Background.

Under optimal conditions, approximately 6,000 stars are visible to the naked eye of an observer on Earth. Of these, 58 stars are known in the field of navigational astronomy as "selected stars", including 19 stars of the first magnitude, 38 stars of the second magnitude, and Polaris. The selection of the stars is made by Her Majesty's Nautical Almanac Office and the US Naval Observatory, in the production of the yearly "Nautical Almanac" which the two organizations have published jointly since 1958. Criteria in the choice of stars includes their distribution across the celestial sphere, brightness, and ease of identification. Information for another 115 stars, known as "tabulated stars", is also available to the navigator. This list provides information on the name, approximate position in the celestial sphere, and apparent magnitude of the 58 selected stars in tabular form and by star charts.  These stars are typically used in two ways by the navigator. The first is to obtain a line of position by use of a sextant observation and the techniques of celestial navigation. Multiple lines of position can be intersected to obtain a position known as a celestial fix. The second typical use of the navigational stars is to determine gyrocompass error by computing the azimuth of a star and comparing it to an azimuth measured using the ship's gyrocompass. Numerous other applications also exist.  Navigators typically refer to stars using one of two naming systems for stars: common names and Bayer's designations. All of the selected stars have had a common name since 1953, and many were named in antiquity by the Arabs, Greeks, Romans, and Babylonians. Bayer's naming convention has been in use since 1603, and consists of a Greek letter combined with the possessive form of the star's constellation. Both names are shown for each star in the tables and charts below.  Each star's approximate position on the celestial sphere is given using the equatorial coordinate system. The celestial sphere is an imaginary globe of infinite size with the Earth at its center. Positions on the celestial sphere are often expressed using two coordinates: declination and sidereal hour angle, which are similar to latitude and longitude on the surface of the Earth. To define declination, the Earth's equator is projected out to the celestial sphere to construct the celestial equator, and declination is measured in degrees north or south of this celestial equator. Sidereal hour angle is a measurement between 0° and 360°, indicating how far west a body is from an arbitrarily chosen point on the celestial sphere called the "First Point of Aries". Note that right ascension, as used by astronomers, is 360° minus the sidereal hour angle.  The final characteristic provided in the tables and star charts is the star's brightness, expressed in terms of apparent magnitude. Magnitude is a logarithmic scale of brightness, designed so that a body of one magnitude is approximately 2.512 times brighter than a body of the next magnitude. Thus, a body of magnitude 1 is 2.512, or 100 times brighter than a body of magnitude 6. The dimmest stars that can be seen through a 200 inch terrestrial telescope are of the 20th magnitude, and very bright objects like the Sun and a full Moon have magnitudes of −26.7 and −12.6 respectively.

Table.

The table of navigational stars provides several types of information. In the first column is the identifying index number, followed by the common name, the Bayer designation, and the etymology of the common name. Then the star's approximate position, suitable for identification purposes, is given in terms of declination and sidereal hour angle, followed by the star's magnitude. The final column presents citations to the sources of the data, "The American Practical Navigator" and the star's entry at the SIMBAD database, a project of the Strasbourg Astronomical Data Center or CDS.

Star charts.

Navigators often use star charts to identify a star by its position relative to other stars. References like the "Nautical Almanac" and "The American Practical Navigator" provide four star charts, covering different portions of the celestial sphere. Two of these charts are azimuthal equidistant projections of the north and south poles. The other two cover the equatorial region of the celestial sphere, from the declination of 30° south to 30° north. The two equatorial charts are mercator projections, one for the eastern hemisphere of the celestial sphere and one for the western hemisphere. Note that unlike familiar maps, east is shown to the left and west is shown to the right. With this orientation, the navigator can hold the star chart overhead, and the arrangement of the stars on the chart will resemble the stars in the sky. In the star charts, constellations are labelled with capital letters and indicated by dotted lines collecting their stars. The 58 selected stars for navigation are shown in blue and labelled with their common name, star number, and a Greek letter to indicate their Bayer designation. The additional 115 tabulated stars that can also be used for navigation are shown in red and labelled with a Greek letter to indicate their Bayer designation. Some additional stars not suitable for navigation are also included on the charts to indicate constellations, they are presented as unlabelled small red dots.  The equatorial region of the celestial sphere's eastern hemisphere includes 16 navigational stars from Alpheratz in the constellation Andromeda to Denebola in Leo. It also includes stars from the constellations Cetus, Aries, Taurus, Orion, Canis Major and Minor, Gemini, and Hydra. Of particular note among these stars are "the dog star" Sirius, the brightest star in the sky, and four stars of the easily identified constellation Orion.

Equatorial stars.

The equatorial region of the celestial sphere's western hemisphere includes 13 navigational stars from Gienah in the constellation Corvus to Markab in Pegasus. It also includes stars from the constellations Virgo, Bootes, Libra, Corona Borealis, Scorpio, Ophiuchus, Sagittarius, and Aquila. The variable star Arcturus is the brightest star in this group.

Northern stars.

The 11 northern stars are those with a declination between 30° north and 90° north. They are listed in order of decreasing sidereal hour angle, or from the vernal equinox westward across the sky. Starting with Schedar in the constellation Cassiopeia, the list includes stars from the constellations Auriga, the Great and Little Bears, Draco, Lyra and Cygnus. The two brightest northern stars are Vega and Capella.  In the star chart to the right, declination is shown by the radial coordinate, starting at 90° north in the center and decreasing to 30° north at the outer edge. Sidereal hour angle is shown as the angular coordinate, starting at 0° at the left of the chart, and increasing counter-clockwise.

Southern stars.

The 18 southern stars are those with a declination between 30° south and 90° south. They are listed in order of decreasing sidereal hour angle, or from the vernal equinox westward across the sky. Starting with Ankaa in the constellation Phoenix, the list includes stars from the constellations Eridanus, Carina, Crux, Centaurus, Libra, Triangulum Australe, Scorpio, Sagittarius, Pavo, and Grus. Canopus, Rigil Kentaurus, Achernar, and Hadar are the brightest stars in the southern sky.  In the star chart to the right, declination is shown by the radial coordinate, starting at 90° south in the center and decreasing to 30° south at the outer edge. Sidereal hour angle is shown as the angular coordinate, starting at 0° at the right of the chart, and increasing clockwise.

Fifty-eight selected navigational stars are given a special status in the field of celestial navigation. Of the approximately 6,000 stars visible to the naked eye under optimal conditions, the selected stars are among the brightest and span 38 constellations of the celestial sphere from the declination of −70° to +89°. Many of the selected stars were named in antiquity by the Babylonians, Greeks, Romans, and Arabs.

Une étoile sélectionnée pour la navigation est une étoile utilisée pour la navigation astronomique. Cinquante-huit étoiles sélectionnées ont un statut spécial dans le domaine de la navigation astronomique. Sur les visibles à l’œil nu dans des conditions optimales, les étoiles sélectionnées sont parmi les plus brillantes et couvrent trente-huit constellations de la sphère céleste avec une déclinaison comprise entre 70° sud et 89° nord. Bon nombre des étoiles sélectionnées ont été nommées dans l'Antiquité par les anciens Arabes, les Grecs, les Romains et les babyloniens.


Amenities and landmarks.

The village is served by a single platform railway station on the single track line between the Great Malvern and Ledbury railway stations, which passes through the Colwall Tunnels, the first of which was dug under the Malvern Hills between 1856 and 1860. The original tunnel was closed in the 1920s when it was in danger of collapse, but served the nation during the Second World War when used as a torpedo store; it is now a roost for a colony of lesser horseshoe bats. Near to the station is the mock Tudor country house style Colwall Park Hotel, purpose built in 1905 to serve the now defunct Colwall Park Racecourse.  From the 1920s until the 1960s, the road passing through Colwall and The Wyche was numbered the A4105, before being re-classified as the B4218. It is named "Walwyn Road" from Colwall Green to The Wyche Cutting, and is served by the 675 bus route, running between Great Malvern, West Malvern and Ledbury, Mondays through Saturdays.  The village has a state primary school (Church of England), and two independent preparatory schools, "The Downs, Malvern College Prep." and "The Elms", founded in 1614. The world's oldest (private) miniature railway is the Downs Light Railway, located on the Downs school estate.  Colwall Stone has numerous local shops and service businesses, including a convenience store, a small fruit & veg shop, a butcher's shop, a pharmacy, an estate agent, a hairdressers and a specialist garden centre. There is also a library, a doctors' surgery and a post office. In Upper Colwall, near The Wyche Cutting, is the Malvern Hills GeoCentre, located in the Wyche Innovation Centre (occupying the former Skot Transformers building) along with a cafe and many small businesses.  The village has several church buildings, most notably the historic Church of England parish church of St James the Great, located in the small medieval core to the west of Colwall Stone. The 'Colwall Community Church' is situated on Walwyn Road in Colwall Stone. On Jubilee Drive in Upper Colwall is the 'Wyche Free Church'. There is also a large, modern village hall on Mill Lane between Colwall Stone and Colwall Green, which incorporates the Church of England's St Crispin's Chapel. The Church of the Good Shepherd in Upper Colwall is no longer a place of worship.  There are four public houses in the parish — the "Chase Inn" in Upper Colwall, the "Crown" in Colwall Stone, the "Yew Tree" in Colwall Green, and the "Wellington Inn" in Chance's Pitch. Additionally there is the "Colwall Park Hotel" and "Thai Rama" in Colwall Stone and the "Malvern Hills Hotel" at the southern end of Jubilee Drive, near the British Camp.  A clock tower, built in 1931, stands in Colwall Stone, and is locally known as "Aunt Alice".  The population of the parish was recorded in the 2011 census at 2,400 — compared to 2,433 in the 2001 census.

Malvern water.

Malvern water has formed a part of the national heritage and culture since Queen Elizabeth I made a point of drinking it in public in the 16th century, and Queen Victoria refused to travel without it. It was mentioned in 1622 in Bannister's "Breviary of the Eyes:"  It was first bottled on a commercial scale in 1851 and sold as Malvern Soda and then as Malvern Seltzer Water from 1856. In 1890, Schweppes entered into a contract with a Colwall family, and built a bottling plant in 1892. The actual source of the spring is on the western side of the hills in Herefordshire. The factory is now owned by Coca-Cola & Schweppes Beverages and employs 25 people who bottle 12 million litres annually. ..."The Malvern water says Dr John Wall is famous for containing just nothing at all"...! In 1987 Malvern gained recognition as a Natural Mineral Water, a mark of purity and quality. Malvern Water is the only bottled water used by Her Majesty, Queen Elizabeth II, which she takes on her travels around the world.  On 21 October 2010, Coca-Cola announced that Malvern Water would cease production and the Colwall plant would be sold off to property developers. Malvern Water was priced out of the market, with a market share of just 1%.

