Oswell Blakeston

Oswell Blakeston was the pseudonym of Henry Joseph Hasslacher (1907–1985), a British writer and artist who also worked in the film industry, made some experimental films, and wrote extensively on film theory. He was also a poet and wrote in non-fiction areas including travel, cooking and pets. His pseudonym combined a reference to the writer Osbert Sitwell with his mother's maiden name.
Life.
Blakeston was born to a family of Austrian origin. At age 16 he ran away, becoming a conjuror’s assistant, a cinema organist and studio clapperboy.
Blakeston joined the staff of "Close Up", the magazine of the Pool Group, in August 1927. While at "Close Up", he very much became a protégé of Kenneth Macpherson, the publication’s editor, and contributed more articles than any other single writer—a total of 84; he contributed to all but four of the journal's issues. While writing for "Close Up", he worked in a variety of capacities in the British film industry and was for a time an assistant cameraman at Gaumont Studios.
In 1930, he made the short abstract film "Light Rhythms" with Francis Bruguière, long thought to be lost but which is now recovered.
He then edited the little magazine "Seed" with Herbert Jones, and wrote detective fiction with Roger Burford, under the pseudonym 'Simon'. From 1929, he also published novels and stories under the Blakeston name, producing 15 books of fiction, as well as 10 collections of poetry. The novels are wide-ranging, and include a number of works that mix gay themes with suspense and detective plots.
Blakeston was a contributor to John Gawsworth's anthologies, and a collaborator of M. P. Shiel. He also authored a number of travel books. According to the obituary of his partner Max Chapman, Blakeston achieved a number of firsts: his book "Magic Aftermath" (1932) was "the first fiction to be published in spiral binding" and his 1935 crime story "The Cat with the Moustache" (a collaboration with Burford) was "one of the first descriptions of trips with mescal". In his 1938 anthology "Proems", Blakeston "published the first poems by Lawrence Durrell".
In the 1950s he was a contributor to "ArtReview", then titled "Art News and Review".
Blakeston's work was produced for small presses and specialty publishers and is no longer in print. The Harry Ransom Center at the University of Texas at Austin is home to an archive of Blakeston materials available to researchers.
Many of Blakeston's books are dedicated to his longtime partner, the artist Max Chapman, who also provided illustrations or photographs for a number of the volumes.
Art.
Blakeston was an artist with a "quick eye for the bizarre and the outrageous” according to Max Chapman. His art mixed abstract and expressionist imagery and tended to be small scale. Blakeston had over 40 solo shows, including in London at New Vision Centre, Drian and Grabowski galleries, and some 100 mixed shows at others such as the Leicester, Madden and Mercury galleries. In 1981 he shared an exhibition at Middlesbrough Art Gallery with Max Chapman and after his death, a memorial show was held in 1986 at Camden Arts Centre. Blakeston's work can be found in public collections including the Victoria & Albert Museum, Middlesbrough Institute of Modern Art and the Ulster Museum in Belfast, as well as national galleries in Finland, Poland and Portugal.


Too Bright

Too Bright is the third album of the American singer Perfume Genius, released September 23, 2014.
The album charted at number 77 on the UK Album chart and peaked at number 83 in the United States.
Critical reception.
"Too Bright" has received critical acclaim. Metacritic, which assigns a normalized rating out of 100 to reviews from critics, gave the album an average score of 87, which indicates "universal acclaim".
Brandon Stosuy of "Pitchfork" gave the album a very positive review, stating, "A huge part of what makes the work so strong is the generous human spirit that bleeds into it, and "Too Bright" is the best example to date of the lengths he goes to confront his fears and demons. These songs feel less like songs and more like treasures, ones that fill you with power and wisdom, and as a result, "Too Bright" seems capable of resonating with, comforting, and moving anyone who's ever felt alienated, discriminated against, or "other-ized," regardless of sexual orientation." The album was given a score of 8.5 and was titled Best New Music.
Artwork.
The album artwork was shot by Luke Gilford and it showcases an androgynous Perfume Genius. It would encompass a bold and proud theme throughout "Too Bright".
Conception and development.
In an interview for "Refinery29", Perfume Genius said, "I don’t know, for a long time I had been kind of constantly seeking reassurance and acceptance all over the place, and wanting to be taken seriously but waiting for someone else to do it for me, do you know what I mean?.” He explains that this was a more serious approach to making this album. "Too Bright" further explores topics on sexuality, empowerment, and queer identity.


Peta Murray

Peta Murray is an Australian writer, born in Sydney in 1958. Best known as a playwright, she also writes short stories and essays and is a freelance dramaturg, director and occasional performer. She leads a parallel life as a teacher of creative writing and late-blooming academic researcher, in the Higher Education sector.
Early life.
Peta graduated from Killara High School, Sydney in 1975. In 1979 she graduated from the University of New South Wales NSW with a Bachelor of Arts, and Honours in Drama, and went on to complete her Diploma of Education at the University of Sydney in 1980. She then began work as a high-school teacher of English and History, but remained involved in fringe and community theatre throughout her teaching career. In 1989 she began writing full-time. Several of her plays were subsequently published by Currency Press. Her short stories have been published by Sleepers, and Scribe.
Playwright.
Murray's first play "The Procrastinator" was produced by the Griffin Theatre Company in 1981. Her best-known play, "Wallflowering", was workshopped at the Australian National Playwrights' Conference in 1988, and went on to have numerous productions in Australia and overseas. Other works include "Salt", "Spitting Chips," an adaptation of Tim Winton’s novella "Blueback", "The Procedure," and "The Keys to the Animal Room" produced by Junction Theatre Company in South Australia.
Community theatre works include "This Dying Business" produced by Junction Theatre Company and "The Law of Large Numbers" by Mainstreet Theatre company in Mount Gambier. In 2006, she wrote "Room", for Playworks and the Melbourne Writers Festival. In 2010 two ‘micro-plays’ featured in Finucane & Smith’s "The Carnival of Mysteries" at the Melbourne International Arts Festival. She has since developed and produced an epic new work for performance entitled "Things That Fall Over: an (anti-)musical of a novel inside a reading of a play, with footnotes, and oratorio-as-coda". This was presented as a marathon of an extravaganza over five hours at Footscray Community Arts Centre on 1 March 2014 to mark International Women's Day. It featured a women's community choir working alongside well known artists and performers including Caroline Lee, Margaret Dobson, Liz Welch, Lisa Maza, and, as Verity in the musical coda, "Swansong!!! The Musical!!!" the legendary Margret RoadKnight. Music was composed by Peta Williams, choreography was by Robin Laurie and musical direction was by Jo Trevathan.
In 2016 Murray made first forays into live art performance and installation-based work. She presented "Litanies for the Forgetful" as part of the embOLDen exhibition at Footscray Community Arts Centre, and returned the following year to perform "Missa Pro Venerabilibus: A Mass for the Ageing", alongside Robin Laurie and Heather Horrocks. This project was staged as part of Melbourne Fringe Festival, and made in collaboration with scenographers Rachel Burke and Jane Murphy, with whom Murray continues to work.
In 2018 she presented "vigil/wake" at Arts House, North Melbourne, under the banner of the Mere Mortals season. This work, first staged as part of the Melbourne International Festival project, Survival Skills for Desperate Times, continues to evolve. A tourable pop-up version was presented at the Public Health Palliative Care International Conference, in Leura, NSW.
2019 also saw Murray return to playwriting, with the premiere season of an immersive and participatory work for children, "On Our Beach", created for and staged in Fremantle, Western Australia, by Spare Parts Puppet Theatre. It was directed by Philip Mitchell, designed by Cecile Williams, and featured original music by Lee Buddle.
Other activities.
Peta Murray taught writing at the University of Western Australia Extension Service in the late 1980s, and spent eight weeks as Writer in the Community at Araluen Centre for Arts and Entertainment in Alice Springs in 1991. She has workers as a freelance dramaturg and director, taught playwriting at the University of Melbourne, and for RMIT University, at Melbourne's CAE, and as co-facilitator of The Blak Writers Lab for Ilbijerri Theatre.
In 2010 Murray co-founded, with clinical psychologist Kerrie Noonan, the not-for-profit arts-and-health organisation The GroundSwell Project. Its focus was on challenging Australia's culture of medicalised, institutionalised death and dying, and promoting a public health approach to deliver increased agency and broader choices at end-of-life. Murray served this organisation for many years in a pro bono capacity as its Creative Director before both she and Noonan stepped away in 2019. In the early years of the organisation Murray and Noonan ran three successful iterations of The Drama Project with students and Drama Teacher Nicole Bonfield at Penrith Selective High School. In its first year its intergenerational arts-and-health project: "Rain-dancing For Beginners", conducted in partnership with MND NSW won a 2010 Excellence in the Arts in Palliative Care award at the Art of Good Health and Wellbeing, Second International Arts and Health Conference, in Melbourne. The Drama Project was later the subject of a documentary by filmmaker Jordan Byron. In its early years The Groundswell Project also delivered the FilmLife in partnership with the Organ and Tissue Authority, Busting Cancer - a body casting project in Western Sydney for women, and events within the Hidden program at Sydney's Rookwood Cemetery. Murray also devised and ran workshops on "Writing Loss", while Noonan's focus included research projects such as the development of the first national Australia-wide Death Literacy Index, and community programs including Ten Things To Know Before You Go. They later established an annual event, Dying to Know Day, since held in August each year.
Since 2010 Murray has also completed a Diploma of Creative Industries at Victoria University, and two postgraduate degrees, a Master of Arts in playwriting through QUT, and a creative practice-based PhD through RMIT University. Her doctoral project "Essayesque Dismemoir: w/rites of elder-flowering" employed variations of the ‘performance essay’ to devise participatory nonfiction on the embodied experience of ageing. As part of her project, awarded in 2017, she produced a triptych of new works, under the title "Ware With A Translucent Body".
Since 2018 Murray has held an appointment as a Vice-Chancellor's Postdoctoral Research Fellow in the School of Media & Communication at RMIT, where she is an active member of the non/fictionLab, and one third of the research collective, The Symphony of Awkward, with Dr Stayci Taylor and Dr Kim Munro. The Symphony of Awkward conduct practice-led research in an emergent-field they call diarology. Peta's own research also concerns the use of transdisciplinary and arts-based practices as modes of inquiry and forms of cultural activism. Her current focus, within the emergent field of arts-and-health, is the use playful and material thinking to develop coherent narrative spaces to promote meaning-making, in the face of illness, grief and loss.
Awards.
Her play "Salt" won the 2001 Louis Esson Prize for Drama in the Victorian Premier's Literary Awards.
Murray has won Australian Writers' Guild awards for "Spitting Chips" (Theatre in Education/Community Theatre Category, 1990), "The" "Keys to the Animal Room", (Theatre in Education/Community Theatre Category and Major Award Winner, 1994) and "Blueback" (Theatre for Young People, 2000).
In 2003, Murray was awarded an Australian Government Centenary Medal for Services to Society and Literature.


