History.

Pre-Hijōkaidan.

Hijōkaidan originally began in 1979 in Kyoto as a side project of Rasenkaidan members and. They played an improvised session at a studio with fellow Rasenkaidan member (a.k.a. Idiot) in attendance. Afterwards, Takayama said "This is not, it is more like."  This Hijōkaidan played live twice and recorded a few studio sessions. Recordings of this line-up were later released as Original Hijōkaidan or Pre-Hijōkaidan. At the end of the year, Zushi left, and Jojo decided to quit all of his musical projects (Hijōkaidan, Rasenkaidan, and Ultra Bidet). Idiot and Zushi briefly continued Rasenkaidan, and Idiot later formed Idiot O'Clock.

Corroded Marie.

In the spring of 1980, Jojo formed a new group called to play songs in the style of Hawkwind. Initial members were Jojo, (a.k.a. Oka), Katsuhiro Nakajima (a.k.a. Zuke), Masako Shigesugi (a.k.a. Mako), (a.k.a. Ichie), and. Zushi declined to take part. The practice sessions devolved into improvised noise, and Jojo considered disbanding the group, but was convinced otherwise by Oka, Zuke, and Ichiguchi.  In June 1980, Corroded Marie was invited to play ACB Hall in Shinjuku, Tokyo at the event, sponsored by the magazine "Heaven" and arranged by. By mistake, they were billed as Hijōkaidan, Jojo decided to keep the name. After the show Mako left. Disappointed that they didn't play songs or like Hawkwind, Jojo again thought about disbanding the group. He listened to a cassette of the performance repeatedly, and began to consider the possibility of releasing it. In August he met, who had started an independent label called Unbalance Records, and made a deal to release the show. He contacted Zuke and Oka about releasing the show and asked if they wanted to continue the group. Jojo discovered that they were thinking about continuing as a new group without him.  On November 3, the regrouped Hijōkaidan played at Sōzōdōjō in Osaka. The show started with a cover of "It's a Rainy Day, Sunshine Girl" by Faust, before turning into free-form noise. This show is also the beginning of the performance art aspect of Hijōkaidan's live show, with Zuke throwing around takoyaki.  The ACB show was released as one side of a split LP called in December 1980 by Unbalance, the other side had tracks by NG and Jurajium. The track was called in honor of their original name.

Alchemy Records.

Alchemy Records is a record label based in Osaka, Japan, specializing in noise / experimental music and psychedelic rock. It is run by Jojo Hiroshige of the noise group Hijokaidan. Alchemy has released albums by Hijokaidan, Balzac, Hanatarash, Masonna, Incapacitants, Borbetomagus, and Merzbow, among many others. Until April 2008, Alchemy also had a record store in Osaka's Amerikamura.

The group began at the very end of the 1970s as a performance art-based group whose anarchic shows would often involve destruction of venues and audio equipment, food and garbage being thrown around, and on-stage urination. As the group's lineup changed over time, their focus became less performance-based and more musically based, fine-tuning their sound into a dense wall of noise.


Design and manufacturing.

Hydrocopters are generally smaller vehicles less than 20 ft long and weigh less than 2000 kg. Hydrocopters are powered by a fixed bladed aircraft propeller, the same as an airboat. Although they have the same propulsion as airboats, they are typically much slower. They typically travel under 12 knots whereas airboats are typically traveling over 40 knots. Hydrocopters use either skis or wheels on their pontoons to be able to travel on ice, snow or land in addition to traveling on water. This allows them to travel over terrain similar to a hovercraft.  Hydrocopters use one system for lift and forward momentum while a hovercraft uses two systems, one for lift and another for forward momentum. Hovercrafts have a constant down thrust which can be undesirable in certain conditions. Hydrocopters are also much cheaper than hovercraft.  Hydrocopters have never been mass produced; they are made in small machine shops for individual customers. Consequently, they are easy to customize and there is a small but strong market for them. One of the first hydrocopters that was patented was called the Spider Craft. It is a small two-seater pontooned airboat and was patented in 1965. Since that time, hydrocopters have gone through multiple iterations. The current iteration is a modular design with steering and propulsion in the stern and the main cabin is in the first segment. This two-section design allows for faster turning and gives the occupants more space. Hydrocopters tend to use heavier fuel oil than airboats and airplanes. Additives are added to the fuel oil to avoid problems of freezing temperatures. Modern hydrocopters are primarily made from vacuum injected composites with a coating to prevent damage from moisture and cold temperatures. Hydrocopters used to be made much like airplanes or boats with an aluminum shell and a wooden interior. Lighter materials use less fuel and composites are more resistant to corrosion in the harsh environment. The pontoons in modern hydrocopters typically have more buoyancy to allow for heavier cargo loads.

Safety.

Hydrocopters, like air boats, are top heavy. This can cause issues with capsizing (rolling over) or flipping. Hydrocopters usually have less points of contact on the water and a high center of gravity so risk of capsizing is increased, especially in rough seas. However, they are usually safer than air boats because they travel at much slower speeds. Consequently, hydrocopters don’t often get out of displacement mode, which means that most of the weight of the hydrocopter is supported by the water. Modern hydrocopters topically have two compartments. The rear compartment houses the engine and the front cabin houses the passengers. These two compartments provide the hydrocopter with much more stability when doing sharp turns.  Most hydrocopters are now equipped with radar, GPS and/or AIS to be able to locate other vessels and to be visible to other vessels. This equipment helps drivers in adverse weather when visibility is very low, which is typical of the Arctic coastal regions. Hydrocopters are one of the few vehicles that can operate in heavy snow or rain. Hydrocopters are also commonly equipped with other safety equipment such as Life jackets, VHF radios and EPIRBs (Emergency Position Indicating Radio Beacons). The safety regulations implemented on hydrocopters is the same as the regulations on a boat of that size. Many hydrocopters are built for search and rescue operations and these hydrocopters carry much more safety equipment. The interior of these hydrocopters are outfitted similar to ambulances.

Military use.

The Finnish Border Guard used hydrocopters from the 1970s to the 2000s. The Finnish Border Guard then replaced their fleet of hydrocopters with hovercraft because of stricter work safety standards. Many towns and cities in Finland and Sweden used the surplus military hydrocopters and continue to use hydrocopters today in some capacity as search and rescue craft because they are cheaper than hovercraft and can be used safely in ice and water where other vehicles could not work.

A hydrocopter is an amphibious propeller-driven catamaran with a boat-like hull, small wheels and pontoon skis (as in a seaplane). An aircraft engine with a propeller and air rudder powers the vehicle over water, ice, snow and land.


Etymology.

The word tee is derived from the Scottish Gaelic word "taigh" meaning house and is related to the 'house' (the coloured circles) in curling. This would make sense, as the first golf tees were within a "circle" of one golf club length round the hole. Nowadays, modern courses have separate, designated tee boxes for each hole. For example, the ninth hole of a course is played from the ninth tee to the ninth green, and similarly for the other holes.

Golf tee.

In golf, a tee is normally used for the first stroke of each hole. The area from which this first stroke is hit is in the rules known as the teeing ground. Normally, teeing the ball is allowed only on the first shot of a hole, called the tee shot, and is illegal for any other shot; however, local or seasonal rules may allow or require teeing for other shots as well, "e.g.", under "winter rules" to protect the turf when it is unusually vulnerable. Teeing gives a considerable advantage for drive shots, so it is normally done whenever allowed. However, a player may elect to play his/her tee shot without a tee. This typically gives the shot a lower trajectory.  A standard golf tee is 2.125" (two and one eighth inches = 5.4 cm) long, but both longer and shorter tees are permitted. Ordinary tees can be made from wood or from durable plastic. There are also many biodegradable, ecological and recycable golf tees that diminish the number of trees cut down to manufacture the tees and allow golf courses to lower costs by not having to deal with the broken wooden tees on their courses.  According to the R&A and USGA rules of golf, for a tee to be legal, ""It must not be longer than 4 inches (101.6 mm) and it must not be designed or manufactured in such a way that it could indicate the line of play or influence the movement of the ball.""

History.

The development of the tee was the last major change to the rules of golf. Before this, golf balls were teed up on little heaps of sand that were provided in boxes. This explains the historical name "tee boxes" for what is today known as "teeing ground".  The earliest golf tees rested flat on the ground and had a raised portion to prop up the ball. The first patent for this kind of tee is dated 1889, and was issued to Scotsmen William Bloxsom and Arthur Douglas. The first known tee to pierce the ground was a rubber-topped peg sold commercially as the "Perfectum." This was patented in 1892 by Percy Ellis of England. In 1899, an African-American dentist, Dr. George Franklin Grant, obtained a patent for an "improved golf tee". This tee consisted of a wood cone with a rubber sleeve to support the ball, but it is not known to have ever been marketed.  These and other variations failed to catch on, as most golfers—whether because of tradition, habit, or concerns about the rules—continued using heaps of sand. It took a strong marketing effort by Dr. William Lowell, Sr. in the 1920s to bring manufactured tees into widespread use. Sales of his "Reddy Tee," a simple wooden peg with a flared top, took off after Lowell hired professional golfers Walter Hagen and Joe Kirkwood, Sr. to promote the product during exhibition matches. It was copied around the world, and remains the most common type of golf tee.

Tee Ball tee.

Tee Ball is based on baseball, with the main difference being the use of a tee in the place of a pitcher. Much larger than a golf tee, the Tee Ball tee is a durable rubber stand attached to the home plate which supports the baseball at a suitable height for the batter to hit. It is adjustable to allow for variations in batter height.

Baseball tee.

While a tee for baseball is very similar to a tee in Tee Ball, the uses for the tee may differ. In baseball, a tee is used as a training devise. This allows the hitter to simulate a pitch that will be thrown in many different locations. Using a tee, the hitter can set up a pitch that may be thrown inside, down the middle, and outside as well as high and low. Unlike Tee Ball where the ball is sitting on the tee, in baseball the pitch is being thrown by another player, resulting in the ball crossing the plate in several different areas. As a batter, using a tee as a training aid will help the hitter perfect his swing no matter where the pitch is thrown. A tee may also be used for batting drills. Drills are used to strengthen the players hitting motion and to get them used to hitting baseballs in different locations.  These tees may also be used in softball as a training devise.

Kicking tee.

