Overview.

"Aerial" is Bush's first double album, and was released after a twelve-year absence from the music industry during which Bush devoted her time to family and the raising of her son, Bertie. The anticipation leading up to the album's release was immense, with press articles devoted to Bush being printed months, even years before. Like Bush's previous album, "The Red Shoes", "Aerial" does not feature a cover photograph of Bush, but rather one that is emblematic of the album's celebration of sky, sea, and birdsong. The cover image, which seems to show a mountain range at sunset reflected on the sea is in fact a waveform of a blackbird song superimposed over a glowing photograph.  "Aerial" is one of Bush's most critically acclaimed albums. Musically, the album is a multi-layered work, incorporating elements of folk, Renaissance, classical, reggae, flamenco, and rock. As with 1985's "Hounds of Love", the album is divided into two thematically distinct collections. The first disc, subtitled "A Sea of Honey", features a set of unrelated songs including the hit single "King of the Mountain", a Renaissance-style ode to her son "Bertie", performed with period instruments, and "Joanni", based on the story of Joan of Arc. In the song "formula_1", Bush sings the number to its 78th decimal place, then from its 101st to its 137th decimal place. The piano and vocal piece "A Coral Room", dealing with the loss of Bush's mother and the passage of time, was hailed by critics as "stunning" in its simplicity, "profoundly moving" and as "one of the most beautiful" pieces Bush has ever recorded.  The second disc, subtitled "A Sky of Honey", consists of a single piece of music revelling in the experience of outdoor adventures on a single summer day, beginning in the morning and ending twenty-four hours later with the next sunrise. The songs are saturated with the presence of birdsong, and all refer to the sky and sunlight, with the sea also featuring as an important element. Beginning with blackbirds singing in the dawn chorus, a woodpigeon cooing, solo piano, and Bush's son saying, "Mummy, Daddy, the day is full of birds," the piece begins with an early morning awakening to a beautiful day of sun shining "like the light in Italy"; it proceeds through a visit with a painter who is working on a new piece of pavement art ("An Architect's Dream" and "The Painter's Link") and then passes on to a crimson "Sunset". The interlude "Aerial Tal", consists of Bush imitating various samples of birdsong, while "Somewhere in Between" celebrates the ambiguous nature of dusk. "Nocturn", features a pair of lovers bathing in the sea after dark under a star-studded "diamond sky". The song cycle ends with "Aerial" and its euphoric welcome of the following morning's sunrise with the refrain "I need to get up on the roof...in the sun."  "A Sky of Honey" features Rolf Harris playing the didgeridoo and providing vocals on "An Architect's Dream" and "The Painter's Link". Other guest artists include Peter Erskine, Eberhard Weber, Lol Creme and Procol Harum's Gary Brooker. In one of his final projects before his death in 2003, long-time Bush collaborator Michael Kamen arranged the string sections, performed by the London Metropolitan Orchestra.  In the 2014 series of concerts in London, Before the Dawn, Bush performed "King of the Mountain," "Joanni" and the whole "Sky of Honey" song cycle live for the first time.

Reception.

On 13 November 2005, "Aerial" entered the UK Albums Chart at number three, selling more than 90,000 copies in its first week on release. In Canada, the album was certified Platinum (100,000 copies sold). On 10 January 2006, Bush was nominated for two BRIT Awards for Best British Female Solo Artist and Best British Album for "Aerial". On 27 January 2006, the album went up against "Demon Days" by Gorillaz and "Coles Corner" by Richard Hawley in the pop category of the South Bank Show's Annual Arts Awards, but was beaten by Hawley. UK music magazine "Mojo" named it their third best album of 2005, behind "I Am a Bird Now" by Antony and the Johnsons and "Funeral" by Arcade Fire. Rob Chapman, writing in "The Times" stated that "...its closing triptych, Somewhere in Between, Nocturn, and Aerial, represents the most joyous and euphoric finale to an album that you will hear all year."

Single.

The only single from the album was "King of the Mountain". The song makes references to Elvis Presley and the film "Citizen Kane". The track was played for the first time on BBC Radio 2 on 21 September 2005, and was made available for download on 27 September. The B-side (or second track) of the single was a Marvin Gaye cover, "Sexual Healing", recorded in 1994, and was not available on any of her albums until the release of the compilation The Other Sides in 2018. The single entered (and peaked in) the UK singles chart at, and gave Bush her first top-five hit in twenty years and her third-highest singles chart placing. The song also peaked at on the UK download chart.

Re-releases.

As of mid-May 2010, "Aerial" was released for the first time on iTunes. The second disc, "A Sky of Honey" now runs as one continual track, and changed the name into "An Endless Sky of Honey". In August 2010, the CD version was reissued by Sony Legacy in the United States. The following year Kate Bush re-released "Aerial" alongside others of her albums on her own label Fish People, where they appeared again in 2018 in remastered versions.  In the 2018 remastered edition, "A Sky of Honey" is returned to its original nine tracks. Spoken parts of "An Architect's Dream" and "The Painter's Link" by Rolf Harris are removed and replaced by Albert "Bertie" McIntosh, Kate Bush's son.

In popular culture.

On 17 May 2015, a sequence from the song "π" was featured on "The Simpsons" twenty-sixth-season finale, "Mathlete's Feat".

Aerial is a 2005 album by the English singer-songwriter and musician Kate Bush, released twelve years after her 1993 album "The Red Shoes". It is her eighth album, and her only double album to date.

Aerial ist ein im November 2005 erschienenes Doppel-Album und damit insgesamt achte Studioalbum von Kate Bush. Bemerkenswert ist hierbei der zeitliche Abstand von zwölf Jahren zum vorherigen Album – in dieser Zeit war Kate Bush Mutter geworden und hatte sich vorwiegend um ihr Privatleben gekümmert.


Preparation.

Material of relatively high purity, as required for baking, is produced by treating calcium hydroxide with phosphoric acid: Samples of Ca(HPO) tend to convert to dicalcium phosphate:

Applications.

Use in fertilizers.

Superphosphate fertilizers are produced by treatment of "phosphate rock" with acids. Using phosphoric acid, fluorapatite is converted to Ca(HPO): This solid is called triple superphosphate. Several million tons are produced annually for use as fertilizers. Residual HF typically reacts with silicate minerals co-mingled with the phosphate ores to produce hexafluorosilicic acid (HSiF). The majority of the hexafluorosilicic acid is converted to aluminium fluoride and cryolite for the processing of aluminium. These materials are central to the conversion of aluminium ore into aluminium metal.  When sulfuric acid is used, the product contains phosphogypsum ( CaSO·2HO) and is called single superphosphate.

Use as leavening agent.

Calcium dihydrogen phosphate is used in the food industry as a leavening agent, i.e., to cause baked goods to rise. Because it is acidic, when combined with an alkali ingredient, commonly sodium bicarbonate (baking soda) or potassium bicarbonate, it reacts to produce carbon dioxide and a salt. Outward pressure of the carbon dioxide gas causes the rising effect. When combined in a ready-made baking powder, the acid and alkali ingredients are included in the right proportions such that they will exactly neutralize each other and not significantly affect the overall pH of the product. AMCP and MCP are fast acting, releasing most carbon dioxide within minutes of mixing. It is popularly used in pancake mixes. In double acting baking powders, MCP is often combined with the slow acting acid sodium acid pyrophosphate (SAPP).

Monocalcium phosphate is an inorganic compound with the chemical formula Ca(HPO) ("AMCP" or "CMP-A" for anhydrous monocalcium phosphate). It is commonly found as the monohydrate ("MCP" or "MCP-M"), Ca(HPO)·HO. Both salts are colourless solids. They are used mainly as superphosphate fertilizers and are also popular leavening agents..

Calciumdihydrogenphosphat ist ein Calcium-Salz der ortho-Phosphorsäure, gehört zu den Phosphaten und hat die Zusammensetzung Ca(HPO). Es ist ein farbloses Pulver, das in Wasser mäßig löslich ist. Die Verwendung der Trivialnamen wie "Calciumbiphosphat", "Monocalciumphosphat" oder "Monocalciumorthophosphat" ist missverständlich.


Integral representation.

The logarithmic integral has an integral representation defined for all positive real numbers ≠ 1 by the definite integral  Here, denotes the natural logarithm. The function has a singularity at = 1, and the integral for > 1 has to be interpreted as a "Cauchy principal value",

Offset logarithmic integral.

The offset logarithmic integral or Eulerian logarithmic integral is defined as  or, integrally represented  As such, the integral representation has the advantage of avoiding the singularity in the domain of integration.

Special values.

The function li("x") has a single positive zero; it occurs at "x" ≈ 1.45136 92348 83381 05028 39684 85892 02744 94930... ; this number is known as the Ramanujan–Soldner constant.  −Li(0) = li(2) ≈ 1.045163 780117 492784 844588 889194 613136 522615 578151...  This is formula_6 where formula_7 is the incomplete gamma function. It must be understood as the Cauchy principal value of the function.

Series representation.

The function li("x") is related to the "exponential integral" Ei("x") via the equation  which is valid for "x" > 0. This identity provides a series representation of li("x") as  where γ ≈ 0.57721 56649 01532... is the Euler–Mascheroni constant. A more rapidly convergent series due to Ramanujan is

Asymptotic expansion.

The asymptotic behavior for "x" → ∞ is  where formula_12 is the big O notation. The full asymptotic expansion is  or  This gives the following more accurate asymptotic behaviour:  As an asymptotic expansion, this series is not convergent: it is a reasonable approximation only if the series is truncated at a finite number of terms, and only large values of "x" are employed. This expansion follows directly from the asymptotic expansion for the exponential integral.  This implies e.g. that we can bracket li as:  For all formula_17.

Number theoretic significance.

The logarithmic integral is important in number theory, appearing in estimates of the number of prime numbers less than a given value. For example, the prime number theorem states that:  where formula_19 denotes the number of primes smaller than or equal to formula_1.  Assuming the Riemann hypothesis, we get the even stronger:

In mathematics, the logarithmic integral function or integral logarithm li("x") is a special function. It is relevant in problems of physics and has number theoretic significance. In particular, according to the Siegel-Walfisz theorem it is a very good approximation to the prime-counting function, which is defined as the number of prime numbers less than or equal to a given value formula_1.

Der Integrallogarithmus ist eine analytische Funktion auf den reellen Zahlen formula_1 (oder formula_2) in die reellen Zahlen. Sie hat praktische Relevanz in einigen Gebieten der Physik wie der Quantenfeldtheorie und bei der Lösung der Laplace-Gleichung in Halbleitern sowie in der Zahlentheorie, da sie eng mit der Dichte der Primzahlen verknüpft ist.


Playing career.

Amateur.