Laganja Estranja

Laganja Estranja is the stage name of Jay Evan Jackson, an American choreographer and drag queen based in Los Angeles. Laganja competed on the sixth season of "RuPaul's Drag Race", finishing in eighth place.
Early life.
Jackson was raised in Dallas, Texas and attended the Booker T. Washington High School for the Performing and Visual Arts. Jackson obtained a BFA in dance from the California Institute of the Arts.
Career.
Drag.
Laganja Estranja's drag debut was at Micky's West Hollywood on November 7, 2011. After winning the Amateur Competition, Laganja became an official "Showgirl" with a monthly gig at Micky's. Laganja went on to win "Queen of Queens" at 340 Nightclub in Pomona, CA and "Best Newcomer" in West Hollywood.
In April 2013, Laganja Estranja auditioned for "RuPaul's Drag Race". She was accepted onto the show, and filmed in the summer of 2013.
In 2014, the sixth season of drag-oriented reality competition "RuPaul's Drag Race" aired on LogoTV. Laganja performed moderately well on the show, winning a challenge while partnered with eventual runner-up Adore Delano. Laganja was eliminated in the eighth episode of the season, placing her in a small category of contestants in the show's history who were eliminated the week after winning a challenge. At the outset of the show, Laganja received quite a lot of attention on social media for her now-iconic entrance. During the show, Laganja became infamous for her over-the-top dramatics, catchphrases, and emotional breakdowns. Eventual winner Bianca Del Rio credited Laganja as the root of every memorable quote from the following season of "RuPaul's Drag Race". Laganja's mannerisms have since been parodied by fellow drag queens, including Alaska Thunderfuck.
Laganja Estranja is the drag daughter of Alyssa Edwards, and the drag sister of Shangela and Plastique Tiara —all of whom competed on "RuPaul's Drag Race", Edwards appearing on season 5 and season 2 of "", Wadley appearing on season 2 and 3 and "All Stars" season 3, and Tiara on season 11. Under the moniker of the Haus of Edwards, they have internationally toured and performed together on multiple occasions, most notably at the pre-show warm-up for the finale episode of the seventh season of "RuPaul's Drag Race".
Laganja currently hosts her own web show on the drag-centric platform World of Wonder, the same production company behind RuPaul's Drag Race, RuPaul's DragCon LA, and RuPaul's DragCon NYC.
Music.
In 2014, Laganja contributed vocals to a cover of RuPaul's "Jealous of My Boogie", for the album "". Throughout 2014, Laganja was featured on three singles, contributing a rap verse to each song. In 2015, she released her debut single as a lead artist, titled "Legs", which featured American rapper Rye Rye. In June 2015, "Legs" was rated as the third best song by a "RuPaul's Drag Race" contestant by Pitchfork Media. In June 2015, Laganja was featured on fellow "RuPaul's Drag Race" star, Alaska Thunderfuck's debut album, "Anus", on the track "Gimme All Your Money".
In 2016, she released both her third single "Tease 4U" and a Christmas Album with the Haus of Edwards. Her single on the album is entitled "Green XXXmas," and the video featured exotic dancer Candace Cane. In September 2018, she released her fourth single "Look At Me" featuring J. Tyler, and an accompanying video. The video took a stance against arrests for marijuana possession. In November 2018, she released a lyric video for her fifth single "Smoke Break."
Lifestyle brand.
The Laganja Estranja lifestyle brand includes a collaboration preroll joint with San Francisco's The Hepburns, called "LAhepburns." Laganja also partnered with FRUIT SLABS, a company making cannabis infused, vegan, real-fruit squares for their 2019 PRIDE collection. Laganja worked with FRUIT SLABS to create a one-of-a-kind flavor to be offered for a limited time.
Cannabis advocacy.
As a cannabis rights activist, Laganja has hosted conversations on cannabis legalization at Trinity College in Dublin, Ireland, and at Impulse in San Francisco. She has also been featured twice in "High Times Magazine" as well as on the cover of "Dope Magazine", making her the first LGBTQ+ advocate on the cover of a cannabis magazine.
In September 2018, Laganja was interviewed by Civilized Magazine about her music video for "Look at Me" that “slammed” the war on drugs. The interview by Civilized — a magazine reported to be for the millions of adults who choose to enjoy cannabis recreationally — covered a number of aspects behind the imagery of Laganja's music video.
Leafly, the world's largest cannabis information site, featured Laganja on its in-house podcast in January 2019. The podcast, "The Hash", explored, alongside Laganja, topics like homophobia in the cannabis industry and what it's like to often be the only queer person in a room.
Dance.
Graduating from The California Institute of the Arts in 2011 with a bachelor of fine arts degree in dance and choreography, Laganja is a skilled choreographer, teacher, and dancer. A Presidential Scholar in The Arts, Laganja performed her original work “not today” at the Kennedy Center in 2007. Laganja is also a YoungArts Silver Winner and returns every year to the program to mentor high school students in Miami, Florida.
Laganja's choreography credits include "Germany's Next Top Model", "NYC Cosmetics FACE Awards", and for commercial artists such as Miley Cyrus and Brooke Candy.
In mid-2017, Laganja led a dance theatre project on gender expression with artists across Europe assembling in Nottingham, UK for a four-day workshop and showcase exploring the boundaries of gender identity. “G[END]ER” was in collaboration with Backlit Gallery, Kitty Tray, and Nottingham Contemporary. In the fall of 2018, Laganja elaborated on this idea of gender expression with her dance residency at YoungArts. The immersive experience included live vocals, original compositions, and curated set design.
Laganja's moves have also been featured on several popular dance YouTube channels including, but not limited to, Brian Friedman and DanceON.
In late-2018, Laganja was partnered with the Pérez Art Museum Miami (Pamm) to present the art of drag for a one-day Poplife Social YoungArts Takeover. The event at the world-renowned art museum included an invitation from Laganja herself, “Onto Pamm’s terrace to warm up their dance muscles, ‘sissy that walk’ across the space and participate in a fan dance inspired by traditional Japanese performance.”
Laganja's Dance School.
In 2016, Laganja's Dance School, an international high-heels masterclass and confidence workshop, was founded with partner Kristen Lovell. The master class has been held in dozens of cities in the United States and as an international experience, has traveled to Manchester, Nottingham, London, Newcastle, Dublin, Lima, Mexico City, and Amsterdam.
Laganja's Dance School is held weekly at The Basement Center of NoHo in North Hollywood, and a beginning Heels Technique class is held at Downtown Dance and Movement in Downtown Los Angeles.
In 2019, the documentary "Laganja's Dance School" was released. The documentary was directed by Selene Kapsaski and chronicles Laganja Estranja teaching a dance class in London.
Merchandise.
In 2014, Laganja launched a collection of marijuana-themed merchandise including a jewelry line named Laganja Estranja Is My Enemy. Laganja has also collaborated with Blunted Objects on a marijuana-themed statement necklace.
Personal life.
Jackson spoke out against Donald Trump while the latter was running for president of the United States, and is committed to continuing to use their platform for social change. They are non-binary and do not have any preferred pronouns.


Clapboard Jungle

Clapboard Jungle: Surviving the Independent Film Business is a 2020 documentary film about working in the film business directed by Justin McConnell.
Development.
McConnell came up with the idea for the documentary after making his third film, "Skull World", as it "struck me that a really simple, but effective thing that I could create would be what at the time I set out to make as sort of a film school in a box; the kind of thing that I wish existed ten years earlier, so that I could turn to it, or that as a younger filmmaker I could get a better indication of at least a path you could follow".
Release.
"Clapboard Jungle" had its world premiere on 6 June 2020 at the Superchannel Canadian Film Fest. It went on to screen at other film festivals that included FrightFest, where it received the award for Best Documentary.
The documentary was released digitally on January 19, 2021 via Gravitas Ventures and Kamidaze Dogfight.
Reception.
Critical reception for "Clapboard Jungle" has been positive. Common praise for the film centered upon McConnell's choice to focus the documentary on himself, which PopHorror called "a bold choice", and the portrayal of the difficulties faced in indie film production. Flickering Myth noted that "Crucially, despite McConnell directing this film himself, it manages to avoid feeling like a navel-gazing vanity project." Rachel Reeves of "Rue Morgue" also praised the film, writing that it was "a rare and intimate peek behind the curtain of indie filmmaking."


Table entertainment

Table entertainment was a form of English theatre in the 18th and 19th centuries. A table entertainment was only partly musical in character, and was given by a single performer sitting at a table and telling stories and jokes, giving displays of mimicry, singing songs, and so forth.
The first table entertainments on record were performed by George Alexander Stevens in Dublin in 1752. Charles Dibdin began a series of table entertainments in London in 1789 and continued them for 20 years, introducing most of his songs in this way.
Perhaps the master of the table entertainment was Charles Mathews, who began his show "At Home" or "Mathews at Home", in London's Lyceum Theatre in 1808. According to Leigh Hunt, Mathews's table entertainments were unparalleled "for the richness and variety of his humour, and were as good as half a dozen plays distilled." "At Home" combined mimicry, storytelling, recitations, improvisation, quick-change artistry, and comic song. Along with its rousing popularity on the English stage, Mathews had some success in twice bringing the show to the United States.
See also.
One person show


Miller Time


Vichy Republican

Vichy Republican was a term first used in 2009 to designate Republicans who allegedly sold out on their own party by collaborating with the Democrats against true conservative values and goals by their opponents. This term has also since emerged on social media in 2016 in regards to the United States Presidential campaign of Donald Trump but with an opposing definition. It refers to members of the Republican Party who have chosen to abandon values traditionally espoused by the Republican Party and to support Donald Trump's candidacy due to political expediency rather than genuine agreement with his beliefs or campaign. The term originates from Vichy France, which was the wartime location of the French government which collaborated with the Axis Powers during the Occupation of France during World War II opposed by the Free France led by Charles de Gaulle.


