Buena Vista Social Club (album)

Buena Vista Social Club is the debut album by the eponymous ensemble of Cuban musicians directed by Juan de Marcos González and American guitarist Ry Cooder. It was recorded at Havana's EGREM studios in March 1996 and released on September 16, 1997, on World Circuit. Despite its success, it remains the only standard studio album exclusively credited to the Buena Vista Social Club.
"Buena Vista Social Club" was recorded in parallel with "A toda Cuba le gusta" by the Afro-Cuban All Stars, a similar project also promoted by World Circuit executive Nick Gold and featuring largely the same lineup. In contrast to "A toda Cuba le gusta", which was conceived as a revival of the son "conjunto", "Buena Vista Social Club" was meant to bring back the traditional trova and filin, a mellower take on the Cuban son and bolero, as well as the danzón.
A critical and commercial success, the album's release was followed by a short concert tour in Amsterdam and New York's Carnegie Hall in 1998. Footage from these dates, together with the recording sessions in Havana, were shown on the "Buena Vista Social Club" documentary by Wim Wenders, released in 1999.
Background.
In 1996, American guitarist Ry Cooder had been invited to Havana by British world music producer Nick Gold of World Circuit Records to record a session where two African High-life musicians from Mali were to collaborate with Cuban musicians. On Cooder's arrival (via Mexico to avoid the ongoing U.S. trade and travel embargo against Cuba), it transpired that the musicians from Africa had not received their visas and were unable to travel to Havana. Cooder and Gold changed their plans and decided to record an album of Cuban "son" music with local musicians. Already on board the African collaboration project were Cuban musicians including bassist Orlando "Cachaito" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.
Within three days of the project's birth, Cooder, Gold and de Marcos had organized a large group of performers and arranged for recording sessions to commence at Havana's EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s. Communication between the Spanish and English speakers at the studio was conducted via an interpreter, although Cooder reflected that "musicians understand each other through means other than speaking".
Recording.
The album was recorded in just six days and contained fourteen tracks; opening with "Chan Chan" written by Compay Segundo, a four-chord "son" (Dm, F, Gm, A7) that was to become what Cooder described as "the Buena Vista's calling card"; and ending with a rendition of "La bayamesa", a traditional Cuban patriotic song (not to be confused with the Cuban national anthem of the same name). The sessions also produced material for the subsequent release, "Introducing...Rubén González", which showcased the work of the Cuban pianist. Among the songs left off the album was the classic bolero-son "Lágrimas negras", which was deemed too popular for inclusion, and Compay Segundo's "Macusa". Both songs were later released on the compilation "Lost and Found".
Songs.
The majority of the album comprises standards of the trova and filin repertoire, namely sones, guajiras and boleros typically played by small guitar-led ensembles. A foremost example of the son tradition on the album is "Chan Chan", the group's signature tune and the album opener. Written in the 1980s, it is one of Compay Segundo's most famous songs, and one he had recorded several times, most notably with Eliades Ochoa and his Cuarteto Patria. The same formula is followed in this recording, with Ochoa singing lead and Segundo on second voice as his artistic name indicates. The song's lyrics depict a rural scene with two characters: Juanita and Chan Chan. "Chan Chan" is followed by "De camino a la vereda", another son, written and sung by Ibrahim Ferrer.