Early in his career, Cole played high school ice hockey for the Oswego Buccaneers in his hometown of Oswego, New York. He was then drafted by the Des Moines Buccaneers of the United States Hockey League (USHL) after a family friend based out of Des Moines, Mark Pierce, had multiple scouts take a look. He played one season in the USHL, in 1996–97, playing in 48 games for the Buccaneers and scoring 30 goals and 34 assists for 64 points.  Cole then attended Clarkson University in Potsdam, New York, where he played college hockey for the Golden Knights ice hockey team in the NCAA's ECAC conference. At the end of his first season, he was then selected by the Carolina Hurricanes in the third round, 71st overall, at the 1998 NHL Entry Draft. Cole would play two more collegiate seasons with the Golden Knights, departing in 2000.

Professional.

In the 2001–02 season, his rookie year, Cole scored six goals during the 2002 Stanley Cup playoffs. Additionally, he was one-third of the "BBC Line," which also featured Bates Battaglia and Rod Brind'Amour, during the Hurricanes' Stanley Cup run in 2002.  On December 19, 2005, Cole was chosen to represent Team USA ice hockey for the 2006 Winter Olympics in Turin. He was named alongside fellow Clarkson University alumnus Craig Conroy, then of the Calgary Flames. He also represented Team USA the next year at the 2007 IIHF World Championship in Moscow.  On March 4, 2006, Cole suffered a fractured vertebra in his neck after getting hit by Pittsburgh Penguins defenseman Brooks Orpik. The injury kept him out of the lineup until Game 6 of the 2006 Stanley Cup Finals, where the Hurricanes won the Stanley Cup in Game 7 over the Edmonton Oilers. On November 12, 2007, Cole went head-first into Florida Panthers goaltender Tomáš Vokoun; he was face down on the ice for over five minutes and was escorted off the ice via stretcher. It was a neck injury but not serious, and he traveled with the team to Tampa Bay.  Cole was the first player in the NHL to ever be awarded two penalty shots in the same game. On July 1, 2008, Cole was acquired by the Edmonton Oilers in exchange for Joni Pitkänen. On January 14, 2009, Cole, as a member of the Oilers, recorded his fifth NHL hat-trick against the Washington Capitals on goaltender José Théodore. Cole set an unofficial NHL record in the Fastest Skater event by skating around the entire ice at Rexall Place with a time of 13.117 seconds. On March 4, 2009, Cole was traded back to Carolina in exchange for Patrick O'Sullivan and a second-round draft pick; O'Sullivan was traded to Carolina for Justin Williams and second-round pick earlier that day. On July 1, 2009, the Hurricanes signed Cole to a two-year, $5.8 million contract, which paid $2.8 million in 2009–10 and $3 million in 2010–11). On December 5, 2009, Cole scored his sixth career hat-trick against the Vancouver Canucks in Raleigh. The second goal went off the skate of former Clarkson University teammate, and then-Canuck, Willie Mitchell. Cole scored the third goal on an empty-net after goaltender Andrew Raycroft was pulled in favor for an extra attacker in the last minute of play. On July 1, 2011, Cole signed a four-year, $18 million contract as a free agent with the Montreal Canadiens. Cole wore jersey number 72 for the Canadiens. During his first season with the Canadiens in 2011–12, Cole set career highs with 35 goals and 61 points. On March 23, 2012, Cole scored a natural hat-trick just 5:41 into a game against the Ottawa Senators, setting a Canadiens record for the quickest hat-trick from the start of a game.  On February 26, 2013, during the lockout-shortened 2012–13 season, after a slow start offensively, Cole was traded to the Dallas Stars in exchange for Michael Ryder and a third-round draft pick in 2013. In 28 games with Dallas, Cole would record six goals and one assist as the Stars would miss the 2013 playoffs.  On March 1, 2015, the Stars traded Cole to the Detroit Red Wings in exchange for Mattias Bäckman, Mattias Janmark-Nylén and a second-round draft pick in 2015. On April 8, it was announced that Cole would miss the remainder of the season with a spinal contusion he suffered on March 24 in a game against the Arizona Coyotes.  On September 20, 2017, Cole signed a one-day contract with the Carolina Hurricanes and subsequently announced his retirement from the NHL

Erik Thomas Cole (born November 6, 1978) is an American former professional ice hockey left winger. Originally drafted by the Hurricanes in the 1998 NHL Entry Draft, Cole played 15 seasons in the NHL for the Carolina Hurricanes, Edmonton Oilers, Montreal Canadiens, Dallas Stars and Detroit Red Wings.

Erik Thomas Cole (* 6. November 1978 in Oswego, New York) ist ein ehemaliger US-amerikanischer Eishockeyspieler, der im Verlauf seiner aktiven Karriere zwischen 1996 und 2015 unter anderem 938 Spiele für die Carolina Hurricanes, Edmonton Oilers, Canadiens de Montréal, Dallas Stars und Detroit Red Wings in der National Hockey League auf der Position des linken Flügelstürmers bestritten hat. Mit den Carolina Hurricanes gewann Cole im Jahr 2006 den Stanley Cup.


History.

The museum was first conceived by two close friends: art dealer and museum exhibition organizer Serge Sabarsky, and entrepreneur, philanthropist, and art collector Ronald S. Lauder. The two men shared a passionate commitment to early twentieth-century German and Austrian art and design. They met in 1967, just before Sabarsky opened his Serge Sabarsky Gallery at 987 Madison Avenue. Almost immediately, the gallery earned a reputation as New York’s leading gallery for Austrian and German Expressionist art. Lauder was a frequent visitor and client. Over the years, the two men discussed opening a museum to showcase the very best work from the period. When Sabarsky died in 1996, Lauder chose to carry on the task of creating Neue Galerie New York, as a tribute to his friend.

Collection.

The collection of the Neue Galerie is divided into two sections. The second floor of the museum houses works of fine art and decorative art from early twentieth-century Austria, including paintings by Gustav Klimt, Oskar Kokoschka, and Egon Schiele and decorative objects by the artisans of the Wiener Werkstaette and their contemporaries. The third floor exhibits various German works from the same era, including art movements such as "Der Blaue Reiter" (The Blue Rider), "Die Brücke" (The Bridge), and the Bauhaus. Featured artists on this floor include Wassily Kandinsky, Paul Klee, Ernst Ludwig Kirchner, Lyonel Feininger, Otto Dix, and George Grosz.  In 2006, Lauder purchased Klimt's painting "Portrait of Adele Bloch-Bauer I" from Maria Altmann on behalf of the Neue Galerie. Citing a confidentiality agreement, Lauder would only confirm that the purchase price was more than the last record price of US$104.2 million US for Picasso's 1905 "Boy With a Pipe". The press reported the price for the Klimt at US$135 million, which would make it at that time the most expensive painting ever sold. It has been on display at the museum since July 2006.

Facility.

The museum is housed in the former William Starr Miller House, a Louis XIII/Beaux-Arts structure located on the corner of Fifth Avenue and 86th Street. The Neue Galerie opened there on November 16, 2001. Selldorf Architects was responsible for the complete renovation and conversion into a museum.  In addition to its gallery spaces, the museum also contains a bookstore, design shop, and two Viennese cafés, "Café Sabarsky" and "Café Fledermaus", both of which are operated by restaurateur Kurt Gutenbrunner.

The Neue Galerie New York (German for: ""New Gallery"") is a museum of early twentieth-century German and Austrian art and design located in the William Starr Miller House at 86th Street and Fifth Avenue in New York City. Established in 2001, it is one of the most recent additions to New York City's famed Museum Mile, which runs from 83rd to 105th streets on Fifth Avenue in the Upper East Side of Manhattan.

Die Neue Galerie New York ist ein Museum in New York City für deutsche und österreichische Kunst des frühen 20. Jahrhunderts. Sie liegt an der Museum Mile, im Süden des Viertels Carnegie Hill in der Upper East Side im New Yorker Stadtteil Manhattan an der Kreuzung Fifth Avenue und 86th Street.


Geographical distribution.

Old Icelandic was very close to Old Norwegian, and together they formed the Old West Norse dialect, which was also spoken in settlements in Ireland, Scotland, the Isle of Man and northwest England, and in Norse settlements in Normandy. The Old East Norse dialect was spoken in Denmark, Sweden, settlements in Kievan Rus', eastern England, and Danish settlements in Normandy. The

Modern descendants.

The modern descendants of the Old West Norse dialect are the West Scandinavian languages of Icelandic, Faroese, Norwegian and the extinct Norn language of Orkney and Shetland; the descendants of the Old East Norse dialect are the East Scandinavian languages of Danish and Swedish. Norwegian is descended from Old West Norse, but over the centuries it has been heavily influenced by East Norse, particularly during the Denmark–Norway union.  Among these, the grammar of Icelandic and the Faroese have changed the least from Old Norse in the last thousand years. In contrast, the pronunciation of both Icelandic and Faroese have changed considerably from Old Norse. With Danish rule of the Faroe Islands, Faroese has also been influenced by Danish. Old Norse also had an influence on English dialects and Lowland Scots, which contain many Old Norse loanwords. It also influenced the development of the Norman language, and through it and to a smaller extent, that of modern French.  Of the modern languages, Icelandic is the closest to Old Norse seen to grammar and vocabulary. Written modern Icelandic derives from the Old Norse phonemic writing system. Contemporary Icelandic-speakers can read Old Norse, which varies slightly in spelling as well as semantics and word order. However, pronunciation, particularly of the vowel phonemes, has changed at least as much in Icelandic as in the other North Germanic languages.  Faroese retains many similarities but is influenced by Danish, Norwegian, and Gaelic (Scottish and/or Irish). Although Swedish, Danish and Norwegian have diverged the most, they still retain considerable mutual intelligibility. Speakers of modern Swedish, Norwegian and Danish can mostly understand each other without studying their neighboring languages, particularly if speaking slowly. The languages are also sufficiently similar in writing that they can mostly be understood across borders. This could be because these languages have been mutually affected by each other, as well as having a similar development influenced by Middle Low German.

Other influenced languages.

Various other languages, which are not closely related, have been heavily influenced by Norse, particularly the Norman language. Russian, Ukrainian, Belarusian, Lithuanian, Latvian, Finnish and Estonian also have a number of Norse loanwords; the words "Rus" and "Russia", according to one theory, may be named after the Rus' people, a Norse

Phonology.

Vowels.

The vowel phonemes mostly come in pairs of long and short. The standardized orthography marks the long vowels with an acute accent. In medieval manuscripts, it is often unmarked but sometimes marked with an accent or through gemination.  Old Norse had nasalized versions of all ten vowel places. These occurred as allophones of the vowels before nasal consonants and in places where a nasal had followed it in an older form of the word, before it was absorbed into a neighboring sound. If the nasal was absorbed by a stressed vowel, it would also lengthen the vowel. These nasalizations also occurred in the other Germanic languages, but were not retained long. They were noted in the First Grammatical Treatise, and otherwise might have remained unknown. The First

Consonants.