AMM (group)

AMM is a British free improvisation group that was founded in London, England, in 1965. The group was initially composed of Keith Rowe on guitar, Lou Gare on saxophone, and Eddie Prévost on drums. The three men shared an interest in exploring music beyond the boundaries of conventional jazz, as in free jazz and free improvisation. AMM has never been popular but has been influential in improvised music. Most of their albums have been released by Matchless Recordings, which was run by Eddie Prévost. In a 2001 interview, Keith Rowe was asked if "AMM" was an abbreviation. He replied, "The letters AMM stand for something, but as you probably know it's a secret!"
History.
1960s.
AMM was initially composed of Keith Rowe on guitar, Lou Gare on saxophone and Eddie Prévost on drums. Rowe and Gare were members of Mike Westbrook's jazz band; Prévost and Gare were also in a hard bop jazz quintet. The three men shared a common interest in exploring music beyond the boundaries of conventional jazz, as part of a larger movement that helped spawn European free jazz and free improvisation.
The seeds of AMM were planted in 1965. They initially had no name, and were not really a group in the conventional sense, simply a weekend experimental workshop session at the Royal College of Art in London, centred on Gare, Rowe, and Prévost. Members of the group have come and gone over the years, but Rowe and Prévost have been present for most recordings and performances; the latter has been the only constant in the nearly seven decades of AMM music.
Musicians were free to join in, but such collaborations were often short-lived if the contributions were lacking the proper spirit: notable jazz saxophonist Steve Lacy sat in with the group but was quickly asked to stop playing. Observers were welcome, provided they were silent and didn't disturb the proceedings. American saxophonist Ornette Coleman was asked to leave after he continually talked during one performance; Beatles member Paul McCartney once sat quietly through an early AMM session. When asked how he liked the music he said they went on too long.
Eventually, the group settled on a line-up of Prévost, Rowe, Gare, bassist Lawrence Sheaff and pianist/cellist Cornelius Cardew, and, in early 1966, were calling themselves AMM. However, some early performances were billed as the "Cornelius Cardew Quintet", a mistake which both irked and amused the musicians. After a few paying performances, Cardew bought two amplifiers so the other instruments could compete with the volume of Rowe's guitar. In addition to amplifying their instruments, Cardew and Gare would apply contact microphones to various common objects to amplify the sounds made by, for example, rubbing a glass jar or striking a coffee tin.
No AMM performance is ever planned; each is unique and spontaneous. The musicians tend to avoid any conventional melody, harmony or rhythm, and seek out an ensemble sound that often obscures any individual's role. It is often difficult to discern which musical instrument is making which specific sound on an AMM recording, due in part to liberal use of various extended techniques on their instruments.
AMM released their first recording, "AMMusic 1966", on Elektra Records UK in 1966. It had some initial similarities to free jazz, due in part to Gare's saxophone. One critic has written, however, that the resemblance was rather slight: "the overall sound of the group, even in 1966, was so different, so idiosyncratic, that it's not at all surprising that both new jazz and contemporary classical audiences were baffled, if not horrified." Percussionist Christopher Hobbs (born in 1950 and a student of Cardew) also played with AMM in the late 1960s.
The next AMM material to see release were the important "The Crypt" sessions from 12 June 1968. Though the debut is regarded as a landmark recording, "The Crypt" was arguably even more important in establishing the droning, long-form music that would come to characterise AMM. Further "out" and even less conventional than earlier material, one critic has written of it that "an eerie sensation inevitably accompanies each listen to the raw streams of electric noise channeled on AMM's second album and early masterpiece, "The Crypt". To ears informed by the twenty-first century, it's the uncanny feeling of listening to three-and-a-half decades of experimental music history as delivered in a chillingly prescient sort of reverse premonition ... It's a little unnerving that the only records that seem to accurately describe the brave new soundworld harnessed on "The Crypt" came into being well after its creation."
"The Crypt" sessions have been issued many times, twice in the 1980s as a double LP, and it is still available (with extra material, billed as "The Complete Sessions") on a double CD from Matchless Recordings. "The Crypt" continues to inspire adventurous listeners; in the liner notes to the 1992 double CD, Prévost writes, "Despite being (arguably) the most 'difficult' material on Matchless, "The Crypt" has been a mainstay for the label. It obviously pays not to underestimate the audience. Its continued success has enabled us to release other works. So we felt committed, obliged almost, to keep it available ... this music has proved itself not to be ephemeral."
Composer Cornelius Cardew joined AMM in 1966, performing on piano and cello. He worked with AMM intermittently until he abandoned his earlier experimental music in the late 1970s (Cardew died in an unsolved auto accident in 1981). Composer Christian Wolff performed with AMM in 1968. Cardew and Rowe became committed to socialism and to Maoism, and thought that AMM's music should reflect their sociopolitical outlook. Prévost accuses the pair of "cultural bullying", and there was tension in the group, resulting in some AMM performances being made by alternating duos: Rowe and Cardew, Prévost and Gare.
1970s.
This personal and political tension culminated with a long period (about 1972 to 1976) when AMM was rarely active, and then usually as a Prévost-Gare duo. This was arguably AMM's most jazz-like era, with Gare's sputtering, squawking saxophone (unique but showing the influence of John Gilmore and Albert Ayler) brought to the fore, although Prévost has stated the music was "decidedly non-jazz."
Rowe rejoined in the mid-1970s, and shortly thereafter, Gare departed, leaving a Rowe-Prévost duo for a period.
1980s and 1990s.
Pianist John Tilbury – previously an occasional AMM collaborator – joined in about 1980. This version of AMM generally explored quieter, more meditative sounds. Gare occasionally rejoined the group in this era; cellist Rohan de Saram was also an occasional addition.
Later collaborators have included saxophonist Evan Parker and clarinetist Ian Mitchell. Christian Wolff also returned as a collaborator for a concert at the Conway Hall in London in 2001. Prévost has reported that of all their collaborators, Parker and Wolff best grasped the AMM aesthetic.
2000s.
The Prévost/Rowe/Tilbury line-up remained stable for two decades, only occasionally augmented by guests. In the early 1990s, the trio made their first extensive tours, with a number of well-received appearances in Europe and North America.
But since about 2000, Rowe's increasing involvement with what has become known as "electroacoustic improvisation" ("eai" for short), especially under the aegis of Jon Abbey's Erstwhile Records, meant that more of his musical activities began to take place outside AMM. Rowe has reported that he felt somewhat limited having been almost exclusively a Matchless Records artist, and that he wanted to explore music outside of AMM. Tension between Rowe and Prévost was exacerbated by the appearance of Prévost's second book of essays, "Minute Particulars", which contained some disparaging comments about Rowe, who then left the group. In his review of Prévost's book, Walter Horn notes that while Prévost offers often scathing opinions of many people, Rowe is singled out for multiple barbs, and "one can hardly fail to wonder whether there's something of a personal nature lurking behind the barrage of what are superficially theoretical complaints."
The trio's last performance with Rowe is documented on the 2005 double-CD "Apogee". The set is shared with another of the electronic improvisational ensembles that emerged during the 1960s: Musica Elettronica Viva (MEV). The first CD is a studio recording in a joint session in England on 30 April 2004 featuring MEV's Alvin Curran, Richard Teitelbaum and Frederic Rzewski with Prévost-Rowe-Tilbury. This is the first occasion that the two ensembles have performed together, but not the first time they have shared a split release: each outfit filled a side of the LP "Live Electronic Music Improvised", released on a US label in 1968 (AMM's side features excerpts from "The Crypt" sessions; MEV's side is an excerpt from their magnum opus "Spacecraft."). The second CD consists of the performances that each group gave at a festival held in London on 1 May 2004.
Prévost and Tilbury continue to record and perform as AMM. They performed in London during December 2004, with Sachiko M joining as a guest, at the 2005 LMC Festival of Experimental Music, with David Jackman as a guest, and at a festival of experimental music in Belgium in February 2006. They also released a duo CD as AMM, "Norwich", during 2005, and in 2009, the CD "Trinity" with guest John Butcher.
In 2010 the core duo of Eddie Prévost and John Tilbury along with John Butcher, Christian Wolff and Ute Kangiesser released a CD called "Sounding Music" (the first simply tagged as AMM after 2005's Norwich) containing the concert performed at "Freedom of the City" festival, Conway Hall, London on 3 May 2009.
More recent recordings on Matchless featuring the duo form of AMM include: 'Uncovered Correspondence' recorded in Jasło, Poland (2010) and 'Two London Concerts' (2011).
AMM appeared on SWR2 NOWJazz Session, Donaueschingen 2012.
AMM (Tilbury, Prévost & Rowe) are due to appear on 29 November 2015 as the final performance in the Huddersfield Contemporary Music Festival.
Critical appraisal.
Michael Nyman wrote, "AMM seem to have worked without the benefit or hindrance of any kind of prepared external discipline."


Janis Claxton

Janis Claxton (6 October 1964 – 7 September 2018) was an Australian choreographer based in Edinburgh, Scotland.
Early life.
Claxton started dance training in Brisbane at the age of 3, and went on to gain a BA in Performing Arts (Contemporary Dance) at Queensland University of Technology. As a young dancer, she worked with Erick Hawkins, whom she continually cited as an influence and upon whose techniques she built much of her practice.
Career.
In 2003 she formed Janis Claxton Dance in Bristol, then moved to Scotland in 2005. In 2008 her Herald Angel Award-winning "Enclosure 44-Humans", part of the Edinburgh Festival Fringe, involved her and other dancers in a site-specific work at Edinburgh Zoo where they performed for 11 days in an animal enclosure. Since 2009 Claxton spent much of her time in China performing, teaching and working on cultural projects.
In 2013 she was awarded an International Creative Entrepreneur placement in China.
Pop Up Duets.
Her award-winning "POP-UP Duets (fragments of love)" was described as "the choreographic stand-out" of the 2016 Edinburgh Festivals. It comprised a series of 5-minute love duets performed in the galleries of the National Museum of Scotland.
In 2018, Janis Claxton Dance embarked on a world tour of "POP-UP Duets (fragments of love)". Although London remained elusive, Claxton received international recognition, with venues including Jacob's Pillow Dance Festival and the Lincoln Centre in New York.
Legacy.
Claxton died peacefully in the early hours of 7 September 2018, aged 53, having been recently diagnosed with lung cancer. On 20 August 2018, she received a special Archangel award from "The Herald" for her sustained and valued contribution to the Edinburgh festivals over the years. A leading campaigner for gender equality in UK contemporary and classical dance programming, and consistent advocate for promoting Scottish Arts abroad – especially in the Far East – Claxton said on Facebook in August 2018:


Wishing Stairs

Wishing Stairs ( also known as Whispering Corridors 3: Wishing Stairs) is a 2003 South Korean horror film. It is the third installment of the "Whispering Corridors" film series set in girls high schools, but, as with all films in the series, is unrelated to the others; apart from a song being sung in one scene that is a pivotal plot in "Voice".
Plot.
Yun Jin-sung (Song Ji-hyo) and Kim So-hee (Park Han-byul) are best friends studying ballet at an all-girls art school. However, their friendship turns sour when they find themselves competing for a single spot in a Russian ballet school. Jin-sung learns from an odd student named Eom Hye-ju (Jo An) of an old legend that if a person climbs the twenty eight steps leading up to the school's dormitory and finds a twenty ninth step, then a fox spirit will grant that person's wish. Curious, Jin-sung climbs the stairs and comes across the twenty ninth, happily wishing to gain the spot. To her surprise and anger, So-hee is selected instead. Jin-sung declares her hatred toward her and accidentally sends So-hee down a flight of stairs during a scuffle. So-hee is left unconsciousness and hospitalized.
Jin-sung learns that So-hee is no longer able to study ballet due to her injuries from the fall. She tries to apologize, but receives no reply and leaves guilty. The next day, she learns that So-hee has committed suicide. As the fight between the two was witnessed by several others, Jin-sung is now looked down upon by the students, who believe that she intentionally pushed So-hee out of jealousy. Jin-sung's wish comes true and she gets the spot for the ballet school but her fellow students treat her coldly.
Affected by So-hee's death, as she was the only one to treat her with kindness, Hye-ju attempts to keep So-hee's belongings for herself, but is ridiculed for it, mainly by Han Yun-ji. She climbs the steps and wishes for So-hee to come back. So-hee returns as a twisted spirit who possesses Hye-ju. The possessed Hye-ju confronts Yun-ji for bullying her and stabs her to death. Jin-Sung encounters Hye-ju, who tries to convince her that she is So-hee. The spirit of So-hee makes Hye-ju light a match, leaving the troubled girl to perish in flames.
While Jin-sung is preparing to leave for the ballet school, she is haunted by So-hee. Unable to endure it, she tries to climb the stairs again in order to wish her away. Before she can reach the top, So-hee appears and holds her as Jin-sung confesses that she didn't hate her and simply wanted to be happy. Believing that Jin-sung does not love her as much she does, So-hee crushes Jin-sung's stomach with her arms, killing her, then vanishes.
Some time later, a new girl moves into the dorm room that Jin-sung once occupied. A picture with Jin-sung and So-hee on it is seen on the floor. In the photo, So-hee's irises disappear, implying that she still remains.
Notes.
The film itself seems to mirror the ballet Giselle, which girls in the film are studying, as well as drawing upon the classic short story The Monkey's Paw, with So-hee as Giselle, and Jin-sung as Albrecht. Unhappy with always having to play the "prince" to So-hee's princess, Jin-sung betrays So-hee, which in turn leads to So-hee being crippled and commits suicide after her friend Jin-sung confesses she has hated her all along. When So-hee's spirit is wished back, Jin-sung is haunted by So-hee's ghost, the love she once felt for her friend warped by Jin-sung's hurtful actions.
As in the two previous movies, this film has strong themes of friendship, betrayal, and the taboo of lesbian affairs in an all-girls school.


Pierre Joffroy

Pierre Joffroy (born 1929 in Hayange, France) is a French author, dramaturge and journalist who wrote for "Paris Match", "Libération" and "L'Express". At present he lives in Paris.
In France Joffroy released numerous novels, stage plays and articles.
For a period of 30 years he worked on a biography of Kurt Gerstein before he finally released the book "A Spy for God", which deals with Kurt Gerstein's story and the decades of the author's research.
Within the framework of an interview with Deutschlandfunk(DLF) the French author declared, that he considered Kurt Gerstein to be "one of the most important persons of World War II".
Publications.
Pierre Joffroy, Le retour des bourreaux in : "Paris Match", Nr. 831, Paris, 13 March 1965, S. 3–5, 7, 9. (deals with the process of Munich, 1965)


Frederic Franklin

Frederic Franklin (13 June 1914 – 4 May 2013), sometimes also called "Freddie", was a British-American ballet dancer, choreographer and director.
Dancer.
Born in Liverpool, England, Frederic Franklin claimed that on seeing the 1924 film "Peter Pan", his only thought was to go on the stage. He began his career in 1931 at the Casino de Paris with Josephine Baker. In his time in England, Franklin performed with Wendy Toye and Anton Dolin in acts such as the cabaret, variety, concert ballet, vaudeville, and theater. After briefly dancing with the Vic-Wells Ballet, forerunner of The Royal Ballet, he joined the Markova-Dolin Ballet in 1935.
In 1938 Franklin joined the Ballet Russe de Monte Carlo where he was premier danseur until 1952. Known as a quick study and for having an impeccable memory, Franklin also became the company's ballet master in 1944. With the Ballet Russe, Franklin originated many indelible characters and starred in over 45 principal roles by such choreographers as Leonide Massine, Michel Fokine, Bronislava Nijinska, Frederick Ashton, George Balanchine, and Agnes de Mille.
In 1949, Franklin went on a concert tour in South Africa. Throughout his time there, he performed ballets such as the Nutcracker and the Mirage. Upon returning to the states and creating his own Ballet with Mia Slavenska, they performed programs such as Swan Lake and A Streetcar Named Desire. In addition, the Slavenska-Franklin Ballet had the opportunity to go to Japan. In Japan, Franklin was able to bring together Swan Lake with the help of Japanese children. However, the Slavenska-Franklin Ballet had begun to experience extreme financial difficulties. As a result, in 1955, Franklin returned to the city and was able to rejoin the Ballet Russe de Monte Carlo. The Ballet Russe de Monte Carlo's 1957 season was extremely special because it was the 20-year anniversary as well as Franklin's last show with them. After, Franklin briefly taught at the Ballet of Monte Carlo School on Madison Ave.
While performing internationally with the Ballet Russe de Monte Carlo, Franklin and Alexandra Danilova created one of the legendary ballet partnerships of the twentieth century. Among the other ballerinas he partnered were Alicia Markova, Yvette Chauviré, Moira Shearer, Rosella Hightower, Maria Tallchief, Tamara Toumanova, and Alicia Alonso. In addition, he performed roles such as the Baron in "Gaite Parisienne", the Baron in "Night Shadow (La Sonnambula)", and the Champion Roper in "Rodeo."
In the 1950s, Franklin also gained experienced when he went to Puerto Rico after a call from Juan Anduze. Upon his return to the states in 1962, he went to Washington D.C, where he joined the National Ballet as founding director, and stayed with them for 12 years. On the opening night of National Ballet of Washington, D.C. following his return, there were 100 musicians of the National Symphony Orchestra, an abundance of magazine and news crews, and choreographer George Balanchine also came to watch.
Director and choreographer.
In 1952, Franklin co-founded the Slavenska-Franklin Ballet with Mia Slavenska and a few years later he became the co-director of the Washington Ballet, and then the co-founder and artistic director of the National Ballet of Washington, D.C..
In his lifetime, Franklin choreographed three pieces. In 1958, he created his first ever piece for the Washington Ballet called Etalage. His second piece is called Homage Au Ballet which was also for the Washington Ballet in 1963. His final piece is called The Tribute which was for the Ballet Russe de Monte Carlo in 1962. According to an interview Franklin had done, he best choreographs by visualizing the dancers and their movements in his head.
After a few years in Washington, D.C., Franklin began a freelance career reviving and staging works around the United States and developed artistic associations with many ballet companies including Cincinnati Ballet where he was artistic director for two years and later Director Emeritus, Dance Theatre of Harlem where he became artistic advisor in 1989, Chicago Ballet, Tulsa Ballet, the Oakland Ballet, Pittsburgh Ballet Theatre, and American Ballet Theatre.
In 2005, Franklin was featured in the documentary film "Ballets Russes", recounting his years with the famous company. Into his 90s, Franklin continued to perform with American Ballet Theatre, appearing in mime roles such as the Friar in "Romeo and Juliet", Madge in "La Sylphide", and the Prince's Tutor in "Swan Lake".
Franklin died from pneumonia in New York City at the Weill Cornell Medical Center on 4 May 2013. He was survived by his partner of 48 years, William Haywood Ausman, and his brother, John Franklin.
Awards.
In 1984, Frederic Franklin was honored with a Laurence Olivier Award for his staging of a Creole-themed Giselle starring Virginia Johnson at Dance Theatre of Harlem. Franklin received the Dance Magazine Award in 1985 and the Capezio Dance Award in 1992. On 16 November 2004 Franklin was appointed a Commander of The Most Excellent Order of the British Empire. In 2011, Franklin was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame.


