Early life and education.

Dimitri Tiomkin was born in Kremenchuk, then part of the Russian Empire (now central Ukraine).  His family was of Jewish descent; his father Zinovy Tiomkin was a "distinguished pathologist" and associate of Professor Paul Ehrlich, and later a notable Zionist leader. His mother, Marie Tartakovskaya, was a musician who began teaching the young Tiomkin piano at an early age. Her hope was to have her son become a professional pianist, according to Tiomkin biographer, Christopher Palmer. Tiomkin described his mother as being "small, blonde, merry and vivacious."  Tiomkin was educated at the Saint Petersburg Conservatory, where he studied piano with Felix Blumenfeld, teacher of Vladimir Horowitz, and harmony and counterpoint with Alexander Glazunov, mentor to Sergei Prokofiev and Dmitri Shostakovich. He also studied piano with Isabelle Vengerova.  He survived the revolution and found work under the new regime. In 1920, while working for the Petrograd Military District Political Administration (PUR), Tiomkin was one of the lead organizers of two revolutionary mass spectacles, the "Mystery of Liberated Labor," a pseudo-religious mystery play for the May Day festivities, and "The Storming of the Winter Palace""" for the celebrations of the third anniversary of the Bolshevik Revolution. He supported himself while living in St. Petersburg by playing piano accompaniment for numerous Russian silent films.  Because the revolution had diminished opportunities for classical musicians in Russia, Tiomkin joined many exiles in moving to Berlin after the Russian Revolution to live with his father. In Berlin, from 1921 to 1923, he studied with the pianist Ferruccio Busoni and Busoni's disciples Egon Petri and Michael von Zadora. He composed light classical and popular music, and made his performing debut as a pianist playing Franz Liszt's Piano Concerto No. 2 with the Berlin Philharmonic.  He moved to Paris with his roommate, Michael Khariton, to perform a piano duo repertory together. They did this before the end of 1924.

Life in America.

In 1925 the duo received an offer from the New York theatrical producer Morris Gest and emigrated to the United States. They performed together on the Keith/Albee and Orpheum vaudeville circuits, in which they accompanied a ballet troupe run by the Austrian ballerina Albertina Rasch. Tiomkin and Rasch's professional relationship evolved into a personal one, and they married in 1927.  While in New York, Tiomkin gave a recital at Carnegie Hall that featured contemporary music by Maurice Ravel, Alexander Scriabin, Francis Poulenc, and Alexandre Tansman. He and his new wife went on tour to Paris in 1928, where he played the European premiere of American George Gershwin's "Concerto in F" at the Paris Opera, with Gershwin in the audience.  After the stock market crash in October 1929 reduced work opportunities in New York, Tiomkin and his wife moved to Hollywood, where she was hired to supervise dance numbers in MGM film musicals. He worked on some minor films, some without being credited under his own name. His first significant film score project was for Paramount's "Alice in Wonderland" (1933). Although Tiomkin worked on some smaller film projects, his goal was still to become a concert pianist. But in 1937 he broke his arm, injuring it so much that he ended that possible career. He began to focus on work as a film music composer.

Working for Frank Capra (1937-1946).

Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for "Lost Horizon" (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, "Please Don't Hate Me!" (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  He worked on other Capra films during the following decade, including the comedy "You Can't Take It With You" (1938), "Mr. Smith Goes to Washington" (1939), "Meet John Doe" (1941), and "It's a Wonderful Life" (1946). During World War II, he continued his close collaboration with Capra by composing scores for his "Why We Fight" series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.

"High Noon" (1952).

Following his work for Fred Zinnemann on "The Men" (1950), Tiomkin composed the score for the same director's "High Noon" (1952). His theme song was "Do Not Forsake Me, Oh My Darlin'" ("The Ballad of High Noon"). At its opening preview to the press, the film, which starred Gary Cooper and Grace Kelly, did badly. Tiomkin writes that "film experts agreed that the picture was a flat failure... The producers hesitated to release the picture." Tiomkin bought the rights to the song and released it as a single for the popular music market, with singer Frankie Laine. The record became an immediate success worldwide. Based on the song's popularity, the studio released the film four months later, with the words sung by country western star Tex Ritter. The film received seven Academy Award nominations and won four awards, including two for Tiomkin: Best Original Music and Best Song. Walt Disney presented him with both awards that evening.  According to film historian Arthur R. Jarvis, Jr., the score "has been credited with saving the movie." Another music expert, Mervyn Cooke, agrees, adding that "the song's spectacular success was partly responsible for changing the course of film-music history". Tiomkin was the second composer to receive two Oscars (score and song) for the same dramatic film. (The first was Leigh Harline, who won Best Original Score for Disney's "Pinocchio" and Best Song for "When You Wish Upon a Star". Ned Washington wrote its lyrics as he did for "Do Not Forsake Me, Oh My Darlin".)  The song's lyrics briefly tell "High Noon"s entire story arc, a tale of cowardice and conformity in a small Western town. Tiomkin composed his entire score around this single western-style ballad. He also eliminated violins from the ensemble. He added a subtle harmonica in the background, to give the film a "rustic, deglamorized sound that suits the anti-heroic sentiments" expressed by the story.  According to Russian film historian Harlow Robinson, building the score around a single folk tune was typical of many Russian classical composers. Robinson adds that the source of Tiomkin's score, if indeed folk, has not been proven. However, the "Encyclopedia of Modern Jewish Culture", on page 124, states: "The fifty-year period in the USA between 1914, the start of the First World War and the year of Irving Berlin's first full score, Watch Your Step, and 1964, the premiere of Bock and Harnick's Fiddler on the Roof, is informed by a rich musical legacy from Yiddish folk tunes (for example Mark Warshavsky's "Di milners trem," The miller's tears: and Dimitri Tiomkin's "Do Not Forsake Me." High Noon)... "  Tiomkin won two more Oscars in subsequent years: for "The High and the Mighty" (1954), directed by William A. Wellman, and featuring John Wayne; and "The Old Man and the Sea" (1958), adapted from an Ernest Hemingway novel. During the 1955 ceremonies, Tiomkin thanked all of the earlier composers who had influenced him, including Beethoven, Tchaikovsky, Rimsky-Korsakov, and other names from the European classical tradition.  The composer worked again for Zinnemann on "The Sundowners" (1960).

Film genres and other associations.

Many of his scores were for Western films, which were extremely popular in this period, and for which he is best remembered. His first Western was the King Vidor-directed "Duel in the Sun" (1946). In addition to "High Noon", among his other Westerns were "Giant" (1956), "Friendly Persuasion" (1956), "Gunfight at the O.K. Corral" (1957), and "Last Train from Gun Hill" (1959). "Rio Bravo" (1959), "The Alamo" (1960), "Circus World" (1964) and "The War Wagon" (1967) were made with the involvement of John Wayne. Tiomkin received Oscar nominations for his scores in both "Giant" and "The Alamo". He told TV host Gig Young that his aim in creating the score for "Giant" was to capture the "feelings of the great land and great state of Texas."  Although influenced by European music traditions, Tiomkin was self-trained as a film composer. He scored many films of various genres, including historical dramas such as "Cyrano de Bergerac" (1950), "The Fall of the Roman Empire" (1964), and "Great Catherine" (1968); war movies such as "The Court-Martial of Billy Mitchell" (1955), "The Guns of Navarone" (1961), and "Town Without Pity" (1961); and suspense thrillers such as "36 Hours" (1965).  Tiomkin also wrote scores for four of Alfred Hitchcock's suspense dramas: "Shadow of a Doubt" (1943), "Strangers on a Train" (1951), "I Confess" (1953), and "Dial M for Murder" (1954). Here he used a lush style relying on solo violins and muted trumpets. He composed the score for the science fiction thriller "The Thing from Another World" (1951), which is considered his "strangest and most experimental score." He also worked with Howard Hawks on "The Big Sky" (1952) and "Land of the Pharaohs" (1955), with John Huston on "The Unforgiven" (1960), and with Nicholas Ray on "55 Days at Peking" (1963).

Television.

In addition to the cinema, Tiomkin composed for television, including such memorable theme songs as "Rawhide" (1959) and "Gunslinger." (A cover version of the theme from "Rawhide" was performed in the musical film "The Blues Brothers" (1980); the in-joke that the composer was a Ukrainian-born Jewish American was lost on the crowd at the cowboy bar.) Although Tiomkin was hired to compose the theme for "The Wild Wild West" (1965), the producers rejected his music and subsequently hired Richard Markowitz as his replacement.  Tiomkin also made a few cameo appearances on television programs. These include being the mystery challenger on "What's My Line?" and an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Benny write a song. He also appeared as a contestant on the 20 October 1955 episode of the TV quiz program "You Bet Your Life", hosted by Groucho Marx.  He composed the music to the song "Wild Is The Wind". It was originally recorded by Johnny Mathis for the film "Wild Is the Wind" (1957).

Composition styles and significance.

