the seminal "Brown v. Board of Education," in which the Court ruled that segregation in public schools was unconstitutional. This was a major victory for the civil rights movement. The museum has several interactive kiosks where patrons can access audio, images, text and video about the full civil rights movement. Visitors can search for text based on event, location, or theme. Many exhibits now feature "listening stations" where patrons with headphones can hear audio about the exhibit they are seeing; one features the voice of Malcolm X in a debate. More than 40 new short films throughout the museum also enhance the effect of the exhibits.


title: National Civil Rights Museum

text: The renovated museum opened to the public on April 5, 2014. The Associated Press review said, "The powerful, visceral exhibit[s set] the tone for an evocative, newly immersive museum experience that chronicles the history of the civil rights struggle in America." King scholar Clayborne Carson of Stanford University said that the museum's renovations present "the best and most recent scholarship on civil rights available today".


title: National Civil Rights Museum

text: The complex is located at 450 Mulberry Street, with all properties except the Lorraine Motel owned by the Lorraine Civil Rights Museum Foundation. The motel is owned by the State of Tennessee and operated by the Foundation under a 20-year lease with the Tennessee State Museum in Nashville.


title: National Civil Rights Museum

text: The main museum is located on the south edge of downtown Memphis in what is now called the South Main Arts District. It is about six blocks east of the Mississippi River. The main site includes the museum, the Lorraine Motel, and associated buildings. The museum also owns the Young and Morrow Building at 422 Main Street. This was where James Earl Ray initially confessed (and later recanted) to shooting King. The complex includes Canipe's Amusement Store at 418 Main Street, next to the rooming house where the murder weapon with Ray's fingerprints was found. Included on these grounds is the brushy lot that stood between the rooming house and the motel.


title: National Civil Rights Museum

text: The museum exhibits a number of vehicles of historic value or which are otherwise relevant to the time period. Vehicles on display include an International Harvester garbage truck in an exhibit on the 1968 Memphis sanitation strike that brought King to Memphis, James Earl Ray's 1966 white Ford Mustang, a 1968 Cadillac and 1959 Dodge parked outside the motel, a re-creation of the burned shell of a Greyhound bus used by Freedom Riders, and a bus representative of the Montgomery bus boycott.


title: National Civil Rights Museum

text: At the end, the Lorraine Motel housed temporary guests and residents as an SRO. The last resident was Jacqueline Smith, who had lived there since 1973 while working for the motel as a housekeeper. When the motel was closed in 1988, Smith was evicted. The neighborhood at the time around the Lorraine Motel was a lower-income, predominantly Black area. The reconstruction of the neighborhood was related to other urban redevelopment projects in the downtown area. and the inclusion of the museum in the arts district. Smith and many others claim that the museum, as well as other components of urban redevelopment and the growth of the historical tourism industry, contributed to the gentrification of the South Main St. area. Smith argues that King would have likely preferred efforts to support struggling communities in Memphis, rather than projects that further uproot and alienate them.


title: National Civil Rights Museum

text: Smith's belongings were piled across the street where she covered them with a tarp and set up camp and continued to live as she maintains her protest vigil.


title: National Civil Rights Museum

text: Smith thought King would have objected to having $27 million spent on a building for him and to evicting motel residents, instead of on investing in policies and programs that would help communities of color and poor communities. Since her vigil began, Smith has spoken to thousands of visitors, attempting to spread King's message and explain her thoughts about the museum. Smith has continued her protest vigil for over 30 years.


title: Emma Swan

text: Emma Swan is a fictional character in ABC's television series "Once Upon a Time" and the protagonist of seasons 1-6. She is portrayed by Jennifer Morrison as an adult, by Abby Ross as a teenager, and by Mckenna Grace as a child. Emma appears in the series' pilot as a bail bond agent in Boston, Massachusetts, until she meets her biological son Henry, whom she gave up for adoption 10 years before. She learns she is the long lost daughter of Snow White and Prince Charming who gave her up shortly after her birth 28 years ago so she wouldn't die at the hands of Regina Mills, also known as the Evil Queen. Henry tells Emma of her true identity; she is the prophesied “Savior” and is destined to break the Evil Queen’s curse, saving the fictional town of Storybrooke, Maine, and restoring the residents’ (all cursed fairy tale characters) happy endings.


title: Emma Swan

text: Morrison described her character at the beginning of the first season as "broken, damaged and worldly." During the fourth season finale, "Operation Mongoose," Emma absorbs the power of the Dark One into herself to save Regina. In order to successfully create a dark version of Emma, Morrison explained that "In order to build Dark Emma, I've been doing a bunch of research there with some of their mythology books and old fairy tale books and just looking back through the history of swans and the etymology of 'Swan'" and explained that Emma's rate of evolution "challenged [her] on a daily basis." Emma became the primary antagonist of the fifth season's first half, until the end of the season's eighth episode when it is revealed that she was never actually evil and was an anti-villain during that time.


title: Emma Swan

text: Morrison's portrayal of Emma has received praise, with some reviewers noting a feminist twist in the depiction of fairy tales and a strong female lead. She is loosely based on the title character of the fairy tale "The Ugly Duckling," a swan which was lost and raised by ducks, before finding its birth family and recognizing its true nature, while her Dark One side is loosely based on Odile the Black Swan from the ballet "Swan Lake". It is revealed in the Season 6 episode "Tougher Than the Rest" that she chose the last name Swan when she was young after a friend mentioned that story.


title: Emma Swan

text: In the early stages of the conception of the character, Emma's name was Anna, and she was supposed to have three children, but she ended up having just Henry. In the original script of the pilot she is described as "Late 20s. Beautiful, with great strength behind classic features. But also not quite at home in her skin."


title: Emma Swan

text: It was reported that actress Katee Sackhoff auditioned five times for the role of Emma but, according to her, the producers really wanted Morrison to play the part, and she accepted a role in the television series "Longmire". In the end, Morrison was hired for the part of Emma. Morrison explained her character as someone who "help[s] her son Henry whom she abandoned when he was a baby and who seems like he's a little bit emotionally dysfunctional," but noted that Emma does not start out believing in the fairytale universe. Morrison has described Emma as being like an overgrown teenager who does not know how to properly do certain things, like eating or taking care of herself; this is due to Emma not growing up in a family unit. Morrison said that when she does not know what to do with Emma, she thinks, "What a 14-year-old boy would do?" According to the creators of the series, the name Swan is "very symbolic and fairy tale name and it just felt right for her and for the journey we are creating for Emma."


title: Emma Swan

text: After Emma became the "Dark One" at the end of the fourth season of the series, Morrison began doing research with mythology books and old fairy tale books and looking back through the history of swans and the etymology of 'Swan' to prepare for this new trait of her character. Morrison said that it was a great opportunity to now play a villain and it was challenging for her to portray a character that is constantly evolving.


title: Emma Swan

text: Emma is the daughter of Snow White and Prince Charming, older sister to Prince Neal, wife of Killian Jones/Captain Hook and mother to Henry Daniel Mills and Hope Swan-Jones.


title: Emma Swan

text: When Snow White becomes pregnant, Geppetto forms a magical wardrobe for her and Charming, after Rumplestiltskin informs them that their daughter is the key to breaking the Evil Queen's curse in 28 years. Emma is born shortly after and placed in the wardrobe along with Pinocchio, successfully traveling to the new land. Pinocchio leaves Emma in the foster home, which brings Emma to live alone.


title: Emma Swan

text: In the real world, Emma grows up in foster care, bouncing from various families, one including Ingrid, the Snow Queen. As a teenager, Emma becomes a petty criminal with Neal Cassidy. They plan to start a new life in Tallahassee, Florida, until Neal is persuaded by August Booth (Pinocchio) to turn Emma over to the police, to protect her destiny. Emma is jailed, later giving birth to Henry, whom she gives up for adoption to give him a better life; he is then adopted by Regina Mills (the Evil Queen). After some time in prison, Emma becomes a bail bond agent. On her 28th birthday, a 10-year-old Henry Mills arrives in Boston, explaining Emma's origins. Disbelieving him, she returns him home to Regina in Storybrooke, who becomes worried that Emma wants to be in Henry's life. Regina's repeated warnings to leave town and keep out of Henry's life make Emma decide to stay. In Storybrooke, Emma initially wants Henry to let go of his theories of the curse, but later plays along. She moves in with Mary Margaret (Snow White), unaware that they are related, and Sheriff Graham appoints Emma his deputy as the two form an attraction, until Regina crushes his heart, causing him to die in Emma's arms. Emma is soon elected sheriff, assisting in the arrest of Mary Margaret for the alleged murder of Kathryn Nolan until she is found alive. When August Booth (Pinocchio) arrives in Storybrooke revealing her destiny of breaking the curse, a pressured Emma decides to leave the town, not wanting Henry to suffer from her and Regina's feud. Regina, however, attempts to poison Emma, though Henry willingly consumes it to prove that magic exists. Emma finally believes, but Henry is pronounced dead. However, he is awoken with true love's kiss from Emma, thus breaking the curse and allowing all residents to remember their true identities.