A kicking tee is a rubber or plastic platform, often with prongs and/or a brim around an inner depression.  In American football and Canadian football, a tee may be used on kickoffs to raise the ball slightly above the playing surface (up to one inch, by NFL and NCAA rules). The first use of the tee is attributed to Arda Bowser, a member of the Canton Bulldogs NFL championship team of 1922. The CFL and some high school leagues also allow the use of another sort of tee on field goal and extra point kicks, where another player (the holder) places one end of the ball on this "tee" (which is not a tee in the strictest sense of the term, but instead a rubber block; such "tees" come in 1" and 2" types) and holds the opposite end; in college and the NFL, all extra point/field goal attempts can only be made off the ground.  Tees may also be used for place kicks in rugby league football and rugby union football.

Guinness World Record.

The largest golf tee in the world was created by Jim Bolin in Casey, Illinois, USA. It measures at 9.37 m (30 ft 9 in) long with a head diameter of 1.91 m (6 ft 3 in) and a shaft width of 64 cm (2 ft 1 in).

A tee is a stand used to support a stationary ball so that the player can strike it, particularly in golf, tee ball, baseball, American football, and rugby. A tee elevates the ball off the ground to a suitable height for the player.


History.

This type of locomotive was the first newly developed diesel locomotive built for main line service by the Deutsche Bundesbahn (DB). Only 10 examples of the class were built at the beginning of the 1950s, but it formed the basis for all subsequent DB designs in this sector.  The locomotives were initially distributed to the locomotive depots (Bahnbetriebswerke) at Frankfurt am Main and Bamberg. In Frankfurt/Main they were used on suburban services from Frankfurt/Main Hbf to Bad Homburg v.d.Höhe and to Kronberg and also hauled fast-stopping trains ("Eilzüge") between Frankfurt/Main and Cologne. The Bamberg engines were used on Nuremberg’s suburban services and on various branch lines around Bamberg. From 1963 all the locos were gathered together at Bamberg and took over passenger and goods train duties on many branch lines in northern Bavaria.  The demise of branch lines in the 1970s meant that the DB could get rid of this small class of just 10 engines between 1976 and 1978, because sufficient locomotives of the comparable Class V 100 were available.

Design.

A classic feature of these engines was the driver’s cab in the centre of the vehicle which could be used in both directions and which jutted out above the engine rooms. In the basic design the V 80 had elements, that were also used on all succeeding diesel locomotive classes: a diesel engine that ran at medium-speed, hydraulic gears, power transmission via the centre axle by means of universal joints. Originally three different motors were fitted with 800 to 1000 PS; later 1,100 PS MTU motors were installed. All were supercharged V12 four-stroke diesel engines.

Italy.

After being withdrawn in Germany, the locomotives of Class 280 were largely sold to private railways and to track construction firms in Italy.  In 1959, Officine Meccaniche Italiane built a prototype diesel-hydraulic locomotive for Consorzio Cooperativo Ferrovie Reggiane. This lone prototype,, later sold to Ferrovie del Sud Est had a similar aspect but shared no common parts.

Preserved.

One example, no. V 80 002, which the DB kept as a museum piece, was a victim of the big fire at the Nuremberg Transport Museum on 17 October 2005.  Since mid-October 2005 the first V 80 built by Krauss-Maffei has returned to Germany. No. V 80 001 was bought from a collector, who also owned the museum locomotive 212 203, and transferred from Italy back to Germany. It is intended to carry out a refurbishment of the locomotive as quickly as possible, so it can be made available as a museum locomotive.  As a replacement for V 80 002 which was burnt out in 2005 the DB Museum was given the last V 80 to be built, no. V 80 005, in June 2008 by its Italian owner in exchange for a Class 216 locomotive.

The Class V 80 is a type of German diesel-hydraulic locomotive operated by the Deutsche Bundesbahn, that was redesignated as Class 280 from 1968.


Origins.

Huge changes in agricultural methods made the Industrial Revolution possible. This agricultural revolution started with changes in farming in the Netherlands, later developed by the British.  The Industrial Age began in Great Britain in the mid 18th century and was fueled by coal mining from places such as Wales and County Durham.  The Industrial Revolution began in Great Britain because it had the factors of production, land (all natural resources), capital, and labor. Britain had plenty of harbors that enabled trade, Britain had access to capital, such as goods and money, for example, tools, machinery, equipment, and inventory. Britain, lastly, had an abundance of labor, or industrial workers in this case. There are many other conditions that help show why the Industrial Revolution began in Great Britain. The British Isles and colonies overseas represented huge markets that created a large demand for British goods. Britain also had one of the largest spheres of influence due to its massive navy and merchant marine. The British government's concern for commercial interests was also important. The steam engine allowed for steamboats and the locomotives, which made transportation much faster. By the mid-19th century the Industrial Revolution had spread to Continental Europe and North America, and since then it has spread to most of the world.

The Textile Industry.

The cotton industry was the first industry to go through mechanization, the use of automatic machinery to increase production. The domestic system sprouted as a result of when businesses began importing raw cotton, employing spinners and weavers to make it into cloth from their home. Jarry Hargreaves invented the spinning jenny, which could produce eight times as much thread as a single spinning wheel, and Richard Arkwright made it driven by water. Later Arkwright opened a spinning mill which marked the beginning of the factory system. In 1785 Edmund Cartwright invented a loom which was powered by water.

Steam Engines.

In 1712 Thomas Newcomen produced the first successful steam engine, and in 1769 James Watt patented the modern steam engine. As a result, steam replaced water as industry's major power source.  The steam engine allowed for steamboats and the locomotives, which made transportation much faster. By the mid-19th century the Industrial Revolution had spread to Continental Europe and North America, and since then it has spread to most of the world.  The Industrial Age is defined by mass production, broadcasting, the rise of the nation state, power, modern medicine and running water. The quality of human life has increased dramatically during the Industrial Age. Life expectancy today worldwide is more than twice as high as it was when the Industrial Revolution began.

The Industrial Age is a period of history that encompasses the changes in economic and social organization that began around 1760 in Great Britain and later in other countries, characterized chiefly by the replacement of hand tools with power-driven machines such as the power loom and the steam engine, and by the concentration of industry in large establishments.


Plot.

The play takes place partly in Budapest, Hungary, and partly in a waiting area just outside Heaven. The story concerns Liliom, a tough, cocky carousel barker who falls in love with Julie, a young woman who works as a maid. When both lose their jobs, Liliom begins mistreating Julie out of bitterness—even slapping her once—although he loves her. When she discovers she is pregnant, he is deliriously happy, but, unbeknownst to Julie, he agrees to participate with his friend Ficsur, a criminal, in a hold-up to obtain money to provide for the child. Liliom is unwilling to leave Julie and return to his jealous former employer, the carousel owner Mrs. Muskat, and feels that the robbery is his only way left to obtain financial security. The hold-up is a disaster, but Ficsur escapes, and Liliom kills himself to avoid capture. He is sent to a fiery place, presumably Purgatory. Sixteen years later, he is allowed to return to Earth for one day to do a good deed for his now teenage daughter, Louise, whom he has never met. If he succeeds, he will be allowed to enter Heaven. He fails in the attempt, and is presumably sent to Hell. The ending, though, focuses on Julie, who obviously remembers Liliom fondly.  A contrasting subplot involves Julie's best friend, Marie, and Wolf Beifeld, a rather pompous hotel porter who marries Marie and finally becomes the wealthy owner of the hotel at which he once worked. The two eventually have seven children, who never appear onstage in Molnár's play. There is also a carpenter in "Liliom" who is in unrequited love with Julie, and who, in contrast to Liliom, has a stable job.

Reception.

"Liliom" was a failure in Hungary when it was staged there in 1909, but not when it was staged on Broadway in an English translation by Benjamin Glazer in 1921. The production starred Joseph Schildkraut (his role originally offered to John Barrymore), and Eva Le Gallienne, with supporting roles played by such actors as Dudley Digges and Helen Westley.  Ivor Novello starred as Liliom in 1926 in London, with Charles Laughton, in one of his first stage roles, as Ficsur. Schildkraut and Le Gallienne repeated their roles, and Sayre Crawley played the Magistrate in the first Broadway revival of the play, in 1932.

Stage and radio adaptations.

"The Campbell Playhouse" (1939).

In 1939, Orson Welles directed and played the title role in a one-hour radio adaptation for his CBS "The Campbell Playhouse" program. The production costarred Helen Hayes as Julie and Agnes Moorehead as Mrs. Muskat, the carousel owner who is infatuated with Liliom. It was broadcast live on 22 October 1939.

Broadway (1940).

In 1940, a second American stage revival, starring Burgess Meredith and Ingrid Bergman, with Elia Kazan as Ficsur and Joan Tetzel as Louise, played in New York.

"Carousel" (musical, 1945).

In 1945, at the suggestion of the Theatre Guild (which had produced the 1921 and 1932 productions of "Liliom" as well as the original "Oklahoma!"), Richard Rodgers and Oscar Hammerstein II wrote "Carousel", an American musical adaptation of the play. This was also produced by the Theatre Guild and became one of the great classics of musical theatre. Even though the musical adaptation took liberties with Molnár's play, changing the ending so that the ex-barker is successful in trying to help Louise upon his return to Earth, Molnár applauded "Carousel". The character of Louise is made more poignant in the musical, in which she is snobbishly taunted and rejected because her father was a thief. It is the Liliom character who finally gives her the confidence she needs to face life. In "Carousel", the characters of Marie and Wolf Beifeld in "Liliom" become Carrie Pipperidge and Mr. Snow who, a fisherman in the musical, is made even more pompous than in the original play. His children are the ones who so viciously taunt Louise, although, in order to keep Carrie a sympathetic character, Hammerstein keeps her totally unaware of this; in contrast to Mr. Snow, she is even supportive of a potential budding romantic relationship between their eldest son and Louise. (The relationship is quickly cut short, however, when Mr. Snow's son insults Louise by stating outright that marrying her would be "beneath his station.") Both Carrie and Mr. Snow are made into rather comical figures (especially the feather-brained Carrie) in the musical, in contrast to the completely serious Marie and Wolf Beifeld in "Liliom".  "Carousel" also Americanizes the story, setting it in Maine during the last part of the nineteenth century, and including a New England clam bake as the setting for some of the more cheerful songs in the show. The names of most of the other characters were changed as well. Liliom became Billy Bigelow, the criminal Ficsur became Jigger Craigin, and Mother Hollunder, the boarding house keeper, became Julie's cousin Nettie. There is no carpenter character in "Carousel".  There is an added layer of social commentary in "Liliom" which is deliberately omitted from "Carousel". The intended holdup victim in Molnar's play, a payroll clerk named Linzman, is Jewish, as is Wolf Beifeld. In "Carousel", Linzman becomes Mr. Bascombe, the wealthy owner of the cotton mill at which Julie once worked.  In "Liliom", Liliom encounters Linzman only once, during the robbery. In "Carousel", Billy Bigelow has met Bascombe much earlier during the play. Bascombe finds him and Julie together and kindly offers not to fire Julie, who has stayed out past the mill workers' curfew, if she allows him (Bascombe) to take her back to the mill. She gently refuses.  However, many elements of "Liliom" are retained faithfully in "Carousel", an unusual step in the 1940s for a musical play based on such a serious drama. Molnár's basic plotline for Liliom and Julie is largely adhered to, as is much of his dialogue (although Hammerstein makes it more colloquial and gives it a New England flavor). Billy Bigelow is a womanizer and an abusive husband, as is Liliom in the non-musical play; however, both the Molnar play and the Rodgers and Hammerstein musical are careful to stress that he has hit his wife only once, and that other characters erroneously believe that he is a habitual wife-beater.  "Carousel" also retains the attempted robbery scene, however in the film adaptation, Billy falls on his knife while trying to get away and does not commit suicide like Liliom does in the original play.