Although Tiomkin was a trained classical pianist, he adapted his music training in Russia to the rapidly expanding Hollywood film industry, and taught himself how to compose meaningful film scores for almost any story type. Film historian David Wallace notes that despite Tiomkin's indebtedness to Europe's classical composers, he would go on to express more than any other composer, "the American spirit—its frontier spirit, anyway—in film music."  Tiomkin had no illusions about his talent and the nature of his film work when compared to the classical composers. "I am no Prokofiev, I am no Tchaikovsky. But what I write is good for what I write for. So please, boys, help me." Upon receiving his Oscar in 1955 for "The High and the Mighty", he became the first composer to publicly list and thank the great European masters, including Beethoven, Strauss, and Brahms, among others.  Music historian Christopher Palmer says that Tiomkin's "genius lay in coming up with themes and finding vivid ways of creating sonic color appropriate to the story and visual image, not in his ability to combine the themes into a complex symphonic structure that could stand on its own." In addition he speculates how a Russian-born pianist like Tiomkin, who was educated at a respected Russian music conservatory, could have become so successful in the American film industry:  Tiomkin alluded to this relationship in his autobiography:

Techniques of composing.

Tiomkin's methods of composing a film score have been analyzed and described by music experts. Musicologist Dave Epstein, for one, has explained that after reading the script, Tiomkin would then outline the film's major themes and movements. After the film itself has been filmed, he would make a detailed study of the timing of scenes, using a stopwatch to arrange precise synchronization of the music with the scenes. He would complete the final score after assembling all the musicians and orchestra, rehearse a number of times, and then record the final soundtrack.  Tiomkin paid careful attention to the voices of the actors when composing. According to Epstein, he "found that in addition to the timbre of the voice, the pitch of the speaking voice must be very carefully considered..." To accomplish this, Tiomkin would go to the set during filming and would listen to each of the actors. He would also talk with them individually, noting the pitch and color of their voices.  Tiomkin explains why he took the extra time with actors:

Death and legacy.

Dimitri Tiomkin died in London, England in 1979 two weeks after fracturing his pelvis in a fall. He was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.  During the 1950s Tiomkin was the highest-paid film composer, composing close to a rate of a picture each month, achieving his greatest fame during the 1950s and 1960s. Between 1948 and 1958, his "golden decade," he composed 57 film scores. During the single year of 1952, he composed nine film scores, including "High Noon", for which he won two Academy Awards. In the same decade, he won two more Oscars and his film scores were nominated nine times.  He was honored in the Soviet Union and Russia. In 1967, he was a member of the jury of the 5th Moscow International Film Festival. In 2014, his theme songs to "It's a Wonderful Life" and "Giant" were played during the closing ceremony for the 2014 Winter Olympics in Sochi, Russia.  Beginning with "Lost Horizon" in 1937, through his retirement from films over four decades later in 1979, and up until modern times, he is recognized as being the only Russian to have become a Hollywood film composer. Other Russian-born composers, such as Irving Berlin, wrote their scores for Broadway plays, many of which were later adapted to film.  Tiomkin was the first film score composer to write both the title theme song and the score. He expanded on that technique in many of his westerns, including "High Noon" and "Gunfight at the O.K. Corral," in which the theme song was repeated as a common thread running through the entire film. For the film "Red River", for example, his biographer Christopher Palmer describes how the music immediately sets the epic and heroic tone for the film:  Because of this stylistic contribution to westerns, along with other film genres, using title and ongoing theme songs, he had the greatest impact on Hollywood films in the following decades up until the present. With many of his songs being used in the title of films, Tiomkin created what composer Irwin Bazelon called "title song mania." In subsequent decades, studios often attempted to create their own hit songs to both sell as a soundtrack and to enhance the movie experience, with a typical example being the film score for "Titanic".  He was known to use "source music" in his scores. Some experts claim these were often based on Russian folk songs. Much of his film music, especially for westerns, was used to create an atmosphere of "broad, sweeping landscapes," with a prominent use of chorus. During a TV interview, he credited his love of the European classic composers along with his ability to adapt American folk music styles to creating grand American theme music.  A number of Tiomkin's film scores were released on LP soundtrack albums, including "Giant" and "The Alamo". Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD. The theme song to "High Noon" has been recorded by many artists, with one German CD producer, Bear Family Records, producing a CD with 25 different artists performing that one song.  In 1999, the U.S. Postal Service added his image to their "Legends of American Music" stamp series. The series began with the issuance of one featuring singer Elvis Presley in 1993. Tiomkin's image was added as part of their "Hollywood Composers" selection.  In 1976, RCA Victor released "Lost Horizon: The Classic Film Scores of Dimitri Tiomkin" (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.  The American Film Institute ranked Tiomkin's score for "High Noon" as #10 on their list of the 100 greatest film scores. His scores for the following films were also nominated for the list:

Dimitri Zinovievich Tiomkin (, "Dmitrij Zinov'evič Tjomkin",, "Dmytro Zynoviyovyč Tomkin") (May 10, 1894November 11, 1979) was a Ukrainian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including "Duel in the Sun", "Red River", "High Noon", "The Big Sky", "Gunfight at the O.K. Corral", and "Last Train from Gun Hill".

Dimitri Tiomkin ( – 11. listopadu 1979) byl americký hudební skladatel. Narodil se do židovské rodiny ve městě Kremenčuk a studoval na konzervatoři v Petrohradu. V roce 1924 odešel do Paříže a následujícího roku do New Yorku. Ve třicátých letech se začal věnovat skládání filmové hudby. Složil například hudbu ke snímkům "Ztracený obzor" (1937), "Život je krásný" (1946) a "Děla z Navarone" (1961). Dvaadvacetkrát byl nominován na Oscara, ale pouze čtyřikrát jej získal. Byl rovněž držitelem několika Zlatých glóbů.


History.

Henry Heimlich, noted for promulgating abdominal thrusts, claimed that back slaps were proven to cause death by lodging foreign objects into the windpipe. The 1982 Yale study by Day, DuBois, and Crelin that persuaded the American Heart Association to stop recommending back blows for dealing with choking was partially funded by Heimlich's own foundation. According to Roger White MD of the Mayo Clinic and American Heart Association (AHA), "There was never any science here. Heimlich overpowered science all along the way with his slick tactics and intimidation, and everyone, including us at the AHA, caved in."  From 1985 to 2005, abdominal thrusts were the only recommended treatment for choking in the published guidelines of the American Heart Association and the American Red Cross. In 2006, both organizations drastically changed course and "downgraded" the use of the technique. For conscious victims, the new guidelines recommend first applying back slaps; if this method failed to remove the airway obstruction, rescuers were to then apply abdominal thrusts. For unconscious victims, the new guidelines recommend chest thrusts.  Henry Heimlich also promoted abdominal thrusts as a treatment for drowning and asthma attacks. The Red Cross now contests those claims. The Heimlich Institute has stopped advocating on their website for the Heimlich maneuver to be used as a first aid measure for drowning victims. His son, Peter M. Heimlich, alleges that in August 1974 his father published the first of a series of fraudulent case reports in order to promote the use of abdominal thrusts for near-drowning rescue. The 2005 drowning rescue guidelines of the American Heart Association did not include citations of Heimlich's work, and warned against the use of the Heimlich maneuver for drowning rescue as unproven and dangerous, due to its risk of vomiting leading to aspiration.  In May 2016 Henry Heimlich, age 96, personally used the maneuver to save the life of a fellow resident at his retirement home in Cincinnati. According to the article, it was either the first or second time Heimlich himself used his namesake maneuver to save the life of someone in a non-simulated choking situation.

Universal sign of choking.

A choking victim is usually unable to speak, and may not be able to make much sound at all. A universal sign of choking has been designated as a silent indication from a person who is unable to breathe, and consists of placing both hands on one's own throat while trying to attract the attention of others who might assist.

Technique.

Both the American Red Cross and UK National Health Service (NHS) advise that, as a first resort, a rescuer should encourage the patient to cough out the obstruction. As a second resort, the rescuer should give five slaps on the back, after bending the patient forward. Abdominal thrusts are recommended only if these methods fail. As with the European Resuscitation Council and the Mayo Clinic, they recommend a repeating cycle of 5 back slaps and 5 abdominal thrusts. They are not recommended on babies below the age of 1. In contrast to the prevailing American and European advice, the Australian Resuscitation Council recommends chest thrusts instead of abdominal thrusts.  Performing abdominal thrusts involves a rescuer standing behind an upright patient, and using his or her hands to exert forceful pressures on the bottom of the diaphragm. As an example, WebMD recommends to make a fist with one hand grasping it with the other, to press with both just above the person's bellybutton. This compresses the lungs and exerts pressure on any object lodged in the trachea, hopefully expelling it. The pressure amounts to an artificially induced cough. To assist a larger person, more force may be needed. The Mayo Clinic recommends the same placement of fist and hand and upward thrusts as if you are trying to lift the person.  If the victim can not receive pressures on the abdomen (for example, in case of pregnancy or excessive obesity), chest thrust are advised instead. These are applied on the lower half of the chest bone, but not in the very endpoint (which is the xiphoid process and could be broken).  If the victim is not upright, the US National Institutes of Health (NIH) recommends positioning the person on his or her back, then straddling the torso and using chest thrusts.  It is possible for still-conscious choking victims to perform the procedure on themselves, without assistance. However, this can be difficult, so, in this cases and some others (disabled people, etc.), it's recommended the use of an anti-choking device.  Due to the forceful nature of the procedure, even when done correctly, abdominal thrusts can injure the person on whom it is performed. Bruising to the abdomen is highly likely and more serious injuries can occur, including fracture of the xiphoid process or ribs. The NHS recommend that anyone who has been subjected to abdominal thrusts should seek a medical examination afterwards.  Researchers at Royal Brompton Hospital have demonstrated that similar intrathoracic pressures (50–60 cmHO) are produced by a first aider performing abdominal thrusts "inwards" as are produced when the force is directed "inwards and upwards". They argue that this may be easier to perform with less concern about injury to ribcage or upper abdominal organs. Self-administered abdominal thrusts by study participants produced similar pressures to those generated by first aiders. The highest pressures were produced by participants performing an abdominal thrust onto the back of a chair (115 cmHO).