title: Emma Swan

text: Emma reunites with her parents, only to fall through a portal with her mother to the Enchanted Forest. They meet Princess Aurora and Mulan who help them return to Storybrooke. Emma then helps Mr. Gold travel to Manhattan to locate his son Baelfire, who she discovers is Henry's father Neal. Returning to Storybrooke, Emma deals with Regina and her mother Cora who are trying to use Mr. Gold to kill them and take back Henry but they eventually stop them then end up dealing with newcomers Greg Mendell and Neal's fiancée Tamara. Emma's skeptical theories on the pair are proven correct when it is revealed they want to destroy magic. After Emma and Regina stop their trigger to destroy Storybrooke, Henry is taken to Neverland by Greg and Tamara; Emma, Neal, her parents, Regina, Hook and Mr. Gold follow them.


title: Emma Swan

text: The team eventually manages to rescue Henry from the sinister Peter Pan, and return to Storybrooke. However, Pan enacts the original curse once more, forcing Emma and Henry to leave Storybrooke after Regina reverses her curse, erasing the events following its enactment. Emma's past is temporarily altered by Regina. After leaving Storybrooke, Emma lives with Henry in New York City. Sometime later, she meets Walsh and they begin dating.


title: Emma Swan

text: One year after the curse's reversal, Hook restores Emma's memories with a potion and the two return to Storybrooke with Henry to save her family by breaking the new curse caused by Zelena, the Wicked Witch of the West. She finds an insane Neal trapped within Mr. Gold's body. Losing his mind, Neal asks for Emma to free his father by killing him to defeat Zelena; she reluctantly agrees. Regina later helps Emma to strengthen her magical powers, though they are removed when Zelena curses Hook but thanks to Regina they managed to defeat Zelena and close her time portal.


title: Emma Swan

text: After Emma and Hook are dragged into Zelena's time portal, she accepts Storybrooke as her home, regaining her magic to re-open the portal to the present where she begins a relationship with Hook. However, unaware to her, she also brings a previously deceased Maid Marian to the future which ruins Regina's happiness, having not heeded the warning of messing with the past. Elsa, who was trapped in an urn, was also brought to Storybrooke by the time portal. While working with Elsa, who helps Emma to finally embrace and control her powers, Emma helps her new friend find her sister and return home while balancing the threat of the Snow Queen, who turns out to have been one of Emma's foster mothers, against her friends and family. After a period of peace, Emma begins to help Regina on her quest to find the Author of Henry's book. Cruella De Vil and Ursula soon come into town resurrecting Maleficent and working with Rumplestiltskin to find the very same author, intent on giving villains their happy endings. After Cruella De Vil threatens to kill Henry, Emma kills her, soon after learning of her parents' actions of removing Emma's potential for darkness by putting black magic within Maleficent's daughter and Emma's childhood friend Lily. She also learns that her entire life is controlled by destiny. After Emma returns to town, with the encouragement from Hook, she chooses to forgive her parents and let go of her anger. In moments before the finale, Emma is able to finally let her walls down and tells Hook she loves him. Emma then chooses to sacrifice herself for the town of Storybrooke, asking her parents and Hook to save her, she voluntarily plunges the dagger into the Darkness, transforming into the new Dark One.


title: Emma Swan

text: Emma searches for Merlin and is helped by a manifestation of Rumplestiltskin, who wants to teach her to be the Dark One, while Emma attempts to resist becoming evil at the same time. Sometime later, she transformed Hook into a second Dark One to save his life. Hook then cast the Dark Curse to get back to Storybrooke to have his revenge on Mr. Gold. Emma then altered the curse, adding a dreamcatcher in it to wipe out everyone's memories of their time in Camelot.


title: Emma Swan

text: Six weeks later, the rest of her friends returned to Storybrooke, with their memories were wiped out once again. Emma made an appearance as the Dark One, with her new attire. Henry asks what happened to her, and she told them that they all went to Camelot to remove the darkness from her and they all failed (except Henry). Emma with her powers turned Sneezy into stone, proclaiming that there's no savior in the town that cast the surge of hope in everybody. Emma surprisingly gave the Dark One dagger to Regina with the intention that if she goes too dark Regina would be the only one that would willingly kill her. Shortly after this, Hook attempts true love's kiss with Emma in the hopes that the Dark One's curse would break, but ultimately failed as Emma had fully embraced the darkness.


title: Emma Swan

text: Unbeknownst to the others, Emma currently has possession of the Excalibur in a locked room inside of her new house. She intends to make Excalibur and the Dark One's dagger whole again, as with it she will be able to snuff out the light forever and become invulnerable. However, she must recruit a hero to do so, as she cannot remove the sword; the hero she chooses is her predecessor Rumplestiltskin, who she tells finally has a chance to become a hero. She planned to siphon the darkness out of both of them and put it Zelena, who she forced into accelerated labor to avoid killing Robin's child and slay her. She regains her memories of what Hook plans, by resurrecting all the Dark Ones as part of his revenge. At first, Emma plans to absorb all the darkness inside her and kill herself. Things do not go according to plan when Hook steals it from her. Killian orders her to kill him, taking in all the darkness and Emma slays him with Excalibur while the darkness is removed from her, reverting to her old self. After blackmailing Mr. Gold for tricking her and Hook into making him the Dark One again, she and her friends and family descend into the Underworld to find Hook and plans to split her heart in half and share it with him like her parents.


title: Emma Swan

text: Arriving in the Underworld, Emma is contacted by Neal Cassidy, who warns to turn back, advice Emma chooses to ignore. She and the others later discover that the Underworld is for those with unfinished business, and they decide to help others move on, while they search for Hook. With the help of Hook's ex-girlfriend Milah, Emma manages to retrieve Hook from Hades's captivity. However, she is unable to split her heart, as Hades has decided that she, Regina, and Snow are to remain behind for freeing the souls of Prince Henry, Hercules, and Megara. It is discovered that the only way they would have a chance to return to the "Overworld" with Hook is by overthrowing Hades. In order to defeat Hades, Emma and Hook receive help from Hook's brother Liam; however, it is soon discovered that Liam betrayed them after being blackmailed by Hades. Fortunately, Henry agrees to help undo Liam's work by using his powers as the Author. Later, when Emma and Hook try to perform the heartsplit, they are informed by Hades that Hook's body has been dead for too long and is decaying, making him unable to come back to life. When Emma and Hook go into the depths of the Underworld to find ambrosia, something that would save Hook, they are faced with a True Love test, which they pass when Emma chooses Hook over her own heart, only to realize that Hades had tricked them and destroyed the ambrosia, and Hook tells Emma to leave him in the Underworld, as time is running out for her to go through the open portal. Emma objects, saying that she came to the Underworld to save Hook, and she wasn't leaving without him. Hook eventually gets her to say her goodbyes and she does, only to find out that Hades had trapped her and her family in the library using magic. Emma and Regina work together to use their own magic to counteract it.


title: Emma Swan

text: They all go through the portal, and while Emma has second thoughts about leaving Hook, she is persuaded to go by her father. When they get back to Storybrooke, Zelena is informed by Regina and Robin that Hades tried to trap them in the Underworld, but she brushes off the information and is upset with her sister. She talks to Hades about having the life she wants, which is just a simple picket fence life. However, Hades wants a whole kingdom. Robin and Regina break into the mayor's house, where Zelena and Hades are, trying to get Robin's daughter back from Zelena. Emma, distraught and unable to grieve Hook's death, tries to break down the protection spell surrounding the house, but Zelena uses her magic to stop her. Hades is about to use the Olympian Crystal to "end" Regina, but Robin steps in front of her, taking the blow, which kills him. Hades tries to pressure Zelena into killing Regina, but she kills Hades instead, as his love for her does not hold him back from being the villain he is.


title: Emma Swan

text: Before Robin's funeral, Emma stands at Hook's grave and cries, trying to cope with the fact that he is truly gone now. Suddenly, a wave of magic flies through the air, causing her to stumble. She hears her name called from behind her and turns around and is shocked to see Hook. She happily embraces Hook, who tells her Zeus sent him back as a reward for stopping Hades. After informing him that Robin is gone, Emma decides to break the news about Hook's return to Regina as delicately as possible. However, when an earthquake occurs, Hook rushes to see if Emma is okay. It turns out the earthquake was caused by Mr. Gold tethering magic to the Olympian Crystal fragment. Emma works with Regina to find it, only to later have Gold explain that Henry used his Author power to steal the crystal to destroy magic ("again"). Both follow Henry to New York, where it turns out Gold got the crystal back. At the same time, Hook, David, Snow and Zelena are accidentally sucked into another realm, which they could become trapped in without any magic in the Real World. Henry succeeds in destroying magic, only to be later convinced by the Dragon to get enough belief to recharge the crystal. It works and everyone is brought home. Once back in Storybrooke, Emma shares a passionate kiss with Hook.