Another example of the "son cubano" is Sergio González Siaba's "El cuarto de Tula", sung by Eliades Ochoa, with Ibrahim Ferrer and Manuel "Puntillita" Licea joining Ochoa in an extended descarga (jam) section improvising lyrics. Barbarito Torres plays a frenetic laúd solo towards the end of the track. Timbales are played by the 13-year-old Yulién Oviedo Sánchez. The song is featured in the 2001 film "Training Day". "Candela" is another classic son, composed by Faustino Oramas "El Guayabero". Its lyrics, rich with sexual innuendo, are sung by Ibrahim Ferrer who improvises vocal lines throughout the track, while the whole ensemble performs an extended descarga.
Of the many boleros featured in the album, Isolina Carrillo's "Dos gardenias" is perhaps the most famous, being sung here by Ibrahim Ferrer. Carrillo wrote the song in 1945 and it quickly became a huge success in Cuba and abroad. The song was chosen for the album after Cooder heard Ferrer and Rubén González improvising the melody before a recording session. Ferrer learned the song while playing with Cuban bandleader Beny Moré. Another bolero, "¿Y tú qué has hecho?" was written by Eusebio Delfín in the 1920s and features Compay Segundo on tres and vocals. Segundo was traditionally a "second voice" singer providing a baritone counterpoint harmony. On this recording, he multitracks both voices. The song also features a duet between Segundo on tres and Ry Cooder on guitar. "Veinte años", also a bolero, is sung by the only female vocalist in the ensemble, Omara Portuondo, with Segundo on second vocals. Other boleros included are Rafael Ortiz's "Amor de loca juventud", Eliseo Silveira's "Orgullecida" (both sung by Compay Segundo) and Electo Rosell's "Murmullo" (sung by Ibrahim Ferrer, who used to be the lead vocalist in Rosell's ensemble Orquesta Chepín-Chovén).
"El carretero" is a guajira (country lament) sung by Eliades Ochoa with the full ensemble providing additional instruments and backing vocals, while "La bayamesa", a famous criolla by Sindo Garay, is used as the album closer, with Puntillita, Compay Segundo and Ibrahim Ferrer on vocals.
Two tracks are included from the Cuban danzón repertoire: "Pueblo Nuevo" and "Buena Vista Social Club", both dedicated to locations in Havana, originally recorded by Arcaño y sus Maravillas, and composed by bass player Cachao (although the latter has been wrongly attributed to his brother Orestes López in the liner notes and by Cooder). The title track spotlights the piano work of Rubén González. It was recorded after Cooder heard González improvising around the tune's musical theme before a day's recording session. After playing the tune, González explained to Cooder the history of the social club and that the song was the club's "mascot tune". When searching for a name for the overall project, manager Nick Gold chose the song's title. According to Cooder,It should be the thing that sets it apart. It was a kind of club by then. Everybody was hanging out and we had rum and coffee around two in the afternoon. It felt like a club, so let's call it that. That's what gave it a handle.
Reception.
"Buena Vista Social Club" earned considerable critical praise and has received numerous accolades from music writers and publications. In 2003, the album was ranked number 260 on "Rolling Stone" magazine's list of the 500 greatest albums of all time, one of only two albums on the list to be produced in a non-English speaking country. The album was also included in the book "1001 Albums You Must Hear Before You Die". As of 2015, the album has sold over 12 million copies.
The album was awarded the 1998 Grammy Award for Best Traditional Tropical Latin Album and Tropical/Salsa Album of the Year by a Group at the 1998 Billboard Latin Music Awards.
Chart performance.
"Buena Vista Social Club" achieved considerable sales in Europe, reaching the Top 10 in several countries, including Germany where it topped the charts, as well as the US, where it reached number 80 on the "Billboard" 200. In 2009, it was awarded a double platinum certification from the Independent Music Companies Association which indicated sales of at least 1,000,000 copies throughout Europe. , it is the second bestselling Latin album in the United States after "Dreaming of You" (1995) by Selena.
Sales and certifications.
!scope="row"|Worldwide