Old Norse has six plosive phonemes, being rare word-initially and and pronounced as voiced fricative allophones between vowels except in compound words (e.g. veðrabati), already in the Proto-Germanic language (e.g. "*b" > between vowels). The phoneme was pronounced as after an "n" or another "g" and as before and. Some accounts have it a voiced velar fricative in all cases, and others have that realisation only in the middle of words and between vowels (with it otherwise being realised ). The Old East Norse was an apical consonant, with its precise position is unknown; it is reconstructed as a palatal sibilant. It

Orthography.

Unlike Proto-Norse, which was written with the Elder Futhark, runic Old Norse was originally written with the Younger Futhark, which had only 16 letters. Because of the limited number of runes, several runes were used for different sounds, and long and short vowels were not distinguished in writing. Medieval runes came into use some time later.  As for the Latin alphabet, there was no standardized orthography in use in the

Accent.

Primary stress in Old Norse falls on the word stem, so that

Phonological processes.

Ablaut.

Ablaut patterns are groups of vowels which are swapped, or "ablauted," in the nucleus of a word. Strong verbs ablaut the lemma's nucleus to derive the past forms of the verb.

Umlaut.

Umlaut or mutation is an assimilatory process acting on vowels preceding a vowel or semivowel of a different vowel backness. In the case of "i-umlaut" and "ʀ-umlaut", this entails a fronting of back vowels, with retention of lip rounding. In the case of "u-umlaut", this entails labialization of unrounded vowels. Umlaut is phonemic and in many situations grammatically significant as a side effect of losing the Proto-Germanic morphological suffixes whose vowels created the umlaut allophones.  Some,,,,,,, and all were obtained by i-umlaut from,,,,,,, and respectively. Others were formed via ʀ-umlaut from,,,, and.  Some,,,, and all, were obtained by u-umlaut from,,,, and, respectively. See Old Icelandic for information on.  OEN often preserves the original value of the vowel directly preceding runic "ʀ" while OWN receives ʀ-umlaut. Compare runic OEN "glaʀ, haʀi, hrauʀ" with OWN "gler, heri" (later "héri"), "hrøyrr/hreyrr" ("glass", "hare", "pile of rocks").

U-umlaut.

U-umlaut is more common in Old West Norse in both phonemic and allophonic positions, while it only occurs sparsely in post-runic Old East Norse and even in runic Old East Norse. Compare West Old Norse "fǫður" (accusative of "faðir", 'father'), "vǫrðr" (guardian/caretaker), "ǫrn" (eagle), "jǫrð" ('earth', Modern Icelandic: "jörð"), "mjǫlk" ('milk', Modern Icelandic: "mjólk") with Old Swedish "faður", "varðer", "ørn", "jorð", "miolk" and Modern Swedish "fader", "vård", "örn", "jord", "mjölk" with the latter two demonstrating the u-umlaut found in Swedish.  This is still a major difference between Swedish and Faroese and Icelandic today. Plurals of neuters do not have u-umlaut at all in Swedish, but in Faroese and Icelandic they do, for example the Faroese and Icelandic plurals of the word "land", "lond" and "lönd" respectively, in contrast to the Swedish plural "länder" and numerous other examples. That also applies to almost all feminine nouns, for example the largest feminine noun group, the o-stem nouns (except the Swedish noun "jord" mentioned above), and even i-stem nouns and root nouns, such as Old West Norse "mǫrk" ("mörk" in Icelandic) in comparison with Modern and Old Swedish "mark".

Breaking.

Vowel breaking, or fracture, caused a front vowel to be split into a semivowel-vowel sequence before a back vowel in the following syllable. While

Assimilation or elision of inflectional "ʀ".

When a noun, pronoun, adjective, or verb has a long vowel or diphthong in the accented syllable and its stem ends in a single "l", "n", or "s", the "r" (or the elder "r"- or "z"-variant "ʀ") in an ending is assimilated. When the accented vowel is short, the ending is dropped.  The nominative of the strong masculine declension and some i-stem feminine nouns uses one such -r (ʀ). "Óðin-r" ("Óðin-ʀ") becomes "Óðinn" instead of "*Óðinr" ("*Óðinʀ").  The verb "blása" 'to blow', has third person present tense blæss for "[he] blows" rather than "*blæsr" ("*blæsʀ"). Similarly, the verb "skína" 'to shine' had present tense third person skínn (rather than "*skínr", "*skínʀ"); while "kala" 'to cool down' had present tense third

Phonotactics.

Blocking of ii, uu.

"I/j" adjacent to "i", "e", their u-umlauts, and "æ" was not possible, nor "u/v" adjacent to "u", "o", their i-umlauts, and "ǫ". At the beginning of words, this manifested as a dropping of the initial "j" or "v".

Epenthesis.

An epenthetic vowel became popular by 1200 in Old Danish, 1250 in Old Swedish and Norwegian, and 1300 in Old Icelandic. An unstressed vowel was

Grammar.

Old Norse was a moderately inflected language with high levels of nominal and verbal inflection. Most of the fused morphemes are retained in modern Icelandic, especially in regard to noun case declensions, whereas modern Norwegian in comparison has moved towards more analytical word structures.

Gender.

Old Norse had three grammatical genders – masculine, feminine and neuter. Adjectives or pronouns referring to a noun must mirror the gender of that noun, so that one says, "heill maðr!" but, "heilt barn!" As in other languages, the grammatical gender of an impersonal noun is generally unrelated to an expected natural gender of that noun. While indeed "karl", "man" is masculine, "kona",

Morphology.

Nouns, adjectives and pronouns were declined in four grammatical casesnominative, accusative, genitive and dativein singular and plural numbers. Adjectives and pronouns were additionally declined in three grammatical genders. Some pronouns (first and second person) could have dual number in addition to singular and plural. The genitive was used partitively and in compounds and kennings (e.g., "Urðarbrunnr", the well of Urðr; "Lokasenna", the gibing of Loki).  There were

Texts.

The earliest inscriptions in Old Norse are runic, from the 8th century. Runes continued to be commonly used until the 15th century and have been recorded to be in use in some form as late as the 19th century in some parts of Sweden. With the conversion to Christianity in the 11th century came the Latin alphabet. The oldest preserved texts in

Dialects.

Most of the innovations that appeared in Old Norse spread evenly through the Old Norse area. As a result, the dialects were very similar and considered to be the same language, a language that they sometimes called the Danish tongue ("Dǫnsk tunga"), sometimes Norse language ("Norrœnt mál"), as evidenced in the following two quotes from Heimskringla by Snorri Sturluson:  However, some changes were geographically limited and so created a dialectal difference between Old West Norse and Old East Norse.  As Proto-Norse evolved into Old Norse, in the 8th century, the effects of the umlauts seem to have been very much the same over the whole Old Norse area. But in later dialects of the language a split occurred mainly between west and east as the use of umlauts began to vary. The typical umlauts (for example "fylla" from *"fullijan") were better preserved in the West due to later generalizations in the east where many instances of umlaut were removed (many archaic Eastern texts as well as eastern runic inscriptions however portray the same extent of umlauts as in later Western Old Norse).  All the while, the changes resulting in breaking (for example "hiarta" from *"hertō") were more influential in the East probably once again due to generalizations within the inflectional system. This difference was one of the greatest reasons behind the dialectalization that took place in the 9th and 10th centuries, shaping an Old West Norse dialect in Norway and the Atlantic settlements and an Old East Norse dialect in Denmark and Sweden.  Old West Norse and Old Gutnish did not take part in the monophthongization which changed "æi" ("ei") into "ē", "øy" ("ey") and "au" into "ø̄", nor did certain peripheral dialects of Swedish, as seen in modern Ostrobothnian dialects. Another difference was that Old West Norse lost certain combinations of consonants. The combinations -"mp"-, -"nt"-, and -"nk"- were assimilated into -"pp"-, -"tt"- and -"kk"- in Old West Norse, but this phenomenon was limited in Old East Norse.  Here is a comparison between the two dialects as well as Old Gutnish. It is a transcription from one of the Funbo Runestones (U 990) from the eleventh century (translation: 'Veðr and Thane and Gunnar raised this stone after Haursi, their father. God help his spirit'):  The OEN original text above is transliterated according to traditional scholarly methods, wherein u-umlaut is not regarded in runic Old East Norse. Modern studies have shown that the positions where it applies are the same as for runic Old West Norse. An alternative and probably more accurate transliteration would therefore render the text in OEN as such: Some past participles and other words underwent i-umlaut in Old West Norse but not in Old East Norse dialects. Examples of that are Icelandic slegið/sleginn and tekið/tekinn, which in Swedish are slagit/slagen and tagit/tagen. This can also be seen in the Icelandic and Norwegian words sterkur and sterk ("strong"), which in Swedish is stark as in Old Swedish. These differences can also be seen in comparison between Norwegian and Swedish.

Relationship to other languages.

Relationship to English.

Old English and Old Norse were related languages. It is therefore not surprising that many words in Old Norse look familiar to English speakers; e.g., "armr" (arm), "fótr" (foot), "land" (land), "fullr" (full), "hanga" (to hang), "standa" (to stand). This is because both English and Old Norse stem from a Proto-Germanic mother language. In addition, numerous common, everyday Old Norse words were adopted into the Old English language during the Viking age. A few examples of Old Norse loanwords in modern English are (English/Viking age Old East Norse), in some cases even displacing their Old English cognates:  In a simple sentence like "They are both weak," the extent of the Old

Old Norse, Old Nordic, or Old Scandinavian was a North Germanic language that was spoken by inhabitants of Scandinavia and their overseas settlements from about the 7th to the 15th centuries.

Altnordisch ist eine Sammelbezeichnung für die nordgermanischen Dialekte, die von etwa 800 (Beginn der Wikingerzeit) bis mindestens ca. 1350 in Skandinavien, auf den Inseln bis 1500 gesprochen wurden. Ihr unmittelbarer Vorläufer ist das Urnordische. Die Eigenbezeichnung dieser sich ab dem 9. Jahrhundert allmählich voneinander differenzierenden Sprachen im Mittelalter war "dǫnsk tunga" (wörtlich „dänische Zunge“).


Biography.

Education and first performances.

Katia and Marielle were born in Bayonne, on the southwest coast of France near the Spanish border (Northern Basque Country). Their father was a doctor, rugby football player and music lover. He sang in the Bordeaux Opera choir. The sisters' first teacher was their Italian mother, Ada Cecchi (a former student of Marguerite Long), who began lessons when her daughters were three and five years of age. Upon graduation in piano from the Conservatoire de Paris in 1968, the two began working on piano four hands and two pianos repertoire. They recorded their first album "Les Visions de l'Amen" of Olivier Messiaen under the artistic direction of the composer himself. They then undertook performance of contemporary music, performing works by Luciano Berio, Pierre Boulez, Philippe Boesmans, György Ligeti and Olivier Messiaen.