The Abdominal thrusts (also called the Heimlich maneuver, or Heimlich manoeuvre) is a first aid procedure used to treat upper airway obstructions (or choking) by foreign objects. American doctor Henry Heimlich is often credited for its discovery. Performing abdominal thrusts involves a rescuer standing behind a patient and using his or her hands to exert pressure on the bottom of the diaphragm. This compresses the lungs and exerts pressure on any object lodged in the trachea, hopefully expelling it.

Heimlichův manévr nebo také Heimlichův chvat je technika první pomoci, která slouží k uvolnění dýchacích cest ucpaných cizím předmětem. Je pojmenována po objeviteli této techniky, americkém lékaři Henrym Heimlichovi.


Medailové pořadí na Zimních olympijských hrách 2014

Medal table.

The medal table is based on information provided by the International Olympic Committee (IOC) and is consistent with IOC convention in its published medal tables. By default, the table is ordered by the number of gold medals the athletes from a nation have won, where nation is an entity represented by a National Olympic Committee (NOC). The number of silver medals is taken into consideration next and then the number of bronze medals.  In the women's downhill event in alpine skiing, two gold medals were awarded for a first place tie. No silver medal was awarded for the event. In the men's super-G alpine skiing, two bronze medals were awarded for a third place tie.  Changes in medal standings (see below) <onlyinclude></onlyinclude>

Changes in medal standings.

Russian team doping case.

On 18 July 2016, the McLaren Report was published alleging that the Russian government had sanctioned the use of performance-enhancing drugs by Russian athletes in the 2014 Winter Olympics.  On 9 December 2016, a World Anti-Doping Agency report expanded upon the previous report and included the note that "Two [Russian] [sport] athletes, winners of 4 Sochi Olympic Gold medals, and a female Silver medal winner in [sport] had samples with salt readings that were physiologically impossible" and that "Twelve [Russian] medal winning athletes... from 44 examined samples had scratches and marks on the inside of the caps of their B sample bottles, indicating tampering".  In December 2016, following the release of the McLaren Report on Russian doping at the Sochi Olympics, the International Olympic Committee announced the initiation of an investigation of 28 Russian athletes at the Sochi Olympic Games. The number later rose to 46.  From 1 November 2017 to 22 December 2017 the IOC handled 46 cases related to Russian team doping. 3 cases have been closed without sanction and without official disclosing the names of suspected athletes. 43 Russian athletes were disqualified from the 2014 Winter Olympics and banned from competing in the 2018 edition and all other future Olympic Games as part of the Oswald Commission.  All but one of these athletes appealed against their bans to the Court of Arbitration for Sport. The court overturned the sanctions on 28 athletes meaning that their Sochi medals and results are reinstated, but decided that there was sufficient evidence against 11 athletes to uphold their Sochi sanctions, and decided to postpone hearing on 3 cases. The court also decided that none of the 39 athletes should be banned from all future Olympic Games, but only the 2018 Games.  On 1 February 2018 the IOC said in a statement that “the result of the CAS decision does not mean that athletes from the group of 28 will be invited to the 2018 Games. Not being sanctioned does not automatically confer the privilege of an invitation” and that “this [case] may have a serious impact on the future fight against doping”. The IOC found it important to note that CAS Secretary General "insisted that the CAS decision does not mean that these 28 athletes are innocent” and that they would consider an appeal against the courts decision. On 9 February 2018 the CAS dismissed 47 appeals from Russian athletes and coaches to the IOC's decision not invite these athletes and coaches to the 2018 Olympics. On 19 January 2019 the IOC's appeal of Legkov's case was rejected and the organization decided not to proceed with 27 remaining cases because the chance of winning would be very low. The IOC voiced its disappointment with the decision.  As for 19 January 2019, 3 Russian athletes are waiting for the CAS decicision with regard to their cases.

The 2014 Winter Olympics, officially known as the XXII Olympic Winter Games, were a winter multi-sport event held in Sochi, Russia, from 7 to 23 February. A total of 2,873 athletes from 88 nations participated in 98 events in 7 sports across 15 different disciplines.

Toto je medailové pořadí zemí na Zimních olympijských hrách 2014, které se konaly v Soči v Rusku od 6. do 23. února 2014. Těchto her se zúčastnili sportovci z 88 zemí, bylo rozdáno celkem 98 sad medailí.


Background.

Arthur Guinness's parents Richard and Elizabeth were both the children of tenant farmers in Dublin and Kildare. Richard's family were descendants of the McCartan Lords Of Kinelarty and Iveagh plus Gaelic Kings see McCartan family of County Down. Recent DNA evidence however suggests descent from the McCartans, another County Down clan, whose spiritual home of Kinelarty included the townland of "Guiness" near Ballynahinch, County Down.  Guinness's place and date of birth are the subject of speculation. His gravestone in Oughterard, County Kildare states clearly that he died on 23 January 1803, "aged 78 years", indicating that he was born in 1724 or very early in 1725. There is no proof of the date of 28 September 1725 chosen by the Guinness company in 1991, apparently to end speculation about his birthdate. The place of birth was perhaps his mother's home at Read homestead at Ardclough, County Kildare. In 2009 it was claimed he was born in nearby Celbridge where his parents lived in 1725 and where his father worked as an agent for the cleric Dr. Arthur Price, and may (or may not) have brewed ale for the household.  In his will, Dr. Price left £100 each to "his servant" Arthur and his father in 1752. Starting his first brewery in Leixlip in 1755, Arthur then bought a long lease of an adjacent site from George Bryan "of Philadelphia in the Province of Pennsylvania" in 1756, that was developed as investment property.  In 1761 he married Olivia Whitmore in St. Mary's Church, Dublin, and they had 21 children, 10 of whom lived to adulthood. Olivia's father was William Whitmore, a grocer in Essex Street, Temple Bar, Dublin, and her mother was Mary Grattan from Drummin House, Carbury, County Kildare. Olivia also brought a dowry of £1,000.  From 1764 they lived at Beaumont House, which he had built on a farm, which is now a part of Beaumont Convalescent Home, behind the main part of Beaumont Hospital, between Artane, Santry and Coolock in north County Dublin. His landlord was Charles Gardiner. The townland name of Kilmore was renamed by Arthur as Beaumont (meaning beautiful hill) and the later Beaumont parish copied the name. From March 1798 he lived at Mountjoy Square in Dublin, which was then in the process of being built in the style of elegant Georgian architecture, where his landlord was Gardiner's son Luke. Three of his sons were also brewers, and his other descendants eventually included missionaries, politicians, and authors (see: Guinness family).  Guinness was a protestant Christian and pro-British Unionist.  He died in Dublin and was buried in his mother's family plot at Oughterard, County Kildare in January 1803.

Politics.

Guinness was a committed Unionist and strongly opposed Irish nationalism. Guinness supported Henry Grattan in the 1780s and 1790s, not least because Grattan wanted to reduce the tax on beer. He was one of the four brewers' guild representatives on Dublin Corporation from the 1760s until his death. Like Grattan, Guinness was publicly in favour of Catholic Emancipation from 1793, but he was not a supporter of the United Irishmen during the 1798 rebellion, along with most of the Irish population, leading to one accusation that he was spying for the British. In general, the Guinness family became Irish Unionists and Arthur Guinness accepted the system, with Arthur ""directly opposed to any movement toward Irish independence"" and wanting ""Ireland to remain under British control"".  Most Irish historians and his biographer point to his friendships with many supporters of Irish Patriot Party from the 1770s, his presentation of a gold box to Henry Grattan in 1790, and his son Arthur's visit to the dying Grattan in 1819. The Patriot Party's views were built upon by the Irish Home Rule movement in the 1800s, and were generally popular until 1918.

Brewer of porter.

Guinness leased a brewery in Leixlip in 1755, brewing ale. Five years later he left his younger brother Richard in charge of that enterprise and moved on to another in St. James' Gate, Dublin, at the end of 1759. The 9,000-year lease he signed for the brewery is presently displayed in the floor at St. James' Gate, effective from 31 December 1759. By 1767 he was elected Master of the Dublin Corporation of Brewers. His first actual sales of porter were listed on tax (excise) data from 1778, and it seems that other Dublin brewers had experimented in brewing porter beer from the 1760s. From the 1780s his second son Arthur (1768–1855) worked at his side and eventually became the senior partner in the brewery from 1803. He commented on this in a letter of 1790:  His major achievement was in expanding his brewery in 1797–99. Thereafter he brewed only porter and employed members of the Purser family, Moravians from Tewkesbury who had brewed porter in London until 1776. The Pursers became partners in the brewery for most of the 19th century. By his death in 1803 the annual brewery output was over 20,000 barrels. Subsequently, Arthur and/or his beer was nicknamed "Uncle Arthur" in Dublin.

Family.

Arthur and Olivia had 21 children, of whom these 10 survived to maturity:

Arthur Guinness Fund.