Lee Jae-yoon

Lee Jae-yoon (, born December 15, 1984) is a South Korean-Canadian actor and model. He is best known for his roles in the television dramas "My Love By My Side" (2011), "Heartless City" (2013), and "Weightlifting Fairy Kim Bok-joo" (2015–2016).
Lee is a purple belt in Brazilian jiu-jitsu and a committed fitness enthusiast.
Early life and education.
Lee was born to Lee Hwan-mook and Oh Young-hee in Seoul, South Korea on December 15, 1984, and raised in Toronto, Ontario, Canada. He attended the St. Elizabeth Catholic High School in Thornhill, Ontario for his secondary education. Lee was completing a degree in sports at the University of Toronto when he was scouted by a South Korean talent agency in an audition, and thus introduced into Korean show business.
Moving back to South Korea and starting his career as an actor, Lee enrolled in and would eventually complete a theater studies degree from Dongguk University, where he would later on be appointed as university ambassador.
Career Beginnings.
In an interview, Lee disclosed that his beginnings as an actor in South Korea came with some challenges and difficulties. Besides the very competitive auditions for roles, there were also the suggestions and offers for him to do cosmetic surgery; to trim his nose, soften his jawline, and even straighten his teeth. But Lee said he decided not to do any of the procedures because he felt he was doing away with what his parents have naturally given him in terms of appearance, and that he hated the thought of getting any aesthetic enhancements.
He also tried losing weight as a new actor, because it was required for him to do so. There was one project where he had to lose 10 kilograms, and he did. But Lee said it did not really open new doors for him. So, upon getting more acting experience, he decided to keep his weight and strengthen his physique instead. Now, projects and producers look for him, "because there aren't many like me. They want that masculine look, the jawline and everything. They are finally looking for that now."
Personal life.
Lee is a brown belt in Brazilian jiu-jitsu and had competed in tournaments, before his foray into acting and modeling. He still goes to the gym, swims, and does jiu-jitsu three or four times a week to keep his physique.
Lee has revealed his father has played a major influence on his healthy and athletic lifestyle. He says he has always been the athletic type, joining marathons in school, because his father encouraged him so. In high school, he was the fastest track and field athlete, that even his peers expected him to eventually make it to the Olympics. Lee further disclosed that aside from this parents, Bruce Lee was always an inspiration for him growing up.
As an adult, Lee maintains he is a committed fitness enthusiast; besides doing the usual rounds at the gym and jiu-jitsu, Lee is also into judo, muay thai, and deep-water diving. This healthy and athletic lifestyle even influences his choice of an ideal partner. Lee has revealed in an interview that he would be pleased to find a romantic partner in the future who is also into sports and the active lifestyle, one with whom he can swim, run, or dive.
As an athlete, Lee has been working closely with the sportswear and sports gear brand Puma, both as an endorser and ambassador. He regularly joins the Puma Run events in Singapore and Malaysia.