International career.

While some degree of recognition came with this performance repertoire, true celebrity arrived when their 1980 two-piano recording of Gershwin's "Rhapsody in Blue" sold over a half million copies. Beyond the traditional classical repertoire, their repertoire extends to contemporary classical music, jazz, ragtime, flamenco, minimal music, baroque music on period instruments, and even pop music and experimental rock.  They discovered baroque music with Marco Postinghel and commissioned the construction of two Silberman fortepianos in 1998. They played these instruments with Il Giardino Armonico conducted by Giovanni Antonini, Musica Antiqua Köln conducted by Reinhard Goebel (Johann Sebastian Bach commemoration year in 2000), the English Baroque Soloists conducted by Sir John Eliot Gardiner, the Venice Baroque Orchestra conducted by Andrea Marcon, and with the Orchestra of the Age of Enlightenment conducted by Sir Simon Rattle.  They performed for 33,000 people at the Waldbühne gala concert, the last concert of the 2005 season of the Berlin Philharmonic., and for more than 100,000 people in May 2016 at Schönbrunn Palace with the Vienna Philharmonic conducted by Semyon Bychkov.  Many works have been written especially for them, such as "Linea" for two pianos and percussion by Luciano Berio, "Water Dances" for two pianos by Michael Nyman, "Battlefield" for two pianos and orchestra by Richard Dubugnon, "Nazareno" for two pianos, percussion and orchestra by Osvaldo Golijov and Gonzalo Grau, "The Hague Hacking" for two pianos and orchestra by Louis Andriessen, "Capriccio" by Philippe Boesmans, "Concerto for two pianos and orchestra" by Philip Glass performed in Los Angeles by the Los Angeles Philharmonic conducted by Gustavo Dudamel.  Katia and Marielle have expanded the repertoire for two pianos and percussion with works such as the first instrumental version of "West Side Story", transcribed by Irwin Kostal (orchestrator of the original musical), and the version for two pianos and basque percussions of Maurice Ravel's Boléro. They premiered "Four Movements" for two pianos by Philip Glass in France, England, Italy and Cuba. In November 2011, they premiered the project "50 Years of Minimalism" at Kings Place (London) with works of John Cage, David Chalmin, William Duckworth, Arvo Pärt, Michael Nyman, Terry Riley, Steve Reich, Howard Skempton, etc.

Recording career.

Between 1970 and 1997, they recorded many albums for Erato (Warner Classics), Philips Records, EMI Classics, Sony Music Entertainment, and Decca Records. They then ceased recording for 10 years before creating their own classical music label "KML Recordings" in 2007 in Italy. Beyond their own records, they produce young bands and musicians of different musical backgrounds, such as experimental rock (B for Bang DimensionX, Dream House, Red Velvet) and traditional music (Mayte Martin, Kalakan). For example, they produced the first album by Kalakan and they introduced them to their friend Madonna in 2011. After this meeting, the trio participated in her MDNA Tour in 2012. In June 2016 they joined the Deutsche Grammophon record label for the distribution of their record label KML Recordings.  They also created their own foundation in 2005 "Fondazione Katia e Marielle Labèque" in Rome, Italy, with the goals of promoting the relationship between music and image, commissioning new works for two pianos, and supporting experimental music groups. Their first project in 2009 supported the young filmmaker Tal Rosner.  In 2012, they created their own recording studio called "Studio KML", in an ancient school in Rome as a meeting point between all the musicians of their Foundation and the KML Recordings label. Their first recording in this place was the "Minimalist Dream House".

Personal lives.

Katia Labèque's boyfriend is David Chalmin, composer, producer and singer/guitarist of the band Triple Sun. She was formerly married to English guitarist John McLaughlin and she was also a member of his band in the early 1980s. Marielle Labèque is married to the conductor Semyon Bychkov. The sisters still live together; they moved to London in 1987, to a palace in Florence in 1993, and since 2005 they have lived in a palace that belonged to the Borgia family of Rome.

The Labèque sisters, Katia (born 11 March 1950) and Marielle (born 6 March 1952), are an internationally known French piano duo.

Die Schwestern Katia (* 11. März ("nach anderen Angaben:" 3. März) 1950 in Bayonne) und Marielle Labèque (* 6. März 1952 in Bayonne) sind ein bekanntes französisches Klavierduo der Gegenwart.


Conception.

While the concept of ships protected by armor existed before the advent of the ironclad "Monitor", the need for iron plating on ship arose only after the explosive shell-firing Paixhans gun was introduced to naval warfare in the 1820s. The use of heavy iron plating on the sides of warships was not practical until steam propulsion matured enough to carry its great weight. Developments in gun technology had progressed by the 1840s so that no practical thickness of wood could withstand the power of a shell. In response, the United States began construction in 1854 of a steam-powered ironclad warship, "Stevens Battery", but work was delayed and the designer, Robert Stevens, died in 1856, stalling further work. Since there was no pressing need for such a ship at the time, there was little demand to continue work on the unfinished vessel. It was France that introduced the first operational armored ships as well as the first shell guns and rifled cannons. Experience during the Crimean War of 1854–1855 showed that armored ships could withstand repeated hits without significant damage when French ironclad floating batteries defeated Russian coastal fortifications during the Battle of Kinburn. Ericsson claimed to have sent the French Emperor Napoléon III a proposal for a monitor-type

Approval.

After the United States received word of the construction of "Virginia", Congress appropriated $1.5 million on 3 August 1861 to build one or more armored steamships. It also ordered the creation of a board to inquire into the various designs proposed for armored ships. The Union Navy advertised for proposals for "iron-clad steam vessels of war" on 7 August and Welles appointed three senior officers as the Ironclad Board the following day. Their task was to "examine plans for the completion of iron-clad vessels" and consider its costs.  Ericsson originally made no submission to the board, but became involved when Cornelius Bushnell, the sponsor of the proposal that became the armored sloop, needed to have his design reviewed by a naval constructor. The board required a guarantee from Bushnell that his ship would float despite the weight of its armor and Cornelius H. DeLamater of New York City recommended that Bushnell consult with his

Design and description.

"Monitor" was an unusual vessel in almost every respect and was sometimes sarcastically described by the press and other critics as "Ericsson's folly", "cheesebox on a raft" and the "Yankee cheesebox". The most prominent feature on the vessel was a large cylindrical gun turret mounted amidships above the low-freeboard upper hull, also called the "raft". This extended well past the sides of the lower, more traditionally shaped hull. A small armored pilot house was fitted on the upper deck towards the bow, however, its position prevented "Monitor" from firing her guns straight forward. One of Ericsson's prime goals in designing the ship was to present the smallest possible target to enemy gunfire. The ship was long overall, had a beam of and had a maximum draft of. "Monitor" had a tonnage of 776 tons burthen and displaced. Her crew consisted of 49 officers and enlisted men.  The ship was powered by a single-cylinder horizontal vibrating-lever steam engine, also designed by Ericsson, which drove a propeller, whose shaft was nine inches in diameter. The engine used steam generated by two horizontal fire-tube boilers at a maximum pressure of. The engine was designed to give the ship a top speed of, but "Monitor" was slower in service. The engine had a bore of and a stroke of. The ship carried of coal. Ventilation for the vessel was supplied by two centrifugal blowers near the stern, each of which was powered by steam engine. One fan circulated air throughout the ship, but the other one forced air through the boilers, which depended on this forced draught. Leather belts connected the blowers to their engines and they would stretch when wet, often disabling the fans and boilers. The ship's pumps were steam operated and water would accumulate in the ship if the pumps could not get enough steam to work. "Monitor"s turret measured in diameter and high, constructed with of armor (11 inches in front at the gun ports) rendering the overall vessel somewhat top heavy. Its rounded shape helped to deflect cannon shot. A pair of steam-powered donkey engines rotated the turret through a set of gears; a full rotation was made in 22.5 seconds during testing on 9 February 1862. Fine control of the turret proved to be difficult; the steam engines would have to be placed in reverse if the turret overshot its mark, or another full rotation would have to be made. The only way to see out of the turret was through the gun ports; when the guns were not in use, or withdrawn for reloading

Construction.

Commodore Joseph Smith, Chief of the Bureau of Yards and Docks, sent Ericsson formal notice of the acceptance of his proposal on 21 September 1861. Six days later, Ericsson signed a contract with Bushnell, John F. Winslow and John A. Griswold which stated that the four partners would equally share in the profits or the losses incurred by the construction of the ironclad. There was one major delay, however, over the signing of the actual contract with the government. Welles insisted that if "Monitor" did not prove to be a "complete success", the builders would have to refund every cent to the government. Winslow balked at this draconian provision and had to be persuaded by his partners to sign after the Navy rejected his attempt to amend the contract. The contract was finally signed on 4 October for a price of $275,000 to be paid in installments as work progressed.  Preliminary work had begun well before that date, however, and Ericsson's consortium contracted with Thomas R. Rowland of the Continental Iron Works at Bushwick Inlet (in modern-day Greenpoint, Brooklyn) on 25 October for construction of "Monitor"s hull. Her keel was laid the same day. The turret was built and assembled at the Novelty Iron Works in Manhattan, disassembled and shipped to Bushwick Inlet where it was reassembled. The ship's steam engines and machinery were constructed at the DeLamater Iron Works, also in Manhattan. Chief Engineer Alban C. Stimers, who once served aboard "Merrimack", was appointed Superintendent of the ship while she was undergoing construction. Although never formally assigned to the crew, he remained aboard her as an inspector during her maiden voyage and battle.  Construction progressed in fits and starts, plagued by a number of short delays in the delivery of iron and occasional shortages of cash, but they did not significantly delay the ship's progress by more than a few weeks. The hundred days allotted

Crew.

"Monitor"s crew were all volunteers and totaled 49 officers and enlisted men. The ship required ten officers: a commander, an executive officer, four engineers, one medical officer, two masters and a paymaster. Before Worden was allowed to select, assemble, and commit a crew to "Monitor", the vessel had to be completed. The original officers at the time of "Monitor"s commissioning were: Four of the officers were Line officers and responsible for the handling of the vessel and operation of guns during battle, while the engineering officers were considered a class unto themselves. In "Monitor"s turret, Greene and Stodder supervised loading and firing of the two 11-inch Dahlgrens. Each gun was crewed by eight men. In Worden's report of 27 January 1862 to Welles, he stated he believed 17 men and 2 officers would be the maximum number in the turret that allowed the crew to work without getting in each other's way.  "Monitor" also required petty officers: among them was Daniel Toffey, Worden's nephew. Worden had selected Toffey to serve as his captain's clerk. Two black Americans were also among the enlisted men in the crew.  Living quarters for the senior officers consisted of eight separate

Service.