To further honour Arthur Guinness's legacy, in 2009 Guinness & Co. established the Arthur Guinness Fund (AGF). An internal fund set up by the Company, its aim is to enable and empower individuals with skills and opportunities to deliver a measured benefit to their communities. Guinness has donated more than €7 million to the Fund since its inception.  Guinness is one of a handful of Irish people commemorated twice on stamps, in 1959 and 2009.  In October 2013 a statue of him was erected in his birthplace Celbridge.  In 2014 a series of pathways were created beside places from his early life by Kildare County Council, known collectively as "Arthur's Way".

Arthur Guinness (24 September 1725 – 23 January 1803) was an Irish brewer and the founder of the Guinness brewery business and family. He was also an entrepreneur and philanthropist.

Arthur Guinness (1725 – 23. leden 1803, Dublin) byl irský pivovarník a podnikatel, zakladatel pivovaru Guinness. Založil ho roku 1755 ve městě Leixlip, nedaleko Dublinu. Přímo v Dublinu otevřel pivovar roku 1759 (toto datum je dnes na lahvích a plechovkách), na "St. James's Gate", když si pronajal tamní čtyřakrový pozemek na 9000 let za roční rentu 45 liber.


History.

The term "host card emulation" (HCE) was coined in 2012 by Doug Yeager and Ted Fifelski, the founders of SimplyTapp, Inc., describing the ability to open a communication channel between a contactless payments terminal and a remotely hosted secure element containing financial payment card data, allowing financial transactions to be conducted at a point-of-sale terminal. They have implemented this new technology on the Android operating system. At that time, RIM had a similar functionality, calling it "virtual target emulation", which was supposed to be available on the BlackBerry Bold 9900 device through the BB7 operating system. Prior to HCE, card emulation only existed in physical space, meaning that a card could be replicated with multiple-purpose secure element hardware that is typically housed inside the casing of a smart phone.  After the adoption of HCE by Android, Google had hoped that by including HCE in the world's largest mobile operating system (which by that time covered 80% of the market), it would offer the Android payments ecosystem a chance to grow more rapidly while also allowing Google themselves to deploy their Google Wallet more easily across the mobile network operator ecosystem. However, even with the inclusion of HCE in Android 4.4, the banks still needed the major card networks to support HCE. Four months later, at Mobile World Congress 2014, both Visa and MasterCard made public announcements about supporting the HCE technology.  On December 18, 2014, less than ten months after Visa and MasterCard announced their support for HCE, Royal Bank of Canada (RBC) became the first North American financial institution to launch a commercial implementation of mobile payments using the HCE technology.  As a result of widespread adoption of HCE, some companies offer modified implementations that usually focus on providing additional security for the HCE's communication channel. One such implementation is termed HCE+.

Impact.

NFC has faced adoption issues due to lack of infrastructure (terminals) and the secure element approach preventing organizations with the desire to participate in mobile payments from doing so due to the high up-front capital costs and complex partner relationships.  By supporting HCE in Android 4.4, Google enabled any organization that can benefit from the NFC technology to do so at a relatively low cost. Some areas the new HCE architecture can support include payments, loyalty programs, card access and transit passes.

Implementation.

Host card emulation is the ability for near field communication (NFC) information transfer to happen between a terminal configured to exchange NFC radio information with an NFC card and a mobile device application configured to act or pretend to emulate the functional responses of an NFC card. HCE requires that the NFC protocol be routed to the main operating system of the mobile device instead of being routed to a local hardware-based secure element (SE) chip configured to respond only as a card, with no other functionality.  Since the release of Android 4.4, Google has implemented HCE within the Android operating system. Google introduced platform support for secure NFC-based transactions through Host Card Emulation (HCE), for payments, loyalty programs, card access, transit passes, and other custom services. With HCE, any app on an Android 4.4 device can emulate an NFC smart card, letting users tap to initiate transactions with an app of their choice. Apps can also use a new Reader Mode so as to act as readers for HCE cards and other NFC-based transactions.  The first known mobile handset to support anything like HCE outside of the Android family was the BlackBerry bold 9900 that was first available in Thailand. released together with BlackBerry 7 OS.  CyanogenMod operating system was the next known mobile device operating system to support HCE through the effort of modifying the NXP NFC stack known as libnfc-nxp, the NFC service manager, and operating system APIs by Doug Yeager. The OS APIs were adapted to include two new tag types that were called ISO_PCDA and ISO_PCDB which are also known terminal or PCD standards. This would imply that you could "read" a tag in the same manner that you could read a terminal.  Microsoft has announced new support for HCE NFC payments in Windows 10. This will allow improved payment integration flows and enable coexistence of HCE with UICC-based secure elements in Windows 10 and Windows 10 Mobile.

Uses.

HCE is used to allow transactions between mobile devices and other credential acquiring devices. Those devices may include other mobile devices, contactless point-of-sale terminals, transit turnstiles, or a variety of access control touch pads. For example, Android developers can leverage HCE to create specific payment experiences, such as using HCE to enable a mobile application as a transit card.

Host card emulation (HCE) is the software architecture that provides exact virtual representation of various electronic identity (access, transit and banking) cards using only software. Prior to the HCE architecture, near field communication (NFC) transactions were mainly carried out using secure elements.

Emulace hostitelské karty () je softwarová architektura, která de facto nahrazuje elektronické průkazy totožnosti (pro vstup, přepravu, bankovní karty) pouze pomocí software. HCE pomohla odstranit vysoké počáteční investiční náklady a složité partnerské vztahy nutné k implementaci technologie NFC. Tím umožnila firmám vyvíjet aplikace pro mobilní platby, bezpečnou komunikaci atd.


Background and content.

Townshend had already participated with other artists on two previous albums in tribute to his guru Meher Baba, "Happy Birthday" and "I Am". These albums were privately distributed in very small quantities between 1970 and 1972 in the UK. Soon after Decca asked Townshend for permission to release the recordings, as inferior copies were circulating in the US as bootlegs. Rather than re-issuing the original albums Townshend decided to change the track list substantially and develop the project into his first "official" solo album. Three of Townshend's demos for "Lifehouse" were selected, along with two songs each from the earlier tribute albums and two additional songs.  The "Lifehouse" demos included are: "Pure and Easy," edited from its original length of 8:35; "Let's See Action"; and (with minor overdubs added) "Time Is Passing." Of these, only "Let's See Action" had seen prior release, as a single by the Who in 1971. The Who's versions of the remaining two "Lifehouse" songs were eventually released on "Odds & Sods" and on reissued versions of "Who's Next". All of Townshend's "Lifehouse" demos were eventually released on "Lifehouse Chronicles" in 2000.  From the tribute album "Happy Birthday" came Townshend's "Content" and Ronnie Lane's "Evolution." The latter is a reworking of the track "Stone" from The Faces' debut album "First Step" in 1970; the "Happy Birthday" version, over six minutes long, was edited to 3:36. From the follow-up tribute album "I Am", Billy Nicholls' "Forever's No Time at All" and Townshend's "Parvardigar" were selected; the latter's lyrics are adapted from Meher Baba's "Universal Prayer." The track list was rounded out with Townshend's composition "Sheraton Gibson" and his cover of "Heartache," a.k.a. "There's a Heartache Following Me," which had been a UK number 6 hit in 1964 by the American country singer Jim Reeves and a favorite of Meher Baba, according to Townshend's notes on the album's back cover.  The songs were recorded at Townshend's home studio, which was among the most advanced home studios in England at the time. Townshend does not appear on the Nicholls track, but does play guitar on the Lane track; he plays all other instruments on the remainder of the album.  One dollar from each sale of the 1972 album went to charities.

Release history.

Original UK copies were on Track Records, reissued by Polydor Records after Track ceased operations in 1978. The first US issue appeared on the silver Track/Decca label. In 1973 it was reissued in the US on the MCA Records black with rainbow label, but without the gatefold cover or the poster.  The first compact disc release by Rykodisc appeared in 1992 with six bonus tracks taken from the privately distributed albums, also issued in a limited edition deluxe version with extra artwork. A remastered edition appeared in 2006 on Hip-O Records, the legacy division of the Universal Music Group, with nine bonus tracks, the first six being the ones from the Rykodisc reissue. The nine bonus songs on the Hip-O reissue comprise the remaining Townshend performances from "Happy Birthday" and the 1976 record, "With Love", along with the track "I Always Say" recorded between 1968 and 1970.

Critical reception.

Reviewing in "" (1981), Robert Christgau wrote: "Townshend sounds as relaxed in this rather folkish Meher Baba tribute cum 'gynormouse ego trip' as Paul McCartney in his do-it-yourself studio, and a lot less self-absorbed—other musical gurumongers sound 'Content' (title of worst song here), but Pete seems happy, too. So much so that some of this music is a little lightweight—expressing the kind of undiscriminating joy in the everyday one might expect from somebody who considers 'You always were, you always are, and you always will be' both a profound sentiment and a snappy way to finish off a concept album. But I'm encouraged that Ronnie Lane (singer-songwriter on 'Evolution') offers a drink (alcohol, get it?) to the Master and his Truth. And in the end the homely sweetness and frailty of his music prevails."

Track listing.

45th Anniversary Deluxe Edition (2018)

Who Came First is the debut album by Pete Townshend, released in 1972 on Track Records in the UK and Track/Decca in the US. It includes demos from the aborted concept album "Lifehouse", part of which became "Who's Next". The original release had a gatefold cover and included a poster with additional photos of Meher Baba from the Louis van Gasteren film "Beyond Words". The cover photo of Townshend standing on eggs is a reference to the eternal question "Who came first: the chicken or the egg?" It peaked at number 30 on the UK album chart and at number 69 on the US "Billboard" 200.