Hamburg Ballet (2011).

In December 2011, a ballet adaptation of "Liliom", with music by Oscar-winning composer Michel Legrand, was premiered by the Hamburg Ballet, and starred Alina Cojocaru as Julie. In this version, Liliom's child is changed from being a girl to a boy (Louis instead of Louise).

Théâtre de Liège (2014).

In 2014 Galin Stoev directed the play in Théâtre de Liège.

Andrei Şerban's "Carousel" (2015).

A stage adaptation by Andrei Şerban and Daniela Dima, "Carousel", also based on Fritz Lang's 1934 "Liliom", has played at Bucharest's Bulandra Theatre since 2015.

Film adaptations.

"Liliom" has been filmed several times, beginning in the silent era:  These first two talking film versions of Molnar's original play also alter the ending to make it more hopeful, though not as drastically as "Carousel" does. ("A Trip to Paradise" also featured a happy ending.) In the 1934 French film, Liliom finally does gain entry into Heaven, not because he has successfully done something good for his daughter, but because of Julie's forgiveness and love for him. Likewise, in the 1930 American film version, Liliom feels that he has failed, but the Heavenly Magistrate (H. B. Warner) reassures him that he has not, because Julie clearly still loves him. But it is never revealed in this version whether or not Liliom actually enters Heaven.  By contrast, in the original stage play, Liliom is ominously and sternly led offstage after he fails in his heavenly mission and is never seen or heard from again, although Julie still remembers him fondly.

Trivia.

Liliom is the Hungarian word for lily, derived from the Latin "lilium". Lilies are the flowers most commonly used at funerals, where they symbolically signify that the soul of the deceased has been restored to the state of innocence.  Liliom is just a stage name, to the police he gives his "real" name: Andreas Zavoczki.  In the 1950 film "All About Eve", Eve Harrington claims that she and her boyfriend Eddie played in a small Milwaukee production of "Liliom", and that she was "awful."

Liliom is a 1909 play by the Hungarian playwright Ferenc Molnár. It was well known in its own right during the early to mid-20th century, but is best known today as the basis for the Rodgers and Hammerstein 1945 musical "Carousel".


Background.

"Gigi" originated as a 1945 novella by Colette, which was adapted for the screen with Danièle Delorme in 1948. In 1951 Anita Loos adapted the novel for the stage, and the Broadway production of "Gigi" starred Audrey Hepburn in her first major role.  Seven years later, while "My Fair Lady" was in Philadelphia prior to its Broadway opening, Arthur Freed approached Lerner about a feature film musical adaptation. Although Loewe had vowed never to work in movies, he was charmed by the book and agreed to collaborate on the project. The 1958 film of "Gigi" proved to be a major critical and commercial success and the winner of nine Academy Awards, including Best Picture.

Productions.

Original productions.

Edwin Lester, founder of the Los Angeles Civic Light Opera, asked for a stage version of the film "Gigi", and Lerner and Loewe then wrote the stage musical. They added four songs and a ballet for the stage adaptation. "Gigi" premiered at the Curran Theatre, San Francisco, on May 15, 1973, and then embarked on a six-month tour.  The musical opened on Broadway on November 13, 1973 at the Uris Theatre, where it ran for 103 performances and seven previews. Directed by Joseph Hardy and choreographed by Onna White, the cast featured Karin Wolfe as Gigi, Daniel Massey as Gaston, Maria Karnilova as Mamita, Agnes Moorehead as Aunt Alicia, and Alfred Drake as Honoré. Arlene Francis replaced the ailing Moorehead later in the run (Moorehead died of cancer on April 30, 1974). An original cast recording was released by RCA Victor. Louis Jourdan starred in a production that toured the United States in the mid 1980s, not in his original role as Gaston, but rather as Honoré.  The West End production opened on 17 September 1985 at the Lyric Theatre, where it ran for seven months. The cast included Amanda Waring as Gigi and Geoffrey Burridge as Gaston, with Beryl Reid as Mamita, Siân Phillips as Aunt Alicia, and Jean-Pierre Aumont as Honoré.  A London cast album was released by First Night Records.

Revival productions.

A production of the musical, newly-adapted by Heidi Thomas, directed by Eric D. Schaeffer, and with choreography by Josh Bergasse, opened at the Kennedy Center's Eisenhower Theatre, from January 16, 2015 to February 12, 2015. Vanessa Hudgens played the role of "Gigi".  On January 14, 2015, it was announced that the Kennedy Center production of "Gigi" would transfer to Broadway with a cast led by Vanessa Hudgens. The production began previews on March 19, 2015 at the Neil Simon Theatre and officially opened on April 8. It closed on June 21, 2015. A national tour was also scheduled in the 2016–2017 season but was not produced, and was available for licensing from Tams-Witmark Music Library.  A Broadway cast album, produced and engineered by six-time Grammy winner Frank Filipetti, was released by DMI Records in June 2015.

Synopsis.

Honoré Lachaille explains that in turn-of-the-20th-century Paris, marriage is not the only option. His nephew Gaston is a rich bon vivant, much like his uncle. But Gaston is bored with the high life and his series of mistresses. The one thing he truly enjoys is spending time with an old friend of his uncle, Madame Alvarez, whom he calls Mamita, and especially her granddaughter, the precocious, carefree Gilberte or "Gigi". Gaston's Uncle Honoré was involved romantically with Mamita, although advancing age has confused their recollections of the past.  Madame Alvarez sends Gigi to her Aunt Alicia's to learn to be a high-society courtesan in their family's tradition. Gigi is initially a very poor student, as she does not understand the reasons behind her education and finds Parisians' obsession with making love inexplicable. She does, however, enjoy spending time with Gaston, whom she treats as an older brother. Alicia is unhappy to discover that Gaston took Gigi and Madame Alvarez on holiday, as her sister had not consulted her. She insists that Gigi's education must increase dramatically if she is to catch a prize such as Gaston. Mamita is shocked, but sees the advantages it could bring Gigi and so goes along with the plan - though neither tells Gigi of their scheming. Gigi is miserable in her lessons, but puts up with them as a necessary evil, though she still seems awkward and bumbling to her perfectionist aunt.  Gaston visits and is shocked to see Gigi in an alluring white gown. He tells her she looks ridiculous and storms out, but returns later and apologizes, offering to make it up by taking her to dinner. Mamita refuses, telling Gaston that, with his reputation, a young girl seen in his company might be labelled in such a way as could damage her future. Gaston is enraged again, storms out, and wanders the streets of Paris in a fury.  Gaston realises that he has fallen in love with Gigi. He returns to Mamita and strikes a business arrangement to take Gigi as his mistress, promising to provide the girl with luxury and kindness. He visits Gigi later, but she tells him she does not wish to become someone's mistress; she wants more for herself than to be passed between men, only desired until they grow tired of her and she is moved on to another. Gaston is horrified at this portrayal of the life he wishes to give her, and leaves stunned. Later, however, Gigi contacts him; when Gaston returns, Gigi says she would "rather be miserable with [him] than without [him]."  Later that night Gigi emerges from her room prepared to accept her fate and take up her role as Gaston's mistress. For the first time, she appears as a woman, not a young girl. Gaston is enchanted when he picks Gigi up to take her to dinner at Maxim's, a popular Paris restaurant. Gigi's awkwardness is gone and she seems perfectly at ease. Nevertheless, patrons' stares make Gaston uncomfortable as he realises Gigi's interpretation of things may have been accurate after all. He discovers that his love for her makes the idea of her as his mistress an unbearable one. Angered by Honoré's comments, Gaston leaves the party with Gigi in tow, taking her home without explanation. A weeping Gigi begs to know what she has done to offend him, but Gaston does not answer until he arrives at Mamita's and humbly asks for Gigi's hand in marriage.

Gigi is a musical with a book and lyrics by Alan Jay Lerner and music by Frederick Loewe. It is based on the 1944 novella "Gigi" by Colette and 1958 hit musical film of the same name. The story concerns Gigi, a free-spirited teenaged girl living in Paris at the turn of the 20th century. She is being groomed as a courtesan in her family's tradition. Before she is deemed ready for her social debut, she encounters the "bon vivant" bachelor Gaston Lachaille, whom she captivates as she is transformed into a charmingly poised young lady.


Early life.

Mowatt was born in Gordon Town, St. Andrew Parish, Jamaica. At the age of 13, she became a member of a dance troupe which toured Jamaica and other islands in the Caribbean. Her initial ambition was to become a registered nurse. Her earliest musical influences were Aretha Franklin, Otis Redding, Curtis Mayfield, Dionne Warwick, Bob Marley, Marcia Griffiths, The Staple Singers and The Soulettes. A coincidental meeting with two teenage girls who were earlier in her dance troupe led to the formation of the Gaylettes, in 1967.

Career.