Aloha from Hawaii via Satellite

Aloha from Hawaii via Satellite was a concert starring Elvis Presley that took place at the Honolulu International Center and was broadcast live via satellite to audiences in Asia and Oceania on January 14, 1973. The show was presented with a delay in Europe. In the United States, to avoid a programming conflict with Super Bowl VII, NBC opted to air a ninety-minute television special on the concert airing on April 4.
Presley returned to performing tours throughout the United States in 1970. Richard Nixon's 1972 visit to China inspired Presley's manager, Colonel Tom Parker, to promote a live broadcast concert featuring the singer and he arranged a deal with RCA Records and the NBC network to produce one. The show benefited the Kui Lee Cancer Fund.
Marty Pasetta produced the program. A filmed rehearsal concert took place on January 12. The show earned good ratings in the countries targeted by the live broadcast. The television special presented in the United States became NBC's highest-rated program of the year, and it garnered a favorable reception from critics. Its soundtrack album became Presley's last chart-topper on "Billboard's" Hot 100.
Background.
After a seven-year hiatus from live performances to focus on his acting career, Elvis Presley returned with his 1968 NBC television special "Elvis". Following the critical success of the special, by 1969, Presley returned to record non-soundtrack albums with his release of "From Elvis in Memphis". His manager, Colonel Tom Parker, arranged for him to play a concert residency at the newly built International Hotel in Las Vegas, Nevada. For this engagement he assembled a band, later known as the TCB Band: James Burton (guitar), John Wilkinson (rhythm guitar), Jerry Scheff (bass-guitar), Ronnie Tutt (drums), Larry Muhoberac (piano) and Charlie Hodge (rhythm guitar, background vocals). The backing vocals of The Sweet Inspirations, The Imperials, The Stamps and Kathy Westmoreland accompanied the band. It was also supported by the 30-piece Joe Guercio orchestra. Presley began to tour the United States again in 1970 after a thirteen-year hiatus.
His early album releases for 1972, "Elvis Now" and "He Touched Me", charted at number 43 and 79 on the "Billboard" Hot 100 respectively. During the same year, he embarked on a 15-city tour that was filmed for the Metro-Goldwyn-Mayer(MGM) documentary "Elvis on Tour". When the recording equipment failed because of an overload during the fourth night of performances, the planned soundtrack album was never released. The film would earn a Golden Globe Award for best documentary.
Presley appeared at Madison Square Garden in New York City in June 1972. The release of the live album the same month charted at number 11 on "Billboard's" Hot 100. A month after this appearance, Parker mentioned to the press that arrangements were being made for Presley to play a concert via satellite to live audiences worldwide. Parker declared that "it is the intention of Elvis to please all of his fans throughout the world". Parker's reluctance to allow Presley to undertake international tours in person has been attributed to his status as an illegal alien in the United States. Parker concealed his origins as a Dutch national.
Production.
On September 4, the final day of Presley's fifty-nine-show-engagement at the Las Vegas Hilton, Parker announced at a press conference that the live NBC television special, called "Aloha From Hawaii", would take place in January 1973 in Hawaii. Parker got the idea in February 1972, when he saw the live broadcast of Richard Nixon's visit to China. Parker approached NBC's president Tom Sarnoff with the proposition. They set a tentative release date for November 18, the end of Presley's tour. The date had to be moved at the request of Jim Aubrey, who wanted to avoid the special overlapping with the theatrical release of "Elvis On Tour", scheduled for the same month. RCA Records Tours, founded by RCA Records at Parker's request to manage the promotion of Presley's tours, would receive US$1 million (equivalent to $ million in ) from NBC for the special. The label would be paid US$100,000 (), while Presley and his manager would receive US$900,000 (equivalent to $ million in ) to be split between them. Presley's managerial contract, signed in 1967, stipulated that Parker would receive fifty percent of the total profit of his negotiated deals.
Eddie Sherman, a "Honolulu Advertiser" writer, contacted Parker with the idea of giving the proceeds of the concert admissions to a charity he had recently established. Sherman had worked with Parker to promote Presley's 1961 benefit concert for the construction of the USS Arizona Memorial. Since Parker could not charge a television audience for tickets, Sherman proposed taking donations for the Kui Lee Cancer Fund instead. Sherman started the fund to benefit cancer research at the University of Hawaii. Kui Lee, a singer-songwriter from Hawaii, died in 1966 of lymph gland cancer. Presley recorded Lee's "I'll Remember You" in the summer of 1966 and included the song in his live sets starting in 1972. Presley contributed with the first donation of US$1,000 (); while the audience could determine the amount of their donations.
Sarnoff suggested Marty Pasetta produce the special. He had experience producing television specials for Perry Como, Bing Crosby, Glen Campbell, and Don Ho's five specials, filmed on-location in Hawaii. Pasetta had also produced broadcasts of the Oscars, Emmys, and Grammys. For his new special, Presley was interested in a producer who could capture the atmosphere of a live concert. Pasetta attended Presley's concert in Long Beach, on November 15. He was unimpressed by Presley's performance, feeling his presence was "staged, quiet". He expressed his doubts to the network that he would be able to produce an hour-and-a-half special. They told Pasetta to discuss his concerns with Parker.
Pasetta took sketches of his ideas for the stage to Parker. He envisioned the band placed on a riser behind Presley. The stage was to be built low to allow the audience proximity to him, with a runway to allow Presley to move towards them. Mirrors would frame the stage, while the background would feature flashing neon signs that read "Elvis" in the language of the countries where the concert was projected to be broadcast, and the accompanying album would be released. A figure holding a guitar was to be added to the background lights. Parker dismissed the idea telling Pasetta that Presley would not approve of his plans. Pasetta insisted on taking his ideas directly to Presley; Parker did not object. The producer told Presley he was not pleased with his performance on Long Island and laid out his plans for the stage and the details of the Hawaii production. He finished by telling the singer he would need to lose weight for the special. Impressed by Pasetta's frankness, Presley became excited to work with him, and the meeting lasted four hours. Presley returned to his home, Graceland, in Memphis, Tennessee, and began to exercise to deal with Pasetta's weight concerns. Presley increased his practice of karate, consumed vitamins and protein drinks, and used weight-reduction pills. He lost in a month. Pasetta returned to Los Angeles, where he began work on the stage that would be shipped to Hawaii; further set decorations would be added on location. The large stage covered the space used for 3,500 of the Honolulu International Center's 8,800 seats. RCA Records commissioned the Berlitz Corporation to translate the phrases and scriptures Presley would use. The date for the live concert was set for January 14, 1973. The broadcast in the United States was postponed until April to avoid a conflict with Super Bowl VII that was to be played on the same day.
Presley approached his costume designer, Bill Belew with an idea for his concert suit. Belew began to work for Presley in 1968, with the creation of the leather suit he wore for his NBC special "Elvis", and created the one-piece jumpsuits the singer wore during his Las Vegas appearances. Belew's designs featured gabardine stretch fabric with Napoleonic collars, rhinestone decorations and bell-bottoms. For the upcoming special, Presley asked Below to create a patriotic design. Presley felt the broadcast of the show via satellite was a product of American creative thinking. Since it was going to be viewed in foreign countries, he told Belew, "I just want the suit to say America". This was one of the few occasions when Presley made a special request of the designer. Belew usually relied on his own creativity. Initially, the designer suggested a pattern based on the outline of the map. Then they considered the flag, but settled on the bald eagle, since Belew recalled seeing the image in a US embassy. The white jumpsuit featured a bald eagle made with patterns of gold, blue and red gems on the chest and back. Belew created a four-inch white leather belt featuring five ovals with the Great Seal of the United States. Initially, Belew made a calf-length cape for Presley. He planned to be covered by it at the start of his performance, and then reveal himself as the show started. Presley discarded the cape during the rehearsals, as he felt it was too heavy. Belew created a hip-length cape. Producing the entire costume required most of Belew's staff because of the amount of embroidery and the attachment of several pieces of jewelry. It featured 6,500 individual stones.
The suit, stage, and equipment were shipped from Los Angeles to Hawaii in early January 1973. Pasetta and the crew traveled there to film the scenery to be added as inserts to the television special for its release in the United States. Presley arrived on January 10. After seeing the stage in the venue, Presley asked Pasetta to remove the scattered individual raisers that were put in place for the TCB Band and backup singers. Pasetta agreed, and while work on the stage continued, Presley rehearsed at the Hilton Hawaiian Village. The show's opener was shot at the Hilton hotel's helipad, with a thousand Presley fans in attendance. During the rehearsals, Presley gave the costume's belt to Jack Lord's wife. Presley's associate, Joe Esposito called Belew. Alarmed, the designer told Esposito he had no more rubies, and that he would have to obtain them from Europe. However, he found them locally and worked overtime with his team to produce a new belt. Belew flew to Hawaii with the replacement belt and stayed for the shows.
Rehearsal and concert.
The rehearsal show took place on Friday, January 12. Fans "stormed" the arena as the doors opened at 7:00 p.m., two hours before the start of the show. The audience was standing or sitting in the aisles. Initially, the number of attendees was set at 6,000. The rehearsal was filmed and had technical issues. Honolulu mayor Frank Fasi declared January 13 "Elvis Presley day", to commend him for his contributions to the Kui Lee Cancer Fund. The review in the "Honolulu Star-Bulletin" declared: "(Presley) put on an hour-long show last night that was perfect" and described the positive reaction of the female fans to Presley's presence.
The "Aloha From Hawaii" concert took place on January 14, at 12:30 a.m. local time to match the prime time of the broadcast locations of the concert: Japan, South Korea, South Vietnam, Thailand, the Philippines, Australia, and New Zealand. Admission was more restricted for the Saturday show. Parker arranged entertainment for the fans turned away after the limit was reached, featuring high school bands, clowns, and robots. New technical issues arose as NBC's recording equipment, combined with RCA Records' equipment brought by engineer Wally Heider, overloaded the power sources. The issue was fixed, but two hours before the start of the show, the sound system picked up a hum caused by the stage lights. The sound engineers borrowed thick lead sheets from the United States Navy to isolate the equipment. Teenage fans were present in the first rows, while most of the audience was reported to be people in their forties. Among the audience were Mayor Fasi, Jack Lord, and Kui Lee's family.
Presley's set-list consisted of 22 songs. He made his usual entrance as the band played the "" theme "Also sprach Zarathustra". The set featured classics from Presley's repertoire, including "Blue Suede Shoes", "Hound Dog", and "Love Me". Presley also performed the ballads "You Gave Me a Mountain", "My Way", "I Can't Stop Loving You", "What Now My Love", Kui Lee's "I'll Remember You" and "An American Trilogy", among others. Presley threw his belt to the crowd at the end of "An American Trilogy". He closed the set with "Can't Help Falling in Love". At the start of the number, Presley was covered with the short cape by his assistant, Charlie Hodge. As he finished, he displayed the cape by opening it and raising it with his hands as he took a knee. He threw the cape into the first rows and then gave the audience the Shaka sign and received a golden crown from fans as he walked away.
After the audience left the building, Presley returned to the arena to record additional material for the United States version of the television special. "KU-U-I-PO" was recorded in three takes, "Hawaiian Wedding Song" followed with several takes, and "No More" and "Early Morning Rain" closed the session. Pasetta then worked to edit out ten minutes for the planned European delayed broadcast on Eurovision Network. at 12:30 p.m. Central European Time.
Reception.
The proceeds of the show exceeded the planned US$25,000 (), and US$75,000 () was raised for the Kui Lee Cancer Fund. The next day, "Honolulu Advertiser" columnist Wayne Harada called the show a "thrilling, compact hour-long on music and screams" in his review. He deemed Presley's performance of "I'll Remember You" as "easily the most sentimental" for the Hawaiian audience and remarked on the warm reception for "An American Trilogy". Initial reports estimated the show was seen by 1.5 billion people in 36 countries. Parker had presented the same figures at the press conference promoting the broadcast. The communications satellite Intelsat IV F-4 was used for the transmission of the live feed to the target area. In Australia, Channel Nine presented the show with the assistance of the Overseas Telecommunications Commission (OTC). The concert closed the "Elvis Presley Week" television event on NTV in Japan and garnered 37.8% of the total television viewers; viewership reached 70% in Hong Kong. In South Korea, it attracted an estimated 70–80% of TV viewers, while tentative data from the Philippines indicated 91.8%. As the event occurred during the Cold War, China and the Soviet Union were excluded from the broadcast. Contrary to Parker's claim, the concert would be presented with a delay of days or weeks to the 21 European countries where it was finally seen; countries that were a part of the Warsaw Treaty Organization were excluded. The figures for total viewers proposed by Presley's manager were questioned, as critics pointed that the sum of the total population of all the countries targeted by the broadcast was roughly 1.3 billion.
NBC aired the ninety-minute television special on April 4. The Stokely-Van Camp Company and Toyota presented the show. It opened with an animation of the satellite "beaming" Presley to different parts of the world, with audio signals in Morse code saying "Elvis: Aloha From Hawaii". Pasetta added clips of Presley's arrival by helicopter to the Hilton hotel and the show outside the arena to the concert sequences. The additional recordings Presley made after the show were also integrated. Pasetta used split-screens to show Presley and the scenery images he had filmed of Hawaii. The track "No More" was not used. The Nielsen ratings indicated 33.8 points and a share of 57%.
"Billboard" praised the special's camera work, declaring that Presley "dominated the tube with showmanship" and concluded that at 38, Presley "still knows how to sing rock". The "Los Angeles Times" review remarked on Presley's "polished skills" while calling his antiques "an amusing parody" of his early career. It called the performances of "An American Trilogy" "stunning", and "I'll Remember You" as "poignant". In contrast, The "Boston Globe"(('))s negative review rated the show with two stars out of five. The reviewer felt the set decorations were "trappings" and that Presley's performance was "buried in folderol". The piece drew a comparison with his appearances on the "Ed Sullivan Show" and declared "the electricity was gone" and that "he was mocking himself and his milieu".
The "New York Daily News" praised Pasetta's work on the production and Presley's performance that used "fewer tricks" but delivered "a skillfully paced concert". A negative review in the "Chicago Sun-Times" said the program consisted of "a 90-minute documentary of Presley's sweat glands at work, masquerading as an entertainment special". It criticized Presley's lack of "body movements" and his "feet-apart stance that was more appropriate to address a pinball machine". "The Charlotte News" review said that while Presley "pushed himself to the limit" for the performance, the ninety-minute presentation was "entirely too much". The piece criticized NBC's choice to broadcast a special by Ann Margret immediately following Presley's show. "The Cincinnati Enquirer" reviewer felt "captivated" by Presley's "singing and stage talents", but lamented the "unnecessary segment" depicting Presley's arrival and reception by fans. Meanwhile, the newspaper's rock critic felt that the abundance of close-ups of Presley "knock out about half of the mystique".
Soundtrack.
RCA released the soundtrack album worldwide in February 1973 in quadraphonic sound. RCA employed two record plants to press the album. The LP's sleeve contained the phrase "we love Elvis" written in different languages. The double-LP reached number one on "Billboard's Hot 100". It became Presley's first Hot 100 chart-topper since 1965, his last during his lifetime and sold half-a-million copies in two weeks. Within three weeks of its release, it was certified gold; it then went to be certified 5X platinum.
Legacy.
The 1967 "Our World" black-and-white television special was the first live international concert presented via satellite. "Aloha From Hawaii" was the first live satellite broadcast to feature a single performer. The production cost of the special was a total of US$2.5 million (equivalent to $ million in ), setting a record at the time of its broadcast. The show was NBC's highest-rated program of the year.
Belew made two costumes for the show, each worn in one of the concerts. Both of Presley's costumes are kept by Elvis Presley Enterprises; one of them is on display at Graceland mansion. The short-cape worn by Presley during the special was caught by "Honolulu Advertiser" sportswriter Bruce Spinks. Spinks sold it to collector Andrew Kern. After Kern's death in 1995, his mother followed his wish to donate the cape to be displayed at Graceland. The second cape was sold at an auction in 1999 for US$105,250.() In 2014, the long cape was listed by RR Auction. The bids reached US$90,000 (), short of the reserve price. The seller and buyer had to negotiate a final price.
In 2007, a life-size bronze statue of Presley commissioned by TV Land was unveiled at the site of the concert. It commemorated the thirtieth anniversary of Presley's death. In 2013, a five-day celebration for the fortieth anniversary of the concert took place in Hawaii. On January 14, a special screening of the concert was played at the same venue, now named the Neal Blaisdell Arena.
Home media releases.
"Aloha From Hawaii" was first released on VHS in 1991. In September 2004, "Aloha from Hawaii: (Special Edition)" was released on DVD. The two-disc package includes the concert, the rehearsal, and the extended US special. Additionally, the set contains the complete sequence of Presley's arrival and the entire post-concert session. The picture and the sound were digitally remastered from the original master tapes. "Allmusic" gave the release four stars out of five, and declared "the January 14 show remains genuinely exciting 31 years later", and praised the audio and video remastering. A single-disc version of the concert was released in 2006.