title: Emma Swan

text: In the past, Aladdin, a "Savior", is taunted by Jafar over the inevitable downfall of all Saviors. In Storybrooke, refugees arrive from the Land of Untold Stories. Emma experiences tremors and visions; an arrested Hyde helps her receive an oracle's vision of a hooded figure killing her. Guided by Morpheus, Gold enters Belle's dreams to lift the sleeping curse; he tries to renew their love, but she rejects him. "Morpheus" reveals he is really their unborn son and desired this outcome. Emma’s death visions trouble her, as it puts her future with Killian in doubt, and after seeing him entertain Ashley’s daughter, asks him to move in with her.


title: Emma Swan

text: Emma discovers the sword can kill the Evil Queen without hurting Regina. The Queen steals the lamp and wishes Emma to an alternate reality where she was never the Savior; Regina follows her. In the "wish realm", Emma lives as a princess until Regina traumatically restores her memory. Regina frees Rumplestiltskin in exchange for a magic bean, but the portal to Storybrooke closes while Regina is distracted by the appearance of Robin Hood.


title: Emma Swan

text: In 1990 Minnesota, a young Emma is told by a teenager that she has the power to change her fate. In the present day, after they miss their way out of the Wish realm, Emma and Regina find another option for escape when they come across August, who agrees to help create a new portal. Emma discovers that August was the teenager she met back in Minnesota and inspires him to complete the portal. Emma, Regina, and Robin return to Storybrooke, where Gideon explains to Gold and Belle his intention to kill Emma so that he can acquire her savior powers and kill the Black Fairy, a move that has David furious and Belle concerned. Emma and Gideon finally meet for the battle, but Emma survives, choosing her own fate. Gideon retreats, proclaiming this far from over. Gold and Belle decide to work together for the good of their son.


title: Emma Swan

text: In the past, Snow makes a wish that grants the entire Enchanted Forest to use the gift of Song to defeat Regina, which also spreads to Oz as well. When Regina also becomes affected by the wish she finds a way to end it before the first curse takes place, but the Blue Fairy, who granted Snow the wish, tells Snow and David that the wish will be part of Emma's destiny. In Emma's past, her chance to make use of her talent is held back by being told she'll be alone. This would come back to taunt Emma in the present day, as Fiona returns to use that weakness to take Emma's heart before she unleashes a new curse on her wedding, with unlikely help from Gold by freezing her family. When Henry discovers the page in the book that reveals Emma's heart will make her stronger, not only does it embolden Emma, it stopped Fiona from crushing it, but Fiona still tells her the battle is still on. On the wedding day, Emma and Hook finally marry just in time for the dark clouds to release a new curse that sets up the final battle.


title: Emma Swan

text: Fiona's curse wipes Emma's memory past the final episode of season 1, and places her in a mental institution, where she (and the rest of the town) believes that Henry is Fiona's rightfully adopted son and all the fairytale stories were untrue. Henry, after several instances, tries to get her to believe the truth, but she rebuffs him and moves back to Boston. Meanwhile, the rest of the characters are trapped in the Enchanted Forest as it and all the other realms crumble as a consequence of Emma's refusal to believe. However, Emma, inspired by a book Henry had created detailing her journey, returns to Storybrooke and chooses to believe him. Rumple successfully kills Fiona, which restores Emma's memory and transports the other characters back to Storybrooke. Emma fights Gideon, still under Fiona's lasting control, but ultimately chooses to sacrifice herself. Henry brings her back with True Love's Kiss and Gideon turns back into a baby, allowing Rumple and Belle a second chance.


title: Emma Swan

text: Emma and Regina are shown to drop Henry off at his bus stop, and Emma later makes Hook deputy sheriff. All the characters are later gathered at Granny's for dinner as the camera zooms out, with the words "And they all lived happily ever after." printed on the "Once Upon a Time" novel, as a new story begins in the future for an adult Henry and his daughter Lucy in Seattle.


title: Emma Swan

text: Sometime after, Emma is shown to share her concerns with Hook about Henry growing up while contemplating having another child. Later, Henry chooses to go to other realms in search of his story and meets another version of Cinderella, whom he falls in love with. At that time, Emma becomes pregnant with her second child and goes to answer Henry's distress call along with Killian and Regina, with the former insisting she rests. Wish Hook, however, shows up and knocks out Hook, taking his place in hopes of traveling to Storybrooke with Emma and finding a cure for his poisoned heart. Hook manages to recover and fights Wish Hook, until the latter accidentally stabs himself with a dagger. As he lies dying, he admits to having a daughter and that he was searching for her. However, Emma manages to heal him and convinces him to travel with Henry in search of both their happy endings. She later leaves with her husband back to Storybrooke.


title: Emma Swan

text: Concurrent to a graduation trip that she and Regina take Henry on prior to the latter's departure, the older Henry and the other heroes manage to foil a plot by Wish Rumple to wreak havoc on all the realms, and end up bringing them all to Storybrooke. Once they are brought back to the present, Emma gives birth to a baby girl named Hope and, along with Hook, attends Regina's coronation where she is crowned "The Good Queen" of all the realms.


title: Emma Swan

text: Jennifer Morrison has received praise for her portrayal of Emma. In a review from the "St. Louis Post-Dispatch", TV critic Gail Pennington had high marks for Morrison. Mary McNamara of the "Los Angeles Times" gave excellent reviews for Morrison's character: "Her Emma is predictably cynical and prickly – fairy-tale princess, my Aunt Fanny – but she's sharp and lively enough to keep audiences begging for 'just a few more pages' before they go to bed." For "TVLive", "Morrison does a nice job of mirroring the viewer's disbelief of this fantastical dilemma – and Emma looks like she could become a worthy adversary for Regina." For Daniel Fienberg, "Jennifer Morrison is very good in the lead". On less favorable reviews, Matthew Gilbert of "The Boston Globe" was not enthusiastic of Morrison's portrayal and called her a "wooden lead".


title: Emma Swan

text: Several feminist outlets were pleased with the show for its feminist twist on fairy tales and with Emma being a strong female protagonist. Genie Leslie at "Feministing" commented that Emma was a "badass", that she liked how Emma was "very adamant that women be able to make their own decisions about their lives and their children", and how Emma was a "well-rounded" character who was "feminine, but not 'girly'." Natalie Wilson from "Ms." praised the show for a strong, "kick-butt" female lead, and for dealing with the idea of what makes a mother in a more nuanced fashion.


title: Glossary

text: A glossary (from , "glossa"; language, speech, wording) also known as a vocabulary or clavis, is an alphabetical list of terms in a particular domain of knowledge with the definitions for those terms. Traditionally, a glossary appears at the end of a book and includes terms within that book that are either newly introduced, uncommon, or specialized. While glossaries are most commonly associated with non-fiction books, in some cases, fiction novels may come with a glossary for unfamiliar terms.


title: Glossary

text: A bilingual glossary is a list of terms in one language defined in a second language or glossed by synonyms (or at least near-synonyms) in another language.


title: Glossary

text: In a general sense, a glossary contains explanations of concepts relevant to a certain field of study or action. In this sense, the term is related to the notion of ontology. Automatic methods have been also provided that transform a glossary into an ontology or a computational lexicon.


title: Glossary

text: In medieval Europe, glossaries with equivalents for Latin words in vernacular or simpler Latin were in use, such as the Leiden Glossary (ca. 800 CE).


title: Glossary

text: A "core glossary" is a simple glossary or defining dictionary that enables definition of other concepts, especially for newcomers to a language or field of study. It contains a small working vocabulary and definitions for important or frequently encountered concepts, usually including idioms or metaphors useful in a culture.


title: Glossary

text: Computational approaches to the automated extraction of glossaries from corpora or the Web have been developed in the recent years. These methods typically start from domain terminology and extract one or more glosses for each term of interest. Glosses can then be analyzed to extract hypernyms of the defined term and other lexical and semantic relations.


title: Cigarettes After Sex (album)

text: Cigarettes After Sex is the debut studio album by American ambient pop band Cigarettes After Sex. It was released on June 9, 2017, by Partisan Records and received positive reviews from critics.


title: Peter Grimes

text: Peter Grimes, Op. 33, is an opera in three acts by Benjamin Britten, with a libretto by Montagu Slater based on the section "Peter Grimes", in George Crabbe's long narrative poem "The Borough". The "borough" of the opera is a fictional small town that bears some resemblance to Crabbe's – and later Britten's – home of Aldeburgh, Suffolk, on England's east coast.


title: Peter Grimes

text: The work was conceived while Britten was living in the US in the early years of the Second World War and completed when he returned to Britain in 1943. It was first performed at Sadler's Wells in London on 7 June 1945, conducted by Reginald Goodall, and was a critical and popular success. It is still widely performed, both in Britain and internationally, and has become part of the standard repertoire. Among the tenors who have performed the title role in the opera house, or on record, or both are Britten's partner Peter Pears, who sang the part at the premiere, and Allan Clayton, Ben Heppner, Jonas Kaufmann, Philip Langridge, Stuart Skelton, Set Svanholm and Jon Vickers.


title: Peter Grimes

text: "Four Sea Interludes", consisting of purely orchestral music from the opera, were published separately and are frequently performed as an orchestral suite. Another interlude, a passacaglia, was published separately and is also often performed, either together with the "Sea Interludes" or by itself.