On 6 March 1862, the ship departed New York bound for Fort Monroe, Virginia, towed by the ocean-going tug "Seth Low" and accompanied by the gunboats and. Worden, not trusting the seal between the turret and the hull, and ignoring Ericsson's advice, wedged the former in the up position and stuffed oakum and sail cloth in the gap. Rising seas that night washed the oakum away and water poured underneath the turret, as well as through the hawsepipe, various hatches, ventilation pipes, and the two funnels, so that the belts for the ventilation and boiler fans loosened and fell off and the fires in the boilers were nearly extinguished over the course of the next day; this created a toxic atmosphere in the engine room that knocked out most of the engine-room crew. First Assistant Engineer Isaac Newton ordered the engine room abandoned and had the able-bodied crew drag the afflicted engine room hands to the top of the turret where the fresh air could revive them. Both Newton and Stimers worked desperately to get the blowers to work, but they too succumbed to the noxious fumes and were taken above. One fireman was able to punch a hole in the fan box, drain the water, and restart the fan. Later that night, the wheel ropes controlling the ship's rudder jammed, making it nearly impossible to control the ship's heading in the rough seas. "Monitor" was now in danger of foundering, so Worden signaled "Seth Low" for help and had "Monitor" towed to calmer waters closer to shore so she was able to restart her engines later that evening. She rounded Cape Charles around 3:00 pm on 8 March and entered Chesapeake Bay, reaching Hampton Roads at 9:00 pm, well after the first day's fighting in the Battle of Hampton Roads had concluded.

Battle of Hampton Roads.

On 8 March 1862, "Virginia", commanded by Commander Franklin Buchanan, was ready to engage the Union flotilla blockading the James River. "Virginia" was powered by "Merrimack"s original engines, which had been condemned by the US Navy before her capture. The ship's chief engineer, H. Ashton Ramsay, served in "Merrimack" before the Civil War broke out and knew of the engines' unreliability, but Buchanan pushed forward undaunted.  The slow-moving "Virginia" attacked the Union blockading squadron in Hampton Roads, Virginia, destroying the sail frigates "Cumberland" and "Congress". Early in the battle, the steam frigate ran aground while attempting to engage "Virginia", and remained stranded throughout the battle. "Virginia", however, was unable to attack "Minnesota" before daylight faded. That day Buchanan was severely wounded in the leg and was relieved of command by Catesby ap Roger Jones.  Days before the battle a telegraph cable was laid between Fortress Monroe, which overlooked Hampton Roads, and Washington. Washington was immediately informed of the dire situation after the initial battle. Many were now concerned "Virginia" would put to sea and begin bombarding cities such as New York while others feared

Battle of Drewry's Bluff.

After the destruction of "Virginia", "Monitor" was free to assist the Union Army and General McClellan's campaign against Richmond. As the Navy always gave command to officers based on seniority, Greene was replaced with Lieutenant Thomas O. Selfridge the day after the battle. Two days later, Selfridge was in turn relieved by Lieutenant William Nicholson Jeffers on 15 May 1862. "Monitor" was now part of a flotilla under the command of Admiral John Rodgers aboard "Galena", and, along with three other gunboats, steamed up the James River and engaged the Confederate batteries at Drewry's Bluff. The force had instructions to coordinate their efforts with McClellan's forces on land and push on towards Richmond to bombard the city into surrender if possible. Without any assistance, the task force got within of the Confederate capital but could not proceed further because of sunken vessels and debris placed in the river that blocked further passage. There were also artillery batteries at

Repairs and refit.

In September Captain John P. Bankhead received orders to take command of "Monitor", relieving Stevens, and was sent to Hampton Roads to take charge of the vessel. Shortly after Bankhead assumed command, "Monitor"s engines and boilers were condemned by a board of survey which recommended that they be overhauled completely. On 30 September the ironclad was sent to the Washington Navy Yard for repairs arriving there on 3 October.  Upon arrival at Washington "Monitor" and her crew were greeted by a crowd of thousands of cheering admirers who came to see the ship that "saved the nation". "Monitor" was now a premier tourist attraction and the crowd was soon allowed on board

Final voyage.

On 24 December 1862, orders were issued directing "Monitor" to Beaufort, North Carolina to join and for a joint Army-Navy expedition against Wilmington, North Carolina, where she would join the blockade off Charleston. The orders were received by the crew on Christmas Day, some of whom had been aboard "Monitor" on her harrowing journey from New York to Hampton Roads in March and were not pleased with the prospect of taking to the high seas once again. Dana Greene remarked, "I do not consider this steamer a sea going vessel".  The crew celebrated Christmas aboard "Monitor" while berthed at Hampton Roads in what was described as a most merry fashion, while many other celebrations were occurring along the shore. The ship's cook was paid one dollar to prepare a meal for the crew befitting the day; it was received with mixed opinion. That day, "Monitor" was made ready for sea, her

Rediscovery.

The Navy tested an "underwater locator" in August 1949 by searching an area south of the Cape Hatteras Lighthouse for the wreck of "Monitor". It found a long object bulky enough to be a shipwreck, in of water that was thought to be "Monitor", but powerful currents negated attempts by divers to investigate. Retired Rear Admiral Edward Ellsberg proposed using external pontoons to raise the wreck in 1951, the same method of marine salvage he had used on the sunken submarine, for the cost of $250,000. Four years later, Robert F. Marx claimed to have discovered the wreck based on the idea she had drifted into shallow water north of the lighthouse before sinking. Marx said he had dived on the wreck and placed a Coke bottle with his name on it in one of the gun barrels, although he never provided any proof of his story.  Interest in locating the ship revived in the early 1970s and Duke University, the National Geographic Society and the National Science Foundation sponsored an expedition in August 1973 to search for the wreck using a towed sonar system. The Duke team was led by John G. Newton (no known relation to the Isaac Newton that served on the Monitor). On 27 August, "Monitor" was discovered 111 years after sinking, near Cape Hatteras at coordinates. They sent a camera down to photograph the wreck, but the pictures were so fuzzy as to be useless; on a second attempt the camera snagged something on the wreck and was lost. The sonar images did not match what they expected the wreck to look like until they realized that the sinking vessel had turned over while descending and was resting at the bottom upside down. The team announced their discovery on 8 March 1974. Another expedition was mounted that same month to confirm the discovery and the research submersible "Alcoa Sea Probe" was able to take still photos and video of the wreck that confirmed it was "Monitor".  These photos revealed that the wreck was disintegrating and the discovery raised another issue. Since the Navy had formally abandoned the wreck in 1953, it could be exploited by divers and private salvage companies as it lay outside North Carolina's territorial limits. To preserve the ship, the wreck, and everything around it, a radius was designated as the Monitor National Marine Sanctuary, the first U.S. marine sanctuary, on 30 January 1975. "Monitor" was also designated a National Historic Landmark on 23 June 1986. In 1977, scientists were finally able to view the wreckage in person as the submersible "Johnson Sea Link" was used to inspect it. The "Sea Link" was able to ferry divers down to the sunken vessel and retrieve small artifacts. U.S. Navy interest in raising the entire ship ended in 1978 when Captain Willard F. Searle Jr. calculated the cost and possible damage expected from the operation: $20 million to stabilize the vessel in place, or as much as $50 million to bring all of it to the surface. Research continued and artifacts continued to be recovered, including the ship's anchor in 1983. The growing number of relics required conservation and a proper home so the U.S. National Oceanic and Atmospheric Administration (NOAA), in charge of all U.S. marine sanctuaries, selected the Mariners' Museum on 9 March 1987 after considering proposals from several other institutions.

Memorials.

The in McGolrick Park, Brooklyn, depicts a sailor from "Monitor" pulling on a capstan. The sculptor Antonio de Filippo was commissioned by the State of New York in the 1930s for a bronze statue to commemorate the Battle of Hampton Roads, John Ericsson, and the crew of the ship. It was dedicated on 6 November 1938. A vandal doused it with white paint on 7 January 2013.  In 1995 the U.S. Postal Service issued a stamp commemorating USS "Monitor" and CSS "Virginia" depicting the two ships while engaged in their famous battle at Hampton Roads. For an image of the stamp, see footnote link.  The 150th anniversary of the ship's loss prompted several events in commemoration. A memorial to "Monitor" and her lost crew

Legacy.

"Monitor" gave her name to a new type of mastless, low-freeboard warship that mounted its armament in turrets. Many more were built, including river monitors, and they played key roles in Civil War battles on the Mississippi and James Rivers. The breastwork monitor was developed during the 1860s by Sir Edward Reed, Chief Constructor of the Royal Navy, as an improvement of the basic Monitor design. Reed gave these ships a superstructure to increase seaworthiness and raise the freeboard of the gun turrets so they could be worked in all weathers. The superstructure was armored to protect the bases of the turrets, the funnels and the ventilator ducts in what he termed a breastwork. The ships were conceived as harbor defense ships with little need to leave port. Reed took advantage of the lack of masts and designed the ships with one twin-gun turret at each end of the superstructure, each able to turn and fire in a 270° arc. These ships were described by Admiral George Alexander Ballard as being like "full-armoured knights riding on donkeys, easy to avoid but bad to close with". Reed later developed the design into the, the first ocean-going turret ships without masts, the direct ancestors of the pre-dreadnought battleships and the dreadnoughts.

USS "Monitor" was an iron-hulled steam-powered ironclad warship built for the Union Navy (United States Navy) during the American Civil War (1861–1865), the first such ship commissioned by the Navy. "Monitor" played a central role in the Battle of Hampton Roads on 9 March 1862, where, under the command of Lieutenant John L. Worden, she fought the casemate ironclad (built on the hull of the scuttled steam frigate ) to a standstill. The unique design of the ship, distinguished by its revolving turret which was designed by American inventor Theodore Timby, was quickly duplicated and established the monitor class and type of armored steam-powered warship built for the American Navy in the next several decades.

Die USS "Monitor" war das erste Panzerschiff der US-Marine. Sie wurde während des Amerikanischen Bürgerkrieges ab 1861 von dem schwedischen Ingenieur John Ericsson in Brooklyn für die Marine der Nordstaaten gebaut und lief am 30. Januar 1862 vom Stapel.


Premise.