Politics.

Colwall has a parish council.  The parishes of Bosbury, Coddington, Colwall, and Mathon together form the ward of Hope End, which returns one elected councillor to Herefordshire Council. The most recent election was in May 2015, in which the Conservative candidate, Tony Johnson, was elected. Councillor Johnson is the Leader of the Council.

Sport.

Colwall is notable in cricket and has one of Herefordshire's main cricket grounds — Stowe Lane — which hosts a minor counties championship match and a minor counties knockout trophy match every year. In 1926 the Women's Cricket Association was founded in Colwall, and a Women's Cricket Week is held there every year. The Horton brothers Joseph and Henry, came from Colwall, and both played first-class cricket for Worcestershire; Henry went to greater fame with Hampshire.

Popular culture.

Legend has it that the Colwall Stone (which gave its name to the settlement of Colwall Stone that has grown around it) was rolled down from the Malvern Hills by a giant whose footprint can be seen to this day on the slopes of the British Camp. The stone was replaced at some point; it took a horse and cart to take the old one away.

Colwall is a large village and civil parish in Herefordshire, England, situated on the border with Worcestershire, nestling on the western side of the Malvern Hills at the heart of the AONB. Areas of the village are known as Colwall Stone, Upper Colwall which shares a common border at the Wyche Cutting with the Malvern suburb of Malvern Wells, and Colwall Green, spread along of the B4218 road, with the historic village core (at the parish church) being to the west of Colwall Stone.

Colwall est un village et une paroisse civile du Herefordshire, aux confins du Worcestershire, au pied des Malvern Hills. Ce village offre un beau panorama sur un oppidum breton des collines de Malvern, le "Herefordshire Beacon". Quoiqu’il ne dépende ni de la commune voisine de Malvern, ni du District de Malvern Hills, Colwall est souvent désigné en Angleterre comme "The Malverns", appellation qui désigne à la fois ce village et les collines environnantes.


Overview.

The opera was commissioned by the Teatro Comunale di Bologna for the 150th anniversary of the Italian unification which was commemorated in 2011, and had there an initial run of six performances between April 5 and 16, coupled with Luigi Dallapiccola's "Il prigioniero". The work mixes the story of one of the most well-known operas by Giuseppe Verdi, "Nabucco", with social and cultural aspects of the Risorgimento, through a plot in which one is the reflection of the other. The characters of the opera – says the composer – engage in a debate not just about the Risorgimento but also about the opera itself and its chances of success. They are, at least in part, the same as the interpreters of that first "Nabucco" (then titled "Nabucodonosor") staged at La Scala on 9 March 1842.

Synopsis.

In a room inside the theatre the répétiteur () is rehearsing with Giovannina Bellinzaghi Fenena's prayer from the fourth act of the opera "Nabucco". The singer is expressing her doubts about the subject and about the artistic value of the work. During the dialogue enters impresario Bartolomeo Merelli, who defends the composer and his opera. He evokes the genesis of "Nabucco" and reveals his preoccupation with the Austrian censorship. The rehearsal pianist and the singer leave. Alone on the stage, Merelli is reflecting on the young Verdi and on the fact that his companion, Giuseppina Strepponi, seems attracted to him. The pianist returns and waits with Merelli for the arrival of Strepponi. The impresario talks about his intention to stage at La Scala Pacini's opera "Saffo". When the singer finally arrives, he asks her to work on Saffo's aria, but she prefers Verdi's music and starts rehearsing Abigaille's trio instead. Her song turns into a dream in which she confesses that she feels a strange attraction for Verdi and his music.  Merelli and the pianist return and are joined by Luigi Barbiano, Conte di Belgioioso, who brings the approval of the libretto. An excited political discussion follows between the Maestro sostituto and the count, who ends up by being offended and walks off, slamming the door. Merelli and Strepponi follow him. The pianist regrets letting himself get carried away and restarts rehearsing with Bellinzaghi. Fenena's prayer, too, dissolves itself in a dream, which anticipates the triumphal debut of the opera and re-elaborates various images of the Risorgimento. At the end of the dream, Giuseppe Verdi appears, aged and now Senator of the Kingdom. In his monologue he interweaves the nostalgia for the past with his preoccupation for the uncertain future.

References.

Notes  Sources

Risorgimento! is an opera in one act by Lorenzo Ferrero set to an Italian-language libretto by Dario Oliveri, based on a scenario by the composer. It was completed in 2010 and first performed at the Teatro Comunale Modena on 26 March 2011.

Risorgimento! est un opéra en un acte de Lorenzo Ferrero sur un livret italien de Dario Oliveri, basé sur une idée dramatique du compositeur. L'œuvre a été achevée en 2010 et créé au Teatro Comunale di Modena le.


Organization.

As one of six NOAA Line Offices, NOAA's National Ocean Service (NOS) observes, studies, and manages the nation's coastal and marine resources. NOS measures and predicts coastal and ocean phenomena, protects large areas of the oceans, works to ensure safe navigation, and provides tools and information to protect and restore coastal and marine resources. NOAA's National Ocean Service is composed of seven program and two staff offices.

Center for Operational Oceanographic Products and Services.

The Center for Operational Oceanographic Products and Services (CO-OPS) and its predecessors have gathered oceanographic data along our nation's coasts for over 200 years to protect life, property, and the environment. Serving both the public and other government agencies, CO-OPS is the authoritative source for accurate, reliable, and timely water-level and current measurements that support safe and efficient maritime commerce, sound coastal management, and recreation. The combined efforts, knowledge, and experience of CO-OPS's technicians, scientists, and engineers working to carry out a central mission has led to the development of a reliable center of expertise for coastal physical oceanography. CO-OPS is composed of four divisions:

Field Operations Division.

The Field Operations Division (FOD) operates and maintains all oceanographic and Great Lakes observing systems required to meet CO-OPS' mission objectives. The Division ensures the continuous operations of navigation and other real-time observing systems needed to support the protection of life and property. FOD also operates the Ocean Systems Test and Evaluation Facility (OSTEF) in order to support Requirements and Development Division (RDD), and Information Systems Division (ISD) development efforts. FOD operates equipment to test and evaluate new observing systems and software modules developed to support NOS mission objectives. The Division: installs, documents, operates and maintains CO-OPS measurement systems (e.g., NWLON, PORTS); conducts field reconnaissance and geodetic operations to include the establishment, leveling, documentation, and inspection of NOS benchmarks; and provides training in the installation, operation and maintenance of CO-OPS observing equipment.  tornado

Oceanographic Division.

The Oceanographic Division ensures the quality of all data collected by CO-OPS, and produces/disseminates operational products from this data stream. The Division monitors the performance of all CO-OPS observing systems and reports discrepancies to appropriate Center personnel. The Division performs operational data quality control/data analysis; produces oceanographic products; manages the content of CO-OPS data/product delivery systems; develops web page services; distributes real-time data to CO-OPS customers; produces/distributes CD-ROM products; provides information for matters such as litigation and boundary disputes (e.g., certified water level and benchmark information); provides technical assistance to customers regarding the use of CO-OPS products and services; designs new products and services to meet user needs, and maintains customer lists, billing information and accounting procedures to ensure the accurate accounting of revenues collected through user fees.

Engineering Division.

The Engineering Division establishes observation and analysis requirements for CO-OPS based on the assessment of user/customer needs. The Division also manages the Ocean Systems Test and Evaluation Program (OSTEP) and its associated test facilities. The Division develops new oceanographic measurement systems and techniques to improve the safety of marine navigation. The Division: develops and issues standard operating procedures, project instructions, and manuals, to guide the operation and maintenance of CO-OPS oceanographic and meteorological measurement systems; prepares measurement requirements (based on tidal zoning) for hydrographic or photogrammetric field surveys, and to support other NOS requirements needs for water level and current information; prepares and monitors interagency agreements, technology transfer agreements and work plans; prepares and administers contracts; provides technical assistance and guidance to other countries, agencies, and the public in the establishment and operation of water level and current measurement stations; and develops/integrates measurement and telemetry systems needed to support CO-OPS activities.

National Centers for Coastal Ocean Science.

The National Centers for Coastal Ocean Science (NCCOS) provides research, scientific information and tools to help balance the nation's ecological, social and economic goals. The research and tools provided are central to addressing coastal issues raised in legislation and NOAA's priorities. NCCOS was formed within the National Ocean Service (NOS) in March 1999 as the focal point for coastal ocean science. Research areas and strategy were selected in response to Federal legislation, stakeholder input, and in concert with scientific expertise and capabilities. NCCOS has five centers with specific capabilities and research expertise in coastal and ocean issues. Three of the centers are dedicated research laboratories, another conducts research through analyses of field data, and one funds research with competitive grants.

Center for Coastal Environmental Health and Biomolecular Research (CCEHBR).

Answers questions about the impacts of environmental stress and change on the function ecosystems and health of coastal resources and people.

Center for Coastal Fisheries and Habitat Research (CCFHR).

Conducts research on the effects of coastal habitat change and restoration on living marine resources such as seagrasses, marshes, reefs, and fish.

Center for Coastal Monitoring and Assessment (CCMA).

Conducts field research and data analysis to support marine resource management at local, regional, and national levels.

Center for Sponsored Coastal Ocean Research (CSCOR).

Administers NCCOS Extramural Research - a portfolio of 11 programs consisting of 73 multi-year awards held by over 370 university, state and government scientists and managers.

Cooperative Oxford Laboratory (COL).

The Cooperative Oxford Laboratory (COL) research mission is to combine the unique scientific, response, and management capabilities of NOAA, the Maryland Department of Natural Resources, and U.S. Coast Guard to identify and evaluate actions and policies that will protect, restore, and secure the health of the Chesapeake Bay and other threatened coastal marine ecosystems.

Hollings Marine Laboratory (HML).

The Hollings Marine Laboratory studies the complex interaction between marine environments, aquatic organisms and their connections to human health. The research required to address the interactions requires an interdisciplinary approach that our partnership fosters.

Office of Coast Survey.

Provides navigation products and services that ensure safe and efficient maritime commerce on America's oceans and coastal waters, and in the Great Lakes. OCS consists of the following offices:

Office for Coastal Management.