The Committee (improv group)

The Committee was a San Francisco-based improvisational comedy group founded by Alan Myerson and Jessica Myerson, formerly known as Irene Ryan, Irene Riordan and now known as Latifah Taormina. The Myersons were both alums of The Second City in Chicago. The Committee opened April 10, 1963 at 622 Broadway in a 300-seat Cabaret theater that used to be an indoor bocce ball court in San Francisco's North Beach. Garry Goodrow, Hamilton Camp, Larry Hankin, Kathryn Ish, Scott Beach and Ellsworth Milburn were the cast. Jerry Mander handled the group's PR, and Richard Stahl, who later joined the improv troupe, was its first company manager. Jessica Myerson joined the company in May. Arthur Cantor took the company to Broadway in New York in 1964 for a limited engagement at the Henry Miller Theater. This occasioned a second group to hold the fort in San Francisco. Morgan Upton, Peter Lane, Leigh French, Chris Ross, Howard Hesseman (who used the name Don Sturdy), Nancy Fish, Peter Bonerz and Carl Gottlieb became the mainstays of the San Francisco troupe. Roger Bowen, a founding member of both The Compass Players and The Second City, joined in 1966. John Brent, co-creator with Del Close of the "How to Speak Hip" album and a bit player in many movies ("Catch-22", "American Graffiti", "More American Graffiti", "Bob & Carol & Ted & Alice", "Steelyard Blues", "Porklips Now"), was also a member.
When the Broadway troupe returned to San Francisco, they became the resident company of The Committee Theatre on Montgomery Street. This was a short-lived endeavor that saw three productions mounted there: "A Fool's Play", by founding member Larry Hankin; "MacBird!", by Barbara Garson; and "America Hurrah", by Jean-Claude van Itallie. Joseph Chaikin of La MaMa Experimental Theatre Club and van Itallie came to San Francisco to direct and oversee that production.
The Montgomery Street theater also quietly hosted a new publication in its basement: "Ramparts" magazine edited by Robert Scheer (now of Truthdig). By this time, The Committee was a regular at civil rights and anti-war protests—along with Joan Baez, Norman Mailer, and others.
Actors were now taking classes and forming other troupes. More and more members came in and out of the improv group or the theater troupe as needed. Mimi Fariña, Dan Barrows, Ed Greenberg, Julie Payne, Ruth Silviera, Jim Cranna, Bruce Mackey and David Ogden Stiers became part of the improvisational troupe. A regular behind the scenes stage manager and performer who later successfully formed his own improvisational theater company in Los Angeles, The Groundlings, was Gary Austin.
In the late 1960s, The Committee was asked to form another company to perform in Los Angeles. Peter Bonerz, Mel Stewart, Barbara Bosson, Jessica Myerson, Richard Stahl, Kathryn Ish, Garry Goodrow, Howard Hesseman, Carl Gottlieb, Chris Ross and Rob Reiner were the stalwarts in Los Angeles. The group contributed voiceovers to Garson Kanin's 1969 comedy-drama "Where It's At." In 1971, six members of The Committee, including Scott Beach and Terry McGovern, improvised the off-screen dialogue for George Lucas's THX-1138, out of which emerged the name Wookiee due to McGovern's improvisation "I think I just ran over a Wookie back there." The revolving group of players presented satirical political comedy in San Francisco until 1972.
Committee members Alan and Jessica Myerson, Hesseman, Ed Greenberg and Richard Stahl were all cast in Tom Laughlin's counterculture action drama "Billy Jack" in 1971, which became a surprise hit and boosted their visibility. The façade of their theater during the run of their show "Sex Is Revolting" appears in the 1974 film "Freebie and the Bean"
The alumni who advanced to higher profiles include: improv guru Del Close, who later worked with "Saturday Night Live" players like Bill Murray; Howard Hesseman, who later played Dr. Johnny Fever on the television sitcom "WKRP in Cincinnati"; and Peter Bonerz, who later played orthodontist Jerry Robinson on "The Bob Newhart Show" and who became a television director. Barbara Bosson later married Steven Bochco and was a regular on "Hill Street Blues" and numerous other television shows. Leigh French became a regular on "The Smothers Brothers Comedy Hour" and later established her own voice-over looping company. Roger Bowen played Col. Blake in the movie "M*A*S*H" and wrote 11 novels. Carl Gottlieb co-wrote the screenplay for "Jaws" with Peter Benchley. Alan Myerson was nominated for an Emmy and Directors Guild of America directing awards during a long career in television and movies. David Ogden Stiers was nominated for two Emmy awards for his time on M*A*S*H.
The Committee performed 13 shows a week and was dark on Mondays when they let other groups use the space. In this way, The Committee hosted an early performance of The Warlocks before they became the Grateful Dead as well as the debut performance of Michael McClure's "The Beard".
A filmed performance was released theatrically as "A Session with the Committee" in 1969.


Chun Ge

Chun Ge (), which means "Brother Chun" and is often translated as "Spring Brother", is a nickname for the singer Li Yuchun, which subsequently became a popular Chinese Internet meme.
The nickname literally translates to "Brother Chun" and is usually used in the popular catchphrase "chūn gē chún yé men （春哥纯爷们）", which means "Brother Chun is a real man". The catchphrase "chūn gē chún yé men" later evolved to a general phrase, "(person's name) is a real man". This catchphrase is used not only to mock a group of females that has an androgynous appearance like Li Yuchun, but as an endorsement similar to saying someone can "hang with the boys". "Ye Men" (爷们) in Chinese is used in a way comparable to "bro" in the United States. 爷, meaning "grandfather", can also be read as "masculine" (young males in Northeast China use the slang term 爷 as a personal pronoun in an impolite context). "Chun" is Li Yuchun's first name.