title: Peter Grimes

text: In the early years of the Second World War, Benjamin Britten and his partner Peter Pears were living in the US. Britten's compositions from his years there include the song cycle "Les Illuminations" (1940), the "Sinfonia da Requiem" (1940) and his operetta, "Paul Bunyan" (1941).


title: Peter Grimes

text: In 1941 Britten came across a transcript in the BBC's magazine "The Listener" of a talk by E.M.Forster about the 18th-century Suffolk poet George Crabbe. It began, "To talk about Crabbe is to talk about England". Britten was filled with nostalgic feelings about his native Suffolk. Pears found a copy of Crabbe's works in a second-hand bookshop and Britten read the poem "The Borough", which contained the tragic story of the Aldeburgh fisherman Peter Grimes. He said later, "In a flash I realised two things: that I must write an opera, and where I belonged". He and Pears began sketching an operatic scenario drawing on "The Borough".


title: Peter Grimes

text: From the outset the characters and story of the libretto were only loosely based on Crabbe's work. The Grimes of Crabbe's poem is an outright bully, "untouched by pity, unstung by remorse and uncorrected by shame". Three of his apprentices in succession have died before he is summoned to the Town Hall to account for his conduct, after which he is forbidden to employ another. He works alone until the ghosts of his victims begin to terrorise him and he sinks into madness and dies in bed. In Crabbe's poem, Ellen Orford's tale is completely separate from Grimes's and they are not mentioned as meeting each other. The Rector, Swallow, and the proprietress of the Boar inn, "Auntie", and her nieces derive from other sections of "The Borough", but other characters in the opera, including Balstrode, Boles and Ned Keene, are not in Crabbe's original.


title: Peter Grimes

text: While Britten and Pears were waiting for a passage back to England, the conductor Serge Koussevitzky asked the composer why he had not written an opera. Britten explained that doing so would necessitate putting all other work aside, which he could not afford to do. Koussevitzky arranged for the commissioning of the opera by the musical foundation he had recently set up. The fee was $1,000, and the opera was to be dedicated to the memory of Koussevitzky's wife, who had recently died. Britten approached his friend the writer Christopher Isherwood, inviting him to write the libretto. Pleading pressure of work and some reservations about the effectiveness of the subject, Isherwood declined.


title: Peter Grimes

text: During the voyage back to England, Pears continued to work on the scenario of the opera while Britten composed "A Ceremony of Carols" and "Hymn to St Cecilia". The story, and Grimes's character, underwent substantial changes in the early stages of drafting. For a long time during the gestation of the work Britten conceived Grimes as a baritone role. Pears persuaded Britten to play down any emotional tie Grimes might feel to the apprentice, and play up his position as an outsider in an intolerant society. At first, Britten had Grimes murdering his apprentices rather than being at worst negligent. For some time the dénouement had Grimes on the marshes, going mad and dying there. An episode with smugglers was dropped and several characters were gradually eliminated as work progressed on the story. By the time Britten and Pears returned home in April 1943 the shape of the work was not greatly different from the final version, and to turn the scenario into a libretto Britten recruited an old friend, the writer Montagu Slater.


title: Peter Grimes

text: Slater was a journalist, novelist and playwright. Before the war Britten had composed incidental music for two short verse-plays of his. Eric Crozier, who worked closely with Britten, comments that the whole of the original text of the libretto – "apart from six quatrains by Crabbe and the small phrase 'Grimes is at his exercise'" – is Slater's work. He abandoned Crabbe's rhyming couplets and allowed his text "to reflect the diverse speech-rhythms of the individual Borough characters":


title: Peter Grimes

text: In Crozier's view, Slater's "short interjectory sentences" in the recitatives and the "more expansive phrases" of the arias are ideal for musical setting. In Slater's hands the character of Grimes was further developed. In Pears's words, Grimes is "neither a hero nor a villain", but "an ordinary, weak person who, being at odds with the society in which he finds himself, tries to overcome it and, in doing so, offends against the conventional code, is classed by society as a criminal, and destroyed as such. There are plenty of Grimeses around still, I think!"


title: Peter Grimes

text: Discussions between composer and librettist, revisions and corrections took nearly eighteen months. In January 1944 Britten started writing the music and just over a year later it was complete. The premiere had been planned for Koussevitzky's Tanglewood Festival, but the festival had been suspended for the duration of the war, and Koussevitzky waived his contractual rights and gave his blessing to Sadler's Wells Opera to stage the first performances, saying that the opera – which he thought the greatest since "Carmen" – belonged not to him but to the world.


title: Peter Grimes

text: Tyrone Guthrie, the general administrator of the Sadler's Wells company, appointed his assistant Eric Crozier to stage the piece, and the latter, together with Britten, made adjustments to the libretto during rehearsals when Slater's text proved unsuitable for singability or clarity. Slater resented this, and insisted on publishing his original version in 1946, as "Peter Grimes and Other Poems". Crozier brought in Kenneth Green to design the costumes and sets, the latter being naturalistic and based on Aldeburgh.


title: Peter Grimes

text: Sadler's Wells had been closed during the war, and the premiere of "Peter Grimes", on 7 June 1945, marked the reopening of the theatre. When Joan Cross, director of the company, announced the plan to reopen the house with "Peter Grimes" − herself and Pears in the leading roles − there were complaints from company members about supposed favouritism and the "" of Britten's score. Yet when "Peter Grimes" opened it was hailed by public and critics; its box-office takings matched or exceeded those for "La bohème" and "Madame Butterfly", which were being staged concurrently by the company.


title: Peter Grimes

text: Sadler's Wells and its successor, English National Opera, staged new productions in 1963, 1990 and 2009. Grimes was played by, respectively, Ronald Dowd, Philip Langridge and Stuart Skelton; the conductors were Charles Mackerras, David Atherton and Edward Gardner.


title: Peter Grimes

text: "Peter Grimes" was staged at the Royal Opera House in 1947, in a production by Guthrie, conducted by Karl Rankl, with Pears, Cross and Edith Coates reprising their roles from the Sadler's Wells premiere. There have been four new productions at Covent Garden since then, directed by John Cranko (1953), Elijah Moshinsky (1975), Willy Decker (2004, a co-production with the Théâtre Royal de la Monnaie, Brussels) and Deborah Warner (2022, a co-production with the Teatro Real, Madrid, the Teatro dell'Opera, Rome, and the Opéra National de Paris). The conductors were, respectively, Goodall, Colin Davis, Antonio Pappano and Mark Elder, and the title role was sung by Pears, Jon Vickers, Ben Heppner and Allan Clayton. In revivals of the earlier productions, Grimes was played by tenors including Richard Lewis, Richard Cassilly, Robert Tear, Langridge, and Anthony Rolfe Johnson.


title: Peter Grimes

text: Productions by other British opera companies include Colin Graham's 1968 staging for Scottish Opera, conducted by Alexander Gibson with Nigel Douglas as Grimes; Glyndebourne Festival's first production of the work in 1992, directed by Trevor Nunn and conducted by Andrew Davis and, in revivals, Franz Welser-Most and Mark Wigglesworth; a 1999 version by Welsh National Opera, directed by Peter Stein and conducted by Carlo Rizzi with John Daszak as Grimes; and Opera North's 2006 production, directed by Phyllida Lloyd and conducted by Richard Farnes with Jeffrey Lloyd-Roberts as Grimes. In the summer of 2013, to mark the centenary of Britten's birth, the Aldeburgh Festival staged its first performance of "Peter Grimes". It was played in its natural setting on the beach at Aldeburgh. Steuart Bedford conducted, and Alan Oke sang Grimes.


title: Peter Grimes

text: The American premiere of the work was given in August 1946 at Tanglewood, conducted by Koussevitzky's protégé Leonard Bernstein, with William Horne in the title role. The Metropolitan Opera first staged the piece in 1948 with Frederick Jagel as Grimes. The house staged a new production in 1967, directed by Guthrie and conducted by Colin Davis, with Vickers as Grimes. A subsequent production, by John Doyle, was presented in 2008, conducted by Donald Runnicles, with Anthony Dean Griffey in the title role.


title: Peter Grimes

text: One of the first productions of the work outside Britain was at the Royal Swedish Opera in March 1946, conducted by Herbert Sandberg, with Set Svanholm as Grimes. Productions in Basle, Antwerp and Zurich followed within weeks. The opera was given in Paris at the Opéra in 1981 directed by Moshinsky and conducted by John Pritchard, with Vickers in the title role and a largely Franco-British cast. A production by Graham Vick was staged at the Opéra Bastille in 2001, conducted by James Conlon, with Heppner as Grimes. A production by Richard Jones at La Scala, Milan in 2012 was conducted by Robin Ticciati, with John Graham-Hall as Grimes. In addition to the co-productions, above, between the Royal Opera and the Monnaie in Brussels, the Teatro Real in Madrid, the Teatro dell'Opera in Rome, and the Paris Opéra, productions included two in 2022: at the Vienna State Opera in a production directed by Christine Mielitz and conducted by Simone Young, with Jonas Kaufmann as Grimes, Lise Davidsen as Ellen Orford and Bryn Terfel as Balstrode; and the Bavarian State Opera in a production by Stefan Herheim, conducted by Gardner, with Skelton as Grimes, Rachel Willis-Sørensen as Ellen and Iain Paterson as Balstrode.