The Panzer Dragoon series takes place on an unspecified post-apocalyptic planet where the people compete for land, resources, and the technology of the Ancients. The ‘Ancients’ is the generic name given to the people that once controlled a world-spanning, hyper-advanced civilization thousands of years before the start of the Panzer Dragoon series of games. The Ancients were able to create monsters either for war use or practical uses.  These creatures survived the downfall of the Ancients and are one of the main enemies in the series. A mysterious cataclysm, hinted at as a terrible war during the course of the series, would spell the downfall of this civilization and nearly destroy the world, leaving the survivors to eke out a bleak existence among the blasted remains in the ensuing millennia. Eventually, the Ancients and their works would gain a sort of 'godlike' respect, and a horrific regard, among some people as they passed into legend.  The remnants of these technologies are used in the development of much of humanity's own machinery, weaponry and vehicles, such as the unusual floating ships which are a staple of the series. A faction called "The Empire" have collected and used weapons from the Ancient Age to gain dominance of the continent.

Games.

"Panzer Dragoon" (1995).

The first game in the series, "Panzer Dragoon", was released on the Sega Saturn in 1995. It follows the story of Keil Fluge, a member of a hunter party who encounters a fight between two dragons, coloured black and blue. The rider of the blue dragon is mortally wounded in the battle and entrusts his mission, as well as his dragon, the Solo Wing, to Keil. Keil must stop the Dark Dragon reactivating an ancient ruin.  This chapter introduced the basic features of the traditional gameplay that the Panzer series would be known by, starting out as a rail shooter giving the player a choice of two main attacks: a lock-on laser weapon, and a rapid fire gun weapon, as well as the ability to swing the cameras around to shoot the enemies coming from all directions.  Panzer Dragoon was one of the few games available at the Sega Saturn's launch. The game was ported to Microsoft Windows only in Japan on March 14, 1997, and in 2006 adapted slightly for Sega's Japanese PlayStation 2 "AGES 2500" series. The game is getting a high definition remake for the Nintendo Switch, slated for release in winter 2020.

"Panzer Dragoon R-zone" (1995).

"Panzer Dragoon R-Zone" is a Tiger R-Zone game for the short-lived system. It was one of the few launch titles licensed by Sega, being released just a few months after the original "Panzer Dragoon". It was the first game in the series that was not developed by Team Andromeda. There is no plot, simply a nameless character on an armored dragon attempting to keep a dark dragon from reaching a tower while shooting and dodging robots.

"Panzer Dragoon II Zwei" (1996).

"Panzer Dragoon II Zwei" (also known as "Panzer Dragoon II") was released for the Sega Saturn in 1996. This game is a prequel to "Panzer Dragoon". It follows the story of Jean-Luc Lundi who discovered a mutant coolia, whom he names Lagi, who has a green glow at its throat, and is growing wings. Lundi refuses to kill Lagi, defying his villages custom that mutant coolias be killed. Together, Lundi and Lagi ride towards the horizon, chasing after a great airship called the Shelcoof, which is responsible for destroying Lundi's village while he was away.  This game introduced the berserk ability, where the player builds up a bar and then can unleash a powerful attack. It also introduced multiple routes through levels, and the dragon's capacity to change shape when the player performed well in a level.  A high definition remake for Nintendo Switch was announced in October 2019.

"Panzer Dragoon Mini" (1996).

"Panzer Dragoon Mini" is a Sega Game Gear game released only in Japan, in 1996. Due to the technical limitations of the Game Gear, the camera cannot be controlled and instead rotates automatically; also, for the first and — so far — only time in the series' history, the dragon doesn't have a rider. The game is markedly different from others in the series due to lack of a story and the dragon's super deformed appearance. Most of the levels and enemies are modeled after those of "Panzer Dragoon Zwei".

"Panzer Dragoon Saga" (1998).

"Panzer Dragoon Saga" (titled "Azel: Panzer Dragoon RPG" in Japan) is a role-playing video game released for Saturn in 1998. It is the only "Panzer Dragoon" game that is not a rail shooter, combining traditional role-playing elements such as random encounters with the 3D shooting elements of previous games. The player controls Edge, a young mercenary who battles the empire on a flying dragon and encounters a mysterious girl from a vanished civilization. Unlike the other "Panzer Dragoon" games, movement is not on rails and some areas are explored on foot. The battle system mixes real-time and turn-based elements, with the player circling enemies on the dragon to expose weak spots and escape dangerous positions.  Development of "Panzer Dragoon Saga" began around the same time as "Panzer Dragoon II Zwei". According to director Yukio Futatsugi, the need to blend the series' shooting elements into an RPG with full 3D and voice acting - both unusual for RPGs at the time - made it the most difficult "Panzer Dragoon" game to develop. Two staff members died during its two-year development, which Futatsugi attributed to the stressful working conditions of the video game industry.  According to GameRankings, "Panzer Dragoon Saga" is the most critically acclaimed Saturn game, winning praise for its story, graphics, music, and unusual battle system. It has appeared in several "greatest games of all time" lists. As Sega had shifted its focus to its next console, the Dreamcast, the game had a limited release outside Japan, attracting a cult following. It has not been rereleased and is now a rare collector's item. After its release, Sega disbanded Team Andromeda; Futatsugi left Sega and joined Konami, while other staff moved to Sega teams including Smilebit.

"Panzer Dragoon Orta" (2002).

"Panzer Dragoon Orta" is an Xbox game released in late 2002 in Japan and in early 2003 in America and Europe. It was developed by Smilebit which had been founded by former members of Team Andromeda.  "Panzer Dragoon Orta" follows the story of Orta, a teenage girl being held captive in a town. When the town is attacked by the Empire, Orta is rescued by a Dragon, and encounters a drone named Abadd. While tracking the drone, she discovers the truth behind her own origins, and helps to free the world from the tyranny of the Empire. This game introduced several updated features, such as the ability to morph the dragon at will, and maneuvering abilities from "Panzer Dragoon Saga".  This game had large amounts of unlockable content to be gained after completing the main story. These include a group of sub-missions, one series of which is devoted to the backstory of Iva Demilcol. The "Box Game" is a bonus mode first introduced in "Zwei" where the player can select different dragons, riders, and various cheats. The PC version of the first "Panzer Dragoon" is included in its entirety.  The game also possesses a vast in-game dictionary that updates as you progress, detailing the "Panzer" world, and full-motion video from the game itself is unlocked for casual viewing, as well as the intro and ending videos from "Panzer Dragoon", "Panzer Dragoon Zwei" and "Panzer Dragoon Saga".

Remakes (2020).

In December 2018, Sega announced that remakes of "Panzer Dragoon" and "Panzer Dragoon II Zwei" were in development by MegaPixel Studio. The first remake was released for Nintendo Switch and Google Stadia in 2020. A Windows version is scheduled later in 2020.

Other media.

Soundtrack CDs were released in Japan for all the games, with "Panzer Dragoon Orta"'s being bundled with the game itself. Toykopop released the "Panzer Dragoon Orta" soundtrack in the USA. An anime adaptation of the first game was released, with the story being slightly altered to include a female heroine whom Keil ('Kyle' in the anime) is trying to save when she becomes bonded to the Black Dragon. The English version was released by ADV Films. An artbook from the second game, "Die Welt Von Panzer Dragoon Zwei" ("The World of Panzer Dragoon Zwei") was also released.  "Sonic & All-Stars Racing Transformed" features a racetrack based on "Panzer Dragoon". Additionally, the "Worlds Unite" crossover between the "Sonic the Hedgehog" and the "Mega Man" comic lines from Archie Comics features "Panzer Dragoon" characters and concepts.

Aside from the role-playing video game "Panzer Dragoon Saga" (1998), the games are of the rail shooter genre. All games follow the story of a hero or heroine fighting an evil empire in a post-apocalyptic world while riding a dragon. The series' name originates from its original concept designers referring to it as "armoured dragon", then feeling that this was too bland and deciding to transliterate it to German. The cutscenes feature its own language, Panzerese, which is a mixed language based on a combination of Ancient Greek, English, German, Japanese, Latin, and Russian. The words in these languages were a hobby of Yukio Futatsugi, one of the core designers of the first game.

Panzer Dragoon (jap., "Pantsā Doragūn") ist ein Rail-Shooter, der 1995 von der Firma Sega für den Sega Saturn veröffentlicht wurde. Das Spiel wurde von Team Andromeda entwickelt und war einer der ersten Shooter mit Echtzeit-3D-Grafik. Dabei war das Rail-Shooter-Prinzip mit fest vorgegebener Flugroute allerdings recht einfach gehalten. Die Entwicklungskosten von geschätzten 3 Millionen Dollar waren seinerzeit beachtlich und wurden u. a. in einen orchestralen Soundtrack und aufwändige CGI-Zwischensequenzen investiert. Eine Umsetzung für den PC folgte ein Jahr später.


Land.

The parish's offer forest-draped mountains in the northern interior, with the more scrub-like covered Canada Hills near the southern interior borders. The coastline is marked by the beautiful (but dangerous due to Atlantic Waves) black-sand beach of Hermitage Bay on the North Coast. Sheer cliffs dominate the rest of the coastline, but to the extreme South of this lies a long continuous strip of sand that stretches from Saint Mary Cayon, into Saint Peter Basseterre and eventually into Saint George Basseterre, the sands lightening in hue as one descends southward. The beaches of Saint Mary Cayon are used by Leatherback turtles to lay their eggs. The town of Cayon dominates the central portion of the parish, with the smaller villages of Lodge and Ottley's to the North. All the lands surrounding these villages are covered in peasant farms and abandoned sugar cane estates, up to above sea level, when forests take over.  There are many notable ravines in the parish, indicating that it may be one of the oldest parts of island, after the South East Peninsula. Lodge ghaut is the largest ghaut on St. Kitts and is home to the Lodge Rail bridge, the highest bridge in the federation, nearly above the ghaut floor. The Cayon river, around which the town of Cayon is situated, is one of only four year-long watered rivers on the island, and the only one on the island's East Coast (the other three being Wingfield River and East River in Saint Thomas Middle Island and Stone Fort River in Trinity Palmetto Point). The water systems around Cayon however, like those on the East Coast, have been tapered off for local consumption. The Southern border of the parish is marked by Wash Ghaut, a deep, wide, canyon-like ravine.

Town/Villages.

The parish capital is the town of Cayon. Other villages are Key's, Ottley's and Lodge. There are all located near the main road in the parish central zone. The fertile farmlands are also in the zone.  Capital - Cayon  Other Villages:

Economy.

The Saint Mary Cayon Parish was historically one of the main industrial areas in Saint Kitts, home to the island's Cotton Ginnery, which was opened in 1901. It made history as its home estate, Spooner's Estate, became the first one in the Caribbean to successfully change from sugar production to cotton. The factory remained open until its acquisition by the government in 1970, shortly after which it was closed down. Since then, no significant industrial development has taken place in the parish, despite Cayon being a sizeable town.  Agriculture dominates today's parish economy. The main crops produced are fruits and ground provisions, with livestock production in the parish being especially high. The second industry of the parish is tourism. A mile inland from Ottley's village lies Ottley's Plantation Inn, a former plantation house and one of the premier hotels on the island. The parish is also noted for its large water stores, which supply much of the East Coast.