The Kid in You

The Kid in You is an advertising slogan developed for Kellogg's Frosted Mini-Wheats by the Leo Burnett Agency in the mid-1980s. The slogan was aimed at adults who were concerned with their perceived maturity but still wanted a sweet tasting children's cereal.
Overview.
"The Kid in You" campaign, started in 1984, proved to be a brilliant response to demographic challenges facing the breakfast cereal industry in the 1980s. As baby boomers aged and consumers showed an increasing interest in nutritious alternatives to the heavily sweetened, child-oriented cereals that had driven growth for two decades, the breakfast cereal market became more complex and segmented. To maintain its lead in the industry, the Kellogg Company had to respond to the gap in the adult cereal market. It positioned Frosted Mini-Wheats as a product with broad-based appeal. The campaign was aimed at adults whose maturity made them concerned about nutrition but whose taste buds still craved flavor. Considered by critics to be a clever and appealing approach, the strategy was quite successful, and led to Frosted Mini-Wheats becoming one of the best-selling cereals in the United States.
Historical context.
In the 1960s, Kellogg's success with presweetened cereal brands remained high, and consistently strong brands such as Corn Flakes indicated that a solid market existed for basic cereals as well. Sugar Frosted Mini-Wheats, introduced in 1969, was a product that offered the fundamental nutrition of shredded wheat with the added appeal of sweet taste. The brand, with 'sugar' eventually removed from its name, became Kellogg's anchor product in the growing wheat biscuit category.
Consumer developments in the late 1970s and early 1980s further affected the cereal industry. Parents and other advocates for children began to complain about the negative effects of sugary cereals and linked children's consumption of presweetened cereals to obesity and tooth decay. Demanding accurate information about product contents, many consumers were dismayed to learn that sugar was the main ingredient in some of these cereals. Medical studies suggesting a relationship between diet and heart disease and cancer helped to stimulate increased interest in basic nutrition and natural foods, including such products as oat bran and whole-grain fiber. In response, cereal manufacturers rushed out oat bran cereals and other products aimed at a health-conscious market. By the early 1980s, cereal companies were responding to consumer preferences that had become complex and specialized. As a product that appealed to both adults and children, Frosted Mini-Wheats was a brand that could remain on pantry shelves even after children had moved away from home.
Target market.
Children under the age of 17 consume the most cereal per capita. Adults (25-49) by contrast consume approximately half as much. As the baby-boom market aged during the early 1980s, Kellogg's saw its market share decline dramatically. To reverse this trend, Kellogg's believed it had to convince adults to eat more cereal. When they were children, the approximately 75 million adults of this generation had fueled the industry's huge growth. But the adult market had become segmented, primarily into two groups, one concerned with high-fiber cereals with no added sugar, and the other interested in flavor and willing to accept a small amount of added sugar. With Frosted Mini-Wheats, Kellogg's claimed that consumers now did not have to make a choice between healthiness and flavor.
Marketing strategy.
In response to changing consumer patterns and industry trends, Kellogg's announced a major "back to basics" marketing strategy in 1984. A principal component of this strategy was an increase in advertising dollars, a development the company had begun earlier in the decade. Kellogg's also planned new creative approaches to its advertising. Although it shifted advertising for some of its brands to J. Walter Thompson, it kept Frosted Mini-Wheats with its long-standing agency, Leo Burnett.
To convince middle-aged consumers to eat more Frosted Mini-Wheats, Leo Burnett created a television commercial campaign for prime time. Burnett's strategy combined humor and nostalgia. The television spots presented Frosted Mini-Wheats as a product that could appeal to both sides of a typical adult: the rational side concerned with nutrition and fiber, and the juvenile side attracted to sweet flavor. The "Kid in You" were meant to remind viewers of how much they had enjoyed Frosted Mini-Wheats as children and suggested that it was permissible for serious adults to indulge in their childhood tastes.
Outcome.
Kellogg's considered Burnett's approach for Frosted Mini-Wheats to be a resounding success. Between 1990 and 1994, the brand doubled in sales and, by 1994, was ranked the number three cereal in the United States.


Metronatural

Metronatural is a trade-marked tourism slogan created for the City of Seattle by the Seattle Convention and Visitor's Bureau. It was unveiled on October 20, 2006. According to Exclaim, the firm who developed the slogan, "metronatural is the fusion of city and nature. It is what makes Seattle unique."
The slogan's creator defined Metronatural as:
"Met-ro-nat-u-ral adj. 1. Having the characteristics of a world-class metropolis, beautiful natural surroundings. 2. A blending of clear skies and expansive water with a fast-paced city life. n. 1. One who respects the environment and lives a balanced lifestyle of urban and natural experiences. 2. Seattle."
The slogan was developed at a cost of $200,000, that included the creation of the new tagline, new photography, promotional and collateral materials as well as publications aimed to leisure travelers, meeting planners, travel agents and tour operators and the media. As part of the unveiling, the slogan's logo (the word "metronatural" in black and green with "TM" symbol) was painted on the roof of the Space Needle, and Seattle Mayor Greg Nickels proclaimed October 20, 2006 to be "Metronatural Day".
Seattle's previous tourism slogan, "See-At-L", was created in 1999, and written with the image of an eye, the at (@) symbol, and letter "L".


Brian Shaw (dancer)