title: Peter Grimes

text: Peter Grimes is questioned at an inquest over the death at sea of his apprentice. The townsfolk make it clear that they think Grimes is guilty and deserves punishment. The coroner, Mr Swallow, determines the boy's death to be accidental so Grimes avoids a criminal trial. The Coroner advises Grimes not to get another apprentice – a proposal against which Grimes vigorously protests. As the court is cleared, Ellen Orford, the schoolmistress whom Grimes wishes to marry as soon as he gains the Borough's respect, attempts to comfort Grimes as he rages against what he sees as the community's unwillingness to give him a true second chance.


title: Peter Grimes

text: After the first orchestral Interlude (titled, in the "Four Sea Interludes" concert version, "Dawn"), the chorus, who constitute "the Borough", sing of their weary daily round and their relationship with the sea and the seasons. Grimes calls for help to haul his boat ashore, but is shunned by most of the community. Belatedly, retired skipper Balstrode and the apothecary, Ned Keene, assist Grimes by turning the capstan. Keene tells Grimes that he has found him a new apprentice (named John) from the workhouse. Nobody will volunteer to fetch the boy, until Ellen offers ("Let her among you without fault...").


title: Peter Grimes

text: As a storm approaches, most of the community – after securing windows and equipment – take shelter in the pub. Grimes stays out, and alone with Balstrode confesses his ambitions: to make his fortune with a "good catch", buy a good home and marry Ellen Orford. Balstrode suggests "without your booty [Ellen] will have you now", only to provoke Grimes's furious "No, not for pity!" Balstrode abandons Grimes to the storm, as the latter ruminates "What harbour shelters peace?" The storm then breaks with a vengeance (second orchestral Interlude).


title: Peter Grimes

text: In the pub, tensions are rising due both to the storm and to the fiery Methodist fisherman, Bob Boles, getting increasingly drunk and lecherous after the pub's main attraction, the two "nieces". Grimes suddenly enters ("Now the Great Bear and Pleiades..."), and his wild appearance unites almost the entire community in their fear and mistrust of his "temper". Ned Keene saves the situation by starting a round ("Old Joe has gone fishing"). Just as the round reaches a climax, Ellen arrives with the apprentice, both drenched. Grimes immediately sets off with the apprentice to his hut, despite the terrible storm.


title: Peter Grimes

text: On a sunny Sunday morning (the Third Orchestral Interlude), while most Borough townspeople are at church, Ellen talks with John the apprentice. She is horrified to find a bruise on his neck. When she confronts Grimes about it, he brusquely dismisses it as an accident. Growing angry at her concern and interference, he strikes her and runs off with the boy. This does not go unseen: first Keene, Auntie, and Bob Boles, then the chorus comment on what has happened, the latter developing into a mob which sets off to investigate at Grimes's fisherman's hut. As they march off, Ellen, Auntie, and the nieces sing despairingly of the town's menfolk. (the Fourth Orchestral Interlude (Passacaglia) follows as the scene changes).


title: Peter Grimes

text: At the hut, Grimes impatiently demands John changes out of his Sunday clothes and into fisherman's gear. Though it is a Sunday he hastily prepares to set out to fish as he has seen a large school of herring. Grimes becomes lost in his memories of his previous apprentice, reliving the boy's death of thirst. When he hears the mob of townspeople approaching, he quickly snaps back to reality, stirred both by a paranoid belief that John has been gossiping with Ellen, so provoking the anger of the town against him; and at the same time angrily defiant. He warns John to be careful climbing down the cliff to the boat. But to no avail: in their haste the boy slips to his death below. When the mob reaches the hut Grimes and the apprentice are not to be found, so they disperse, curious and suspicious.


title: Peter Grimes

text: At a town dance, Mrs Sedley tries to convince the authorities that Grimes is a murderer. Ellen and Captain Balstrode confide in each other: Grimes has disappeared, and Balstrode has discovered a jersey washed ashore. Ellen recognises it as one she had knitted for John. Mrs Sedley overhears this, and with the knowledge that Grimes has returned, is able to whip up another vigilante mob. Singing "Him who despises us we'll destroy", the villagers march off searching for Grimes. (The sixth interlude, not included in the concert version of the Sea Interludes, covers the change of scene.)


title: Peter Grimes

text: While the townspeople can be heard off-stage hunting for the fisherman, Grimes appears onstage singing a monologue, interspersed by cries from the mob and by a mournful fog horn (a solo tuba). The death of his second apprentice has shattered Grimes who sounds panicked, distracted and unfocused. Ellen and Balstrode discover him before the furious townspeople get there, and the sea captain advises Grimes the best thing is to sail to sea and drown himself by scuppering his boat. Silently, Grimes walks out. The next morning life in the Borough begins as usual as if nothing has happened, though there is a report from the coastguard of a boat seen sinking far off the coast. This is dismissed by Auntie as "one of these rumours."


title: Peter Grimes

text: To cover the scene changes during the opera Britten wrote six orchestral interludes. Five of them have been published separately. The "Four Sea Interludes", Op 33a, is a suite of about 17 minutes' duration, comprising the first, third, fifth and second interludes from the opera, with the titles "Dawn", "Sunday Morning", "Moonlight" and "Storm". The fourth interlude, a passacaglia, has been published separately as Op 33b, and is sometimes appended to the "Four Sea Interludes" in concert and recordings. Britten conducted the London Philharmonic Orchestra in the first performance of the suite at the Cheltenham Festival, a week after the opera's premiere; the London premiere was at the Proms, in August 1945, and the five interludes were conducted by Sir Thomas Beecham in October 1945.


title: Peter Grimes

text: In "The Observer", William Glock rated the first act less convincing than the other two, but found the opera as a whole "a most thrilling work", displaying Britten's "genius". "The Manchester Guardian"'s critic, William McNaught, considered the music "full of vivid suggestion and action, sometimes rising to a kind of white-hot poetry", but thought the libretto insufficiently "operatic" – "overloaded with scrappy and not always telling incident". "The Scotsman's" critic took a different view, calling the work "that rare thing – a piece of perfect collaboration between librettist and composer". The reviewer in "The Times" found the use of a single spoken line for Balstrode at a key point intrusive in an otherwise through-composed score, but praised Britten's "effortless originality" and "orchestral music of diabolical cunning".


title: Peter Grimes

text: After the American premiere, the critic Douglas Watt opened his review ""Peter Grimes" has greatness", and called the work "an opera for our time, brilliantly conceived and executed", with the "breathtaking pleasure" of the music matched by "the strong and lovely libretto", though he predicted that if an impresario succeeded in staging the piece on Broadway "it will be met with much intolerance and displeasure by audiences unprepared for its surprising magnificences". In "The Boston Globe", Cyrus Durgin praised the young Bernstein for bringing out "the drive and dissonance of an opera which is far from 'tuneful' in the conventional sense" and rated the work "a step forward for opera in this country, and anywhere for that matter".


title: Peter Grimes

text: "Grove's Dictionary of Music and Musicians" describes "Peter Grimes" as "a powerful allegory of homosexual oppression", and "The New York Times" has called it one of "the true operatic masterpieces of the 20th century"; the composer's own contemporary (1948) summation of the work was "a subject very close to my heart – the struggle of the individual against the masses. The more vicious the society, the more vicious the individual". In a 1963 analysis of the opera in "Music & Letters", J. W. Garbutt contended that Britten's "inventive genius" and the richness of the score led the listener to suspend disbelief, but that nevertheless Slater had failed to reconcile the violent and the visionary in Grimes's character and conduct. In a retrospective consideration of the opera in 1972, Peter Garvie argued in "Tempo" that although it had seemed uniquely new when it first appeared, it was in fact "a great but final reincarnation of more or less traditional opera", and that it holds no promise of redemption for the characters, unlike Britten's later operas.


title: Peter Grimes

text: In "The University of Toronto Quarterly" in 2005, Allan Hepburn considered the various views of previous commentators on the extent to which homosexuality is relevant to the plot of the opera. He notes that in Peter Conrad's analysis, "Grimes the boy-killer is the homosexual outcast, looking to Ellen Orford to effect his redemption, even his cure", and that for Philip Brett Britten's operas are "preoccupied with the social experience of homosexuality", but Hepburn concludes that Grimes can be seen in several different ways:


title: Peter Grimes

text: In 2020 Rupert Christiansen wrote that "Peter Grimes" can be labelled a "folk" opera, to the extent that:


title: Peter Grimes

text: Christiansen also remarks on "the sharp, Dickensian characterisations" of the various inhabitants of the Borough, showing the composer's exceptional gift for setting the English language to music.