Mowatt is the longtime wife of Bunny Livingston/Wailer, and some of the tracks he recorded in the early 70s are credited to her (though this is often thought to be his way of helping her, much like Bob Marley's crediting of songs to Rita Marley or Vincent Ford). At that time, for legal reasons, she used the names Juliann and Jean Watt. On The Wailers album "Burnin'" (1973), two songs written by their singer Bunny Wailer were credited to Judy Mowatt under the pseudonym Jean Watt: "Hallelujah Time" and "Pass It On". Furthermore, the B Side of Concrete Jungle, "Reincarnated Soul", also credited to Jean Watt and sung by Bunny Wailer. This song – with the name changed to "Reincarnated Souls" – was included two years later on Bunny Wailer's first solo album "Blackheart Man" (1976).  In 1974, she got her big break by joining Bob Marley's backing vocal trio the "I Threes".  Her "Black Woman" album (Ashandan, 1979) came out the same year as I Three member Marcia Griffiths's album "At Studio One". It is considered by many critics to be the greatest reggae album by a female artist. It was also the first reggae album recorded by a woman acting as her own producer.  She became the first female singer nominated for a Grammy Award in the category of reggae music when her "Working Wonders" album was nominated in 1985.  Formerly a member of the Rastafari movement, in the late 1990s she converted to Christianity and now sings Gospel music.  In 1999 the Jamaican government made her an Officer of the Order of Distinction for "services to music".

References.

Judith Veronica Mowatt, (born 1952) is a Jamaican reggae artist. As well as being a solo artist, as from 1974 she was also a member of the I Three (wrongly spelled "I Threes"), trio of backing vocalists for Bob Marley & The Wailers after Peter Tosh and Bunny Wailer left.


Career.

Moll was born in Buir, near Cologne, Germany. As a child, he played the cello and hoped to become a great cellist. (He also had ambitions to be an industrialist/businessman.) He sang in the school choir whose conductor encouraged him to concentrate on singing. He studied voice at the Musikhochschule Köln. He joined the Cologne Opera at age 20 and remained a member of the ensemble until 1961. He then sang for three years at the Mainz Opera and five years at the Wuppertal Opera. In 1969, he accepted an engagement with the Hamburg State Opera, and then performed in major opera houses of Europe.  He made his Bayreuth Festival debut in 1968 as the nightwatchman in "Die Meistersinger von Nürnberg", and sang there for several years as Fafner in "Der Ring des Nibelungen", Marke in "Tristan und Isolde" and Pogner in "Die Meistersinger".  He made his American debut with the San Francisco Opera as Gurnemanz in Wagner's "Parsifal" in 1974, a role he reprised with the company in 2000. He made his debut at the Metropolitan Opera on the opening night of the 1977-78 season, appearing as the Landgrave in Wagner's "Tannhäuser". He also sang there as Rocco in Beethoven's "Fidelio" and Sparafucile in Verdi's "Rigoletto".  He made many recordings of opera, sacred music, and lieder. Moll can be heard as Ochs in seven complete recordings of "Der Rosenkavalier", as Sarastro in six recordings of Mozart's "Die Zauberflöte", as Marke in six sets of Wagner's "Tristan und Isolde", and as the Archangel Raphael in three recordings of Haydn's "Die Schöpfung". His recording for the Orfeo label of Schubert's philosophical ""Lieder für Bass"" set a new standard for these songs; he also recorded Schubert's song-cycle "Winterreise", and an album of dramatic/heroic ballads by Carl Loewe. Besides German, Italian, and Latin, he recorded a few roles in Russian, including Pimen in "Boris Godunov" and the Old Convict in "Lady Macbeth of the Mtsensk District" by Shostakovich. He can be seen in many roles on commercial video, including Sarastro (twice), Osmin, the Commendatore, Bartolo, Hunding in Wagner's "Die Walküre" (three times), Fafner in "Das Rheingold" and "Siegfried", in Gurnemanz in "Parsifal", and Ochs (three times).

Awards and honors.

He won three Grammy Awards (1981, 1985, and 1989) for various opera CDs, and a Primetime Emmy Award for Outstanding Individual Achievement in Classical Music/Dance for his performance as Hunding on the PBS television series "Live from the Metropolitan Opera" (also known as "The Metropolitan Opera Presents"), in 1991. In Germany he held the prestigious title "Kammersänger".

Retirement.

Moll retired from the stage in 2006, after singing the Nightwatchman at the Bavarian State Opera in Munich. He gave a master class in January 2011 at Carnegie Hall.  Moll lived in Cologne with his family until his death.

Kurt Moll (11 April 19385 March 2017) was a German operatic bass singer who enjoyed an international career and was widely recorded.


Overview.

The "Eudemian Ethics" is less well known than Aristotle's "Nicomachean Ethics", and, when scholars refer simply to the "Ethics" of Aristotle, the latter is generally intended. The "Eudemian Ethics" is shorter than the "Nicomachean Ethics", eight books as opposed to ten, and some of its most interesting passages are mirrored in the latter. Books IV, V, and VI of the "Eudemian Ethics", for example, are identical to Books V, VI, and VII of the "Nicomachean Ethics", and as a result some critical editions of the former include only Books I–III and VII–VIII (the omitted books being included in the publisher's critical edition of the latter).  The translator for the Loeb edition, Harris Rackham, states in the Introduction to that edition that "in some places "The Eudemian Ethics" is fuller in expression or more discursive than "The Nicomachean Ethics"." Compared to the "Nicomachean Ethics", Rackham mentions, for example in Book III, which discusses the virtues and some minor graces of character:  Book VII is concerning friendship, discussed in greater length and detail in the "Nicomachean Ethics" than it is here.  Book VIII discusses the epistemological aspect of virtue, which as Rackham notes is treated in Book I section 9 of "Nicomachean Ethics", and also discusses good luck. Then there is a section concerning "kalokagathia", the beautiful and good nobility of a gentleman, a virtue which implies all the moral virtues as well as good fortune. This has no parallel in the "Nicomachean Ethics". And then finally there is some discussion of speculative wisdom or ""theoria"".

The Eudemian Ethics (; ), sometimes abbreviated EE in scholarly works, is a work of philosophy by Aristotle. Its primary focus is on ethics, making it one of the primary sources available for study of Aristotelian ethics. It is named for Eudemus of Rhodes, a pupil of Aristotle who may also have had a hand in editing the final work. It is commonly believed to have been written before the "Nicomachean Ethics", although this is controversial.


History.

Third Century.

Asceticism in Egypt and Syria seemed to have more differences in doctrine and practice than what they shared together. The late third century shows two distinct groups pursuing celibacy, poverty and homelessness all for the sake of freeing their lives from the troubles of this world. However, the major dividing principle between the two groups was their leader in the movement.  Egyptians saw their figurehead as Anthony the Great, the founding father of Egyptian monasticism and cultivator of what dominant Egyptian monasticism had come to stand for by that time. Syrian monks on the other hand, based their purpose and practice on apostolic precedent; and more accurately, the life and teachings of Christ and his disciples. While this may seem presumptuous, it truly created a fundamental difference in the goals and direction of Syrian monks that sent them on a path toward meaningful interaction with the world that surrounded them.  Up until the late third century, both groups of Christians felt the pressures of their surrounding social and political world. The Egyptians, like the Persians, were marginalized and persecuted for their faith, but only until an emperor by the name of Constantine arrived on the scene. His conversion and Christian presence on the throne in Rome was felt dramatically throughout the Roman Empire. While many were excited about the influx of believers following Constantine's example, many others saw the mainstreaming of Sunday congregations as a negative influence on what Christ had actually called them to. They needed a higher call to discipleship, and certainly before the fourth century, there was the creation of the Egyptian monk. Conversely, Syriac Christianity never found itself in the mainstream of acceptability in its surrounding society. Because of this, "wanderers of third-century Syria introduce[d] a motive for practicing Christian asceticism that is different from anything we have found preserved in Egyptian desert tradition."  From its very beginning, Syriac Christianity was intrinsically an ascetical faith built on its reactions and adoptions from Marcionism, and Manichaeism among other cultural heresies which promoted the Christian faith as radical dedication and sacrifice; something monastic living the world over was centered on. Thus, the Syriac Christians heard Jesus’ words of "whoever wants to save his life will lose it," as a challenge to seek a drastic way of living which measures up to Jesus’ call for discipleship.  So what real difference did Christ as head of the monastic movement in Persia create? It was found in the Syrians’ refusal to flee from a culture in which they felt called to serve and transform. Unlike Egyptian monks who felt the need to escape the pressures of Roman rule in order to form Christ-like lives in an isolated desert, the marginalized Syriac ascetics remained enmeshed in the church and lost culture that surrounded them.  The overwhelming presence of Western monasticism was not totally foreign to the minds of Syrian Christians seeking the paths for ascetic life. Theodoret gives historians a beautiful rendition of the early individualistic tendencies in the monks of Syria in his book about their history. Notable examples of extreme asceticism were the "boskoi" "grazers", monks who lived in the wild and were often mistaken for strange animals. Wrapped in goatskins or straw mats, they avoided all forms of artificial clothing or shelter and only ate what they were given or they found already growing on the ground. Needless to say, this was an extreme form of an individualistic faith that led many well-intentioned monks to the tops of pillars for forty years and others to wearing their heads raw from beating it against the ground.  The regions of the Sasanian Empire stretched far and wide, creating great distances between Christian groups that were developing and expressing themselves in radically different ways. "We do know that it was extremely complex in its diversity – so much so that it is impossible to make assessments with regard to Christian orthodoxy from that period." Because there was no overarching rule governing the civilization of Christianity, (much like one might find in the neighboring Roman Empire), Christians were more free to slip around the dogmas of the Catholics and develop widely different understanding of living the Christian life. For example, in contrast to the staunch individualistic faith seen in the rural wildernesses around them, Christians in the Persian urban areas were more intent on creating a community of believers by creating and transforming it through Christian discipleship. "From the earliest times asceticism played an integral and affirming role in the communities and the faith of Syrian Christians... discipleship to Christ, lived out by laymen and women through varying degrees... constituted the highest expression of Christian life." Communal monasticism became more and more common during the early part of the fourth century, leaving behind the influences of the Egyptian ascetic paradigm.

Fourth Century.