Community festival.

There is the famous Green Valley Festival which is celebrated from May to June. The festival is mainly held in Cayon. This festival is one of the many village community festivals held all around St. Kitts, but is largely considered to be one of the best. The festival normally ends with J'ouvert

Saint Mary Cayon is one of 14 administrative parishes that make up Saint Kitts and Nevis. It is located on the main island of Saint Kitts and the parish capital is Cayon.

Saint Mary Cayon ist eines der 14 Parishes der Inselgruppe St. Kitts und Nevis. Es liegt auf der Hauptinsel Saint Kitts. Die Hauptstadt ist Cayon.


Plot.

Helen Lyle is a semiotics graduate student in Chicago who is researching urban legends. She hears a local story about the Candyman who can be summoned by saying his name five times to a mirror, causing him to appear and kill the summoner with a hook that was attached to the bloody stump of his right arm. Helen met the two cleaning ladies who claimed that it was the Candyman who killed Ruthie Jean, a resident in the notorious Cabrini-Green housing project. Helen looks into the case and also learns about another twenty-five murders like that of Ruthie Jean's. Skeptical about the legend, Helen and her friend Bernadette Walsh repeated the Candyman's name to Helen's bathroom mirror, but nothing happens.  Helen decides to write a thesis on how the residents of Cabrini-Green used the Candyman legend to cope with the hardships. She and Bernadette entered the housing project and visited the scene of Ruthie Jean's murder. There, they met Anne-Marie McCoy and her infant son Anthony who told her more about the night of the murder.  Helen learns more about the Candyman from Professor Philip Purcell. According to Purcell, the Candyman was the son of a slave who became prosperous by mass-producing shoes during the Civil War. At an early age, he was accepted by the white society. As a well-known artist, he was sought after to paint the portraits of wealthy landowners and their children. After falling in love with a white woman that he was hired to paint and fathering a child with her, the Candyman was set upon by a lynch mob that was hired by his lover's father. They cut off his right hand and smeared him with honey stolen from an apiary, attracting the bees which sting him to death. His corpse was burned and his ashes were scattered across the land on which Cabrini-Green was built.  On a return visit to Cabrini-Green, Helen meets Jake, a young boy who tells Helen that a child was castrated by the Candyman in a restroom. While exploring the restroom, Helen is attacked by a gang leader who carries a hook and calls himself the Candyman. Helen survives the assault with a black eye and identifies her attacker to the police who believed him to be responsible for the killings.  Later, in a parking garage, Helen is confronted by the real Candyman. He tells her that because she discredited his legend, he must "shed innocent blood" to perpetuate it. Helen blacks out and wakes up in Anne-Marie's apartment covered in blood. Anne-Marie, whose dog was decapitated and baby was stolen, attacks Helen, who is arrested by the police. Helen's husband Trevor, a university professor, bails her out of jail. The Candyman appears again and cuts Helen's neck, causing her to bleed and pass out. Bernadette shows up at Helen's apartment where she is murdered by the Candyman who frames Helen for the crime. Helen is sedated and placed in a psychiatric hospital.  After a month in the hospital, Helen is interviewed by a psychiatrist named Dr. Burke in preparation for her upcoming trial. She attempts to prove her innocence by summoning the Candyman. The Candyman appears and kills Dr. Burke, allowing Helen to escape. Once Helen is home, she finds Trevor living with Stacey, one of his students. Helen flees to Cabrini-Green, seeking to confront the Candyman and rescue Anthony. When she finds the Candyman, he tells her that surrendering to him will ensure the baby's safety. Offering Helen immortality, the Candyman opens his coat, revealing a ribcage wreathed in bees. The bees pour out of his mouth as he kisses her, sending the bees down her throat. The Candyman vanishes with Anthony and Helen discovers a mural of the Candyman and his lover Caroline Sullivan, who bears a striking resemblance to Helen. The mural as well as a message that was left by the Candyman implies that Helen is a reincarnation of Sullivan.  The Candyman promises to release Anthony if Helen helps him strike fear in Cabrini-Green's residents. In a bid to feed his legend, the Candyman tries to immolate them in a bonfire, but he is destroyed in it. Helen saves Anthony, but she is burned severely and dies. The residents including Anne-Marie and Jake pay their respects at Helen's funeral. Jake tosses the Candyman's hook into her grave. Afterward, a grief-stricken and guilt-ridden Trevor looks at his bathroom mirror and says Helen's name five times. Helen's vengeful spirit appears and kills Trevor with a hook, leaving his body to be found by Stacey.  As the credits begin to roll, in the Candyman's former lair, a new mural of Helen with her hair ablaze is displayed, implying that she entered the local folklore.

Production.

Barker's short story which was set in his native Liverpool was about segregation and the culture of the poor urban areas. For "Candyman", Rose was so shocked by Chicago's "dynamic" architecture and large amount of prejudice that he decided to change the Liverpool location to Chicago. Assisted by members of the Illinois Film Commission, Rose scouted locations in Chicago and found Cabrini Green, a housing project notorious for its poor construction, violence and high robbery rates. The project was also located in between high-class neighborhoods, meaning that the character of Helen could feel Cabrini's chaos from a safe apartment not too far away. This Americanization of the story turned "Candyman" into an interracial love story where the ghetto residents are now victims of the titular killer. With this change, Rose wanted to showcase those that are living in the poor neighborhoods as regular human beings that are trying to get by which is why he avoided tropes that are common in most American ghetto stories such as gangs and drugs. According to a journalist named Steve Bogira, one source of inspiration may have been a pair of articles that he wrote for the "Chicago Reader" in 1987 and 1990 about the murder of Ruthie Mae McCoy, a resident of Chicago's Abbot Homes housing project. In 1987, McCoy was killed by an intruder who entered her apartment through an opening behind the bathroom's medicine cabinet.  Rose's screenplay garnered a huge amount of attention in the casting agencies and Virginia Madsen and Tony Todd instantly tried to get parts to have a chance to work with the filmmaker. Eddie Murphy was the original choice for the role of Candyman, but the filmmakers could not afford him. Todd who was fit for playing the killer as he was six-foot-five and physically fit recalled that there was skepticism from his colleagues about him playing the Candyman due to the amount of bee sting injuries that he would have to receive. He persisted as he wanted to work with the director and said, "I've always wanted to find my own personal Phantom of the Opera." While the Candyman's background is unknown in the original story, Todd came up with the backstory for the character in the film. Virginia Madsen was friends with Rose and his then-wife, Alexandra Pigg and Madsen was originally to play the role of Helen's friend, Bernie while Pigg was to play Helen. The choice was made to make the character of Bernie African American so Madsen lost the part. As the shooting was about to commence, Pigg discovered that she was pregnant so the role of Helen was offered to Madsen. Had Madsen been unable to step into the role, a producer named Alan Poul was partial to Sandra Bullock as Helen.  Three days of "Candyman"<nowiki>'s</nowiki> filming was spent on Cabrini Green while the other days were spent in scenes on Hollywood sound stages. With plainclothes law enforcement by their side, Todd and Madsen went into the buildings of Cabrini as part of researching their roles which was a useful, but distressing experience for both actors. For playing the Candyman, Todd tried to act as a "primeval boogeyman" without overacting the part which was tricky to do. He worked with Bob Keen on the Candyman's look. Keen first had Todd wear a machine-controlled fake right arm, but found the movements of the arm too strict. Then, Keen came up with the idea of having Todd wear a hook to indicate the Candyman's supernatural being. He spent three hours making the hook. Todd suggested the character to wear an eyepatch, but Keen rejected the idea. To keep "Candyman" at a low budget, Rose instructed a special effects manager named Martin Bresson to use traditional effects instead of optical effects. The same team who worked on "Backdraft" also designed the set for the bonfire scene of "Candyman" which involved using 1,500 gallons of propane and it's largest section having a 70-foot width and 30-foot height.  The honeybees in "Candyman" were controlled by Norman Gary who previously handled the bees on films such as "The Deadly Bees" (1966), "My Girl", (1991) and "Fried Green Tomatoes" (1991). The film used more than 200,000 real honeybees throughout and most of the crew wore bodysuits to be protected from stings, although all of them faced at least one sting. Todd negotiated a bonus of $1,000 for each of the 23 bee stings that he received during filming. In shooting the film's climax where the Candyman sends 500 bees into Helen's face, he first had the bees placed in his mouth by using a protective mouthpiece to avoid as many stings as possible. Gary had to use freshly hatched, non-stinging and non-flying bees for the scene as Madsen was very allergic to stings. It took half an hour for all of the bees to get into Todd's mouth and he recalled being "tranced out" when he let all of the bees out of his mouth. Rose also utilized hypnosis in his movie to work around what he saw as the cliche of excessive screaming in the horror films. Bernard Rose came up with the idea to have Virginia Madsen hypnotized in the scenes where she confronted the Candyman. According to Todd, this process would occur prior to filming the scenes where he and Madsen interacted and would take roughly ten minutes to prepare. This was accomplished through the use of a professional hypnotist who established a key word that Rose would use to put Madsen under a trancelike state.

Score.

The film's score was composed by Philip Glass. According to Glass, "It has become a classic so I still make money from that score, get checks every year." Tony Todd confirmed in an interview with IGN that a limited edition featuring 7500 copies of the film's soundtrack was released in February 2015.

Release.

There was some controversy that the film was depicting racism and racial stereotypes. According to Rose, "I had to go and have a whole set of meetings with the NAACP because the producers were so worried and what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'" At the time of the film's release, Madsen said, "I was and am now worried about how people will respond. I don't think Spike Lee will like this film."  "Candyman" had its world premiere at the 1992 Toronto International Film Festival, playing as part of its Midnight Madness line-up. It was released on October 16, 1992 in the United States where it made $25.7 million.

Critical response.

On the review aggregator website, Rotten Tomatoes, "Candyman" has a 74% approval rating based on 65 critic reviews with the consensus reading: "Though it ultimately sacrifices some mystery in the name of gory thrills, "Candyman" is a nuanced, effectively chilling tale that benefits from an interesting premise and some fine performances.”  Allmovie praised the film, calling it "haunting, intelligent and poetic" and "the finest Barker adaptation ever committed to film". Roger Ebert of the "Chicago Sun-Times" wrote, "Elements of the plot may not hold up in the clear light of day, but that didn't bother me much. What I liked was a horror movie that was scaring me with ideas and gore, instead of simply with gore." Janet Maslin of "The New York Times" compared it to "an elaborate campfire story" with an "unusually high interest in social issues". Kevin Thomas of the "Los Angeles Times" called the film Clive Barker's "worst to date"—an ambitious, but pretentious film that "quickly becomes as repellent as it is preposterous." "Variety" called it "an upper-register horror item that delivers the requisite shocks and gore, but doesn't cheat or cop out."  Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Home media.