Established in 2014 when NOAA combined two offices: the Coastal Services Center and the Office of Ocean and Coastal Resource Management. In addition to implementing specific initiatives, a top priority for NOAA's Office for Coastal Management is to unify efforts to make communities more resilient. Many organizations are involved, including the private sector, nonprofits, the scientific community, and all levels of government. The Office for Coastal Management works to be a unifying force in these efforts, providing unbiased NOAA data and tools and providing opportunities for the community to come together to define common goals and find ways to work smarter by working together. Issues run the gamut from protecting endangered species to erosion to generating better building codes for storm-resistant buildings. The OCM has four programs:

Coastal Zone Management.

The National Coastal Zone Management Program comprehensively addresses the nation's coastal issues through a voluntary partnership between the federal government and coastal and Great Lakes states and territories. Authorized by the Coastal Zone Management Act of 1972, the program provides the basis for protecting, restoring, and responsibly developing our nation's diverse coastal communities and resources. Currently 34 coastal states participate. While state partners must follow basic requirements, the program also gives states the flexibility to design unique programs that best address their coastal challenges and regulations. By leveraging both federal and state expertise and resources, the program strengthens the capabilities of each to address coastal issues.

Coral Reef Conservation Program (CRCP).

NOAA's Coral Reef Conservation Program (CRCP) is a cross-cutting program that brings together expertise from a wide array of NOAA programs and offices in the National Ocean Service (NOS), National Marine Fisheries Service (NMFS), Office of Oceanic and Atmospheric Research (OAR), and the National Environmental Satellite, Data, and Information Service (NESDIS). The CRCP was established in 2000 to help fulfill NOAA's responsibilities under the Coral Reef Conservation Act of 2000 (CRCA) and the U.S. Coral Reef Task Force (established by Presidential Executive Order 13089 on Coral Reef Protection). The mission of the CRCP is to protect, conserve, and restore coral reef resources by maintaining healthy ecosystem function. CRCP focuses on four main pillars of work: increase resilience to climate change, reduce land-based sources of pollution, improve fisheries' sustainability, and restore viable coral populations. In strong partnership with local managers, CRCP addresses strategic coral reef management needs in a targeted, cost-effective, and efficient manner.  CRCP funds and equips reef conservation activities by NOAA and its partners in the seven U.S. states and jurisdictions containing coral reefs (American Samoa, the Commonwealth of the Northern Mariana Islands, Florida, Guam, Hawaii, Puerto Rico, and the United States Virgin Islands), uninhabited islands including the Northwestern Hawaiian Islands and Pacific Remote Island Areas, and the Pacific Freely Associated States (Federated States of Micronesia, Republic of the Marshall Islands, and Palau). CRCP supports multiple cross-cutting activities and associated products including the National Coral Reef Monitoring Program and Coral Reef Watch.

Digital Coast.

This NOAA-sponsored website is focused on helping communities address coastal issues and has become one of the most-used resources in the coastal management community. The dynamic Digital Coast Partnership, whose members represent the website's primary user groups, keeps the effort focused on customer needs.

National Estuarine Research Reserves.

The National Estuarine Research Reserve System is a network of 28 coastal sites designated to protect and study estuarine systems. Established through the Coastal Zone Management Act, the reserves represent a partnership program between NOAA and the coastal states. NOAA provides funding and national guidance, and each site is managed on a daily basis by a lead state agency or university with input from local partners.

Office of National Geodetic Survey.

The Office of National Geodetic Survey (NGS) provides the framework for all positioning activities in the nation. The foundational elements - latitude, longitude, elevation, shoreline information and their changes over time - contribute to informed decision making and impact a wide range of important activities including mapping and charting, navigation, flood risk determination, transportation, land use and ecosystem management. NGS' authoritative spatial data, models, and tools are vital for the protection and management of natural and manmade resources and support the economic prosperity and environmental health of the nation. The NGS consists of six divisions:

Office of National Marine Sanctuaries.

The Office of National Marine Sanctuaries serves as the trustee for a network of underwater parks encompassing more than 170,000 square miles of marine and Great Lakes waters from Washington state to the Florida Keys, and from Lake Huron to American Samoa. The network includes a system of 13 national marine sanctuaries and Papahānaumokuākea and Rose Atoll Marine National Monuments. These monuments are:

Office of Response and Restoration.

NOAA's Office of Response and Restoration (OR&R) is a center of expertise in preparing for, evaluating, and responding to threats to coastal environments, including oil and chemical spills, releases from hazardous waste sites, and marine debris. To fulfill its mission of protecting and restoring NOAA trust resources, the Office of Response and Restoration: OR&R has three divisions:

Emergency Response Division.

The Emergency Response Division (ERD) of NOAA's Office of Response and Restoration (OR&R) provides scientific expertise to support an incident response. Under the National Contingency Plan, NOAA has responsibility for providing scientific support to the Federal On-Scene Coordinator (FOSC) for oil and hazardous material spills. To support this mandate, ERD provides 24-hour, 7 day a week response to spill events. Find out more about ERD's work with oil and chemical spills.

Assessment and Restoration Division.

The Assessment and Restoration Division (ARD), formerly Coastal Protection and Restoration Division (CPRD), is responsible for evaluating and restoring coastal and estuarine habitats damaged by hazardous waste releases, oil spills, and vessel groundings. To fully accomplish this mission, ARD joined with NOAA's General Counsel for Natural Resources and Office of Habitat Conservation to create the Damage Assessment, Remediation and Restoration Program (DARRP). This successful NOAA partnership tackles the challenges of environmental damages to ensure marine natural resources are protected and restored. The Assessment and Restoration Division comprises NOAA biologists, toxicologists, ecologists, policy analysts, information specialists, attorneys, geologists, environmental engineers, and economists. Together, they help assess ecological risk and environmental and economic injury from contamination and ship groundings. In particular, ARD has developed specific expertise in aquatic risk assessment techniques, contaminated sediment issues, and data interpretation.  The ARD publishes the "Screening Quick Reference Tables" ("SQuiRT" cards), for rapid evaluation of water, sediment and soil contamination.

Marine Debris Division.

Since 2005, the NOAA Marine Debris Program has served as a centralized program within NOAA, coordinating, strengthening, and promoting marine debris activities within the agency and among its partners and the public. The NOAA Marine Debris Program undertakes national and international efforts focused on researching, reducing, and preventing debris in the marine environment. The program continues to support and work closely with various partners across the U.S. to fulfill its mission.

Integrated Ocean Observing System Program.

The Integrated Ocean Observing System (IOOS) is a national-regional partnership working to provide new tools and forecasts to improve safety, enhance the economy, and protect our environment. Integrated ocean information is now available in near real time, as well as retrospectively. Easier and better access to this information is improving our ability to understand and predict coastal events - such as storms, wave heights, and sea level change. Such knowledge is needed for everything from retail to development planning.

The National Ocean Service (NOS), an office within the U.S. Department of Commerce National Oceanic and Atmospheric Administration (NOAA), is responsible for preserving and enhancing the nation's coastal resources and ecosystems along of shoreline bordering of coastal, Great Lakes, and ocean waters. Its mission is to "provide science-based solutions through collaborative partnerships to address evolving economic, environmental, and social pressures on our oceans and coasts." NOS works closely with many partner agencies to ensure that ocean and coastal areas are safe, healthy, and productive. National Ocean Service scientists, natural resource managers, and specialists ensure safe and efficient marine transportation, promote innovative solutions to protect coastal communities, and conserve marine and coastal places. NOS is a scientific and technical organization of 1,700 scientists, natural resource managers, and specialists in many different fields. NOS delivers a dynamic range of nationwide coastal and Great Lakes scientific, technical, and resource management services in support of safe, healthy, and productive oceans and coasts. NOS develops partnerships to integrate expertise and efforts across all levels of government and with other interests to protect, maintain, and sustain the viability of coastal communities, economies and ecosystems.

Le National Ocean Service (NOS) un service au sein du National Oceanic and Atmospheric Administration (NOAA), lui-même sous la direction du Département du Commerce des États-Unis. Il est responsable de la préservation et de la valorisation des ressources et des écosystèmes côtiers de la nation ainsi que des ) de côtes bordant les d'eaux côtières, des Grands Lacs et de l'océan. Sa mission est de fournir des solutions fondées sur la science pour répondre à l'évolution des pressions économiques, environnementales et sociales sur les eaux et les côtes américaines. NOS travaille en étroite collaboration avec de nombreux organismes partenaires pour veiller à ce que les zones océaniques et côtières soient sécuritaires, saines et productives. Les scientifiques du NOS, les gestionnaires de ressources naturelles et les spécialistes assurent un transport maritime sûr et efficace, promeuvent des solutions innovantes pour protéger les communautés côtières et voient à la conservation des milieux marins.


Background.

In late spring 1862, the Confederacy split its forces in Chattanooga, Tennessee into several small commands in an attempt to complicate Federal operations. Maj. Gen. Ormsby M. Mitchel received orders to take his division to Huntsville, Alabama, to repair railroads in the area. Soon, he occupied more than 100 miles along the Nashville & Chattanooga and Memphis & Charleston railroads. In May, Mitchel and his men sparred with Maj. Gen. Edmund Kirby Smith's men.

Battle.

After Mitchel received command of all Federal troops between Nashville and Huntsville on May 29, he ordered Brig. Gen. James Negley with a small division to lead an expedition to capture Chattanooga. This force arrived before Chattanooga on June 7. Negley ordered the 79th Pennsylvania Infantry out to reconnoiter. It found the Confederates entrenched on the opposite side of the river along the banks and atop Cameron Hill. Negley brought up two artillery batteries to open fire on the Rebel troops and the town and sent infantry to the river bank to act as sharpshooters. The Union bombardment of Chattanooga continued throughout June 7 and until noon on June 8. The Confederates replied, but it was uncoordinated since the undisciplined gunners were allowed to do as they wished. On June 10, Smith, who had arrived on June 8, reported that Negley had withdrawn and the Confederate loss was minor. This attack on Chattanooga was a warning that Union troops could mount assaults when they wanted. The attack also prompted Edmund Kirby Smith to withdraw Confederate troops from other areas to defend Chattanooga. This redeployment of troops allowed George W. Morgan to capture the Cumberland Gap on June 18, 1862.

Battlefield preservation.

The Civil War Trust (a division of the American Battlefield Trust) and its partners have acquired and preserved of the battlefield.

The First Battle of Chattanooga was a minor artillery battle in the American Civil War, fought on June 7–8, 1862.

La première bataille de Chattanooga est une bataille mineure d'artillerie de la guerre de Sécession qui s'est déroulée les 7 et.


Service.