Who Came First je první sólové studiové album anglického hudebníka Petea Townshenda. Vydáno bylo v říjnu roku 1972 společností Track Records a jeho producentem byl sám Townshend. Ten rovněž nahrál většinu nástrojů. V USA desku vydala společnost Track Records ve spolupráci s vydavatelstvím Decca Records. Pozdější reedici alba vydala společnost Polydor Records.


Structure.

The median nerve arises from the branches from lateral and medial cords of the brachial plexus, courses through the anterior part of arm, forearm, and hand, and terminates by supplying the muscles of the hand.

Arm.

After receiving inputs from both the lateral and medial cords of the brachial plexus, the median nerve enters the arm from the axilla at the inferior margin of the teres major muscle. It then passes vertically down and courses lateral to the brachial artery between biceps brachii (above) and brachialis (below). At first, it is lateral to the artery and lies anterior to the elbow joint; it then crosses anteriorly to run medial to the artery in the distal arm and into the cubital fossa. Inside the cubital fossa, the median nerve passes medial to the brachial artery. The median nerve gives off an articular branch to the elbow joint. A branch to pronator teres muscle arise from the median nerve immediately above the elbow joint.

Forearm.

The median nerve continues in the cubital fossa medial to the brachial artery and passes between the two heads of the pronator teres, deep to the bicipital aponeurosis (aponeurosis of biceps) and superficial the brachialis muscle. It crosses the ulnar artery (branch of brachial artery) while being separated by the deep head of the pronator teres. It then travels between the flexor digitorum superficialis (above) and flexor digitorum profundus (below). The median nerve is accompanied by the median artery (a branch of anterior interosseous artery) during this course. Then, about 5 cm above the flexor retinaculum (wrist), it emerges between the flexor digitorum superficialis (medially) and the flexor carpi radialis (laterally) into the hand.  The main trunk of the median nerve innervates the superficial and deep groups of the muscles in the anterior compartment of the forearm with the exception of flexor carpi ulnaris. The median nerve does this by giving off two branches as it courses through the forearm:  The median nerve also gives off sensory and other branches in the forearm. The palmar cutaneous branch of the median nerve arises at the distal part of the forearm. It supplies sensory innervation to the thenar eminence of the palm and the central palm. Articular branches are given to the elbow joint and proximal radioulnar joint. Vascular branches supply the radial and ulnar arteries. Meanwhile, a communicating branch is given to the ulnar nerve.

Hand.

The median nerve enters the hand through the carpal tunnel, deep to the flexor retinaculum along with the tendons of flexor digitorum superficialis, flexor digitorum profundus, and flexor pollicis longus. From there, it is divided into recurrent muscular branch and digital cutaneous branch:

Variation.

The naturally occurring anomalies of the median nerve are:

Function.

The median nerve is the main nerve of the front of the forearm. It supplies the muscles of the front of the forearm and muscles of the thenar eminence, thus controlling the coarse movements of the hand. Therefore, it is also called "labourer's nerve".

Arm.

The median nerve has no voluntary motor or cutaneous function in the brachium. It gives vascular branches to the wall of the brachial artery. These vascular branches carry sympathetic fibers.

Forearm.

It innervates all of the flexors in the forearm except flexor carpi ulnaris and that part of flexor digitorum profundus that supplies the fourth and fifth digits. The latter two muscles are supplied by the ulnar nerve (specifically the muscular branches of ulnar nerve).  The main portion of the median nerve supplies these muscles:  Superficial group:  Intermediate group:  The anterior interosseus branch of the median nerve supplies these muscles:  Deep group:

Hand.

In the hand, the median nerve supplies motor innervation to the first and second lumbrical muscles. It also supplies the muscles of the thenar eminence by a recurrent thenar branch. The rest of the intrinsic muscles of the hand are supplied by the ulnar nerve.  The median nerve innervates the skin of the palmar (volar) side of the index finger, thumb, middle finger, and half the ring finger, and the nail bed. The radial aspect of the palm is supplied by the palmar cutaneous branch of the median nerve, which leaves the nerve proximal to the wrist creases. This palmar cutaneous branch travels in a separate fascial groove adjacent to the flexor carpi radialis and then superficial to the flexor retinaculum. It is, therefore, spared in carpal tunnel syndrome.

Clinical significance.

Injury.

Injury of median nerve at different levels causes different syndromes with varying motor and sensory deficits.  Above the elbow  At the elbow  Within the proximal forearm: Anterior interosseous syndrome  At the wrist  Within the wrist: Carpal tunnel syndrome

The median nerve is a nerve in humans and other animals in the upper limb. It is one of the five main nerves originating from the brachial plexus.

Středový nerv () je u člověka jeden z hlavních nervů pažní pleteně ("plexus brachialis)". Pochází z přístřední a bočního kořene (radix medialis a lateralis), které se oddělují z bočního a přístředního svazku ("fasciculus lateralis a medialis)." Ty jsou zásobeny z míšních segmentů C5-T1. Má nastarost funkci většiny svalů z přední skupiny předloktí a některé ze svalů ruky (motorická funkce). Dále zpostředková cit v části ruky (senzitivní funkce). Během svého průběhu prochází karpálním tunelem a pronatorvým kanálem, kde může docházet k jeho útlaku a může vznikat obrna středového nervu, která se nejčastěji prezentuje jako syndrom karpálního tunelu.


Early life and education.

Born on 17 August 1920, O'Hara began life as Maureen FitzSimons on Beechwood Avenue in the Dublin suburb of Ranelagh. She stated that she was "born into the most remarkable and eccentric family I could have possibly hoped for". O'Hara was the second oldest of six children of Charles and Marguerite (née Lilburn) FitzSimons, and the only red-headed child in the family. Her father was in the clothing business and bought into Shamrock Rovers Football Club, a team O'Hara supported from childhood.  She inherited her singing voice from her mother, a former operatic contralto and successful women's clothier who in her younger years was widely considered to have been one of Ireland's most beautiful women. O'Hara noted that whenever her mother left the house, men would leave their houses just so they could catch a glimpse of her in the street. O'Hara's siblings were Peggy, the oldest, and younger Charles, Florrie, Margot, and Jimmy. Peggy dedicated her life to a religious order, becoming a Sister of Charity. O'Hara earned the nickname "Baby Elephant" for being a pudgy infant. A tomboy, she enjoyed fishing in the River Dodder, riding horses, swimming and soccer, and would play boys' games and climb trees.  O'Hara was so keen on soccer that at one point she pressed her father to found a women's team, and professed that Glenmalure Park, the home ground of Shamrock Rovers F.C., became "like a second home". She enjoyed fighting, and trained in judo as a teenager. She later admitted that she was jealous of boys in her youth and the freedom they had, and that they could steal apples from orchards and not get into trouble.  O'Hara first attended the John

Film career.

Early career (1937–1940).

At the age of 17, O'Hara was offered her first major role at the Abbey Theatre, but was distracted by the attentions of actor-singer Harry Richman. Richman arranged with the manager of the Gresham Hotel in Dublin to meet her at the hotel while she was dining with her family. He proposed that she go to Elstree Studios for a screen test and become a film actress. O'Hara arrived in London shortly afterwards with her mother. During the screen test, the studio adorned her in a "gold lamé dress with flapping sleeves like wings" and heavy makeup with an ornate hair style, which was deemed to be far from satisfactory. O'Hara detested the audition, during which she had to walk in and pick up a telephone. She recalled thinking to herself, "My God, get me back to the Abbey". Charles Laughton later saw the test and, despite the overdone makeup and costume, was intrigued, paying particular notice to her large and expressive eyes. After seeking the approval of his business partner Erich Pommer, they arranged to meet O'Hara through a talent agency run by Connie Chapman and Vere Barker. Laughton was impressed with O'Hara, particularly by her lack of nerves and refusal to read an extract upon his request unprepared, during which she said: "I am very sorry but absolutely no". She was offered an initial seven-year contract

Hollywood success (1941–1943).

O'Hara began 1941 by appearing in "They Met in Argentina", RKO's answer to "Down Argentine Way" (1940). O'Hara later declared that she "knew it was going to be a stinker; terrible script, bad director, preposterous plot, forgettable music". She grew increasingly frustrated with the direction of her career at this time. Ida Zeitlin wrote that O'Hara had "reached a pitch of despair where she was about ready to throw in the towel, to break her contract, to collapse against the stone wall of indifference and howl like a baby wolf". She pleaded with her agent for a role, however small, in John Ford's upcoming film "How Green Was My Valley" (1941), at 20th Century Fox, a film about a close, hard-working Welsh mining family living in the heart of the South Wales Valleys in the 19th century. The film, which won the Academy Award for Best Picture, began an artistic collaboration with Ford that would span 20 years and five feature films.  Her substantial role as Angharad, which she was given without a full-screen test, beating Katharine Hepburn and Gene Tierney to the part, proved to be her breakthrough role. It was made possible by a change to her

The Queen of Technicolor (1944–1949).