title: Woodlawn Cemetery (Bronx, New York)

text: Woodlawn Cemetery is one of the largest cemeteries in New York City and a designated National Historic Landmark. Located south of Woodlawn Heights, Bronx, New York City, it has the character of a rural cemetery. Woodlawn Cemetery opened during the Civil War in 1863, in what was then southern Westchester County, in an area that was annexed to New York City in 1874. It is notable in part as the final resting place of some well known figures.


title: Woodlawn Cemetery (Bronx, New York)

text: The Cemetery covers more than and is the resting place for more than 300,000 people. Built on rolling hills, its tree-lined roads lead to some unique memorials, some designed by famous American architects: McKim, Mead & White, John Russell Pope, James Gamble Rogers, Cass Gilbert, Carrère and Hastings, Sir Edwin Lutyens, Beatrix Jones Farrand, and John La Farge. The cemetery contains seven Commonwealth war graves – six British and Canadian servicemen of World War I and an airman of the Royal Canadian Air Force of World War II. In 2011, Woodlawn Cemetery was designated a National Historic Landmark, since it shows the transition from the rural cemetery popular at the time of its establishment to the more orderly 20th-century cemetery style.


title: Woodlawn Cemetery (Bronx, New York)

text: As of 2007, plot prices at Woodlawn were reported as $200 per square foot, $4,800 for a gravesite for two, and up to $1.5 million for land to build a family mausoleum.


title: Woodlawn Cemetery (Bronx, New York)

text: Woodlawn was the destination for many human remains disinterred from cemeteries in more densely populated parts of New York City:


title: Woodlawn Cemetery (Bronx, New York)

text: The fictional cemetery of the Synagogue in Brooklyn in the film "Once Upon a Time in America" is actually located here, renamed "Riverdale Cemetery".


title: Woodlawn Cemetery (Bronx, New York)

text: Numerous notable persons have been interred at Woodlawn Cemetery including: Chief Justice of the United States Charles Evans Hughes; aviation pioneer Harriet Quimby, performer, playwright and producer George M Cohan; gangster Bumpy Johnson; authors Nellie Bly, Countee Cullen, Clarence Day, Damon Runyon, E.L. Doctorow, Herman Melville, and Dorothy Parker; musicians Irving Berlin, Miles Davis, Duke Ellington, W. C. Handy, Fritz Kreisler, Pigmeat Markham, King Oliver, and Max Roach; singers Celia Cruz and Florence Mills; husband and wife magicians Alexander Herrmann and Adelaide Herrmann; sportswriter Grantland Rice; gunfighter and US marshal Bat Masterson; developer of the Rolfing body therapy and noted female biochemist Ida Rolf; and, businessmen such as shipping magnate Archibald Gracie, cosmetics manufacturer Richard Hudnut, department store founder Rowland Hussey Macy, and variety store mogul F. W. Woolworth. A large number of New York brewers (e.g., the Haffens of Haffen Brewing Company) are interred there on "Brewer's Row", along with a dozen other brewing scions and their families.


title: Woodlawn Cemetery (Bronx, New York)

text: The Woodlawn Conservancy is a 501 (c) (3) associated with Woodlawn Cemetery. It began as the Friends of Woodlawn in 1999. It enhances the mission of Woodlawn through fundraising, educational opportunities and outreach with other non-profits. In 2021, over 40 stones were conserved in a joint effort between the Woodlawn Conservancy, the Friends of the Rye African-American Cemetery, World Monuments Fund, and the Jay Heritage Center. The preservation effort was launched to coincide with the new federal Juneteenth celebration.


title: Coupa

text: Coupa Software is a global technology platform for Business Spend Management (BSM). The company is headquartered in San Mateo, California with offices throughout Europe, Latin America, and Asia Pacific. Coupa helps companies gain visibility into and control over how they spend money, optimize supply chains, and manage liquidity.


title: Coupa

text: In 2016, Coupa Software went public on the Nasdaq, trading as COUP. In 2021, Coupa was included in Gartner’s Magic Quadrant Procure-to-Pay leaders.


title: Coupa

text: Dave Stephens and Noah Eisner founded Coupa in 2006. Rob Bernshteyn took over as Coupa's CEO in February 2009. In September 2009, Coupa secured a $7.5 million Series C funding round.


title: Coupa

text: In 2014, The Forrester Wave named Coupa a market leader. In May, Ariba, a unit of SAP and a competitor of Coupa, filed a lawsuit alleging that Coupa misappropriated Ariba trade secrets. Also in 2014, the company expanded globally, announcing new operations in Dublin, Ireland.


title: Coupa

text: In February 2015, Coupa acquired the assets of ZenPurchase, an enterprise procurement software company, as well as acquiring InvoiceSmash, an e-invoicing vendor, and TripScanner, an open booking vendor, in July. Coupa was also positioned in the Leaders quadrant of the Gartner Magic Quadrant for Procure-to-Pay Suites for Indirect Procurement. On September 24, 2015, Ariba and Coupa settled their lawsuit. Coupa acknowledged its possession of Ariba information and is required to abide by certain procedures to prevent any misappropriation in the future. Coupa paid Ariba an undisclosed amount.


title: Coupa

text: In 2021, Coupa debuted its new venture capital fund, Coupa Ventures. On June 15, Coupa launched its "Sustainable Business Spend Management" (BSM) platform, to help business owners with their sustainability initiatives.


title: Coupa

text: In March 2022, Coupa was named a Leader in the Forrester Wave Supplier Value Management Platform. In May, Coupa added analysis features to its procurement management software to track Scope 1, 2 and 3 emissions reductions and how these contribute to supplier sustainability goals.


title: Coupa

text: In December 2022, Thoma Bravo outbid Vista Equity Partners to announce its acquisition of Coupa for $6.15 billion in cash, and a total enterprise value of $8 billion.


title: Coupa

text: Coupa's cloud-based Business Spend Management solution manages transactions across procurement, payment, and supply chain. Coupa's BSM platform collects anonymized customer data to make recommendations to improve business transactions.


title: Coupa

text: In 2006, its first free open-source product, Coupa Express, was built using RoR. In 2007, the company launched a SaaS (Software-as-a-service) product called Coupa On Demand for SMBs (small and midsize businesses).


title: Coupa

text: In April 2014, Coupa introduced Coupa Inventory, a portal for viewing inventory availability when ordering, to reduce wasteful spending.


title: Coupa

text: With Coupa's acquisition of LLamasoft in 2020, the company added AI-powered supply chain design to its platform.


title: Coupa

text: On June 15, 2021, Coupa launched its "Sustainable Business Spend Management" (BSM) platform, to help business owners with their sustainability initiatives. Coupa added configurations to its BSM platform, embedding ESG to optimize supply chains and reduce emissions.


title: Coupa

text: In February 2022, Coupa launched Community.ai, which benchmarks data to embed performance feedback, operational support, and prescriptive recommendations. The company also launched its Coupa Travel & Expense platform, which includes features from its acquisitions and offers a service for booking flights, hotels, cars and dining. Coupa received its FedRAMP Moderate certification in March 2022.


title: Knights of Cydonia

text: "Knights of Cydonia" is a song by English alternative rock band Muse and is the closing track on their 2006 album "Black Holes and Revelations". The song's title refers to the Cydonia region of Mars, which gained public attention from the illusion of a rock formation which looked similar to a human face.


title: Knights of Cydonia

text: The radio edit version was first aired on KROQ-FM radio on 6 June 2006, and released to other radio stations in the United States on 12 June 2006. The song was released as the third single from "Black Holes & Revelations" in the UK on 27 November 2006, debuting at No 10 in the UK Singles Chart (see 2006 in British music). It also hit the No. 10 spot on the "Billboard" Modern Rock Tracks chart in the United States, becoming their third top-ten hit on that chart. The song was described by BBC Radio 1 DJ Annie Mac on 27 October 2006 as "six minutes and seven seconds of pure genius". In 2007, Eve of Summer recorded a remix.


title: Knights of Cydonia

text: The first live performance of "Knights of Cydonia" took place at a BBC Radio 1 event, Radio 1's Big Weekend, held at Camperdown Park in Dundee on 13 May 2006. Also performed at this event were "Supermassive Black Hole" and "Starlight", the first two singles from "Black Holes and Revelations". Live performances of "Knights of Cydonia" give Matt Bellamy's intro falsetto more prominence than its studio counterpart, along with Dominic Howard's introductory drum pattern being included in the performance. Since 2008, live performances have included an introduction of Ennio Morricone's "Man With a Harmonica" from "Once Upon a Time in the West" where bassist Chris Wolstenholme plays a harmonica piece. Other live additions include Bellamy playing an extra guitar part during the solo at the end of the song, Howard ending the song with a short drum solo and the coda of "Space Dementia" played as a finale.


title: Knights of Cydonia

text: In 2007, "Knights of Cydonia" was the number-one song in Australia's Triple J Hottest 100. The song was also ranked No. 18 in the Triple J Hottest 100 of All Time, 2009 and No. 53 on Rhapsody's list of the "Top 100 Tracks of the Decade". In October 2011, "NME" placed it at number 44 on its list "150 Best Tracks of the Past 15 Years".