"Curie" was handed over to the Free French Naval Forces on 2 May 1943, at a ceremony at Vickers' works in Barrow, north west England. General de Gaulle was present at the occasion, when RN sailors and Vickers workers saluted the raising of the Cross of Lorraine. She was named after the earlier French submarine "Curie", which saw action in World War I.  After a working up period (during which her screws were damaged on 21 May 1943), her first patrol was to the Norwegian coast in June–July 1943. Up to 3 August 1943, when Free French Naval Forces amalgamated with those from French North Africa, she had been on patrol for 60 days and spent 192 hours submerged.  On the night of 21 June 1944 she bombarded construction sites for shore batteries at Cap Gros on the Mediterranean coast, and observed several hits. Several weeks later she was working with a British flotilla in the Dodecanese, sinking a cargo ship on 3 August. On 2 October in the same area she sank the merchant ships and "Brunhild" (the former French wine-tanker "Bacchus"). In 1945 "Curie" relocated from Plymouth to Brest in France, subsequently moving for a refit to Lorient where she stayed until March 1946. She was then on detached duty to a detection school at Casablanca and returned to the Royal Navy in July 1946 where she regained the name HMS "Vox".

Insignia.

The badge of HMS "Vox" is a horn or cornucopia surmounted by a trident. That of "Curie" was of similar pattern as Royal Navy badges. The badge shows a stag's head and the inscription "Pola 1914", recalling the World War I exploit when the first "Curie" was lost. The ship's mascot was a terrier named "Radium".

The French submarine "Curie was a British-built U class submarine, a member of the third group of that class to be built. Laid down as HMS "Vox for the Royal Navy she was transferred to the Free French Naval Forces on the day she was commissioned, where she served as "Curie" from 1943–46, but retaining her pennant number of P67. A later long hull U class submarine Pennant number 73 was named "Vox", serving in the Far East during 1945 and being scrapped on 1 May 1946. When P67 returned to the Royal Navy in July 1946 she re-assumed the name "Vox".

Le "Curie" (P67) est un sous-marin construit en 1943 par les Britanniques sous le nom de HMS "Vox" (P67) et cédé aux Forces navales françaises libres cette même année. Après avoir brillamment servi durant la Seconde Guerre mondiale, il est rendu à la Royal Navy en 1946 et démoli en 1949.


Early life.

Born in 1912 in New Orleans, Morrison was the brother of Florence Morrison and stage and screen actress Dorothy Morrison, he fell into show business because a child actor being used for a film could not be persuaded to do anything but howl. One of the crew members asked Morrison's father Ernest Morrison Sr. to bring in his newborn son, and since the newest member of the Morrison clan gave the film crew what they needed, they decided to christen him "Sunshine," since he did not cry. Morrison's father added "Sammy" to his son's moniker.

Career.

Morrison ultimately appeared in two-reel silent comedies opposite both Harold Lloyd and Snub Pollard, two of the era's biggest comedians. He was the first African American actor to be signed to a long-term contract, signing with comedy producer Hal Roach in 1919. When Roach conceived his "Our Gang" series, featuring child actors in a natural juvenile setting in 1921, Sammy was the first child recruited. Morrison left the series in 1924 to work in vaudeville, where his talents were featured on the same bills with such up-and-coming acts as Abbott and Costello and Jack Benny.  After touring in Australia with partner Sleepy Williams, Morrison returned to the United States and was chosen by Sam Katzman to be one of the East Side Kids. From the beginning, Morrison tapped into his experiences growing up on the East Side of New York City to shape the character of "Scruno." He spent three years with the gang before leaving to pursue other opportunities, often doing promotional stints with Huntz Hall and Bobby Jordan. Morrison left the Kids when he was offered an opportunity to work with the Step Brothers act, a prominent black stage and film dance act. He was drafted into the army during World War II. After being discharged, he was offered a part in "The Bowery Boys" series that was just being launched, but he declined the offer. Morrison made mention of this in interviews, saying he "didn't like the setup."  Morrison later worked as a quality control inspector for an aerospace company in Compton, California. In later years, Morrison appeared in a guest spot on the sitcom "Good Times" airing in 1974.

Death.

Morrison died of cancer in Lynwood on July 24, 1989. He is interred at Inglewood Park Cemetery in Inglewood California.

Ernest Fredric Morrison (December 20, 1912 – July 24, 1989) was an American child actor and vaudevillian who also performed under the stage name "Sunshine Sammy" Morrison. Morrison was the only black member of the East Side Kids, and also was an original performer in the "Our Gang" film series franchise. A sidekick to Harold Lloyd and Snub Pollard, he was a silent screen comedian, a vaudevillian, dancer, and band leader.

Ernest Fredric « Ernie » Morrison, né le à La Nouvelle-Orléans, en Louisiane, et mort le à Lynwood, en Californie, est un acteur américain connu pour avoir joué Sunshine Sammy dans "Les Petites Canailles".


Background.

Born and brought up in Aberdeenshire, Manson has one sister, Ailsa Manson and one brother, James Manson, all of Sept Manson of Clan Gunn. She attended Stage Coach, a Saturday drama school, before leaving home for London at the age of seventeen. She trained at the Central School of Speech and Drama, leaving early to film "" in Romania. She currently lives in North London.

Career.

Manson made her film debut in "", and has also appeared in the horror film "Blood Monkey" and the short film "Smile Emily".  Manson has lent her voice to the radio dramas "Lost in Plain Sight", "The Summer Walking" and "The Dead Hour".  On television, she played Alice Guppy in two episodes of "Torchwood", and appeared as Abby Evans in nine episodes of "Casualty". She has guest-starred in episodes of "Doctors", "The Bill" and "My Family".  Manson played Lizzie Siddal, muse, wife and lover of Dante Gabriel Rossetti, in the BBC Two period drama "Desperate Romantics". She appeared as the vampiress Daisy Hannigan-Spiteri in series two of "Being Human", alongside "Desperate Romantics" co-star Aidan Turner.  Manson played Ginger Corrigan in the 2010 adaptation of "Agatha Christie's Marple": "The Pale Horse", and also played Fleur Morgan in "Outcasts", an eight-part series by Kudos for BBC One. In 2011, Manson portrayed Leah in the third series of "Misfits" and Emma "Whirly" Tyson in the BBC drama "Young James Herriot".  She will also appear in the forthcoming fifth series of Irish drama "Raw".

Awards.

Manson won Best Performance (Female) at the 2008 Critics' Awards for Theatre in Scotland, for playing Stepdaughter in the National Theatre of Scotland production of "Six Characters in Search of an Author".

Amy Manson (born 9 September 1985) is a Scottish actress, known for portraying Alice Guppy in "Torchwood", Abby Evans in "Casualty", Lizzie Siddal in "Desperate Romantics", Daisy Hannigan-Spiteri in "Being Human", Medea in "Atlantis", and Merida in the fifth season of the ABC fairy tale drama series "Once Upon a Time".

Amy Manson (née le ) est une actrice britannique, notamment connue pour ses rôles dans les séries "" et "Once Upon a Time".


Overview.

Naturally-occurring illusions best illustrate the argument's points, a notable example concerning a stick: I have a stick, which appears to me to be straight, but when I hold it underwater it seems to bend and distort. I know that the stick is straight and that its apparent flexibility is a result of its being seen through the water, yet I cannot change the mental image I have of the stick as being bent. Since the stick is not in fact bent its appearance can be described as an illusion. Rather than directly perceiving the stick, which would entail our seeing it as it truly is, we must instead perceive it indirectly, by way of an image or "sense-datum". This mental representation does not tell us anything about the stick's true properties, which remain inaccessible to us.  With this being the case, however, how can we be said to be certain of the stick's initial straightness? If all we perceive is sense-data then the stick's apparent initial straightness is just as likely to be false as its half-submerged bent appearance. Therefore, the argument runs, we can never gain any knowledge about the stick, as we only ever perceive a sense-datum, and not the stick itself. This argument was defended by A. J. Ayer.

Criticism of the argument.

A critical argument would be as follows: Because the stick provides a contrasting surface in the surrounding water, the bent appearance of the stick is evidence of the previously unaccounted for physical properties of the water. It would be a mistake to categorize an optical effect resulting from a physical cause as sensory fallibility because it results from an increase in information from another previously unaccounted-for object or physical property. Unless the water is not taken into consideration, the example in fact reinforces the reliability of our visual sense to gather information accurately. This criticism, which was most strongly voiced by J.L. Austin, is that perceptual variation which can be attributed to physical causes does not entail a representational disconnect between sense and reference, owing to an unreasonable segregation of parts from the perceived object.  Further arguments are based on the extended mind theory, which appeals to external sources of mental items. For example, the theory holds that perception is the result of a complex interaction of mind, body and the environment. This would rule out internal items such as sense data as referred to in the statement of the argument.

The argument from illusion is an argument for the existence of sense-data. It is posed as a criticism of direct realism.

En philosophie de la perception, largument de l'illusion est un argument en faveur de la thèse selon laquelle nous ne percevons jamais que des données des sens. Il se présente comme une critique du réalisme direct et s'appuie sur les illusions naturelles les plus courantes.


Background and commercial reception.

Adele announced the Western European headlining dates on 26 November 2015. After tickets went on sale on 4 December, many venues reported sell-outs, resulting in extra dates being added in multiple cities on the itinerary.  Tickets sold out nearly instantaneously, with promoters for Glasgow's SSE Hydro reporting tickets for the 13,000 venue sold out within two minutes. Due to the high demand, online queues were set up, which resulted in queues of over 50,000 people for venues only seating a quarter of that.  On 14 December 2015, Adele announced the North American leg of the tour. The leg included six nights at Madison Square Garden and eight nights at Staples Center. Adele broke Taylor Swift's five-show record for most consecutive sold-out shows at Staples Center.  Ten million people tried to buy tickets to the North American leg of Adele's world tour. Only 750,000 tickets were available.  On 18 March 2016, Adele confirmed rumours that she would be headlining Glastonbury Festival 2016, on 25 June. She was the fourth solo female to perform a headline set at the festival, and the first on a Saturday. Adele confirmed the news live on stage at The O Arena, in London.  In July 2016, Pollstar released its 2016 Mid Year Special featuring the top-grossing tours of the year so far. Adele was announced as the sixth highest-grossing worldwide act of 2016 so far, with ticket sales of $75.9 million and 709,498 tickets sold from the 49 shows of the European leg of her tour. Billboard reported that overall based on tickets sold through the first week of October 2016 the tour had sold in the $150 million range and that the total gross from the first 15 venues of the North American leg of tour was $67,599,098 with 601,195 tickets sold from 5 July to 7 October 2016.  The tour's Australian dates were announced on 15 November 2016. Adele will perform a series of special stadium concerts in market's five big cities in February and March 2017. New Zealand show was announced on 18 November 2016. Her first two shows in New Zealand sold out in record-breaking 23 minutes, and a third show was announced, with all tickets sold in under 30 minutes. As of January 2017, over 600,000 tickets have been sold for the tour's Australian concerts.  According to StubHub, a ticket resale site, the tour ranked the most popular concert tour of 2016.  Adele Live 2016 ranked at #5 on Pollstar's annual Year End Top Worldwide Tours chart with $167.7 million.  Adele Live 2017 ranked at #30 on Pollstar's annual Year End Top Worldwide Tours chart with $59 million grossed and 600,000 tickets sold.  Adele performed to her largest audience on tour both in terms of the amount in a single shows, as well as overall for one city, with her two concerts at Sydney's ANZ Stadium, which attracted 95,544 people per concert. This is also the largest audience the venue has seen since the 2000 Sydney Olympics, breaking Taylor Swift's 2015 record of 75,980 audience members. The show was so packed that it caused huge public transport delays all around the city and both shows were delayed by up to 45 minutes to allow attendees more time to arrive at the concert.