During this crucial fourth century and beyond, the notions of individualistic faith changed and developed into the image of Christians as "strangers". Syriac Christians that began seeing themselves as "strangers" to the world did not mean they were isolated and removed from it, but rather they "assume[d] a special responsibility for it and power within it, drawn precisely from the status of ‘stranger’." Monks of this lineage acted as a missionary to his own community, a "teacher of children, healer, arbitrator... " They were missionally minded, building a life around hospitality to others, serving the poor, and standing up for cases of social justice. "For them, following Christ meant active engagement, as Christ’s representatives, with the ‘world’ they had renounced, rather than permanent social withdrawal."  It is out of this context that the "Sons and Daughters of the Covenant" were born. "We must be reminded that the first Christian impulses in the lands of the Euphrates and Tigris did not come from Hellenistic Christianity via Antioch but from Palestinian Jewish Christianity... these archaic conditions, which understood the qeiama as the whole congregation of celibates who alone were admitted to baptism and sacramental life, were tenacious and were able to last for generations." Living the life of celibacy and ascetic dedication to their Lord; the church thrived.  During this time however, historical records of the church in Syria indicate that a major shift took place, and it began to initiate the Roman concepts of church into their practice. This led to dividing grounds between the benai and benat qeiama against the married and vocational members who were also active participants in the world's society around them. It was at this moment that a crucial split could have taken place. There was opportunity for these two groups to separate, both willing to follow God with all of their hearts, but both understanding what it means to follow Jesus as radically different and conflicting. However, through reconciliation and the grace of God, they merged and adopted a syncretism of belief; understanding their spiritual growth as steps.  From the beginning of the fourth century, the Sons and Daughters of the Covenant saw their mission as deeply interwoven with the congregational church. No longer were Syriac Christians living the Christian life for themselves, it now operationally took "a church to raise a Christian." The members of the qeiama understood themselves to be what might be thought of today as deacons. They usually lived together or with their family members, but there are instances of the benat qeiama (daughters of the covenant) to have convents and other communal organizations with which they could live and study God's Word together. Each of them took the vow of chastity in becoming a member of the covenant, and through this vow they saw themselves vehemently as the "brides of Christ". They surrounded this practice with layers of strict doctrine that did not allow them to be out after dark or for the benat to live with a man, lest they fall into temptation. They even had a judicial law that sent a dysfunctional covenanter to a secluded monastery, and renaming them bart qeiama denoting their failure to live up to the life-covenant to which they were called.  Functionally in the congregation, these qeiama were students and servants of the clergy. This meant that there were certain rules against a Son or Daughter from becoming a hireling or staff for a farmer, or any other vocation – they were to be completely devoted to the works and ministries of the church. It is certain that members of the qeiama were directly involved with the worship service itself, "In Edessa the qeiama of women had a part in the liturgy, reciting the hymns composed by Ephrem." Outside of the worship service, the benai and benat qeiama were set to the task of serving and blessing others in the congregation, as well as those not connected to a place of Christian faith.  For example, a hospital was built from the efforts of one congregation's Covenant Group, and the structure of administering the hospital sheds light on how the roles and responsibilities of each member of the congregation was dispensed. "Active believers and energetic deacons were appointed to direct the work, but for the actual service, Rabbula employed the benai qeiama." Roles are mirrored for the women's hospital built nearby. Charities for lepers in their village, shelters for the poor and destitute, as well as other institutions of Christian love kept the hands and feet of the qeiama busy as they met the needs of a hurting world. These "monks" (if they can truly be called as such) were anything but removed from those who needed their love the most, making their presence a powerful and effective one in the surrounding community.  In their dedication to helping the poor to see God's love they became the centerpiece of the Christian community. One ancient source remarking on the necessity of the Covenant children boldly states, "the churches and monasteries will be constituted (or will have their existence) through them." The very purposes the church sought to fulfill were exemplified in these Sons and Daughters of the Covenant, thus creating a standard for all other members of the church, both clergy and lay, to strive towards.  While there was much good in the services of the Sons and Daughters of the Covenant, there had yet to develop in Syriac asceticism an institutional framework for spiritual development that would progress a Christian in his journey with God and man. Enter the Liber Graduum. A series of what might be called sermons or devotionals, the Liber Graduum or "Book of Steps" creates a concrete path for Christians to walk from the earliest steps of faith to the boldest leaps of evangelistic asceticism. This was all done in the context of community; there were no "Lone-Rangers" of the faith as is seen in Coptic spirituality. The audiences of the Liber Graduum, as well as those associated with other important works not developed here (such as Letters to Virgins), built a world for themselves that supported such reliance upon each other and corporate understanding.  "The Liber Graduum portrays a prime example of a community that summoned Christians to a higher view, but still viewed this life, body and Church as a part of God’s world." The Liber Graduum for early Syriac Christians was not just a commentary on Scripture that was kept on a dusty shelf in a library. The eclectic mēmrā or what might be translated "sermons" seem to indicate a wide variety of situations that a community faced compiled over many years.  Michael Kmosko was the first to translate and comment on the Liber Graduum in 1926, categorizing it with its contemporary Messalian heresy that was striking the Persian Church at its time of writing. A later commenter Daniel Caner described the Liber Graduum as a threat in the eyes of the common Christian public of its day, inciting rebellion against the institutional Church found all over the Roman Empire. Finally however, David Lane does a concise and well-balanced overview of the Liber Graduum.  Lane suggests that the author of the mēmrā in the Book of Steps was trying to wrestle (as was his community) with Jesus’ different calls of discipleship to different people. To some Jesus would ask only that they believe in Him, and they would be healed; to others Jesus demanded nothing short of their total renunciation of property and family before they could follow in His footsteps. To Lane, the Liber Graduum builds for its community a tension between these commands, bridging them into a sort of staircase; ascending in the levels of the Christian life.

Six Profiles.

The anonymous author of the Liber Graduum points out six profiles of the Christian life, and claims that each Christian must evaluate where they are, and where others are around them, and work as a community to struggle up the staircase towards holiness.  By far, the author spends the majority of his efforts focusing and developing the top two steps, the "Upright" and the "Perfect". The first nine mēmrā focus on the Perfect and the ways in which all other forms of spiritual living compare, yet are inferior to it. The Upright are called to fulfill the minor commandments in Scripture and the Perfect are to follow the major commands. According to the author's view of salvation, God does not hold the same requirements for each person in living out the life he has called them to live. An example of such a distinction is made in Mēmrā Fourteen, "The Upright discern good people from evil ones and are moved with compassion upon the latter; the Perfect consider [others] as better than themselves." The Upright were those who strove with everything they were to be radical followers of Jesus. The Perfect however, having given up all their possessions, and worldly relationships, (even family and wife in some instances ), were not only striving to be followers, they were seen as angels on Earth. These profiles are not necessarily a job description for those on the step, but a caricature of what the author is looking for and what he sees Jesus calling them to.  The next two groups he quickly sketches are the Sick and the Children. The Children, simply put, are infants in the faith. They are new to the experience of following Jesus and therefore little is expected of their spiritual dedication. In fact, the most significant command for the Children is that, in their fledgling commitment to Christ, they must stay away from negative influences (such as pagan friends, etc.) that might pull them back into the world they are trying to escape from. The Sick harm, judge, and condemn their neighbors, instead of forgiving them as an Upright or a Perfect one would do.  While there is little difference between the Upright and the Perfect, and the Disciples of Faith and the Disciples of Love respectively, the author sees a clear distinction. Without much more than a brief reference here and there, the Liber Graduum places the Disciples of Faith and the Disciples of Love in between the Upright and Perfect, as sort of bridge points for those on the track to becoming "Perfect". Instead of leaving Christians alone in their spiritual walks toward righteous living, these six silhouettes of faith in the Syriac Church enabled Christians to dream of where their journey of faith might be calling them next.  Just as with any black and white text that is designed to facilitate the lifestyles of a colorful and changing community, so the brothers and sisters living under the guidance of the Liber Graduum became increasingly confused and conflicted as to how they were to live with each other on different steps. Pastoral reactions to conflict and spite fill much of the pages of the Liber Graduum, working over a period of what could be years to smooth out the finer lines of relationship between those on differing steps.  There was internal conflict which was mostly frustration toward the Perfect. The author bereaves the elevated status of the Perfect, likening them unto "perfect" examples of the human race, one in which all humans can look to and model after. However, since they were merely to "love everyone" and yet had given up the majority of their relationships, many saw the Perfect as totally hypocritical and useless in bettering the community. Everyone had something against them, the poor thought the Perfect as wealthy and comfortable, the starving thought all the Perfect did was recline and eat the best foods.  Beyond this concern, certain familial and religious conflict within the community began its downward spiral into oblivion. Families were concerned with children on the path to becoming one of the Perfect or Upright, and many non-Christian family members were harassing the "Children" of the Faith and causing the Children to recede. The author warns his audience, passionately reminding them of the persecution Jesus foretold on those who followed His ways.

Liber Graduum.

The fact that the author of the Liber Graduum sees his church as collapsing morally and spiritually is a key to understanding the reason and purpose behind the book. In Mēmrā Twenty-Nine, he admonishes his community for their slack behavior and spiritual laziness. He mourns the former days when the community was more dedicated to the principles outlined in earlier sermons. "We teach these others, but we do not teach ourselves... we talk about these [predecessors], but do not act like them." It is possible that those Perfect and Upright were beginning to relax in their dedication to holy living, pursuing instead a more dualistic understanding of the world. This understanding helped them feel above the need for prayer or compassion, with influences coming possibly from the current Messalian heresy that held similar views. As the community loses focus on the "journey" image and function of the Christian life, they move further into decline. Instead of hearing the author's message as "steps toward godliness" it is possible that those in the community felt they were more a part of a caste system in which was impossible to progress.  The value of an integrated spiritual community was obvious to the author of the Liber Graduum. His dream to house the deepest ascetics and newborns in the faith under the same congregational roof was a powerful one. As a pastor of the community, he could never come alongside every single member and nudge them towards righteousness in God; just as with all things in Syriac Christianity of that time, it had to be a communal effort. Building a tightly knit spiritual group of people that depended on each other led to mentorship among those on the "steps" that could not have happened in more individualistic settings. With the author's dream realized, all members could potentially teach and be taught by other members of the group, forming and equipping skills necessary for the Christian life for that time. This was a beautiful dream, and a fascinating reality.