It was released on home video in February 1993 by Columbia Tri-Star Home Video. A special edition DVD was released in August 2004.  "Candyman" was first released on Blu-ray format in Australia on September 1, 2011 via Universal Studios. The same Blu-ray version was made available in the United Kingdom on October 10, 2011. The set contains DTS-HD Master Audio 2.0 for it's original English track as well as standard DTS 2.0 surround for it's additional French, Italian, Japanese and Spanish tracks with multiple subtitle options including English SDH and no special features. The film was released again in Australia from Shock Records via their Cinema Cult subsidiary with the only addition being a slipcover. In Germany, a "Limited Edition" Digibook was made available on May 27, 2016 and was, at the time, the most definitive Blu-ray edition to date. It contains both German and English DTS-HD Master Audio 2.0, German and English subtitles and special features including audio commentary, featurettes, storyboards and original trailer. A standard edition set was released in Germany on July 29, 2016. Several standard Blu-ray editions eventually became available in France, Italy, Spain, Japan, Denmark, Finland and Sweden throughout 2011 and 2012.  On July 20, 2018, it was announced that "Candyman" would be released on Blu-ray in a "Collector's Edition" on November 20, 2018 in the United States via Scream Factory, a subsidiary of Shout! Factory. The set contains a newly-remastered 2K restoration from a new 4K scan as well as a number of new special features including an unrated cut, commentaries and featurettes. The following week, on July 27, 2018, Arrow Films announced a "Limited Edition" Blu-ray set in the United Kingdom which includes the same scan and special features as the Scream Factory edition. It was confirmed for this edition that the film would contain a new DTS-HD Master Audio 5.1 track for the first time. The set includes a collector's booklet, 6 lobby cards, a reversible poster and reversible cover artwork. It was released on October 29, 2018.

Legacy.

The film came in at number 75 on Bravo's 100 Scariest Movie Moments.  The character Candyman came in at number 8 on Bloody Disgusting's "The Top 13 Slashers in Horror Movie History" and ranked the same on Ugo's "Top Eleven Slashers". The actor who played Candyman, Tony Todd made #53 on Retrocrush's "The 100 Greatest Horror Movie Performances" for his role.  The film appears in two sections of Filmsite.org's "Greatest Scariest Movie Moments and Scenes" and "Greatest Movie Twists, Spoilers and Surprise Endings".  In 2001, the American Film Institute nominated this film for AFI's 100 Years...100 Thrills.

Sequels.

Two stand-alone sequels comprising a single storyline were released in 1995 and 1999 respectively: "" and "".  In September 2018, it was announced that Jordan Peele was in talks to produce a direct sequel to the 1992 film using his company, Monkeypaw Productions. Todd stated in a 2018 interview with Nightmare on Film Street, "I'd rather have [Peele] do it, someone with intelligence who's going to be thoughtful and dig into the whole racial makeup of who "Candyman" is and why he existed in the first place." In November 2018, it was confirmed that Peele would produce the film with Universal and MGM and will partner with Win Rosenfeld to co-produce the film while Nia DaCosta signed on as director. The film will serve as a "spiritual sequel", taking place back in the new gentrified Cabrini Green where the old housing projects development once stood in Chicago. Filming was due to commence in spring 2019.  In January 2019, it was reported that Lakeith Stanfield (Known for FX's "Atlanta" and "Sorry to Bother You)" would possibly star in the film, but not as the main titular character rather as an older version of Anthony McCoy who was a visual artist who took on an interest seeking the legend of the Candyman that was similar to Helen Lyle's character played by Virginia Madsen.  In an interview with "Entertainment Weekly", Todd spoke of Peele, stating: "I know he's a fan. I'm hoping I will appear in the film in some form of fashion. Wouldn't that make sense? But, it's Hollywood so I won't take it personally if for some reason it doesn't work out." He added, "If this new one is successful, it will shed light back on the original. I think the subject matter is more important than any individuals and I mean that."  In February 2019, Yahya Abdul-Mateen II was in talks to play the titular character. In response to the news, Todd said: "Cheers to Candyman, a wonderful character that I've lived with for 25 years. He's brought grace and glory and a beautiful boatload of friends & family. I'm honored that the spirit of Daniel Robitaille & Cabrini Green rises again. Truth to power! Blessings to the cast & crew". However, it was ultimately announced that Todd would reprise his role.  "If Beale Street Could Talk" actress Teyonah Parris was cast opposite in playing Abdul-Mateen's character Anthony's girlfriend. Other added cast are "Fear The Walking Dead" star Colman Domingo and "Misfits" star Nathan Stewart-Jarret.  Production for the film began in August 2019 and wrapped in September 2019 in Chicago, Illinois. The working title of the film was revealed on some of the cast and crew social media pages as "Say My Name" which was discreetly used in the revised scripts and production sets to keep things "flying under the radar" with the official title also being "Candyman".

Candyman is a 1992 American supernatural horror film written and directed by Bernard Rose and starring Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons and Vanessa Williams. Based on the short story, "The Forbidden" by Clive Barker, the film follows a Chicago graduate student who was completing a thesis on the urban legends which led her to the legend of the "Candyman", the ghost of an artist and son of a slave who was murdered in the late 19th century.

Candyman’s Fluch (Originaltitel: "Candyman") ist ein amerikanischer Horrorfilm von Bernard Rose aus dem Jahr 1992. Der Film basiert auf der Kurzgeschichte "The Forbidden" von Clive Barker.


Early life.

Fred Olen Ray was born September 10, 1954 in Wellston, Ohio, just across the border from West Virginia where the Ray family had all been raised for the previous 150 years. He has always been a passionate film fan, and as a teenager he regularly read "Famous Monsters of Filmland" magazine. Being a fan of horror and science fiction films such as "Abbott and Costello Meet Frankenstein" and the AIP movies of the 1950s and 1960s, Ray started making his own movies at the age of fourteen.

Career.

Early work and "The Brain Leeches" (1970s).

Ray served in the Navy. When he got out, he went to work at a local television station, in Orlando, Florida. He worked as an credited still photographer on his first film in 1975, "Shock Waves", with Peter Cushing and John Carradine. Ray then began making movies on the weekend using station equipment, starting with "The Brain Leeches" (1978) made on a budget of $298.00. Ray co-wrote the screenplay with political essayist Brad Linaweaver, whose career trajectory took a turn toward science fiction and film after the experience.

1980s.

Ray's next film was shot on a budget of $15,000. Lessons learned from "The Brain Leeches" allowed Ray to keep production cost to a minimum, while using the bulk of the budget to attract a recognized Hollywood name to the project. "Alien Dead" was shot featuring an elderly Buster Crabbe, cinema action hero of the 1930s and 1940, and star of three Flash Gordon serials from 1936-1940. With the success of that film, Ray decided to move to Hollywood to be close to the film industry. He was interested in working in make-up and special effects, "probably from all of those years of reading "Famous Monsters" magazine," he later said. He found out "it soon became apparent that you would always be between jobs and I was looking for something that would actually earn me a living. I think I became a director because that was the fastest way to get a film made on the independent side of things."  Ray succeeded in raising money for a low budget horror film, "Scalps" (1983), which featured cameos from Carroll Borland and Forrest J. Ackerman. "The Tomb" (1986) starred Cameron Mitchell and John Carradine. Ray switched to action films with "Armed Response" (1986), which starred David Carradine and Lee Van Cleef. Ray had affection for this movie because "it had a great cast and was one of the first times I had more than two nickels to rub together." He then turned to science fiction: "Deep Space" (1987), "Cyclone" (1987). "Beverly Hills Vamp" (1988) was a horror comedy with Eddie Deezen. "Hollywood Chainsaw Hookers" (1988) was made in only a few days and turned out to be a big hit. Less popular was "The Phantom Empire" (1988).

1990s.

After "Alienator" (1989) he was reunited with Deezen for "Mob Boss" (1990), another comedy. He entered sword and sorcery movies with "Wizards of the Demon Sword" (1991) and made the more popular "Bad Girls from Mars" (1991). During this time he published a book he had written, "The New Poverty Row: Independent Filmmakers as Distributors" (1991).  Ray co-directed "Scream Queen Hot Tub Party" (1991) with Jim Wynorski, shot in one day. Ray moved into erotic thrillers with "Inner Sanctum" (1991) starring Tanya Roberts. It was a hit and Ray would make others in that genre, including "Inner Sanctum 2", "Mind Twister" (1994) and "Possessed by the Night" (1994).  "Evil Toons" (1992) was a comedy-horror, then he co-directed another with Wynorski, "Dinosaur Island" (1994). "Witch Academy" (1994) was the last of his "scream queen" movies. After "Attack of the 60 Foot Centerfold" (1995), he made "Fugitive Rage" (1996), "Friend of the Family II" (1996), "Inferno" (1997), "Hybrid" (1997), and "The Shooter", which has been referred to as Ray's best film. "Dear Santa" (1998) was a family film and "Billy Frankenstein" (1998) a comedy.

2000s to present.

In 2001 he made the film "Critical Mass". He later said he was a ""Critical Mass" kind of guy. I like to shoot things and blow stuff up. I also like comedies. Don't like erotic thrillers."  He established a DVD company called Retromedia. Ray made a film called "Bikini Airways" "on a lark and it did really well," said Ray. This led to a series of Bikini films.  In 2007 he reflected on his career: Budgetary constraints notwithstanding, Ray has on occasion been able to attract A list actors to appear in his films. Two time Academy Award nominee Peter Fonda played Marshal Kane in the 2010 Ray film "American Bandits: Frank and Jesse James". But, sometimes, even star power isn't enough to rescue a low-budget film. One reviewer described "American Bandits" as perhaps "the most boring Jesse James film ever made". In 2017, he received a "Living Legend Award" at the Buffalo Dreams Fantastic Film Festival.

Pseudonyms.

In his craft, Ray has used many pseudonyms, some used earlier by the B-movie director, Sam Newfield.

Personal life.

Fred Olen Ray has four sons from two marriages. Two of his sons work in the film industry as well, the eldest being director Christopher Ray.  Fred Olen Ray is currently unmarried, and resides in Studio City California where he continues to write, produce, and direct.

Fred Olen Ray (born September 10, 1954) is an American film director, producer, and screenwriter of more than 150 low-to-medium budget feature films in many genres, including horror, science fiction, action/adventure, crime dramas, and holiday films.

Fred Olen Ray (* 10. September 1954 in Wellston, Ohio) ist ein US-amerikanischer Filmproduzent, Regisseur und Drehbuchautor. Er gilt als Vielfilmer und hat bisher bei über 145 Filmen Regie geführt.