Critical reception.

Opening night.

The UK tour received mostly very positive reviews. Bernadette McNulty of "The Daily Telegraph" gave the opening show at The SSE Arena Belfast five stars. She referenced the expensive secondary market ticket prices for the tour, saying that "Adele is worth every penny". McNulty states that "Adele undoubtedly has the popularity to fill endless arenas, but maintaining the attention of thousands of people used to the hi-tech extravaganzas laid on by the likes of Taylor Swift and Beyoncé can demand more flashing lights, dance routines and hydraulics than any natural talent. Her entrance was certainly theatrical, emerging from the centre of the arena underneath a main stage flanked by an Orwellian projection of her giant eyes blinking. But between that and some virtual, or possibly in Belfast real, rain, Adele kept it remarkably and effectively simple, letting nothing get in the way of what was almost a religious communion with her fans." "BBC News" music reporter Mark Savage said that "Adele enjoyed a rapturous reception as she opened her world tour with an intimate arena show in Belfast."  Continuing his positive review, he said "even the steeliest of hearts would have been forced to concede she had brought the goods." Amanda Ferguson from the "Belfast Telegraph" said that "Adele is fun, charismatic and exceptionally talented" in her four star review. Alexis Petridis of "The Guardian" opened his review by saying that Adele "delivers a solid - if unsurprising - show on the first night of her tour". In his four star review, Petridis noted Adele saying "I know some of you have been dragged along here tonight but I'm going to win you over", before concluding that "judging by the reaction as she finally disappears - on the same platform on which she appeared - she has managed it." Nick Hasted of "The Independent" gave the show three stars, saying that "she tries soul moves over gospel piano, but owes more to Shirley Bassey than Aretha". Giving a mostly positive review, Hasted concluded the review by saying "Adele needs the nerve to make a defining leap, to become the bawdy, ballsy person she is on stage when she writes. Pop is dying for it."

The O Arena.

The critical response was overwhelmingly positive when Adele performed six shows at The O Arena in her hometown, London. "The Huffington Post"s Ashley Percival gave one of the shows five stars: "By her own admission, most of her back catalogue is "fucking miserable", and I questioned quite how the Tottenham-born songstress would hold the attention of the packed O Arena without being able to rely on exhaustive dance routines or belting out some pop bangers to boost the energy. But the second she emerged through the floor of a small B-stage uttering those immortal words "Hello, it's me", any concerns just evaporated — every single person in the room was in complete awe, and would stay that way for the entirety of the 18-song set." David Smyth from the "London Evening Standard" said that "Adele shifted constantly from being a lightning rod for emotion to a light entertainer" in his four star review. He also complimented the show's opening performance of "Hello", saying that "isolated, with her large band hidden behind the screen, [Adele] held the room without trickery — just one of the great singing voices." Ludovic Hunter-Tilney from the "Financial Times" stated in his four star review that the show "had an old-school air of professionalism, sumptuously mounted and impeccably rehearsed." Hunter-Tilney also said that "Flashy special effects were kept to a minimum, such as the downfall of water that surrounded her for "Set Fire to the Rain" towards the end. The absence of high-tech arena spectacle helped the show. It allowed Adele's personality to gain the upper hand over her professionalism."

Genting Arena.

Adele performed in the Genting Arena, Birmingham on 29, 30 March and 1, 2 April 2016 in a performance described as "mesmerizing", "jaw-dropping" and "breath-taking".

Staples Center.

"Billboard"'s Chris Willman took aim at previous reviewers of the tour who had criticised Adele for speaking too much during the concert in his positive review of the opening night of her stint at Los Angeles' Staples Center. He said "A few critics at the earliest stops on her first U.S. arena tour have made "shut up and sing"-type suggestions... a would-be corrective measure that's unlikely to be wished for by almost any of her actual fans, who surely recognize that they're in the presence of not just one of the great singers in pop history, but one of the great "broads"."

Domain Stadium.

Adele's first performance in Australia at the Domain Stadium in Perth was met with universally positive reviews. Heather McNeill of "The Sydney Morning Herald" said Adele "was noticeably humbled by the massive crowd [the largest in West Australian concert history], admitting in her first many witty and warm chats with fans that she was a bit nervous." She named "I'll Be Waiting", "Rumour Has It" and "Water Under the Bridge" as highlights calling them "flawless" and "soulful", as well as "Sweetest Devotion" and "Take It All". McNeill gave the concert five stars. Simon Collins of "The West Australian" gave the concert four stars, claiming that "for many people, Adele's first ever Australian show and first ever stadium concert will be the best they have ever seen." He said that whilst "for many people, this was a five-star concert", for him "not so much...but like all that confetti after the show, I've been swept up in Adele fever." He concluded that "the once-in-a-generation artist and unique, yet down-to-earth, personality had left Perth fans both starstruck and with a brand new bestie." In a review for "The Guardian", Bob Gordon claims that "Perth was entranced and besotted by Adele a full 48 hours before her show" so that "by showtime, gridlock or not, Perth was fit to pop."

Set list.

This set list is representative of 29 February 2016 concert, in Belfast. It may not representative of all concerts of the duration of the 2016 tour.  Encore

Adele Live 2016 (titled as Adele Live 2017 for the shows in 2017) was the third concert tour by British singer Adele in support of her third studio album, "25". It began on 29 February 2016, in Belfast, Northern Ireland at the SSE Arena, continued throughout Western Europe, North America and Oceania. It was originally scheduled to conclude on 2 July 2017, in London, England, at Wembley Stadium, however on 30 June Adele announced via social media that she had regretfully cancelled her final two performances upon medical advice due to vocal injuries.

Adele Live 2016 est la troisième tournée de la chanteuse britannique Adele, faisant la promotion de son troisième album studio, "25".


Early life.

Juan Marichal was born on October 20, 1937, in the small farming village of Laguna Verde, Dominican Republic, the youngest of Francisco and Natividad Marichal's four children. He has two brothers, Gonzalo and Rafael, and a sister, Maria. His father died of an unknown illness when Marichal was three years old. His house did not have electricity, but food was plentiful since his family owned a farm. As a child, Marichal worked on the farm daily and was responsible for taking care of his family's horses, donkeys, and goats. He lived near the Yaque del Norte River and often spent time swimming and fishing. One day while Marichal was playing by the river, he fell unconscious owing to poor digestion and was in a coma for nine days. Doctors did not expect him to survive, but he slowly regained consciousness after his family gave him steam baths by doctor's orders.  His older brother Gonzalo instilled a love of baseball in young Marichal and taught him the fundamentals of pitching, fielding, and batting. Every weekend, Marichal played the sport with his brother and friends. For their games, they found golf balls and paid the local shoemaker one peso to sew thick cloth around the ball to make it the proper size. They employed branches from a wassama tree for bats and canvas tarps for gloves. Among his childhood playmates were the Alou brothers, Felipe, Jesús, and Matty, who all later played with Marichal on the San Francisco Giants. From the age of six, Marichal aspired to become a professional baseball player, but his mother discouraged this, instead urging him to get an education. At the time, there were no players from the Dominican Republic in Major League Baseball, and his goal was viewed to be unrealistic. At age 11, he briefly held a job cutting sugar cane for the J.W. Tatem Shipping conglomerate.  In 1954, sixteen-year-old Marichal joined a summer league in Monte Cristi, playing for a team called Las Flores. Although he began at shortstop, Marichal switched to pitcher after taking inspiration from Bombo Ramos of the Dominican national team. He left high school after being recruited to play for the United Fruit Company team in 1956.

Playing career.

Marichal's delivery was renowned for one of the fullest windups in modern baseball, with a high kick of his left leg that went nearly vertical (even more so than Warren Spahn's delivery). Marichal maintained this delivery his entire career, and photographs taken near his retirement show the vertical kick only diminished. The windup was the key to his delivery in that he was consistently able to conceal the type of pitch until it was on its way.  Marichal was discovered by Ramfis Trujillo, the son of late Dominican dictator Rafael Leónidas Trujillo. Ramfis was the primary sponsor of the Dominican Air Force Baseball Team (Aviación Dominicana), against which Marichal pitched a 2–1 victory game in his native Monte Cristi. From the very moment the game ended, Marichal was a member of Aviación Dominicana team, enlisted to the Air Force right on the spot by Ramfis's orders.  Marichal entered the major leagues on July 19, with the San Francisco Giants as the second native pitcher to come from the Dominican Republic. He made an immediate impression: in his debut, on July 19, 1960 against the Philadelphia Phillies, he took a no hitter into the eighth inning only to surrender a two-out single to Clay Dalrymple. He ended up with a one-hit shutout, walking one and striking out 12. He started 10 more games that season, finishing at 6–2 with a 2.66 ERA. He improved his victory totals to 13 and 18 over the following two seasons, respectively, before finally cracking the 20-victory plateau in 1963, when he went 25–8 with 248 strikeouts and a 2.41 ERA. He appeared in every All-Star game of the 1960s beginning in 1962. In May 1966, he was named NL Player of the Month with a 6-0 record, a 0.97 ERA, and 42 SO. On July 14, 1967, he surrendered the 500th Home Run of Eddie Mathews' career.  Marichal enjoyed similar success through the 1969 season, posting more than 20 victories in every season except 1967, and never posting an ERA higher than 2.76. He led the league in victories in 1963 and 1968 when he won 26 games. In 1968, he also finished in the highest rank of his career in MVP voting, finishing fifth behind Bob Gibson, Pete Rose, Willie McCovey, and Curt Flood. He and Sandy Koufax were the only two Major League pitchers in the post-war era (1946–present) to have more than one season of 25 or more wins; both pitchers had three such seasons in their careers.  Marichal won more games during the decade of the 1960s (191) than any other major league pitcher, but did not receive any votes for the Cy Young Award until 1970, when baseball writers started voting for the top three pitchers in each league rather than one per league (or, until 1967, only the top pitcher in MLB). Marichal finished in the top 10 in ERA seven consecutive years, starting in 1963 and culminating in 1969, in which year he led the league. During his career, he also finished in the top 10 in strikeouts six times, top 10 in innings pitched eight times (leading the league twice), and top 10 in complete games 10 times, with a career total of 244. He led the league twice in shutouts, throwing 10 of them in 1965.  Marichal exhibited exceptional control. He had 2,303 strikeouts with only 709 walks, a strikeout-to-walk ratio of 3.25 to 1. This ranks among the top 20 pitchers of all time, ahead of such notables as Bob Gibson, Nolan Ryan, Steve Carlton, Sandy Koufax, Don Drysdale, Walter Johnson and Roger Clemens, who each have strikeout-to-walk ratios of less than 3:1. Over his career, he led the league in the fewest walks per nine innings four times, and finished second three times – totaling eleven years in which he finished in the top 10, all while also finishing in the top 10 for strikeouts six years.