The Members of the Covenant were an important part of early Syriac Christianity. Before the advent of monasticism proper (which developed in the desert of Egypt), most Syriac churches would consist of a community focused around the members of the covenant: men and women who had committed themselves to sexual abstinence and the service of the church. This name is the English translation of the Syriac "bnay qyāmâ" (ܒܢܝ ܩܝܡܐ), literally "sons of the covenant". A male member of the covenant was called "bar qyāmâ" (ܒܪ ܩܝܡܐ), or "son of the covenant"; a female member was "bat qyāmâ" (ܒܪܬ ܩܝܡܐ), or "daughter of the covenant".


Description.

The doubleband surgeonfish is a deep-bodied, laterally-compressed oval fish, rather over twice as long as it is deep, with a maximum length of, although a more typical length is. The colour is variable, the sexes being similar except in the breeding season, when the mature male takes on a distinctive appearance. This fish is usually orange-beige, olive-tan or steely grey, but can turn a dark brown shade flushed with red or purple when stressed. A dark line runs along the base of the dorsal fin with a similar line at the base of the anal fin. There are two dark streaks behind the eye, and the scalpel-like scales that project from the caudal peduncle are blackish and surrounded by a large black spot with a bluish border. Both dorsal and anal fins are long, extending as far as the caudal peduncle. The caudal fin is crescent-shaped, the points growing longer as the fish ages. It is rimmed by a band of bluish-white.

Distribution and habitat.

This species has a wide distribution across the tropical and subtropical Indo-Pacific region; its range extends from East Africa and Madagascar to southern India, Sri Lanka, Malaysia, Thailand and Indonesia. It occurs on rocks and coral reefs, on the reef slopes and in the channels between reefs, at depths down to about.

Ecology.

The doubleband surgeonfish feeds on algae growing on the seabed and detritus, as well as the algal film that grows on sand and other substrates. Breeding involves the liberation of sperm and eggs into the sea. The larvae are pelagic, and return to the reef habitat about seven weeks later. The juveniles form mixed species groups with other fish species; at first they may be black, or yellow with a black eye ring, but later they resemble the adult fish, apart from the black markings behind the eye, which at one stage in juvenile development is horseshoe-shaped. This fish feeds in the open during the day, often in small groups with parrotfish and other species.

Status.

This is a common fish in much of its range. It is sometimes caught for human consumption and for use in the aquarium trade. It is susceptible to the destruction of the reef habitats in which it lives, but is found in several marine protected areas. The International Union for Conservation of Nature has rated its conservation status as being of "least concern".

The doubleband surgeonfish or lieutenant tang ("Acanthurus tennenti"), is a marine ray-finned fish in the family Acanthuridae. It is found in the tropical and sub-tropical Indo-Pacific region and grows to a maximum length of.


Early life and education.

Lescroart was born in Houston, Texas, and graduated from Junípero Serra High School in San Mateo, California (Class of 1966). He earned a B.A. in English with Honors at UC Berkeley in 1970.

Career.

Before becoming a full-time writer in 1994, Lescroart was a self-described “Jack of all trades", who worked as a word processor for law firms as well as a bartender, moving man, house painter, editor, advertising director, computer programmer, and fundraising executive.  Through his 20s, he was also a full-time singer-songwriter-guitarist, and performed under the name Johnny Capo, with Johnny Capo and his Real Good Band.  In addition to more than 20 novels, Lescroart has written several screenplays.  He is an original founding member of the group International Thriller Writers.

In other media.

He appeared as a contestant on the game show "Tic Tac Dough" in 1979, as well as on "The Joker's Wild", "Blank Check", and "Headline Chasers".  Additionally, under Crow Art Records, Lescroart has released several albums, including a CD of piano versions of his songs performed by Antonio Gala. He has for some time been writing and living in Davis, California.

Awards and honors.

Lescroart's first novel, "Sunburn" (1981), won the San Francisco Foundation's Joseph Henry Jackson Award for best as yet unpublished novel by a California author, beating Anne Rice's "Interview With the Vampire". "Dead Irish" (1989) and "The 13th Juror" (1994) were nominees for the Shamus and Anthony Awards for Best Mystery Novel, respectively; additionally "The 13th Juror" is included in the International Thriller Writers publication “100 Must-Read Thrillers Of All Time.” "Hard Evidence" (1993) is named in "The Complete Idiot’s Guide to the Ultimate Reading List". His novel "Guilt" (1997) was a Readers Digest Select Edition choice. "The Mercy Rule" (1998), "Nothing But the Truth" (2000), and "The Suspect" (2007) have been major market Book Club selections. "The Suspect" was also the 2007 One Book Sacramento choice of the Sacramento Library Foundation, and was chosen by the American Author's Association as its 2007 Book of the Year. "Damage" (2011) made "Entertainment Weekly’s" “Must List.”  In 2007, Lescroart was awarded the American Author Medal for "The Suspect". In 2008, he was part of the California Library Laureates, in association with the California State Assembly. He has twice been the spotlighted guest at the International Thriller Writer's Thrillerfest, and in 2012, he was the guest of honor at Left Coast Crime.  In 1998, he appeared in "The Best American Mystery Stories", edited by Sue Grafton, for "The Adventure of the Giant Rat of Sumatra".  Libraries Unlimited has included Lescroart in its publication "The 100 Most Popular Thriller and Suspense Authors."  "Guilt" was a ""Readers Digest" Select Edition" choice.  Eighteen of John Lescroart's novels have been The New York Times Best Seller list.

Bibliography.

Auguste Lupa series.

[It is strongly hinted in these books that Lupa (the son of Sherlock Holmes and Irene Adler) later becomes Nero Wolfe, although Wolfe is never mentioned by name.]  Lescroart's most popular works are a series of legal and crime dramas taking place in and around San Francisco, beginning with the thriller "Dead Irish". They center around the adventures of ex-cop and lawyer, Dismas Hardy, and his best friend, officer Abe Glitsky, among many other friends and associates. His newest works introduce Wyatt Hunt, working as a private investigator. Although they are often performing together in the story, the books can be distinguished by which character is the main protagonist. Hardy's daughter, Rebecca, first appears as the main character in the novel "The Fall", following her graduation from law school and joining Hardy's law firm as an associate attorney.

Abe Glitsky (featured protagonist).

The events of "A Certain Justice" happen chronologically between Parts IV and V of Guilt.  Lescroart wrote "A Certain Justice" before "Guilt", and in the course of writing it, he came up with Wes Farrell's account of the trial that made him lose faith in the law. After finishing "Justice", he decided "Guilt" would go both backwards and forwards and tell the whole story of Mark Dooher.

John Lescroart (; born January 14, 1948) is a "New York Times" bestselling author known for his series of legal and crime thriller novels featuring the characters Dismas Hardy, Abe Glitsky, and Wyatt Hunt. His novels have sold more than 10 million copies, have been translated into 22 languages in more than 75 countries, and 18 of his books have been on the "New York Times" bestseller list.


Rise to power.

Since the Khoshut invasion of Central Tibet in 1641-42, Tibet had been governed through a tripartite division of power. While the Dalai Lama was the supreme spiritual ruler, the Khoshut khan controlled the armed forces and carried the title of "Dharma king, Protector of the Faith". Executive power was delegated to a regent or "desi" who was originally a formal appointee of the Khoshut king. After 1655 the Khoshut kings were, however, rather weak figures who enabled the Fifth Dalai Lama to wield great personal influence. His death in 1682 was kept secret until 1697, and the "desi" Sangye Gyatso, rumoured to be a son of the Dalai Lama, governed Tibet. He entertained close contacts with Galdan Boshugtu Khan, the ruler of the emerging Dzungar Khanate of Inner Asia, with the aim of countering the role of the Khoshuts in Tibetan affairs. It was only in 1697 that the Sixth Dalai Lama was installed, to the great irritation of the Qing Kangxi Emperor who had been kept in the dark about the matter, and furthermore was an enemy of the Dzungar rulers. It was in this situation that Lha-bzang Khan came to power. According to the usual version of the events, Lha-bzang succeeded as Dharma king by poisoning his brother Vangjal (Tenzin Wangchuk Khan), who ruled in 1696-1697 or, more probably, in 1701-1703. According to an alternative study, he was peacefully enthroned on the recommendations of the Sixth Dalai Lama, since his brother was sickly. Before his enthronement he had lived his life in the nomadic area at the Kokonor Lake, and never visited Lhasa until 1701.

The murder of the regent.

The Sixth Dalai Lama turned out to be a talented but boisterous young man who preferred poetry-writing and the company of young women to monastic life. In 1702 he renounced his monastic vows and returned to lay status but retained his temporal authority. In the next year Sangye Gyatso formally turned over the regent title to his son Ngawang Rinchen, but in fact kept the executive powers. Now, a rift emerged within the Tibetan elite. Lha-bzang was a man of character and energy who was not content with the effaced state in which the Khoshut royal power had sunk since the death of Güshi Khan. He set about to change this, probably after an attempt by Sangye Gyatso to poison the king and his chief minister. Matters came to their head during the Monlam Prayer Festival in Lhasa in 1705, which followed the Tibetan New Year (Losar). During a grand meeting with the clergy, Sangye Gyatso proposed to seize and execute Lha-bzang Khan. This was opposed by the cleric Jamyang Zhepa from the Drepung Monastery, the personal guru of Lha-bzang. Rather, the Dharma king was strongly recommended to leave for Kokonor (Qinghai), the usual abode of the Khoshut elite. He pretended to comply and started his journey to the north. However, when he reached the banks of the Nagchu River (north-east of Central Tibet), he halted and began to gather the Khoshut tribesmen. In the summer of 1705 he marched on Lhasa and divided his troops in three columns, one under his wife Tsering Tashi. When Sangye Gyatso heard about this he gathered the troops of Central Tibet, Ngari and Kham close to Lhasa. He offered battle but was badly defeated with the loss of 400 men. The Panchen Lama Lobsang Yeshe tried to mediate. Realizing that his situation was hopeless, Sangye Gyatso gave up resistance on condition that he was spared and was sent to Gonggar Dzong west of Lhasa. However, the vengeful queen Tsering Tashi arrested the ex-"desi" and brought him to the Tölung Valley where he was killed, probably on 6 September 1705.

Qing influences and the question of the Dalai Lama.