Although O'Hara became known as the "Queen of Technicolor", she professed to dislike the process because it required special cameras and intense light that burned her eyes and gave her klieg eye. She believed that the term negatively affected her career, as most people viewed her solely as a beauty who looked good on film, rather than as a talented actress. In 1944 O'Hara was cast opposite Joel McCrea in William A. Wellman's biographical western "Buffalo Bill". Though O'Hara did not think that McCrea was rugged enough for the part of William F. "Buffalo Bill" Cody, and according to Malone gave her "little to work off", it did well at the box office. Contrary to O'Hara's opinion, "Variety" was highly praising of the film, describing it as a "super-western and often a tear-jerker", and thought that McCrea was convincing in the part and that O'Hara's own performance was "satisfactory". In 1945, O'Hara starred opposite Paul Henreid in "The Spanish Main" as feisty noblewoman Contessa Francesca, the daughter of a Mexican viceroy. O'Hara described it as "one of my more decorative roles", as her character is a particularly aggressive one among the men on a ship, and during the course of the film her face is smothered in chimney soot. O'Hara almost did not win the role when another actress falsely told RKO executive Joe Nolan that she was "as big

Work with John Ford, westerns and adventure films (1950–1957).

In the 1950 Technicolor western, "Comanche Territory", O'Hara played an unusual role as the lead character of Katie Howards, a fiery saloon owner who dresses, behaves and fights like a man, with hair tied back. She "mastered the American bullwhip" during the filming, in a role which Crowther believed was "more significant than a setting sun" in that she "tackles her assignment with so much relish that the rest of the cast, even the Indians, are completely subdued." She received first billing above co-star Macdonald Carey. O'Hara then appeared as Countess D'Arneau opposite John Payne in "Tripoli", directed by O'Hara's second husband, William Houston Price. She was next cast by John Ford in the western "Rio Grande", the final installment of his cavalry trilogy. It was the first of five films to be made over 22 years with John Wayne, including "The Quiet Man" (1952), "The Wings of Eagles" (1957), "McLintock!" (1963) and "Big Jake" (1971), the first three of which were directed by Ford. O'Hara declared that "from our very first scenes together, working with John Wayne was comfortable for me". Her chemistry with Wayne was so powerful that over the years many people assumed that they were married, and newspapers occasionally published sensationalist stories from people claiming to be their love child. In April 1951, she received a call from Universal Pictures that she was cast as a Tunisian princess named Tanya in the swashbuckler film, "Flame of Araby" (1951). O'Hara "despised" the film and everything it stood for, but had no choice but to make the film or be suspended. By that point of time,

Later career (1959–1991).

Though O'Hara was consciously moving away from adventure films, an ongoing court case against "Confidential" magazine in 1957 and 1958 and an operation for a slipped disk, after which she had to wear a full body brace for four months, effectively ruled out any further action films for her. During this period away from film she took lessons in singing to improve her abilities. O'Hara had a soprano voice and described singing as her first love, which she was able to channel through television. In the late 1950s and early 1960s, she was a guest on musical variety shows with Perry Como, Andy Williams, Betty Grable and Tennessee Ernie Ford. In 1960, O'Hara starred on Broadway in the musical "Christine" which ran for 12 performances. It was a problematic production, and the director, Jerome Chodorov, was so displeased with it that he requested that his name be removed from the credits. She found her Broadway failure to be a "major disappointment" and returned to Hollywood. That year she released two recordings, "Love Letters from Maureen O'Hara" and "Maureen O'Hara Sings her Favorite Irish Songs". She described "Love Letters from Maureen O'Hara", a moderate success, as an act of revenge, given that Hollywood would not let her appear in a musical. In 1959, O'Hara returned to film, starring as a

Reception and character.

Malone states that as "Ireland's first Hollywood superstar", O'Hara "paved the way for a future generation of actresses seeking their own voice... With her mahogany hair, her hoydenish ways, and her whip-smart delivery of lines, she created a character prototype that seemed to define her country of origin and much as Ireland defined her". He notes though that O'Hara was "loved for her naturalness" and her "lack of a diva quality". She dismissed method acting as "tommyrot", believing that acting should be acting, and placed great emphasis on work ethic and punctuality. Insisting on doing her own stunts, O'Hara became so prone to injuries during her productions that her colleagues remarked that she "should have been awarded a Purple Heart". Her closest rival in the 1950s was Rhonda Fleming, the two both being prolific in westerns and action films. John Ford reportedly once commented in a letter that O'Hara was the finest actress in Hollywood, but he rarely praised her in person. In an interview with Bertrand Tavernier, on the other hand, Ford professed that O'Hara was one of the actresses he most detested. Though she was quite proud of her own versatility as an actress, saying "I played every kind of role. I was never petite or cute so there was never anything about me which would go out of style", critics found fault with her range. Malone wrote that she "seemed to struggle in comedic roles but proved her mettle in films that called on her to take charge of situations or find courage in the face of adversity". One critic remarked that it took a director like John Ford to bring out a good performance from her. The Irish critic Philip Moloy thought the opposite, saying "It is not something that she would accept herself, but Maureen O'Hara's career probably suffered from its long-term association with John Ford. John Ford's view of Ireland, and things Irish, tended to be broad, sentimental and sociologically distorted, and his characters were often cliched representatives of their nationality". In the 1960s, O'Hara

Personal life and death.

In 1939, at the age of 19, O'Hara secretly married Englishman George H. Brown, a film producer, production assistant and occasional scriptwriter whom she had met on the set of "Jamaica Inn". They married at St Paul's Church in Station Road, Harrow on 13 June, shortly before she left for Hollywood. Brown stayed behind in England to shoot a film with Paul Robeson. Brown announced that he and O’Hara had kept the marriage a secret and that they would have a full marriage ceremony in October 1939, but O'Hara never returned. The marriage was annulled in 1941.  In December 1941, O'Hara married American film director William Houston Price who was the dialogue director in "The Hunchback of Notre Dame". She lost her virginity to Price on her wedding night and immediately regretted it, and recalled thinking to herself "What the hell have I done now". Soon after the honeymoon O'Hara realized Price was an alcoholic. The couple had one child, a daughter, Bronwyn Bridget Price, born 30 June 1944. O'Hara's marriage to Price steadily declined throughout the 1940s due to his alcohol abuse, and she often wanted to file for divorce but felt guilty due to her Catholic beliefs. Price eventually realized the marriage was over and filed for divorce in July 1951 on the grounds of "incompatibility". Price left the house they shared in Bel Air, Los Angeles on 29 December 1951, on their 10th wedding anniversary.  O'Hara always denied having any extramarital affairs, but in his autobiography, frequent collaborator Anthony Quinn claimed to have fallen in love with her on the set of "Sinbad the Sailor". He commented that she was "dazzling, and the most understanding woman on this earth" who "brought out the Gaelic in him", being half Irish. Quinn implied that they had been involved in an affair, adding that "after a while we both tired of the deceit".  From 1953 to 1967, O'Hara had a relationship with Enrique Parra, a wealthy Mexican politician and banker. She met him at a restaurant during a trip to Mexico in 1951. O'Hara stated that Parra "saved me from the darkness of an abusive marriage and brought me back into the warm light of life again. Leaving him was one of the most painful things I have ever had to do." As her relationship with Parra progressed, she began to learn Spanish and even enrolled her daughter in a Mexican school. She moved in 1953 to a smaller property at 10677 Somma Way in Bel Air, amid frequent visits to Mexico City, where she and Parra were very well-known celebrities. She hired a detective to follow Parra in Mexico and found that he was being fully honest about the relationship with his ex-wife and that she could trust him. John Ford intensely disliked Parra, and it affected her relationship with Ford in the 1950s as he often interfered in her affairs and frowned upon the demise of her marriage to Price, being a devout Catholic like O'Hara. Price also continued to harass O'Hara for dating Parra and filed a case against her on 20 June 1955, seeking custody of Bronwyn and accusing her of immorality. O'Hara filed a countersuit, charging him with contempt of court for refusing to pay $50 a month in child support and a $7 a month alimony. During the publicity stage of

Achievements and activities.

O'Hara was honored on "This Is Your Life", which was aired on 27 March 1957. In 1982 she was the first person to receive the American Ireland Fund Lifetime Achievement Award in Los Angeles. In 1988 she was awarded an honorary degree by the National University of Ireland, Galway. She further received the Heritage Award from the Ireland-American Fund in 1991.  In 1985 she was awarded the Career Achievement Award from the American Cinema Foundation. O'Hara also became the first woman to win the John F. Kennedy Memorial Award for "Outstanding American of Irish Descent for Service to God and Country". For her contributions to the motion picture industry, O'Hara has a star on the Hollywood Walk of Fame at 7004 Hollywood Blvd. In 1993, she was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. She was awarded the Golden Boot Award.  In March 1999, O'Hara was selected to be Grand Marshal of New York City's St. Patrick's Day Parade. In 2004, she was honored with a Lifetime Achievement Award from the Irish Film and Television Academy in her native Dublin. The same year, O'Hara released her autobiography "Tis Herself", co-authored with Johnny Nicoletti and published by Simon & Schuster. She wrote the foreword for the cookbook "At Home in Ireland", and in 2007 she penned the foreword to the biography of her friend and film co-star, the late actress Anna Lee.  O'Hara was named "Irish America"s "Irish American of the Year" in 2005, with festivities held at the Plaza Hotel in New York. In 2006, O'Hara attended the Grand Reopening and Expansion of the Flying Boats Museum in Foynes, County Limerick as a patron of the museum. A significant portion of the museum is dedicated to her late husband Charles. O'Hara donated her late husband's seaplane, the "Excambian" (a Sikorsky VS-44A), to the New England Air Museum. The restoration of the plane took eight years and time was donated by former pilots and mechanics in honor of Charles Blair. It is the only surviving example of this type of early trans-Atlantic plane.  In 2011, O'Hara was formally inducted into the Irish America Hall of Fame at an event in New Ross, County Wexford. She was also named the president of the Universal Film & Festival Organization (UFFO), which promotes a code of conduct for film festivals and the film industry.  In 2012, O'Hara received the Freedom of the Town of Kells, County Meath, Ireland, her father's home, and a sculpture in her honour was unveiled.  In 2014, the Academy of Motion Picture Arts and Sciences selected O'Hara to receive the Academy's Honorary Oscar, which was presented at the annual Governor's Awards in November that year. O'Hara became only the second actress, after Myrna Loy in 1991, to receive an Honorary Oscar without having previously been nominated for an Oscar in a competitive category.