The Greatest Game Ever Pitched.

One regular-season game in Marichal's career deserves mention, involving him and 42-year-old Milwaukee Braves' Hall of Famer Warren Spahn in a night contest played July 2, 1963, before almost 16,000 at Candlestick Park in San Francisco. The two great pitchers matched scoreless innings until Giants outfielder Willie Mays homered off Spahn to win the game 1–0 in the 16th inning. Both Spahn and Marichal tossed 15-plus inning complete games, something that had not happened before or since in the big leagues. Marichal allowed eight hits (all singles except for a double hit by Spahn) in the 16 innings, striking out 10, and saddling eventual career home run king Hank Aaron with an 0-for-6 collar. Spahn permitted nine hits in 151⁄3 innings, walking just one (Mays intentionally, in the 14th, after Harvey Kuenn's leadoff double) and striking out two. The game, almost the innings-duration of two contests, lasted only 4 hours, 10 minutes. By coincidence, future Major League Baseball commissioner Bud Selig attended the game as a fan.

Roseboro incident.

Marichal is also remembered for a notorious incident that occurred with John Roseboro during a game between the Giants and Los Angeles Dodgers at Candlestick Park on August 22,. The Giants-Dodgers rivalry was, at the time, the fiercest in baseball—a rivalry which began when both teams played in New York City. As the 1965 season neared its climax, the Giants were involved in a tight pennant race, entering the game trailing the Dodgers by a game and a half while the Milwaukee Braves were one game behind the Dodgers. During the second game of the series the day before, a Dodger hitter went to first base after an umpire ruled that Giants catcher Tom Haller interfered with his swing; Haller claimed the Dodgers were holding their bats farther back than usual, and Matty Alou responded by doing the same, receiving a warning from Roseboro after his bat actually made contact with the Dodger catcher.  Maury Wills led off the game with a bunt single off Marichal and scored when Ron Fairly hit a double. Marichal, a fierce competitor, viewed the bunt as a cheap way to get on base and took umbrage with Wills. When Wills came up to bat in the second inning, Marichal threw a pitch directly at Wills, sending him sprawling to the ground. Willie Mays then led off the bottom of the second inning for the Giants and Dodgers' pitcher Sandy Koufax threw a pitch over Mays' head as a token form of retaliation. In the top of the third inning with two outs, Marichal threw a fastball that came close to hitting Fairly, prompting him to dive to the ground. Marichal's act angered the Dodgers and home plate umpire Shag Crawford warned both teams any further retaliations would not be tolerated.  Marichal came to bat in the third inning expecting Koufax to throw at him. Instead, Marichal was startled when, after the second pitch, Roseboro's return throw to Koufax either brushed his ear or came close enough for Marichal to feel the breeze off the ball. Marichal screamed "Why did you do that?" to Roseboro, who came out of his crouch with his fists clenched. Marichal later said he thought Roseboro was about to attack him. Giants captain Willie Mays said Roseboro "brushed [Marichal]. Maybe it was a swing." Marichal raised his bat, striking Roseboro at least twice on the head, opening a two-inch gash that sent blood flowing down the catcher's face. Roseboro later required 14 stitches. Koufax raced in from the mound to attempt to separate them and was joined by the umpires, players and coaches from both teams.  A 14-minute brawl ensued on the field before Koufax, Mays and other peacemakers restored order. Marichal was ejected from the game and afterwards, National League president Warren Giles suspended him for eight games (two starts), fined him a then-NL record US$1,750 (), and also forbade him from traveling to Dodger Stadium for the final, crucial two-game series of the season. Roseboro filed a $110,000 damage suit against Marichal one week after the incident, but eventually settled out of court for $7,500.  Many people thought Marichal's punishment was too lenient, since it would cost Marichal only two starts. The Giants were in a tight pennant race with the Dodgers (as well as the Pirates, Reds, and Braves) and the race was decided with only two games to play. The Giants, who ended up winning the August 22 game and were down only a half-game afterward, eventually lost the pennant to the Dodgers by two games. Ironically, the Giants went on a 14-game win streak that started during Marichal's absence and by then it was a two-team race as the Pirates, Reds, and Braves fell further behind. But then the Dodgers won 15 of their final 16 games (after Marichal had returned) to win the pennant. Marichal won in his first game back, 2–1 vs. the Astros on September 9 (the same day Koufax pitched his perfect game vs. the Cubs), but lost his last three decisions as the Giants slumped in the season's final week. "Marichal's actions might have cost us the pennant," Mays speculated, noting that the relief pitchers had to work more in the absence of Marichal, who usually completed his starts.  Marichal didn't face the Dodgers again until spring training in April 3,. In his first at bat against Marichal since the incident, Roseboro hit a three-run home run. San Francisco General Manager Chub Feeney approached Dodgers General Manager Buzzy Bavasi to attempt to arrange a handshake between Marichal and Roseboro. However, Roseboro declined the offer.  Years later, Roseboro stated that he was retaliating for Marichal having thrown at Wills. He explained that Koufax would not throw at batters for fear of hurting them due to the velocity of his pitches. He further stated that his throwing close to Marichal's ear was, "standard operating procedure", as a form of retribution. After years of bitterness, Roseboro and Marichal became close friends in the 1980s, getting together occasionally at old-timers' games, golf tournaments and charity events.

1970–1975.

In 1970, Marichal experienced a severe reaction to penicillin which led to back pain and chronic arthritis. Marichal's career stumbled in, when he only posted 12 wins and his ERA shot up to 4.12, before straightening itself out with a stellar 1971 season in which he won 18 games and his ERA dropped below 3.00. It was the only season in which Marichal earned any consideration for the Cy Young Award, finishing in 8th place. It was his final great season (and his final of nine All-Star appearances), however, as he posted 6–16 and 11–15 records in 1972 and 1973 respectively.  After the 1973 season, the Giants sold Marichal to the Boston Red Sox. He had a fairly solid 1974, going 5–1 in 11 starts, but was released after the season. He then signed with the Dodgers as a free agent. Dodger fans had never forgiven Marichal for his attack on Roseboro 10 years earlier, and it took a personal appeal from Roseboro to calm them down. However, Marichal's 1975 didn't last long; he was lit up for nine runs, 11 hits and a 13.50 ERA in only two starts before retiring. He finished his career with 243 victories, 142 losses, 244 complete games, 2,303 strikeouts and a 2.89 ERA over 3,507 innings pitched. He played in the 1962 World Series against the New York Yankees (one start, a no decision) and the 1971 National League Championship Series against the Pittsburgh Pirates (losing his only start). Between 1962 and 1971, the Giants averaged 90 wins a season, and Marichal averaged 20 wins a year.

No-hitter and All-Star performances.

Marichal pitched a no-hitter on June 15,, and was named to nine All-Star teams. He was selected the Most Valuable Player of the 1965 game in Minneapolis, in which he pitched three shutout innings and faced the minimum nine batters, giving up one hit. His overall All-Star Game record was 2–0 with a 0.50 ERA in eight appearances facing 62 batters in 18 total innings, second-most in innings pitched only to Don Drysdale (19.1 innings; 2-1, 1.40 ERA and 69 batters faced).

Honors.

Marichal was passed over for election to the Baseball Hall of Fame during his first two years of eligibility, by all accounts because the Baseball Writers' Association of America voters still held his attack on Roseboro against him. However, after a personal appeal by Roseboro, Marichal was elected in 1983, and thanked Roseboro in his induction speech. When Roseboro died in 2002, Marichal served as an honorary pallbearer at his funeral and told the gathered, "Johnny's forgiving me was one of the best things that happened in my life. I wish I could have had John Roseboro as my catcher."  In 1975, the Giants retired Marichal's uniform number 27. In, Marichal, who was working as a broadcaster for Spanish radio, was on hand to see his son-in-law at the time, José Rijo, win the World Series Most Valuable Player Award. In, he ranked #71 on "The Sporting News"' list of the 100 Greatest Baseball Players, and was a finalist for the Major League Baseball All-Century Team. He was honored before a game between the Giants and Oakland Athletics with a statue outside AT&T Park in 2005, and was named one of the three starting pitchers on Major League Baseball's Latino Legends Team. In 1976, sportswriter Harry Stein published an "All Time All-Star Argument Starter", consisting of five ethnic baseball teams. Marichal was the right-handed pitcher on Stein's Latin team. The Giants also honored him by wearing jerseys that said "Gigantes." Marichal was inducted into the Hispanic Heritage Baseball Museum Hall of Fame on July 20, 2003 in pregame on field ceremony at Pac Bell Park. In 2015 the Estadio Quisqueya in his home country was renamed "Quisqueya stadium Juan Marichal" after him.

Controversy.

In 2008, Marichal was filmed at a cockfight in the Dominican Republic along with New York Mets pitcher Pedro Martínez. The incident caused controversy in the United States, but Martinez defended their attendance at the cockfight by saying, "I understand that people are upset, but that is part of our Dominican culture and is legal in the Dominican Republic". He added, "I was invited by my idol, Juan Marichal, to attend the event as a spectator, not as a participant."

Juan Antonio Marichal Sánchez (born October 20, 1937) is a Dominican former professional baseball player. He played as a right-handed pitcher in Major League Baseball, most notably for the San Francisco Giants. Marichal was known for his high leg kick, pinpoint control and intimidation tactics, which included aiming pitches directly at the opposing batters' helmets.