With this feat Lha-bzang was acknowledged as king, "gyalpo tripa". He also carried the courtesy title of Jingis Khan, and is usually known by that name among European visitors. His position was not entirely secure, and he resorted to some acts of violence; thus he killed the head of the Sera Ma College and flogged or imprisoned several persons in the Tsang region. Meanwhile, the Kangxi Emperor was eager to gain a degree of influence in Tibet, for the reason that the hostile Dzungar khans adhered to Tibetan Buddhism. If the Dzungar elite secured the support of the Dalai Lama it would affect the loyalty of the Mongols under Qing suzerainty. Lha-bzang Khan on his side looked for support with the Qing court and sent a report about the civil war of 1705 to the emperor, who approved his actions. As a reward for ridding him of his old enemy the "desi", Kangxi appointed Lha-bzang Regent of Tibet (). The emperor considered the Sixth Dalai Lama to be spurious and asked Lha-bzang to send him to Beijing. The king realized the possible reaction among the Tibetan population which still largely adhered to the libertine hierarch, but finally resolved to comply with the request. Accounts differ as to whether the king was sincerely offended by the Sixth's scandalous behavior, or he merely used it as an excuse. He summoned a clerical meeting and asked the lamas to disavow the Dalai Lama as an incarnation of Avalokiteshvara. The lamas, however, refused to agree and stated that Tsangyang Gyatso was the true Dalai Lama in spite of his shocking behaviour. They did, however issue a declaration that the spiritual enlightenment no longer dwelt in the young man.

The dethronement of the Dalai Lama.

Lha-bzang Khan now took action and brought out the Dalai Lama from the Potala Palace on 11 June 1706. Sixteen days later, he was declared deposed and was told of the emperor's order by the Chinese envoy. As he departed for Beijing, an angry crowd attacked the escort, freed the Dalai Lama and brought him to the Summer Palace at Drepung. The palace was soon surrounded by Khoshut troops and Dalai Lama let himself be taken to avoid a general massacre. Drepung was nevertheless stormed and sacked. The Dalai Lama was again sent towards the imperial court but died by the Kunga Nor Lake in Qinghai on 4 November. Rumours had it that he was murdered, but official accounts state that he died from illness. The king then found a monk from Kham, Ngawang Yeshe Gyatso, born in 1686, who was proclaimed the true reincarnation of the Fifth Dalai Lama (being a Seventh, according to Stein, or a new/real Sixth, according to Smith and Mullin). This person was in fact believed to be the son of Lha-bzang Khan himself. He was however enthroned without consulting with the religious authorities. Tibetans as well as Lha-bzang's Khoshut rivals strongly rejected the would-be Dalai Lama. Kangxi recognized Lhazang's choice, but hedged his bets considering the opposition from other Khoshuts and from the Tibetans. After some time a boy was discovered in Lithang in eastern Tibet who was believed to be the reincarnation of Tsangyang Gyatso. The boy, later known as Kelzang Gyatso was recognized by Güshi Khan's youngest son Tashi Batur (1632-1714) and another Khoshut prince called Amdowa. Kangxi showed interest for the boy although he did not recognize him yet. After 1715 he lived under imperial protection in Kumbum.

The governance of Lha-bzang Khan.

A major calamity struck the country in 1709. Tsang and Toh (West Tibet) suffered a severe earthquake which destroyed houses and killed lots of people. The central authorities sent relief to the afflicted areas, but this was insufficient and several towns had to be abandoned. In his foreign policy Lha-bzang had to cope with Chinese ambitions to turn his kingdom into a protectorate. The Manchu official Heshou was sent to Tibet in 1709 with the mission of supervising the king and watch against dissatisfied elements in society. Moreover, he collected geographical data used by European Jesuits in imperial service to draw accurate maps of the country. Nevertheless, the Qing commissioner was not supported by any Chinese troops, and was recalled in 1711. This left Lha-bzang Khan supreme in Tibet for the moment. A war with Bhutan broke out in 1714. Lha-bzang led the operations in person, invading Bhutan with three columns. However, he scored but limited success and soon withdrew the troops. The unsatisfactory result did not improve his standing in Tibet. The same may be said about his interest for the Catholic missionaries who visited Tibet in his reign, foremost among them Ippolito Desideri, whose anti-Buddhist rhetoric he sometimes seemed to endorse. In fact, Tibetan sources indicate that Lha-bzang was a pious Buddhist who had a good understanding of sutras and tantras. He built a new assembly hall at the Sera Monastery, moved the Urgé College that his ancestor Güshi Khan had established in Dam, and supported a new tantric college. He favoured the various monastic schools without discrimination, in particular the dominating Gelugpa school. In spite of such tokens of piety, the adverse attitude of the Buddhist clergy undermined his position.

Dzungar invasion.

According to one version, a number of clerics and officials, resentful of Lha-bzang Khan's grab of power, sent a letter to the court of the Dzungar Khanate in western Mongolia, asking the ruler Tsewang Rabtan to avenge the death of Sangye Gyatso. This is somewhat doubtful, since a contemporary source makes clear that Tsewang Rabtan did not like the murdered "desi". More important were the strategical interests of the Dzungar elite. If they were able to conquer Tibet and place the boy Kelzang Gyatso on the throne of Lhasa, they might enlist the support of the Tibetans and Khoshuts in their enterprises against the Qing Empire. The parts of Mongolia under Manchu domination could then be attacked on two fronts, helped by the great authority of the Tibetan Buddhist institutions. In 1714, Lha-bzang anyway received a message from Tsewang Rabtan. There were many marital connections between the Khoshut and Dzungar princes, and Tsewang Rabtan was married to Lha-bzang's sister. Now the Dzungar lord proposed that his daughter may marry Lha-bzang's son Ganden Tenzin. Lha-bzang consented in spite of some doubts about Dzungar intentions. However, when Ganden Tenzin arrived to the Dzungar lands to pick up his bride, he was seized and kept prisoner by Tsewang Rabtan. After three years, in 1717, the Dzungar ruler appointed his brother Tsering Dondup to invade Tibet with an army of 7,000 cavalry, after having executed Ganden Tenzin. The horsemen did not take the usual route through the Kokonor region, but rather invaded via Yarkand and from there entered north-western Tibet. It was quite an astonishing feat which took the Khoshut regime by complete surprise.

Death.

Lha-bzang Khan was staying in the Dam region when he heard about the unexpected invasion. At this time he was an old man, overweight and a heavy drinker. His able officer Pholhane suggested the king guard the pass between Dam and Lhasa with musketeers, but Lha-bzang preferred to meet the enemy on the open plain. Meanwhile, Dzungar spies spread the word that they had come to avenge the death of Sangye Gyatso, return power over the country to the Tibetans themselves, and expel the "false" Dalai Lama Ngawang Yeshe Gyatso. This had effect. The troops of Lha-bzang were defeated and withdrew to Lhasa which was hastily put in a state of defence. The city was besieged by the Dzungars and eventually stormed on a dark night at the end of November. Treason helped the enterprise since ladders were dropped down the fortified walls. The king withdrew to the Potala after most of his loyal troops had been massacred. He then sent his other son Surya to fetch reinforcement in Kokonor, but the prince was captured by the invaders. Seeing that everything was lost, the king rode out from Potala in the night of 3 December 1717 with a handful of followers, desperately trying to escape. However, his horse was stuck in the mud and fell down. The fallen ruler engaged the pursuing enemy in fierce hand-to-hand combat. Eleven Dzungars fell by his hand before he was cut down. Meanwhile, a smaller Dzungar force of 300 attempted to retrieve Kelzang Gyatso from Kumbum, but was defeated by Kangxi's troops. The Dzungars, initially welcomed by the Tibetans amidst expectations that they would free them of Lha-bzang and enable the installation of Kelzang Gyatso, lost Tibetan goodwill quickly by looting Lhasa and persecuting the Nyingma.  Glenn Mullin portrays Lha-bzang Khan as a pious man who cultivated Tibetan religious authorities in every way possible, who was nevertheless rejected by the Tibetans because he was the first foreigner in almost 500 years to rule Lhasa. He is described as "a most liberal prince, very enlightened, and broad-minded in matters of religion, extremely fond of foreigners, and an administrator of rare wisdom."

Lha-bzang Khan (; Mongolian: "Lazang Haan"; alternatively, Lhazang or Lapsangn or Lajang; d.1717) was the ruler of the Khoshut (also spelled Qoshot, Qośot, or Qosot) tribe of the Oirats. He was the son of Tenzin Dalai Khan (1668–1701) and grandson (or great-grandson) of Güshi Khan, being the last khan of the Khoshut Khanate and Oirat King of Tibet. He acquired effective power as ruler of Tibet by eliminating the regent ("desi") Sangye Gyatso and the Sixth Dalai Lama, Tsangyang Gyatso, but his rule was cut short by an invasion by another group of Oirats, the Dzungar people. At length, this led to the direct involvement of the Chinese Qing Dynasty in the Tibetan politics.


Biography.

Canellas, son of a Spanish father and a German mother, was born in Plauen, Saxony, in 1921. After the end of World War II he spent some time in Spain and then moved to Hesse and adopted German citizenship. He became the managing director of a fruit importer in Frankfurt.  In 1964 Canellas became chairman of Kickers Offenbach, a club then playing in the second division Regionalliga Süd. Offenbach won promotion to the Bundesliga in 1968 and 1970 but suffered immediate relegation on both occasions.  The day after the end of the 1970–71 Bundesliga season Canellas invited officials of the German Football Association and the press to his 50th birthday celebration. It was there that he broke the 1971 Bundesliga scandal by replaying voice recordings he had made of attempts to manipulate Bundesliga games through bribes. Earlier attempts to inform the German Association had been ignored by the latter. Canellas stepped down immediately as chairman of Kickers Offenbach and was initially banned for life from holding any office at a German football club but this ban was lifted in 1976. The following scandal took 18-months to clear up and saw 52 players and two managers banned and fined.  Canellas retired from his business in 1974. On a flight from Mallorca to Frankfurt in 1977 the plane he was on, Lufthansa Flight 181, was hijacked by members of the PLO and the hostages were later freed by the German counter-terrorism unit GSG 9 in Mogadishu.  Canellas died of lung cancer after a long illness in Offenbach in 1999.

Horst-Gregorio Canellas (6 June 1921 – 23 July 1999) was a German entrepreneur and football official. Canellas is best known for his role in breaking the 1971 Bundesliga scandal. He was also a hostage on the hijacked German Lufthansa Flight 181 in 1977.