Maureen O'Hara (born Maureen FitzSimons; 17 August 1920 – 24 October 2015) was an American and Irish actress and singer. She was a famous redhead who was known for playing passionate, but sensible heroines, often in westerns and adventure films. On numerous occasions, she worked with director John Ford and longtime friend John Wayne. O'Hara was one of the longest-lived stars from the "Golden Age" of Hollywood.

Maureen O'Harová, rodným jménem Maureen FitzSimonsová (17. srpen 1920, Ranelagh – 24. říjen 2015, Boise) byla irská herečka a zpěvačka, představitelka tzv. zlaté éry Hollywoodu. Proslavila se svými rusými vlasy.


Background.

In a July 2015 NPR interview, guitarist Josh Ritter stated that Weir was working on an album of "cowboy songs". In August 2015, during an interview with Dan Rather, Weir performed a ballad, titled "Blue Mountain" from the upcoming album. On February 12, 2016, while performing at Sweetwater Music Hall for a benefit for Ring Mountain Day School, Weir debuted two new originals from the album; "Gonesville", and "Lay My Lily Down".  Musicians on the album include Ritter, Josh Kaufman, Scott Devendorf, Joe Russo, and The Walkmen's Walter Martin, along with lyricists Gerrit Graham and Barlow. Kaufman is the producer.  Weir set out on a 9-date "Campfire Tour" in support of the album in October 2016, making stops on the West and East coasts. He was backed on the tour by members of the National, including Aaron Dessner, Bryan Devendorf, Scott Devendorf, and Josh Kaufman.  Weir previewed and performed selections from the new album at The Heath at The McKittrick Hotel, in New York City on August 4, for around 120 people. He was joined for the performances by Josh Kaufman. Song selections performed included "Blue Mountain," "Lay My Lily Down," and "Ki-Yi Bossie," and Weir also previewed the album cuts of "Only a River", "Ki-Yi Bossie", and "Ghost Towns".  Weir also spoke at length about certain tracks, indicating that the song "Ki-Yi Bossie" - a song Weir said he wrote for the ailing John Perry Barlow - was a true campfire song that tells the tale of a whiskey and cocaine-filled night. When an audience member asked him about the song following the performance, Weir said, "I wrote it the way I thought he would've." "Rolling Stone" also reported that "Ki-Yi Bossie," will be a campfire singalong with Ramblin' Jack Elliott." Talking about "Lay My Lily Down", Mason prompted Weir on the content of the record, noting the song contained quite a bit of sadness. "Because I've been there," Weir responded when asked how he transported himself to that mood. The emotional reading of the next song came from, according to Weir, listening to a lot of Appalachian music.  On August 18, 2016, the first single from the album, "Only a River" was released on NPR's ""All Things Considered"" for streaming. It was written in collaboration with Josh Ritter. NPR's Felix Contreras calls "Only A River" an emotional reflection on life that references the 19th-century American folk song "Shenandoah."  Weir described the making and collaboration process of Blue Mountain: "When I was 15 I ran away to be a cowboy. I found myself working in Wyoming living in a bunk house with a bunch of old cowpokes and ranch hands, and a lot of those guys had grown up in a era before radio had even got to Wyoming. Their idea of an evening was to tell stories and sing songs. I was the kid with the guitar I was the accompaniment.I learned a bunch of those songs and got steeped into that tradition. It's a tradition that's almost gone. I've been sort of wondering what to do with that, for decades now. About four years ago, I did a webcast with Josh and a bunch of the guys from The National. I enjoyed playing with them a bunch. They decided that they liked my cowboy tunes with the Grateful Dead, and proposed a project where we do some stuff like that. That proposal kinda rang my bells."  On September 8, 2016, the second single from the album, "Gonesville", was premiered on "Rolling Stone"s website for streaming. It was also written in collaboration with Josh Ritter. "Rolling Stone"s Elias Leight describes "Gonesville" as "Weir and his band shambling cheerfully here: The bass line hints at the verve of honky tonk, the harmonica scoots forward and the lead guitar spits lively licks. A raft of backing vocalists join in during the chorus, adding to the cool, festive air, and "Gonesville" comes to a close with a jaunty group chant."  Speaking about the inspiration for "Gonesville", Weir described the song as "being a take on a Rockabilly tune. I was trying to go back and channel Elvis for the vocal, and for the music as well."  On September 12, 2016, the third song, "Lay My Lily Down", had its premiere on NPR's "World Cafe" for streaming. Speaking about the song, writer David Dye stated that ""Lay My Lily Down," written with Ritter and Kaufman, sounds like a traditional song. It's a haunting tune, sung in the voice of a father as he buries his daughter. The powerful backing music is a dense, steadily building meld of minor-key guitars."  Speaking about the song, Weir stated that "The song was the brainchild of Josh Kaufman. And he was lifting it from "Lay My Corey Down", an old folk tune. I found a thread that wove into the song that wants to be banjo-oriented. Over the years I've been trying to frail the guitar, as in claw-hammer, banjo style."  Weir stated that ""Ki-Yi Bossie" was written "remembering some of the guys I'd met on the ranch who'd yearned for a simpler life and found themselves better outside of civilization."  "Blue Mountain" is Weir's first solo release since "Weir Here" in 2004, and the first to feature entirely new music in 30 years.

Critical reception.

The album was well-received by critics. "Pitchfork" writer Jesse Jarnow called the album "quietly adventurous, wise, and a welcome late-career turn." "Entertainment Weekly" writer Eric Renner Brown rated the album a 91/100, and described the album as "a moving group of tunes worthy of any campfire." "Rolling Stone" writer Richard Gehr wrote that "The highlight is his self-penned and unaccompanied "Ki-Yi Bossie", in which "a 12-step meeting under harsh fluorescent light" occasions a wry round of soul-searching, no wide-open spaces required." "PopMatters" writer Chris Ingalls wrote that Weir had " never sounded better than when singing top-shelf material like "Whatever Happened to Rose"". Andy Gill, writing for The Independent, wrote that "The widescreen south-western ambience is stippled with intriguing touches, like the shruti box and bowed guitar droning through "Gallop On The Run", and the rhythmic rattling chains of the death ballad "Lay My Lily Down"; though the most moving performance is Weir's plaintive solo piece "Ki-Yi Bossie", oozing empathy for a reluctant penitent alcoholic."  Not all reviews were positive; "Boston Globe" critic Matthew Gilbert wrote that "the manufactured atmosphere ultimately distances the listener. With a few exceptions, including the song "Blue Mountain", the production also fails to find the best way to deploy Weir's voice, holding it too far back in the mix."

Personnel.

Musicians  Production

References.

Category: Gonesville

Blue Mountain is the third solo album by former Grateful Dead singer and guitarist Bob Weir, released on September 30, 2016. The album was inspired by his time working as a ranch hand in Wyoming when he was fifteen years old. It is Weir's first solo studio album since "Heaven Help the Fool", released in 1978 and first studio album in general since recording "Evening Moods" as the leader of RatDog in 2000.

Blue Mountain je třetí sólové studiové album amerického hudebníka Boba Weira. Vydáno bylo v září roku 2016 prostřednictvím vydavatelství Legacy Recordings a Columbia Records. Album bylo inspirováno dobou, kdy Weir jako patnáctiletý pracoval na ranči ve Wyomingu. Weir jej produkoval společně s Joshem Kaufmanem. Jde o hudebníkovo první sólové album od roku 1978, kdy vydal desku "Heaven Help the Fool".


Background.

Although opposite each other across the River Thames, Fulham on the north bank and Wandsworth on the south bank were historically isolated from each other; the nearest crossing points were at Putney Bridge to the west and Battersea Bridge to the east, both over a mile from Wandsworth. The fast flowing but narrow River Wandle at Wandsworth was well-situated for driving watermills, leading to the rapid spread of industry in the area during the 19th century. Nearby Battersea Railway Bridge opened in 1863, but as the local population grew and London's built-up area began to encroach during the 19th century, pressure from local residents and businesses for a road bridge to be built increased.  In 1864, it was expected that the newly formed Hammersmith and City Railway would build its western terminus on the north bank of the river between Chelsea and Fulham. In 1864, in anticipation of the new railway line generating high demand for a river crossing, an Act of Parliament was passed granting permission to the Wandsworth Bridge Company to build a bridge, to be financed by tolls, with the proviso that the bridge would be at least wide and cross the river with no more than three spans. Rowland Mason Ordish designed an Ordish–Lefeuvre Principle bridge to comply with the Act's specifications, of a similar design to his nearby Albert Bridge. Wandsworth Bridge and Albert Bridge were authorised on the same day, the last private tollbridges authorised in London.