Juan Antonio Marichal Sanchez (né le à Laguna Verde, Monte Cristi, République dominicaine) est un ancien lanceur de baseball élu en 1983 au Temple de la renommée.


Early life.

Laucke was born in Montreal, Quebec, Canada on 29 January 1947 to parents of Russian and Polish-Jewish heritage. After they separated when Laucke was sixmonths old, he lived with his mother, brother, uncle, and grandmother. His grandmother raised and nurtured him; she died at the age of 100.  At the age of seven, Laucke appeared in the "Montreal Star" newspaper having designed and built a boat from 2,000 toothpicks. A yo-yo expert by age ten, he soon discovered that he loved performing and competing, eventually winning a C$60bicycle as the champion among 2,000contestants in a Montreal yo-yo competition. He discovered an interest in playing guitar, but his brother disapproved, so he practiced at friends' homes. He also took up snooker, and became competent enough by the age of thirteen to gain a job as a demonstrator for the Brunswick Corporation, a snooker table manufacturer. Laucke learned billiards from George Chenier, a fellow Montrealer and the North American snooker champion. The two faced each again four years later at the North American snooker championships in Montreal, where Laucke won the championship. Laucke recalls: "Then I decided to leave snooker, I had done what I wanted to do... My love for the guitar was overwhelming. There was a lot more money in snooker, but snooker was just a passion, and music was my love." Laucke's snooker winnings allowed him to finance 110trips from Montreal to New York City to study the classical guitar with Franco-Spaniard Rolando Valdés-Blain.

Early career.

With Frank Angelo as his manager since 1961, Laucke performed his first guitar concert in Montreal in 1965, a program of atonal music with the "Société de musique contemporaine du Québec". In 1971, following the first of his many concerts at the National Gallery of Art in Washington, D.C., "The Washington Post" proclaimed that Laucke had displayed "the highest form of virtuosity". His first concert in New York took place in 1972 at the Greenwich House Music School. Senator Claiborne Pell was in attendance and invited Laucke to perform his first concerts in Washington, DC, thus beginning a 15-year affiliation as Laucke's active supporter in the U.S. Pell's former campaign manager, Raymond Nelson, handled logistics for many of Laucke's U.S. performances. In 1973, Laucke starred in a documentary produced by Radio-Québec called "La Guitare", and he performed at Montreal's Summer Olympic Games in 1976.  Laucke studied with several classical guitar masters: FrancoSpaniard Rolando Valdès-Blain from 1963 to 1977, Julian Bream in 1969 as winner of the Julian Bream Master classes, Alirio Díaz from 1977 to 1979 and Andrés Segovia from 1982 to 1986. Laucke was introduced to complex and advanced flamenco techniques by Spanish guitarist Paco de Lucía when the two shared a loft in New York City in the early 1970s. During this period, de Lucía and Laucke gave a concert in the Spanish Embassy, where Countess Elsa Peretti, jewelry designer at Tiffany's, first heard the two guitarists. She immediately invited them to one of her parties at her New York penthouse, where the two guitarists performed in private for the New York City jet set, including fashion designer Calvin Klein, Andy Warhol, Halston, and Giorgio di Sant'Angelo. The Montreal Gazette noted that these artistic gatherings were: "the closest thing to the 18th century intellectual and artistic salon to be found anywhere these days". Laucke was frequently hired to play at the launches of Giorgio di Sant' Angelo's new fashion lines and later those of Calvin Klein. "I was only 21 at the time, and it all seemed like a dream," Laucke recalled. In 1977, he founded Trio3 with Sayyd Abdul Al-Khabyyr and Pauline Vaillancourt, and the D'Addario strings-manufacturing company became his sponsor.  His recording of works by William Walton, Richard Rodney Bennett, and François Morel on the Radio Canada International label (RCI457) won the Canadian Music Council's "Grand Prix du Disque-Canada" in 1979. The album included Morel's new composition "Me duele España," written for and dedicated to Laucke. The world premiere of the 21-minute piece took place at Place des Arts in Montreal, under the auspices of the "Société de musique contemporaine du Québec".  Later that year, with an increasing number of concerts and recordings, and a busy travel schedule, Laucke became concerned that he would not have enough hours left for practising. He invented a "practiser": a small, wooden fingerboard with six strings stretched across a bridge. The device measured and allowed him to practice quietly during travel. Laucke found that: "Those extra hours of finger exercises pay off in handsome performance dividends."  Laucke recorded his last classical album in 1981 with singer Riki Turofsky and "Guitar and Lute" magazine declared it: "One of the best voice and guitar albums you will ever hear." Although Laucke had played both classical and flamenco guitar music from an early age, he performed mainly classical guitar works until 1990. From late 1990 onwards, his concerts have consisted exclusively of many flamenco and new flamenco works he learned from de Lucía.

Teaching.

He was a professor of guitar at Concordia University in Montreal in 1976, but left after two years to pursue a performing career, and has not taught guitar since. Ten years later, however, he released an eight-tape instructional video series, to pass along the knowledge he had learned from his teachers. This video series was reviewed by "Guitar Player" magazine: "Laucke's enthusiasm is infectious" and by "Frets Magazine": "thoughtful and thorough instruction". Laucke has also published articles on classical guitar.

Style and influences.

Laucke's classical/flamenco musical style is a blend of his classical studies with Bream, Segovia, Valdès-Blain, and his friendship with deLucía. Although classical and flamenco guitar are two quite different musical styles, Québec's French-language newspaper "Le Soleil" chronicled Laucke's feelings and reasoning about performing both.  His blend of the classical and flamenco styles, sometimes referred to as "new flamenco" ("nuevo flamenco"), led music critic Eric McLean of the "Montreal Gazette" to proclaim: "It is Laucke's interest in flamenco that makes him special: He might be called the first "interpreter" of flamenco music, in the sense that he borrows these traditional works by Sabicas, Carlos Montoya and Paco de Lucía, and employs them in his own fashion, a practice to which they agree." Laucke summarized: "The Spanish guitar remains my first love. The flamenco guitar is my passion." According to "The Music Scene" magazine published by Society of Composers, Authors and Music Publishers of Canada (SOCAN), he is one of "five of Canada's best-known soloists" and the Canadian federal and provincial governments gave him "full recognition as the person who has done more for the guitar in this country than anyone else".

Paco de Lucía.

In the 1970s, Laucke moved to New York City to further his career. He was asked by Valdès-Blain if he would mind sharing his one-room apartment with flamenco guitarist Paco deLucía. Laucke taught deLucía music by Bach and Villa-Lobos. In return, deLucía showed Laucke some of the secrets of his art of flamenco, an oral tradition handed down through generations, "their secrets and knowledge jealously guarded". Although Laucke had played flamenco for his own pleasure since he was a child, he had never felt comfortable playing it in public. De Lucía's influence helped change this: "This meeting changed my life," Laucke declared, "he taught me flamenco works which were not written anywhere and to which no other guitarist had access. So for me to be taught all these techniques by a guitarist of Paco's caliber was an incredible stroke of luck". (English translation)  In an interview with the "Montreal Gazette", Laucke stated: "[deLucía] was the greatest natural talent I have ever come across." At the time, Laucke was impressed by a piece called "Entre dos aguas" ("Between Two Seas") that de Lucía was creating, which has become arguably his best-known composition. Since deLucía did not read music, Laucke offered to teach him but he refused. When the question arose as to whether Laucke would ever play deLucía's compositions in public, he advised Laucke, "you must do it in your own style".  He teamed up again with de Lucía to give a series of concerts combining the two repertoires. Many newspapers talked about this association. The Canadian Spanish magazine "El Popular" stated: "Laucke is convinced that flamenco possesses enormous seductive powers. 'The harmonies and the rhythm leave no one indifferent', says Laucke."  The meeting with de Lucía led Laucke to perform two incompatible guitar styles. In 1991, he recorded compositions deLucía taught him on the album "Spanish Guitar Stories." DeLucía expressed his approval, saying the album was: "very beautiful, all of it, from ato z, even my pieces!"

"Flamenco Road" album.

On 12 September 2001, Laucke released a CD called "Flamenco Road", consisting mainly of his own compositions in the new flamenco style, which he also arranged. In an interview for "Voir" magazine, Laucke stated: "It is also very influenced by my classical background. So it's a smoother flamenco." An example of this style from the album can be heard in Laucke's treatment of the well-known classical guitar transcription "Leyenda", which is given a flamenco rendition using several percussion instruments (claves, maracas, special castanets mounted on wood blocks, chimes, and a large gong), bass, and flute.  Ten works were recorded at five different studios in Montreal, each chosen for its unique acoustics. The instrumentation for the recording's title piece, "Flamenco Road", required the use of 24 tracks. It comprises a combination of four types of guitars—flamenco, Spanish, classical, and electric—and all natural acoustic guitars are played the Spanish way, using all the fingers of the right hand without a pick. The rhythm section includes bongos, four congas, and a rock drum set blended with other percussion instruments such as claves, maracas, and castanets. It further incorporates three dancers performing typical "palmas" (hand-clapping) in synchronization, as well as three trumpets, three pianos, and a "country-style" violinist.  The enhanced CD includes two videos: one with interactive live concert footage filmed during Laucke's tenth season at Montreal's Place des Arts, and the other with the video clip of "Flamenco Road". The latter reached number one on video charts across Canada for five consecutive weeks.

Contributions to the guitar repertoire.

Transcriptions.

SOCAN lists 112 classical works transcribed for the guitar by Laucke, illustrating the extent to which he has broadened the guitar's repertoire in music of the Renaissance, classical, baroque, and romantic eras, as well as in flamenco. Library and Archives Canada and Canadian Libraries list 43 music recordings, music scores of transcriptions for guitar and Canadian guitar articles written by Laucke. Waterloo Music Company published and distributed 24 of Laucke's guitar transcriptions of works by J.S. Bach, Luis de Narváez, Eric Satie, Heitor Villa-Lobos and others.

"Trois Gymnopédies" by Eric Satie.