title: Knights of Cydonia

text: The intro, as performed on the live album "HAARP", is a citation of the five tone musical phrase from the film "Close Encounters of the Third Kind". The song uses synthesised and live trumpet parts overlaid with vocals from both Matt Bellamy's higher and lower reaches, spanning B-E. The guitar sound in the song was inspired by the 1962 number one hit "Telstar" by The Tornados (George Bellamy, Matt Bellamy's father, was the band's rhythm guitarist). The song, taken in entirety, also bears a striking resemblance to George Bellamy's composition "Ridin' the Wind". The first noise heard in the song is an explosion, then a horse neigh. The first 2:03 of the song is a guitar solo to the tune of the lyrics, before Bellamy sings "Come ride with me, through the veins of history."


title: Knights of Cydonia

text: Bellamy has stated that on the album in general, he tried to create a vision of what is occurring in the song. For example, the bassline has a galloping rhythm resembling someone riding a horse.


title: Knights of Cydonia

text: The Knights of Cydonia video was shot over five days: three days in Romania; one day in London; and one day in Red Rock, California; it was made available on 11 July 2006. It was filmed and edited as a thematic smörgåsbord: a Spaghetti Western film with post-apocalyptic influence, complete with beginning and end credits, livened with the occasional kung-fu cowboy or metal-clad maiden astride a unicorn.


title: Knights of Cydonia

text: The video was directed by Joseph Kahn, and stars British actor Russ Bain as the protagonist (The Man With No Name), Richard Brake as the antagonist (Sheriff Baron Klaus Rottingham), and Cassandra Bell as the love interest (Princess Shane Kuriyami). Throughout the video, the actors mouth out the lyrics, such as Russ Bain pilloried in town square mouthing "No one's going to take me alive," and Cassandra Bell at the gallows "You and I must fight for our rights." In both instances, the mouthed words occur after the song lyrics and complete before the song moves on to the next line. The band appears in some scenes, partly as holograms.


title: Knights of Cydonia

text: At the end of the video, the end of the credits read "Copyright MCMLXXXI" which are the Roman numerals for 1981.


title: Knights of Cydonia

text: A remix by Gramatik was released in the "Official & Bootleg Remixes, Colabs & Rare Tracks" album in 2012.


title: Knights of Cydonia

text: Prior to its entry in the Singles Chart, "Knights of Cydonia" had been active in the Downloads Chart, and sat at No. 41 the same week that the physical release debuted at No. 10 in the Singles Chart. Three weeks earlier, the song sat at No. 104 in the Downloads Chart, marking a substantial jump in that time period. The song also reached number 2 in the charts in both Flanders and Wallonia of Belgium. It peaked at number 20 in Norway.


title: Knights of Cydonia

text: The song was the winner of Triple J's annual Hottest 100 countdown for 2007 winning by only 13 votes, and later was voted No. 18 in 2009's Hottest 100 of All Time countdown, where it was the second-highest ranked song from the 21st century.


title: 2007–08 Chelsea F.C. season

text: The 2007–08 season was Chelsea Football Club's 94th competitive season, 16th consecutive season in the Premier League, and 102nd year as a club. Manager José Mourinho left the club by mutual consent on 20 September 2007 following a disappointing 1–1 draw with Rosenborg and was replaced by the Israeli Avram Grant.


title: 2007–08 Chelsea F.C. season

text: The 2007–08 Premier League season was decided on the last day of the season, when Chelsea needed to win against Bolton Wanderers and Manchester United to either draw or lose against Wigan Athletic. Chelsea drew 1–1 and Manchester United won 2–0, thus making Chelsea runners-up to United for the second consecutive season.


title: 2007–08 Chelsea F.C. season

text: Chelsea played in their first UEFA Champions League Final, against Manchester United, making it the first all-English final in the competition's history. After extra time the score was 1–1; Manchester United won the penalty shootout 6–5 after Edwin van der Sar saved Nicolas Anelka's penalty.


title: 2007–08 Chelsea F.C. season

text: Chelsea went the entire 2007–08 campaign without suffering a single defeat at home. In spite of this, this was the first season in four years that Chelsea had finished the season without a trophy; the lack of silverware led to Avram Grant being sacked three days after the Champions League final. Five days later, Chelsea's assistant first-team coach, Henk ten Cate, had his contract terminated as well.


title: A Country Practice

text: A Country Practice is an Australian television soap opera which broadcast on the Seven Network from 18 November 1981 until 5 November 1993, airing at 7:30 pm on Monday and Tuesday evenings. Altogether, 14 seasons and 1,058 episodes were produced. The show was produced at the ATN-7's production facility at Epping, New South Wales,


title: A Country Practice

text: Pitt Town and Oakville, suburbs on the outskirts of northwest Sydney, Australia, where used for most of the exterior filming, with the historic heritage-listed Clare House, built in 1838, serving as the location of the Wandin Valley Bush Nursing Hospital.


title: A Country Practice

text: Many other fictional locations, including Dr. Terence Elliot's (Shane Porteous) medical practice, Frank and Shirley Gilroy's house Brian Wenzel and Lorrae Desmond, the Wandin Valley Church and Burrigan High School where filmed in the Hawkesbury.


title: A Country Practice

text: Several of the regular cast members became popular celebrities as a result of their roles in the series. It also featured a number of native Australian animals, particularly the iconic 'Fatso the wombat' adding to its appeal both domestically and internationally. After the series was cancelled by the Seven Network in 1993, the series was relaunched on the Network Ten in 1994.


title: A Country Practice

text: At the time of its cancellation, "A Country Practice" was the longest-running Australian TV drama; however, by the late 1990s, that record was surpassed by Network Ten series "Neighbours". At the height of its popularity, the show attracted 8–10 million Australian viewers weekly (at a time when the population of Australia was 15 million). The series was eventually sold to, and broadcast in 48 countries.


title: A Country Practice

text: "A Country Practice" creator and executive producer James Davern had previously worked on a similar rural-based series as the producer and director of the long-running "Bellbird", which screened on ABC Television (1967–1977). In 1979, he entered the pilot episode for a script contest by Network Ten, which was looking for a new hit soap opera after the demise of "Number 96". Davern came third and won a merit award. Although TEN turned the series down, rival TV station Seven Network picked it up. Davern's contribution to the industry was recognised when he was honoured with the Order of Austraklia (OAM) in 2014.


title: A Country Practice

text: Though sometimes considered a soap opera, the storylines of the show's two 45 minute episodes screened over any one week formed a self-contained narrative block. The storylines were meant to have a primary appeal to adult and older youthful audiences, and in particular they had greater appeal to children from middle-class backgrounds. As it did not have the open ended narrative of a traditional soap opera, it was technically a "series". Nevertheless, many storylines were developed as sub-plots for several episodes before becoming the focus of a particular week's narrative block. Overall, the program "so emphasized the ongoing storylines of its major characters as to make the distinction between series and serial more or less meaningless".


title: A Country Practice

text: After the end of its run on the Seven Network, it was announced that the serial would be picked up by Network Ten with a mainly new cast and a few key cast members continuing from the Seven series. Unlike the Seven series which was produced in Sydney, the Network Ten series was produced in Melbourne with location shooting in Emerald, Victoria. The new series debuted in April 1994, but was not as successful and was abruptly cancelled in November. The series featured actors including Paul Gleason, Jane Hall, Vince Colosimo, Claudia Black and Laura Armstrong.


title: A Country Practice

text: Note: Actors highlighted in yellow were retained in the series when switching from Seven Network to Network Ten.


title: A Country Practice

text: Only four of the original cast members from the Network Seven series were retained in the Network Ten re-launch: Joan Sydney, Joyce Jacobs, and Andrew Blackman, and Michelle Pettigrove (1 episode)


title: A Country Practice

text: "A Country Practice" became renowned for its long list of guest cameos, totalling over 1000 stars, with well known mainly Australian actors who appeared in each week's two part episode arc.


title: A Country Practice

text: At the program's height, Prime Minister of Australia Bob Hawke appeared in episodes as a guest as himself.


title: A Country Practice

text: Some actors became more prominent during the series run, and were classified as semi-regulars, appearing as the storyline permitted,


title: A Country Practice

text: The series followed the workings of a small hospital in the fictional New South Wales rural country town of Wandin Valley, as well as its connected medical clinic, the town's veterinary surgery, RSL club/pub and local police station. The show's storylines focused on the staff and regular patients of the hospital and general practice, their families, and other residents of the town. Through its weekly guest actors, it explored various social and medical problems. The series examined such topical issues as youth unemployment, suicide, drug addiction, HIV/AIDS and terminal illness. Apart from its regular rotating cast, "A Country Practice" also had a cast of semi-regulars who made appearances as the storylines permitted. The program also showcased a number of animal stars and Australian native wildlife, most famously Fatso the wombat. Fatso was played throughout the series by three separate wombats, the original actually named Fatso (1981–1986) was replaced due to temperament issues with the cast, a wombat George (1986–1990), he himself replaced due to early signs of wombat mange (a marsupial viral disease), and Garth (1990 through series end).