1873 bridge.

The company was unable to finance the building of Ordish's design, and in 1870 a new Act of Parliament was passed giving the company permission to build a bridge wide, crossing the river with five spans. Ordish was asked to design a cheaper bridge to the new specifications but refused to change the design, so Julian Tolmé was appointed designer in his place. Tolmé designed a starkly functional lattice truss bridge of wrought iron. It cost £40,000 (about £ in ) to build, and consisted of five identical spans, supported by four pairs of concrete-filled iron piers; each of the cylindrical piers was sunk into the riverbed. The bridge was due to open in early 1873, but the workmen building it went on strike, and a third Act of Parliament was necessary to give the company time to resolve the dispute and complete the project.  Wandsworth Bridge was formally opened in a small ceremony on 26 September 1873, and a celebratory buffet was provided at the nearby Spread Eagle pub. A utilitarian structure made of mismatched materials purchased for cheapness, the new bridge elicited unenthusiastic responses; the "Illustrated London News" remarked at the time of its opening that "No attempt has been made to produce architectural effect, the structure being substantial rather than ornamental". A d toll was charged on pedestrians, and carts were charged 6d.  In 1867 the formerly independent Hammersmith and City Railway was absorbed by the Metropolitan Railway and the Great Western Railway, and was operated from then on by Metropolitan Railway trains. The plan for a terminus in Fulham was abandoned, and the line instead turned west at Hammersmith to run over London and South Western Railway tracks to Richmond. Although Wandsworth Town railway station, near the southern end of the bridge, had provided direct connections to central London since 1846, the lack of rail connections opening on the north bank meant the area on the Fulham side remained undeveloped, and bridge usage was low. Tolmé's design was not sturdy enough to carry heavy vehicles, and drainage problems on the approach road to the north discouraged vehicles from using Wandsworth Bridge.

Public ownership.

Wandsworth Bridge never raised enough toll revenue to cover the costs of repairs and maintenance. In 1877 the Metropolis Toll Bridges Act was passed, and in 1880 Wandsworth Bridge, along with other London bridges, was taken into the public ownership of the Metropolitan Board of Works. Despite having run at a loss throughout its lifetime, the Board of Works paid £53,313 (about £ in ) for the bridge, a substantial premium on its £40,000 construction cost. On 26 June 1880 Edward, Prince of Wales, and Alexandra, Princess of Wales, presided over a ceremony abolishing tolls over the three bridges.  By the time it was taken into public ownership, the bridge was in very poor condition. In 1891 a weight limit of 5 tons was introduced, and in 1897 a speed limit was imposed. With its narrowness and weight restrictions, by this point it was effectively a footbridge. As narrowness and weight restrictions meant that it was unable to carry buses, in 1926 a Royal Commission recommended its replacement and the London County Council agreed to finance a new bridge on the site. In 1928 it was decided instead to give priority to widening the much busier Putney Bridge, and the replacement of Wandsworth Bridge was delayed.

1940 bridge.

In 1935, the Ministry of Transport agreed to finance 60 percent of the projected £503,000 (about £ in ) cost of a replacement bridge, and the London County Council approved a new design, by Sir Thomas Peirson Frank, for a three-span steel cantilever bridge in width, allowing two lanes of traffic in each direction, and designed to allow widening to if necessary. The design featured distinctive low curves, intended to reflect the low riverbanks in the area. The design was presented to the Royal Fine Art Commission for approval, with a covering note stating that "in the design of the bridge a severe simplicity of treatment has been carried out, expressed in a technique essentially related to the material proposed for its construction". Although the Commission expressed concern that the bridge might be too narrow, the design was approved. The work was put out for tender, with a stipulation that all materials used in the construction of the new bridge should be of British origin or manufacture.  The contract for the new bridge was awarded to Messrs Holloway Brothers (London), and work began in 1937. A temporary footbridge that had been used during the redevelopment of Chelsea Bridge between 1935 and 1937 was re-erected alongside Wandsworth Bridge, and the existing bridge demolished. The new bridge was expected to be complete in 1939; however, a shortage of steel in the buildup to the Second World War delayed its opening until 25 September 1940. The steel panels cladding the bridge were painted in varying shades of blue to camouflage it from German and Italian air raids, a colour scheme it retains today. Although it is one of London's busiest bridges, carrying over 50,000 vehicles per day, its drab colour scheme and minimalist design have led to it being described as "probably the least noteworthy bridge in London".

Later developments.

Historically, the southern approach roads had been in poor condition and confusing to use. In 1969 the Greater London Council built the A214 road, a three-lane dual carriageway linking the southern end of Wandsworth Bridge to Tooting. At the immediate southern end of the bridge is a large roundabout adjacent to Wandsworth Town railway station, where Bridgend Road (A217), York Road (A3205), Swandon Way (A217) and Trinity Road (A214) meet. The roundabout is a noted example of 1960s modernist design, and served as the setting for parts of "A Clockwork Orange" in 1971. In 2007 approval was granted for a series of glass cone-shaped "flames" designed by architect Steven Lenczner, which would change colour with the tides, to be added to the bridge deck. The cost, estimated at £800,000, would be raised by private sponsorship. The "flames" were to be raised above the sightlines of drivers to avoid causing a distraction.  Wandsworth Bridge now marks the boundary above which a lower speed limit on the Thames is enforced. A speed limit is now in force downstream from Wandsworth to Margaretness but because of the number of rowers using the upper reaches of the river, all of the tidal Thames upstream of Wandsworth Bridge is subject to a strictly enforced speed limit of.

Wandsworth Bridge crosses the River Thames in west London. It carries the A217 road between the area of Battersea, near Wandsworth Town Station, in the London Borough of Wandsworth on the south of the river, and the areas of Sands End and Parsons Green, in the London Borough of Hammersmith and Fulham, on the north side.

Wandsworth Bridge je konzolový silniční most spojující Battersea v londýnské části Wandsworth a Fulham v části Hammersmith and Fulham. Původní most na tomto místě byl postaven v letech 1870–1873. Tehdejší stavba vznikla díky úsilí inženýra Juliana Tolmieho. Výstavba stála 40 000 liber. Most byl příhradový; měl dřevěnou mostovku a pět hlavních mostních polí s délkami 34,6 m, 3 × 40,6 m a 34,6 m. Šest bočních polí ze severní strany mělo délku 6 m a cihlový oblouk na jižní straně měl délku 9 m. Jeho šířka činila 9,1 m. Do doby, než most koupila Metropolitan Board of Works v roce 1880 bylo na mostě vybírané mýtné.


Description.

The adult Mexican burrowing caecilian grows to a length of. In general appearance, it resembles a large earthworm. Around a hundred transverse annular folds in the skin give the appearance of segments. The head has a pointed snout, a single row of teeth in the lower jaw, and two vestigial eyes covered with skin, with a pair of protrusible tentacles between the eyes and the nostrils. The body is elongated and there are no limbs. The upper surface is dark grey and the under surface pale grey with darker markings on the annuli.

Distribution and habitat.

The Mexican burrowing caecilian is found in Mexico, Guatemala, El Salvador, Honduras, Nicaragua, and possibly Belize, mostly on the Atlantic side, but also in some isolated parts of the Pacific slope. Its natural habitats are subtropical or tropical dry forests, moist lowland forests, moist montane forests, plantations, rural gardens, and heavily degraded former forests. It is fossorial, living in damp, loose soil and under leaf litter, logs, and plant debris, often in banana and coffee plantations. It is found at altitudes of up to above sea level.

Biology.

The Mexican burrowing caecilian feeds on invertebrates, including earthworms, termites, crickets, slugs, and snails. It emerges onto the ground surface on nights with light rainfall and catches small prey that come within its reach. Larger individuals may eat mice and small lizards. It moves by internal concertina-like movements and by undulating its body from side to side.  This caecilian is viviparous. Fertilisation is internal and up to 16 developing larvae subsist on the yolks of their eggs for three months. Then, they develop rasping teeth and feed on maternal glandular secretions, scraping the inside of the oviduct to stimulate their production. When they emerge, after 11 months of gestation, they are long. They then shed their larval teeth and rapidly grow a set of adult ones.

Status.

The Mexican burrowing caecilian is listed as Vulnerable in the IUCN Red List of Threatened Species, because it is thought that numbers have declined by more than 30% over the last ten years. It has several disjunct populations, and in areas where it used to be abundant it now seems to be less common, and the locations in which it is found seem to be fewer in number. It may be persecuted in some locations because it superficially looks like a snake.

Dermophis mexicanus, the Mexican burrowing caecilian, is a species of limbless amphibian in the family Dermophiidae. It is found in Mexico and Central America, where it burrows under leaf litter and plant debris.

Cecílie mexická ("Dermophis mexicanus") je druh červora z čeledi cecíliovitých. Tento dravý obojživelník hadovitého vzhledu je beznohý i bezocasý a při zjednodušeném pohledu svým tvarem připomíná velkou, tlustou žížalu. Je plně suchozemským živočichem a vodu nepotřebuje ani pro rozmnožování, rodí živé potomky a dýchá plícemi.