Ask for More

"Ask for More" is a song performed by Janet Jackson as part of an advertising campaign for soft drink company Pepsi in 1999.
Alternate versions of the ad campaign with Ricky Martin and Aaron Kwok were released in international markets.
Song information.
"Ask for More" was a promotional single by Janet Jackson for Pepsi, released on January 1, 1999. Jackson commented on the collaboration with Pepsi saying "aside from being associated with many amazing artists over the years, Pepsi is very honest and passionate when it comes to spreading a positive message like 'Ask For More'".
The campaign was launched as a re-branding for Pepsi internationally. Alternate versions of the campaign also co-starred Hong Kong singer Aaron Kwok for the Asian market and aired in China, and Latino singer Ricky Martin for the Latin market and aired in Latin America. A duet version of the song performed in Spanish by Jackson and Martin was also aired in Europe as part of the commercial campaign.
A full length promotional music video of the version with Kwok was released in Asian markets. The original version of the ad features model and dancer Rob Vinson. Dancers Tina Landon and Shawnette Heard appear in all versions of the ad along with Jackson.
The single was only released as a promotional recording. Consumers were able to receive a free CD of the song with the purchase of Pepsi products during the promotional campaign in 1999.
Track listings.
U.S. promo CD single (61369427AVRM) and U.K. promo CD single (61369427AVRM)
U.K. 12" promo


The Second City Training Center

The Second City Training Center was founded in the mid-1980s to facilitate the growing demand for workshops and instruction from the world famous The Second City theatre. Training Centers are located in Chicago, Toronto and Los Angeles. Satellite centers formerly existed in Metro Detroit, Las Vegas, Cleveland and New York City.
History.
The centers offer a variety of classes for different ages. Programs of study include improvisation, comedy writing, acting & scene study, stand-up, clowning, music improvisation, and teen and youth courses. The flagship program is the Conservatory which trains performers in the Second City style of creating sketch comedy through a process of improvisational techniques. The Conservatory requires an audition to enter the program and culminates with a show written and performed for several weeks by the graduating class. Chicago Conservatory Graduates are eligible to audition and perform with the Training Center House Teams.
Each center also offers specialized workshops in areas such as advanced improvisation techniques, long-form improvisation, and stand-up comedy. For students who do not live near one of the Training Centers, they offer three-day intensives and one-week immersions held at the centers throughout the year as well as online comedy writing classes. The Training Centers also offers a variety of classes for children and teens including winter, spring and summer break camps.
Former Training Center students include Steve Carell, Tina Fey, Scott Adsit, Anders Holm, Amy Poehler, Cecily Strong, Mike Myers, Chris Farley, Tim Meadows, Bonnie Hunt, Stephen Colbert, Halle Berry, Sean Hayes, Jon Favreau, Hinton Battle, Jack McBrayer, Dave Foley, Kevin McDonald and Josh Willis. Classes are taught by working professionals, many of whom are current and former Second City performers.
From 1985 until his death in 2001, the Second City Training Center was headed by Martin de Maat. The Chicago Training Center facility is now dedicated to him and features a plaque bearing one of his most famous quotes, "You are pure potential."
The Second City Training Centers operate under the leadership of Kevin Frank (Artistic Director, Toronto), Joshua Funk (Artistic Director, Hollywood), Nancy Hayden (Artistic Director, Chicago) and Kerry Sheehan (President, Second City Training Centers).


Golden Horseshoe

The Golden Horseshoe is a secondary region of Southern Ontario, Canada, which lies at the western end of Lake Ontario, with outer boundaries stretching south to Lake Erie and north to Lake Scugog and Lake Simcoe. It includes the Greater Toronto Area and adjacent upper-tier municipalities with substantial urban agglomerations. The region is the most densely populated and industrialized in Canada. With a population of 7,826,367 people in its core and 9,245,438 in its greater area, the Golden Horseshoe accounts for over 21 percent of the population of Canada and more than 55 percent of Ontario's population. It is part of the Quebec City–Windsor Corridor, itself part of the Great Lakes Megalopolis.
The core of the Golden Horseshoe starts from Niagara Falls at the eastern end of the Niagara Peninsula and extends west, wrapping around the western end of Lake Ontario at Hamilton and then turning northeast to Toronto (on the northwestern shore of Lake Ontario), before finally terminating at Clarington in Durham Region. The term Greater Golden Horseshoe is used to describe a broader region that stretches inland from the core to the area of the Trent–Severn Waterway, such as Peterborough, in the northeast, to Barrie and Lake Simcoe in the north, and to the Grand River area, including centres such as Brantford, Waterloo Region, and Guelph to the west. The extended region's area covers approximately , out of this, or approximately 22 per cent of the area is covered by the environmentally protected Greenbelt. The Greater Golden Horseshoe forms the neck of the Ontario Peninsula.
Etymology.
The "horseshoe" part of the region's name is derived from the characteristic horseshoe shape of the west end of Lake Ontario with Cootes Paradise between Burlington and Hamilton roughly positioned in the centre. The "golden" part is historically attributed to the region's wealth and prosperity, according to the "Canadian Oxford Dictionary".
The phrase "Golden Horseshoe" was first used by Westinghouse Electric Corporation president Herbert H. Rogge in a speech to the Hamilton Chamber of Commerce on January 12, 1954:
The speech writer who actually penned the phrase was Charles Hunter MacBain, executive assistant to five Westinghouse presidents including Rogge.
Definition.
The Golden Horseshoe has been recognised as a geographic region since the 1950s, but it was only on July 13, 2004, that a report from the provincial Ministry of Public Infrastructure Renewal entitled "Places to Grow" coined the term "Greater Golden Horseshoe", extending the boundaries west to Waterloo Region, north to Barrie/Simcoe County, and northeast to the county and city of Peterborough. A subsequent edition released February 16, 2005, broadened the term further, adding Brant, Haldimand and Northumberland Counties to the now quasi-administrative region. The Greater Golden Horseshoe region is officially designated in Ontario Regulation 416/05 under the "Places to Grow Act". The designation Greater Golden Horseshoe has legal significance with respect to taxation: in April 2017, the Government of Ontario announced plans to impose a 15 per cent Non-Resident Speculation Tax (NRST) on non-Canadian citizens, non-permanent residents and non-Canadian corporations (with exceptions or rebates for refugees, qualifying students and certain people working in Ontario) buying residential properties containing one to six units in the Greater Golden Horseshoe (GGH).
The provincial transit authority Metrolinx makes use of the term Greater Golden Horseshoe. The Metrolinx definition is consistent with the original 2004 "Places to Grow" definition. However, the city and county of Peterborough is not included.
Demographics.
The population of the Golden Horseshoe was 7.82 million residents at the 2016 census. The region is projected to grow to 11.5 million people by 2031.
Economy.
The economy of this region is very diverse. The Toronto Stock Exchange is the third-largest in North America by market capitalization (after the New York Stock Exchange and NASDAQ), and seventh-largest in the world.
Cities including Hamilton, Oshawa, Oakville, Whitby and Kitchener all contain major large-scale industrial production facilities, Hamilton being dominated by the steel industry and Oakville and Oshawa primarily in the automotive industry. Other significant automotive-production facilities also exist in Brampton, and St. Catharines. While manufacturing remains important to the economy of the region, the manufacturing sector has experienced a significant decline since 2000 as a result of unfavourable currency exchange rates, increasing energy costs, and reduced demand from the United States, which is by far the largest market for Ontario's goods.
The Port of Hamilton and the Port of Toronto are the two largest seaports on Lake Ontario. The Welland Canal system handles tanker ship and recreational traffic through the Great Lakes. Large rail and truck distribution facilities are located in Toronto, Vaughan and Brampton. Food processing is also a key ingredient in the economy.
Niagara Falls has one of the world's largest per-capita tourist economies, benefiting from millions of tourists coming to see its majestic waterfalls, shop in its numerous stores, and visit its many attractions. The winemaking and fruit growing industries of the Niagara Peninsula produce award-winning wines, which are beginning to attract attention around the world, in particular, the ice wine for which the region is known.
As of 2014, sectors such as information technology, health care, Agtech, tourism, research and finance provide the bulk of growth in the Golden Horseshoe. The cities of Brampton, Markham, Waterloo Region and Mississauga, are emerging as hubs for technology and innovation. The region is one of the largest tech cluster in North America outside of Silicon Valley. The area is home to more than 15,000 tech companies, including 5,000+ startups, and nearly 300,000 employees in high-tech industries. About two-thirds of those employees are classified as “tech workers,” which includes programmers, developers, etc. With 8% of the total workforce employed in tech.
Education.
The Golden Horseshoe is home to several universities, including the University of Toronto and McMaster University in Hamilton, which are ranked 1st and 4th in Canada, respectively, by the Academic Ranking of World Universities. Other universities in the region include Brock University in St. Catharines, Trent University in Peterborough, York University in Toronto near Vaughan, OCAD University, University of Ontario Institute of Technology in Oshawa, Ryerson University, University of Guelph, University of Waterloo, Wilfrid Laurier University in Waterloo, and Université de l'Ontario français in downtown Toronto.
Public primary and secondary schooling is typically provided by school boards, largely organized at the municipal or county/regional level. The only school board that operates throughout the Golden Horseshoe is Conseil scolaire Viamonde, a public French-language school board, and Conseil scolaire catholique MonAvenir, a public French-language separate school board. Both of these public French-language school boards operate across the Ontario Peninsula.
Attractions.
The CN Tower in Toronto is among the most internationally notable attractions in the Golden Horseshoe.
The region is home to several shopping malls such as Yorkdale Shopping Centre, Toronto Eaton Centre, Fairview Mall, Scarborough Town Centre, and Sherway Gardens. Located in the suburbs of Toronto are Vaughan Mills in Vaughan, Bramalea City Centre in [[Brampton], [[Square One Shopping Centre]] in [[Mississauga]], and the [[Pacific Mall]], in [[Markham, Ontario|Markham]].
Annual cultural festivals that draw tourists and local alike include the Peeks Caribbean Carnival (formerly known as [[Caribana]]) and [[Taste of the Danforth]] in Toronto.
[[File:Webster Falls - Laslovarga1.jpg|thumb|left|View of [[Webster's Falls]] in Hamilton. The falls is a part of the [[Niagara Escarpment Biosphere Reserve]], which runs across the western portion of the Golden Horseshoe.]]
The [[Niagara Escarpment]], a world [[Man and the Biosphere Programme#Biosphere reserves|biosphere reserve]] as designated by the United Nations, runs from the north at Bruce Peninsula and then east through the region cutting the Niagara Gorge at Niagara Falls. The [[Bruce Trail]] runs along the escarpment through mostly protected woodlands. The [[Cheltenham Badlands]] in [[Caledon, Ontario|Caledon]] is an [[Environmental degradation|environmentally degraded]] area along the Niagara Escarpment. Similar protection of some wooded areas exists on the [[Oak Ridges Moraine]] running east–west in the north end of the Greater Toronto Area, although development pressures continue to threaten the natural habitat.
The Niagara Region has become one of the major [[wine]]-production areas in Canada. The Golden Horseshoe contains many small towns with tourist-jammed, historic main streets, most notably the community of [[Niagara-on-the-Lake]], located at the mouth of the [[Niagara River]]. [[Niagara Falls, Ontario|Niagara Falls]] is one of the world's largest waterfalls, and attracts millions to [[Clifton Hill, Niagara Falls|Clifton Hill]], a neighbourhood featuring hundreds of amusements, souvenir stores, restaurants and skyline-defining hotels. Casinos here are also a huge draw, particularly [[Casino Niagara]] and [[Fallsview Casino]].
[[Hamilton, Ontario|Hamilton]] has the historical reputation of being a blue-collar city; however, waterfront redevelopments and large-scale [[gentrification]] have been rapidly changing the perception of the city, although it retains a dominant industrial base. Hamilton has over [[List of waterfalls in Hamilton, Ontario|100 waterfalls]] and cascades throughout the region.
[[File:Leviathan Lift and Sculpture.jpg|thumb|View of [[Leviathan (roller coaster)|the Leviathan roller coaster]] at [[Canada's Wonderland]]. Located in [[Vaughan]], Canada's Wonderland.]]
Seasonal [[Amusement park|theme parks]] in the Golden Horseshoe include [[Canada's Wonderland]], run by [[Cedar Fair]] in Vaughan, [[Wet'n'Wild Toronto]] (formerly Wild Water Kingdom) in [[Brampton]], [[African Lion Safari]] in [[Hamilton, Ontario|Hamilton]] and [[Cambridge, Ontario|Cambridge]], and [[Marineland of Canada|Marineland]] in Niagara Falls. Though not a theme park per se, the [[Exhibition Place]] hosts the annual [[Canadian National Exhibition]].
Sports.
[[File:Toronto vs Tampa Aug 11 2018.jpg|thumb|right|A [[Toronto Blue Jays]] game at the [[Rogers Centre]] in [[2018 Toronto Blue Jays season|2018]]]]
The Golden Horseshoe is home to a number of amateur and professional sports clubs, and university and college varsity programs. Many professional sports clubs in the city form a part of a larger [[sports league]]. Most university varsity programs is regulated by [[U Sports]], while college varsity programs are regulated by the [[Canadian Collegiate Athletic Association]].
In addition to the number of sports clubs and programs based in the region, the Golden Horseshoe has also hosted a number of international [[multi-sport event]]s, including the [[1930 British Empire Games]] (predecessor to the Commonwealth Games), the [[1976 Summer Paralympics]], the [[2015 Pan American Games]] and [[2015 Parapan American Games|Parapan American Games]], the [[2017 Invictus Games]], the [[2017 North American Indigenous Games]], and the [[2018 NACAC Championships]]. Although the [[1976 Summer Olympics]] was held in [[Montreal]], several matches for the [[Football at the 1976 Summer Olympics|event's soccer tournament]] were played in Toronto.
Professional sports teams based in the Golden Horseshoe include:
Note that the Toronto Blue Jays and the Toronto Raptors are temporarily playing their home games in the United States due to the [[COVID-19 pandemic in North America]].
Transportation.
[[File:QEW into Mississauga.png|thumb|The [[Queen Elizabeth Way]] is a major [[controlled-access highway]] that connects Greater Toronto with the Niagara Peninsula.]]
[[File:Davisville_TTC_Rocket_5836_d40.JPG|thumb|A [[Toronto Rocket]] train at the [[Toronto subway]]'s [[Davisville station]]]]
The Golden Horseshoe is served by an [[400-series highways|network of expressways]], the backbone of which are the [[Queen Elizabeth Way]] and [[Ontario Highway 401|Highway 401]], one of the widest and busiest expressways in the world. Public transit in the region is coordinated by [[Metrolinx]]. Regional transit is provided by [[GO Transit]] trains and buses, and by intercity bus operators such as [[Ontario Northland Motor Coach Services|Ontario Northland]] and [[Coach Canada]]. GO Transit's train network encompasses 7 commuter rail lines linking municipalities in the Golden Horseshoe to Toronto's [[Union Station (Toronto)|Union Station]], which is the busiest railway station in Canada and the second busiest railway station in North America, with 72 million passengers per year. [[GO Transit Regional Express Rail|Expansion]] is underway to facilitate all-day 15-minute or better commuter train service, electrification and increased ridership on five of the busiest lines. Local transit is provided by municipal agencies, the largest of which is the [[Toronto Transit Commission]], which operates [[Toronto subway|three subway lines and one light metro line]] and an extensive [[Toronto Transit Commission bus system|bus]] and [[Toronto streetcar system|streetcar network]]. Rapid transit systems outside Toronto include the [[Viva Rapid Transit|VIVA bus rapid transit]] in York Region, the [[Ion rapid transit|ION light rail system]] in Kitchener-Waterloo, and the [[Mississauga Transitway|Mississauga transitway]]. [[Line 5 Eglinton|Line 5]] and [[Line 6 Finch West|Line 6]] are under construction LRT/subway lines in Toronto. The [[Hurontario LRT]] is currently under construction in Peel Region, as well as various bus rapid transit projects in Peel and York Regions.
The primary airport of the region is [[Toronto Pearson International Airport]] (officially Lester B. Pearson International Airport), located in Mississauga. Handling 49.5 million passengers in 2018, it is the busiest in Canada and the [[List of busiest airports by passenger traffic|31st busiest in the world]]. Other regional airports of significance include [[John C. Munro Hamilton International Airport]] located in southern Hamilton, which is a major regional freight and courier location as well as the [[Region of Waterloo International Airport]] in Kitchener; [[Buttonville Municipal Airport|Buttonville Airport]] and [[Billy Bishop Toronto City Airport|Billy Bishop airport]] in the [[Greater Toronto Area]]. Within driving distance is [[Buffalo Niagara International Airport]] in [[Cheektowaga, New York]], in the United States. Buffalo Niagara carries the second largest passenger volume in the region, serving over 5 million passengers in 2018. It is frequently used by Canadian passengers flying to US destinations.
Divisions.
[[File:Downtown Toronto in September 2018 (Early Sunday Morning, view from a kayak).jpg|right|thumb|alt=A spear-like tower is between a white-domed structure and small buildings on the left, and increasingly taller buildings to the right. In the foreground is a lake, with a few visible buoys, and the background is a deep blue sky with a few clouds near the horizon.|Skyline of [[Downtown Toronto]]. The city is the financial anchor of the Golden Horseshoe.]]
[[Image:HamiltonOntarioSkylineC.JPG|right|thumb|alt=A tree-lined highway is in the foreground, angled diagonally from bottom right to middle left of the image. Buildings are in the centre, and the background is a sky meeting rolling hills in the distance.|[[Hamilton, Ontario|Hamilton]] lies at the western edge of [[Lake Ontario]].]]
[[File:Cataratas del Niágara 31.jpg|thumb|alt=A spike tower with a pod is lit along its length on the right. Other buildings sit on the right while a river and large waterfall occupies the left.|[[Niagara Falls, Ontario|Niagara Falls]] is a major tourist destination, situated at the southern portion of the Golden Horseshoe.]]
Census metropolitan areas.
Population figures are from the 2016 census.
The [[census metropolitan area]]s listed below are within the Greater Golden Horseshoe. Not all land within the Greater Golden Horseshoe is part of a Census Metropolitan Area; some Census Metropolitan Areas are partly in the Golden Horseshoe and partly outside it.
External links.
[[Category:Golden Horseshoe| ]]
[[Category:Metropolitan areas of Ontario]]
[[Category:Geographic regions of Ontario]]
[[Category:1950s neologisms]]