Taxonomy.

The species was first described in 1876 by Julius von Haast, director of the Canterbury Museum, Christchurch, New Zealand. He named it after the British taxonomist John Edward Gray, a zoologist at the British Museum. His description was based on three skulls he had received in May 1875 from a William Hood, Esq., who had retrieved them from three specimens that were part of a group of 28 individuals that had stranded on Waitangi Beach, Chatham Island, in the summer of 1874-75.

Description.

Gray's beaked whale is a fairly slender member of the genus. The melon on the whale bulges towards the blowhole and slopes down towards the beak. The beak itself is very long and pointed for a beaked whale, and has a relatively straight mouth line. In both sexes, 17–22 small teeth per row located towards the back of the mouth have been reported, but not confirmed. In males, two small, triangular teeth are present halfway down the mouth. The overall coloration is dark on top and light below, and both sexes have a white beak. Females are lighter on top and have additional white markings near the genitals. Adult males often carry linear scars that probably result from fighting, and both males and females may display circular scars from cookiecutter shark bites. "M. grayi" are long and weigh around. They are believed to be around long when born.

Behavior.

Gray's beaked whale is very gregarious. It has a tendency to strand in large groups, once involving 28 individuals. Other strandings involved five to eight animals. The upper teeth may be used in holding prey, but why only this species has them is not clear.  Gray's beaked whale is said to be the most common species of whale to beach in New Zealand. Two whales that stranded themselves on Opape Beach in the Bay of Plenty, New Zealand, in December 2010, were initially thought to be Gray's beaked whales, but later found to be the very rare spade-toothed whale.

Population and distribution.

This species typically lives in the Southern Hemisphere between 30 and 45°, and is typically observed at depths of. Many strandings have occurred off New Zealand, but others have happened off Australia, South Africa, South America, and the Falkland Islands. This species has been sighted in groups off the coast of Madagascar and in the Antarctic area. Oddly, one specimen stranded off the Netherlands, in a different hemisphere and several thousand miles away from all other strandings. No population estimates exist, but they are believed to be rather common.

Conservation.

These whales have not been hunted deliberately and they have not been entangled in fishing gear. Gray's beaked whale is included in the Memorandum of Understanding Concerning the Conservation of the Manatee and Small Cetaceans of Western Africa and Macaronesia (Western African Aquatic Mammals MoU) and the Memorandum of Understanding for the Conservation of Cetaceans and Their Habitats in the Pacific Islands Region (Pacific Cetaceans MoU)

Gray's beaked whale ("Mesoplodon grayi"), sometimes known as Haast's beaked whale, the scamperdown whale, or the southern beaked whale, is one of the better-known members of the genus "Mesoplodon". This species is fairly gregarious and strands relatively frequently for a beaked whale. In the Māori language, this species is called "hakurā" or "iheihe".


Early life.

Gustav Wilhelm Hermann Scholz was born to a blacksmith and a housewife in Berlin. In 1944 he began an apprenticeship as a mechanic, and after the end of the Second World War he was trained as chef.

Career.

In 1947, Scholz attended a boxing school in Berlin. On 8 October 1948, he was a last-minute replacement for a professional match against Werner Eichler, though he had not previously competed as an amateur, and he won the fight. Eicher was injured so badly that he had to postpone his wedding which was scheduled to be held the next day. Scholz logged his first defeat on 10 March 1958 against Charles Humez.  On 19 May 1951, Scholz won a points victory against defending champion Walter Schneider and became the German champion in the welterweight category for the first time. He defended his title successfully against Charles Oechsle and Leo Starosch in 1952. At the end of 1952, Scholz put his championship title in the welterweight division and stepped down from the middleweight category. In 1954 he appeared in Madison Square Garden in his first U.S. match, defeating American boxer Al Andrews. In 1955 he was diagnosed with tuberculosis, which forced him to take a one and a half year sabbatical.  After recovering from his illness, he won a knockout match against defending champion Peter Müller in a 29 June 1957 German middleweight championship. He defended the title with another knockout victory in May 1958 against Max Resch. On 4 October 1958, he defeated Charles Humez in Berlin's Olympiastadion by technical knockout in the 12th round, and thus won the European Championship in the middleweight division. Humez announced his retirement on 18 January 1989. Scholz successfully defended both titles against Hans Werner Wohlers (by point victory in July 1959) and against Peter Müller (by technical knockout in the first round in November 1959). He successfully defended his European title against Andre Drille in December 1959. In the same year, he published the book "Ring Free" with memories of the beginnings of his career.  In 1961 Scholz put down his two middleweight title and moved to the light heavyweight division. In this class, he lost a fight against Harold Johnson for the championship on 23 June 1962, but on 4 April 1964, he won the European light heavyweight championship against defending champion Giulio Rinaldi. After that, Scholz finished his boxing career.  Between 1948 and 1964 Scholz had a total of 96 fights, of which he won 88, including 46 by knockout; only two times he lost, both on points. His success as a boxer earned him great popularity in Germany, especially in the 1950s and 1960s when he was compared to Max Schmeling, the most prominent boxing star of Germany.  His success in boxing brought him a short-lived career in the entertainment industry. He appeared in 1960 as Boxer Breitenbach in the television production "The Champion Boxer". That same year, he played the role of Ralf Moebius in Paul Martin's musical comedy "Marina". In the "Music Film Hit Parade 1961" by Franz Marischka, he was known as Ralf Hegener. In 1959 and 1962 he collaborated with the Werner Müller orchestra and the vocal group The 3 Travellers at Telefunken and Metronomes, and released three music singles.

1965-1984.

Following his career as a professional boxer, Scholz opened the advertising agency Zühlke and Scholz in Berlin, trying to build on his popularity as an athlete. In 1971 he was seen in a supporting role as a police officer in Thomas Engel's teleplay "Lucky". In 1977 he made a guest appearance as a boxing coach in the 20th episode of the TV comedy series "Odds and Ends". In 1980 he published his autobiography, "The Way Out of Nowhere", but received negative publicity in those years due to his drinking habits.

1984-2000.

On the evening of 22 July 1984, Scholz shot his 49-year-old wife Helga, whom he had married in 1955, in their Berlin villa. He was arrested the following day. Helga was buried two weeks later in the presence of approximately 1,000 people. Scholz claimed the shooting was an accident and that the "shot had been loosened during the cleaning of the gun". On 1 February 1985, the court sentenced him to custodial arrest for three years on the charge of manslaughter and violation of the Arms Act of Germany. The case was the subject of an episode of the documentary series "The Major Criminal Cases" in 2012. Scholz was released in August 1987.  In October 1993, Scholz married Sabine Arndt. During 1997-98, he suffered several strokes, and developed dementia. He tried to commit suicide twice. He had also been diagnosed with Alzheimer's disease. He died of cardiac arrest on 21 August 2000 at a nursing home in Hoppegarten. He was buried in the Woodland Cemetery in Zehlendorf, Berlin. His widow Sabine married actor Klaus Jürgen Wussow in 2004. In August 2008, at the request of Sabine, Scholz's body was reburied at the Berlin Cemetery highway.

"The Bubi Scholz Story".

In 1997-98, director Roland Suso Richter filmed "The Bubi Scholz Story" for television from a screenplay by Uwe Timm, with Benno Fürmann in the role of young Scholz and Götz George playing the adult Scholz. Scholz himself could not attend the premiere of the film in May 1998 due to his poor health. This was Fürmann's breakthrough starring and he received the German TV Award as Best Actor in a telefilm, for the role of Scholz.

Gustav Wilhelm Hermann "Bubi" Scholz (12 April 1930 – 21 August 2000) was a German boxer. He was popularly called Bubi. In the 1950s and early 1960s he won the German National Boxing Championship and European Boxing Championship several times. After his retirement in 1964, he acted in six films and several TV series. Scholz married twice, and was imprisoned for three years on charges of murdering his first wife. He developed dementia and was diagnosed with Alzheimer's disease in his later life. He attempted suicide twice and died at the age of 70 due to cardiac arrest.


History.

Oberiberg is first mentioned around 1217-22 as "Yberge". Until the separation, in 1884, into Unteriberg and Oberiberg the independent municipality was known simply as Iberg.

Geography.

Oberiberg has an area,, of. Of this area, 50.2% is used for agricultural purposes, while 39.1% is forested. Of the rest of the land, 1.9% is settled (buildings or roads) and the remainder (8.8%) is non-productive (rivers, glaciers or mountains).  It consists of the village of Oberiberg and the hamlet of Hoch-Ybrig.

Demographics.

Oberiberg has a population (as of ) of., 7.1% of the population was made up of foreign nationals. Over the last 10 years the population has grown at a rate of 4.7%. Most of the population () speaks German (98.2%), with Portuguese being second most common ( 0.4%) and Albanian being third ( 0.3%).  In the 2007 election the most popular party was the SVP which received 62.1% of the vote. The next three most popular parties were the CVP (19.1%), the SPS (8.6%) and the FDP (7.2%).  In Oberiberg about 56.6% of the population (between age 25-64) have completed either non-mandatory upper secondary education or additional higher education (either university or a "Fachhochschule").  Oberiberg has an unemployment rate of 0.8%., there were 98 people employed in the primary economic sector and about 41 businesses involved in this sector. 41 people are employed in the secondary sector and there are 11 businesses in this sector. 134 people are employed in the tertiary sector, with 49 businesses in this sector.  From the, 557 or 77.6% are Roman Catholic, while 95 or 13.2% belonged to the Swiss Reformed Church. Of the rest of the population, there are 5 individuals (or about 0.70% of the population) who belong to the Orthodox Church. There are less than 5 individuals who are Islamic. 33 (or about 4.60% of the population) belong to no church, are agnostic or atheist, and 24 individuals (or about 3.34% of the population) did not answer the question.  The historical population is given in the following table:

Weather.

Oberiberg has an average of 163.6 days of rain per year and on average receives of precipitation. The wettest month is July during which time Oberiberg receives an average of of precipitation. During this month there is precipitation for an average of 15.4 days. The month with the most days of precipitation is June, with an average of 16.5, but with only of precipitation. The driest month of the year is October with an average of of precipitation over 15.4 days.

Oberiberg is a village and municipality in Schwyz District in the canton of Schwyz in Switzerland. The municipality comprises the village of Oberiberg and the hamlet and ski area of Hoch-Ybrig.