While living in Greenwich Village, New York, in the early 1970s, Laucke became interested in the French music of Eric Satie, "the world's first hippie". At that time, only simplified arrangements of "Trois Gymnopédies" (Three "Gymnopédies") existed for the guitar, so Laucke set out to transcribe Satie's three works from the piano score. Determined to fit all of the notes from the original piano version using the guitar's six strings, over the course of three weeks he calculated the number of times open strings would occur per note.  In 1979, Laucke signed with the Waterloo Music Publishing Company, which that year published the sheet music of his transcription of "Trois Gymnopédies", the first of many of his transcriptions to be published by Waterloo and arguably the only version for guitar to include all of the notes of the original piano composition. In 1985, the company created "The Michael Laucke Series" of guitar arrangements and transcriptions.  In the introductory notes to his sheet music for "Trois Gymnopédies", Laucke comments: "The characteristic harmonies of much of the music of Erik Satie belong to the impressionist period and, though originally written for the piano, are extremely well-suited to the natural idiomatic expression of the guitar. This has led me to make these transcriptions which will enrich the repertoire of the guitar while remaining faithful to Satie's intentions."  After giving many concert performances of these works, Laucke recorded them on his CD entitled "Flamenco Road" which held the number one position on video charts across Canada for sixweeks. The liner notes read: "My arrangements of " Three Gymnopédies" comprise ALL the notes of the original piano versions: a most complex process since all the piano sounds must fit comfortably, or uncomfortably, onto the six strings of the guitar." He continues to say: "The present recording is done as it is in concert, on one classical guitar, without overdubbing. My tempo is a little quicker than when the pieces are played on the piano, due to the shorter resonance time of notes played on the Spanish guitar. Now and then, I use a 'vibrato' and slides, which, of course, can't be done on the piano but which add warmth of expression to this undeniably charming, exotic and mystic music."

Original works.

Laucke has had 25 original, Canadian atonal works written for him, among them the "Flamenco Concierto" for guitar and full symphonic orchestra by Michel-Georges Brégent, "Me duele España" by François Morel, "Exploration" by Jean Papineau-Couture and "Pour guitare," Claude Vivier's only work for the guitar. Laucke performed all 25 works in major halls, on CBC radio and on his record albums; all of them were commissioned by, and dedicated to, Laucke.  In 1984, critics began to take note of the growth of new Canadian guitar works energized by Laucke. In "La Presse", a Canadian newspaper, music critic Claude Gingras found in Laucke "an interpreter who could not be more convincing". Canadian composer Claude Vivier expressed his appreciation to Laucke. In his letters, Vivier states that he had: "hardly ever met a musician as committed and dedicated, of such great quality and, above all, of such great completeness and intense capacity for work".

World tours.

Laucke's career spans over 50years, with concert and television appearances in 25countries, including England (Wigmore Hall), the U.S. (Carnegie Hall, and the White House), as well as China, on the Great Wall of China. Other countries where Laucke performed include Bulgaria, Hungary, Hong Kong, Spain, Israel, India, Japan, Morocco, Pakistan, and Russia. In Canada, he has given annual concerts at Montreal's Place des Arts since 1986. Following a concert in 1990 in Quebec City's "Grand Théâtre de Québec", the French-language newspaper "Le Soleil" wrote a review entitled "Michael Laucke makes one fall in love with the guitar", stating: "More than a virtuoso, charismatic Michael Laucke is pure talent! For him playing is instinctive, just like breathing...irresistible Michael Laucke." Critics have often written about Laucke's stage presence. A Chicago music critic described how: "His relaxed manner, beaming smile and gracious speaking voice won the hearts of the audience before he even played a note."  He performed many concerts in Washington, DC, under the auspices of U.S. Senator Claiborne Pell, including several at the National Gallery of Art. "The Washington Post" proclaimed that Laucke is: "one of the finest guitarists to have played in Washington in a long time." On another occasion, Laucke gave the premiere of Bregent's "Version of Sapho," written for him, an atonal work which received a less favorable critique. "The Washington Post" stated: "Since the mind can only respond to some sort of form, its essential formlessness precludes discussion. A triad out of the blue signaled the end, which the large audience recognized and applauded."

Personal life.

In 1994, Laucke became a director of the Mac AIDS Fund(M·A·F) established by his friend Frank Angelo, the co-founder of MAC Cosmetics. After a fourteen-year tenure, he became honorary charter member of the board of directors and no longer participated in its activities. According to Laucke, MAF's directors helped coordinate the film "Pandemic: Facing AIDS" by Rory Kennedy, and MAF became a secondary sponsor while the Bill and Melinda Gates Foundation became title sponsor.

Present day.

After over 50 years of concert performances, Laucke continues an active career. Besides numerous concert appearances in North America, he has recently accepted more international tours. A new album called "Flamenco Road 2" is in preparation. He is also an entrepreneur and businessman in the music industry.  In 2012, Laucke was nominated for the Order of Canada Lifetime Achievement Award. In 2015, he was again nominated for the same award; the results will be announced in 2016.

Selected works.

Atonal works written for Laucke.

The following works have been performed by Laucke in Carnegie Hall (performing Jean Papineau-Couture), Wigmore Hall (Michel-Georges Brégent), and National Gallery of Art (Michel Gonneville). In Canada, the SMCQ honoured Laucke's contribution by featuring him in a two-hour-long concert.

Articles.

Laucke has published articles in music journals about the growth in popularity of the guitar in Canada including:

Michael Laucke (born 29 January 1947) is a Canadian classical, new flamenco, and flamenco guitarist and composer, and a music industry businessman. Starting at the age of thirteen, Laucke gave professional snooker demonstrations and his winnings allowed him to take trips from Montreal to New York City to study the classical guitar with Rolando Valdés-Blain. Still active in a career spanning five decades, Laucke began performing in 1965, recording the first of 16 albums in 1969, and has toured in 25countries. In 1971, he performed his first of many concerts at the National Gallery of Art in Washington, D.C. His first concert in New York, where he also first met Senator Claiborne Pell, took place in 1972.

Michael Laucke, né le, est un guitariste classique et flamenco canadien. Compositeur et homme d'affaires de l'industrie de la musique, sa carrière internationale s’étend sur avec une moyenne de 150 concerts par saison, dans les grandes salles de concert de. Selon la Gazette de Montréal, Michael Laucke a reçu pleine reconnaissance des gouvernements fédéral et provinciaux du Canada ; ils considéraient que. En 1971, après le premier de nombreux concerts qu’il a donnés à la National Gallery of Art, le "Washington Post" a publié que Michael Laucke affiche. En 1982, il a été sélectionné par Andrés Segovia pour jouer pour le réseau PBS au Metropolitan Museum of Art à New York, après quoi il est devenu le seul disciple canadien de Andrés Segovia.


Plot summary.

After her only daughter, Amy, suffers a crib death, Emily takes up running as a way to deal with her pain. She believes that "only fast running will do"—she pushes her body to its limits, often vomiting and sweating profusely. Her husband, Henry, finds out about this habit, and treats it as a psychological reaction to grief. Emily is hurt and runs out of the house, down to a local Holiday Inn. She contacts her father and explains her situation. After their conversation, Emily decides to stay in her father's summer home, near Naples, Florida. She also speaks with Henry, and the two agree that a trial separation is a good idea.  Emily's life becomes quite simple. She eats plain meals and runs for miles every day. As her body shrinks, she gets to know the few people that hover around the island (Vermillion Key is mostly devoid of tourists). The only person Emily visits is Deke Hollis, an old friend of her father who runs the drawbridge on the island. During a chance meeting, Hollis tells Emily that Jim Pickering, a man who own an estate on the island, is back. He has brought along a "niece"—Hollis's polite name for the young women who Pickering lures to his home. Emily prepares to continue, but Hollis warns her that Pickering is "not a very nice man."  As Emily continues her daily run, she notices a shiny red car outside a house along the beach that she deduces belongs to Pickering. When Emily approaches the car and discovers a woman whose throat has been slashed, she is knocked unconscious. She wakes up to find herself inside Pickering's house and bound to a kitchen chair with duct tape. Emily realizes that Pickering is insane, and hints that she let someone know where she was going. When Pickering presses her for details, Emily blurts out Hollis's name; Pickering leaves, presumably to murder the old man.  Emily knows that she does not have much time, and hears her father's voice in her head, giving her advice. She uses her strong legs to splinter the duct tape and free her lower body. She looks for a knife to release her arms, but settles on the corner of the island in the middle of the kitchen. Now freed, Emily attacks Pickering when he returns. After temporarily knocking him out, Emily escapes from his house and makes it to the beach. She hears Pickering behind her and realizes, in a rather odd coincidence, that she has been "training" for this moment.  Though exhausted from her imprisonment, Emily's months of running serve her well. She keeps well ahead of Pickering, who's armed himself with a pair of scissors. Emily encounters a young Latino man on the beach and begs for help, but he doesn't understand her cries. Pickering appears and tries to use Spanish to convince the man that Emily is with him, but Emily's fearful expression convinces the young man otherwise. Enraged, Pickering brutally slaughters the man with his scissors.  Emily, tiring quickly, runs into the ocean. Pickering follows her, but begins to flounder. Emily gasps as she figures out what is happening—Pickering cannot swim. Emily manages to escape him, and sits on the shoreline to watch as Pickering drowns. When he finally goes under, Emily tells herself that a shark or some other creature attacked him. She wonders why, and guesses that it is a part of the human condition. Her long ordeal over, Emily stands and shouts at the birds flying about, and prepares to go home.

Critical reception.

A review in The Observer says the story is "reminiscent of "Misery"". A review in the San Francisco Chronicle calls it "a harrowing almost-novella, [which] anchors the book and bridges the inner-psyche thrillers of King's 1990s work with his more recent stories. A story of abuse, psychosis and loneliness, it is physically exhausting to read — an astounding thing to say for a short work of fiction." A reviewer in the Toronto Star calls it "a flat-out suspense novella that could have been penned by Richard Bachman, King's literary alter ego...[in which] bloody chaos ensues."

Connection to King's other works.

A man named Charlie Pickering, a relative of Jim Pickering, appears as a minor antagonist in King's 1994 novel "Insomnia".  A brief reference is made to the Gingerbread Girl in "Gerald's Game", where Jessie shows signs of physical abuse from her brother's friend and talks about sexual abuse from her brother.

Film adaptation.

In May 2018, it was announced that Brainstorm Media would produce a film adaptation. Craig R. Baxley is set to direct, with the screenplay being written by Baxley and Stephen King.

"The Gingerbread Girl" is a novella by Stephen King that was originally published in the July 2007 issue of "Esquire". It was later included in King's "Just After Sunset" collection in 2008. "The Gingerbread Girl" was also released as an audiobook, read by Mare Winningham, by Simon & Schuster Audio on May 6, 2008. The title is an allusion to the fairy tale "The Gingerbread Boy" (also known as "The Gingerbread Man").

La Fille pain d'épice (titre original : "") est une nouvelle de Stephen King publiée pour la première fois en 2007 dans le magazine "", puis incluse dans le recueil "Juste avant le crépuscule" en 2008.