title: A Country Practice

text: Anne Tenney played Molly Jones, who became one of the most popular characters, particularly in the series' early years. Molly, was an unconventional fashion designer, farmer and Green-hugging local environmentalist, and after Tenney decided to leave the series, her character's death episode became the highest rating, and most remembered storyline. The series 13 week storyline arc dealt with how a young woman, as well as her husband and local residents, coped with terminal illness, after the character was diagnosed with leukaemia. The final episode sees the character of Molly sitting in her back garden and waving while her husband, Brendan, is teaching his daughter to fly a kite. He sees Molly is fading, and calls her name as the screen fades to black. This storyline arc was originally written to be featured over a continuing 11 week script. A producer realised that the ratings were not being monitored during this period, so it was extended for 13 weeks, and hence 4 extra 1 hour episodes.


title: A Country Practice

text: Other iconic storylines over its 12-year run include the wedding of Dr. Simon Bowen (Grant Dodwell) to local vet Vicki Dean (Penny Cook) in 1983, the death of nurse Donna Manning in a car crash in 1987, and the off-screen death of longtime resident Shirley Gilroy, played by original Lorrae Desmond in a plane crash in 1992.


title: A Country Practice

text: "A Country Practice" is the third most successful television program after "Home and Away" (1st) and "Neighbours" (2nd), at the Logie Awards, having won 29 awards during its twelve years of production.


title: A Country Practice

text: "A Country Practice" originally aired on Seven Network Monday (Part 1) and Tuesday (Part 2) nights at 7:30. The unsuccessful 1994 Network 10 remake of the series aired originally at 7:30 on Wednesday nights, but then moved to 7:30 on Saturday nights a few weeks later. In late July, it moved to a low-rating timeslot of 5:30 Saturday evenings, directly against Channel Seven's Saturday AFL coverage.


title: A Country Practice

text: Foxtel's Hallmark Channel broadcast the complete series twice (including the short-lived Network Ten series) in a 2-hour block at 3:30-5:30 weekday afternoons from 2002 to 30 June 2010.


title: A Country Practice

text: In addition to being broadcast in Australia, the series also had a successful run on the ITV network in the United Kingdom. "A Country Practice" began 27 October 1982, less than a year after its debut on Seven Network in Australia.


title: A Country Practice

text: Originally, the series was partially networked (similar in theory to syndication) by Thames Television, the weekday contractor for the London area, to a cluster of six ITV regions; Anglia Television, Border Television, Channel Television, Tyne Tees, Yorkshire Television and TVS. These regions all aired one episode a week, on Wednesdays at 14:45–15:45, and in the original hour-long format. The remaining ITV regions – Central Independent Television, HTV, TSW, Granada Television, Scottish Television, UTV, and Grampian Television – all started within a year expect for UTV who started in 1989. Most of the ITV regions were now scheduling the program on a day and time of their own choice and were at vastly different points in the storyline. From October 1988 to mid-1989, "A Country Practice" was put on hiatus in a handful of regions as ITV networked a new Australian series, "Richmond Hill", which took the Wednesday and Thursday afternoon 14:00 slot. When that series ended, "A Country Practice" was resumed as its replacement (although some regions, such as Central and Granada, had continued to show it). By around May 1990 (regions vary), the ITV network decided to adopt the method established by Yorkshire Television (from 1984) of editing each episode into two half-hour editions which allowed the series to be stripped Monday to Friday, usually before, or after, the lunchtime edition of "Home and Away". This format also resulted in curtailment of the full closing credits in certain regions. Scottish Television was the only exception, and they chose various days and timeslots, but always screened "A Country Practice" in the original hour-long format.


title: A Country Practice

text: A substantial amount were withdrawn from transmission by some regions as the content was considered unsuitable for daytime viewing and this inevitably led to considerable chunks of the story being skipped. Considered a daytime soap and notably several years behind Australian broadcasts, "A Country Practice" was popular in the UK and achieved consolidated viewing figures of between 2–3 million. Some regions (HTV, Border, Grampian, TSW and Granada) moved the later episodes of the series to an early evening slot of 17.10–17.40.


title: A Country Practice

text: Only the first 40 episodes have ever been repeated in the UK, in 1998 when ITV contractor, Anglia Television, were the only region to repeat any episodes. Unlike other Australian soaps, which became cult viewing due to multiple runs; "Prisoner" was broadcast twice, first on ITV, and then Channel 5; "The Sullivans" also had two full runs, once on ITV and repeated on UK Gold; and also "Sons and Daughters", which had three runs, first on ITV, then UK Gold, and finally, Channel 5 – "A Country Practice" has never been repeated in the UK or achieved the cult status of other soap operas of the same era.


title: A Country Practice

text: "A Country Practice" was named "Das Buschkrankenhaus" ("The Country Hospital"), and aired on Sat 1 in 1985, and then on ARD from 1989 to 1991.


title: A Country Practice

text: "A Country Practice" was named "Wandin Valley". Only 170 episodes were broadcast on local television stations in Italy, and the dub was made at TSI in Switzerland.


title: A Country Practice

text: Episode one debuted on RTÉ Two on Monday, 23 September 1985 at 18:15 airing weekdays. Start time later moved to 18:30. RTE split each episode in two to fill a 30-minute slot. On 3 October 1988, to make way for "Home and Away", RTE moved ACP to the main channel RTÉ One, continuing weekdays at 17:30 in a 30-minute slot. The final episode (1088) aired on 13 February 1997. Between 1998 and 2002, RTÉ rebroadcast seasons 8-10 (1988-1990). Episodes aired around midday and later moved to 09:30.


title: A Country Practice

text: "A Country Practice" (called "Hverdagsliv") was broadcast on TV2 from the channel's inception in 1992 to 2000.


title: A Country Practice

text: "A Country Practice" was first transmitted on TV2 on the afternoon of Thursday 13 February 1986. It was shown once a week on Thursdays at 2.30pm before moving to twice a week on Wednesdays and Thursdays at 6.30pm by 1987. By 1988, the series went back to once a week on Sundays at around 4pm, and by 1989 an additional episode was broadcast on Saturdays in the same timeslot. By 1990, "A Country Practice" screened on Channel 2 on Saturdays and Sundays at 5pm until it moved to TV One during the final months of 1991 replacing "Fair Go", where it was shown once a week on Tuesdays at 7.30pm until the end of 1992.


title: A Country Practice

text: The entire series was broadcast by CBC Television outlet CBET in Windsor, Ontario. Two episodes were broadcast daily, Monday through Friday, starting in the late 1980s, until they were caught up to contemporary episodes in the early 1990s. Its inclusion on CBET's schedule was out of necessity to fill a television schedule: because Windsor stations cannot carry programming licensed for broadcast in the United States. Many Australian soap operas, "A Country Practice" among them, thus found loyal audiences in the Metro Detroit area, while they otherwise remain unknown in North America.


title: A Country Practice

text: From 1991 to 1994, the show also aired on ASN, a cable network that served Canada's Maritimes. Four hour-long episodes aired each week, from Monday to Thursday with Monday's and Tuesday's episodes repeated on Saturday and Wednesday's and Thursday's episodes on Sunday. The station aired the show from episode 1 to somewhere in the early 700s.


title: A Country Practice

text: ASN ceased carrying the show when specialty cable channel Showcase was launched on 1 January 1995, as they picked up "A Country Practice" for broadcast throughout Canada. It broadcast one episode daily, from Monday to Friday, and completed the entire series run (including the 30-episode Network Ten series) in June 1999. It began rebroadcasting the entire series on 28 June 1999, with promises that the entire series would be broadcast for those who missed the first airing. However, a single line of text scrolling across the bottom of the screen during 21 August 2000, episode announced that the show would be removed from the Showcase lineup as of Monday, 28 August 2000. According to the station's email autoresponse at the time, the decision was based on "declining viewership and a demand by viewers for more current programming".


title: A Country Practice

text: Series writer Judith Colquhoun, who also wrote episodes for other Australian serials, "Blue Heelers", "Neighbours" and "Home and Away" released a novel in 2015. Called "New Beginnings", it is based on the early episodes of the series from 1981. This was followed up by two further novels from the same author, "To Everything a Season" and "Silver Linings".


title: A Country Practice

text: In late 2005, MRA Entertainment announced they had obtained the rights to release the entire series on DVD. In 2008, Magna Pacific Pty Ltd bought out MRA Entertainment, with plans to release Series 6, however the rights were then acquired by Beyond Home Entertainment which then re-released the first 5 seasons in 2007–2008, followed by Season 6 in 2010. On 27 May 2020 Via Vision Entertainment announced they would be releasing season 11 on DVD on 26 August 2020.


title: Dennis Price

text: Dennistoun Franklyn John Rose Price (23 June 1915 – 6 October 1973) was an English actor, best remembered for his role as Louis Mazzini in the film "Kind Hearts and Coronets" (1949) and for his portrayal of the omnicompetent valet Jeeves in 1960s television adaptations of P. G. Wodehouse's stories.