Christopher Gillis

Christopher Gillis (February 26, 1951 in Montreal – August 7, 1993 in New York City) was an important gay male dancer and choreographer and member of the Paul Taylor Dance Company.
Early life and career.
Born in Montreal, Quebec, the son of the late Gene Gillis, a US Olympic skier, and Rhona Wurtele, a Canadian Olympic skier who competed in the 1948 Winter Olympics along with her twin sister Rhoda. His sister, Margie Gillis, is also a dancer and choreographer; they were dance partners from childhood and collaborated on numerous shows. His brother, Jere Gillis, played professional hockey from 1977 to 1987 for the Vancouver Canucks, New York Rangers, Quebec Nordiques, Buffalo Sabres, and the Philadelphia Flyers.
Gillis studied with Finis Jhung, with Paul Taylor and with choreographers May O'Donnell and Norman Walker. He performed with José Limón's company.
He joined the Paul Taylor Dance Company in 1976 in New York City. He lived and worked in New York for the next seventeen years. He was designated Taylor's heir-apparent.
His works have been performed by the Paul Taylor company, the White Oak Dance Project and the Fairfax Ballet.
He died from AIDS complications at the age of 42.
Further reading.
He is mentioned in the books:


Dudley Savage

William Dudley Savage MBE (20 March 1920 – 25 November 2008) was a British organist and broadcaster who for many years broadcast a hospital request programme from the Royal (ABC) cinema in Plymouth. He both introduced and played requests on the Royal organ. When it was axed, the resultant petition was said at the time to be the largest the BBC had ever encountered.
Early life.
Savage was born on 20 March 1920 near Penzance, in the village of Gulval. His mother played the organ there in the village church and taught him in their home how to play the piano. He moved on to study the organ under the instruction of organists at Truro Cathedral and with other instructors in Cornwall and Plymouth.
Theatre organist and soldier.
In 1938, as an 18-year-old, he was chosen as the organist for the ABC Royal Cinema in Plymouth which had been constructed that year and included a Compton theatre organ with eight ranks of pipes plus a Compton Melotone unit. With a break for military service, he remained at the ABC organ until the cinema was converted into a bingo hall in 1976.
During World War II, Savage was called up for military service in 1940, serving in India. He was a lance bombardier prior to being commissioned as a second lieutenant on 12 August 1943, later rising to the rank of captain. After his discharge from military service in 1946, he returned to his position at Royal Cinema.
"As Prescribed" on BBC Radio.
His hospital request radio programme "As Prescribed" started in June 1948 as a weekly broadcast from ABC's Royal Cinema in Plymouth. Savage not only presented the hour-long show, but played requests on the organ from listeners who were sick in hospital or housebound. After the BBC cancelled the show following the 22 September 1968 broadcast, more than 43,000 signatures were collected on a petition submitted to the BBC, in addition to letters sent to the Chairman of Governors of the BBC and the Archbishop of Canterbury. The petition was submitted, accompanied by protesters carrying banners in what was described as "perhaps the biggest demonstration of its kind the BBC has known". After a brief hiatus, the BBC reinstated it as a monthly show in 1969, continuing "As Prescribed" for another decade, and later moving the programme to Radio 2. He was appointed a Member of the Order of the British Empire (MBE) in the 1978 Queen's Birthday Honours.
Death and eulogies.
He went on concert tours throughout the UK and Europe, displaying for his audiences what author and organist Jonathan Mann described as "an incredibly distinctive style with a particular gift for harmony."
In response to his death, the Cinema Organ Society eulogised Savage as someone who had "delighted organ fans up and down the country as well as in Europe" and as "one of the last surviving organists from the great days when cinema organs were to be heard constantly on the wireless".
Savage died at age 88 on 25 November 2008 at a nursing home near Liskeard after a long illness.


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