Brian Shaw (28 June 1928 – 2 April 1992) was a British ballet dancer and teacher. As a leading dancer with the Royal Ballet during the 1950s and 1960s, he was widely regarded as "one of the finest classical male dancers of his generation".
Early life and training.
Brian Earnshaw was born in Huddersfield, England, a large market town in West Yorkshire, halfway between Leeds and Manchester. Having begun his dance studies in his home town, he moved to London as a teenager and continued his training at the Sadler's Wells Ballet School. In the summer of 1943, in the midst of World War II, Londoners were "keeping calm and carrying on," as they were advised to do by the British Ministry of Information. In July, the Production Club of the Royal Academy of Dancing arranged a matinee performance of Sadler's Wells students in "Suite of Dances", set by resident choreographer Andrée Howard to Handel's jauntily life-affirming "Water Music". Among the talented students dancing that afternoon were Philip Chatfield and Brian Earnshaw, both of whom were destined to have distinguished careers with the Sadler's Wells Ballet, later known as the Royal Ballet.
Professional career.
With a truncated surname, Brian Shaw joined the Sadler's Wells Ballet upon graduation from its school in June 1944, when he was still only fifteen years old, and was soon promoted to soloist. The shortage of male dancers during the war years doubtless played a part in his quick advancement. Barely two years later, at age seventeen, he was cast by Frederick Ashton in "Symphonic Variations" (1946), a pure ballet for just six dancers. One observers wrote, "There was nothing virtuoso about the dancing; it was unceasingly lovely and created an impression of effortless lyricism and almost godlike serenity which at moments quickened under the urgent tempo of the music to blaze 'like splendor out of heaven.'"
After being promoted to principal dancer, Shaw went on to create roles in other new ballets by Ashton, John Cranko, and Kenneth MacMillan. His virtuoso technique made him ideal for bravura roles in the standard repertory, where he dazzled audiences at the Blue Bird in "The Sleeping Beauty" and as the Blue Boy in "Les Patineurs". He was known as a brilliant classicist, a dancer who combined purity of line, secure control, spirit, and musicality. His career as a classical dancer virtually ended, however, when he collapsed on stage at the Metropolitan Opera House in New York City in 1967 after tearing an Achilles tendon during a performance of the Blue Bird. Upon recovering from this injury, he continued to perform in character and dramatic roles with the Royal Ballet on the opera house stage. A fine comic actor, he was applauded as an Ugly Sister in "Cinderella" and as a particularly waspish Widow Simone in "La Fille Mal Gardée".
Later life.
Appointed principal teacher at the Royal Ballet in 1972, Shaw continued to teach there for many years after his accident and was a popular guest teacher with other companies in Europe and America. He was also in demand to assist in revivals of Ashton ballets throughout the world, especially those in which he had created roles, such as "Symphonic Variations", or in which he had danced to particular acclaim, such as "Les Patineurs". With his longtime companion, Royal Ballet dancer Derek Rencher, he lived a quiet, domestic life. When Ashton died in 1988, he left the "royalties and profits in his copyrights" to a small group of friends, including Shaw, who became owner of the rights in "Les Patineurs" and "Les Rendezvous". in 1992, Shaw himself died in hospital after a short illness. Rencher was his sole survivor.


Wolfgang Metzger

Wolfgang Metzger (born 22 July 1899 in Heidelberg, Germany; died 20 December 1979 in
Bebenhausen, Germany) is considered one of the main representatives of Gestalt psychology (Gestalt theory) in Germany.
Metzger's most widely acclaimed work is "Psychologie: Die Entwicklung ihrer Grundannahmen seit der Einführung des Experiments" (Psychology: The development of basic principles since the introduction of the experimental method). It portrays systematically the foundations of psychology, including the different kinds of psychological reality, the problems associated with reference systems, order, and much more. Pivotal in its discussions is the cumulative knowledge, at that time, of the entire Gestalt school.
Biography.
Metzger was a student and associate of the founders of the Berlin school of Gestalt theory, Max Wertheimer, Wolfgang Köhler and Kurt Koffka. Metzger became Max Wertheimer's assistant in Frankfurt/Main in the 1930s and his successor when the Nazis forced Wertheimer out. Early in the 1940s Metzger became chairman at Münster, a position he held until his retirement.
Wolfgang Metzger joined the SA in 1933, and became a member of the NSDAP in 1937.
The early major work "Gesetze des Sehens" (Laws of Seeing) first appeared in serial part issues, edited by the "Senckenbergische Naturforschende Gesellschaft" in Frankfurt. Expanded editions were printed in 1936, 1954, and 1975. In this work Metzger supplemented his collection of phenomena from everyday perception and the fine arts, always endeavoring to find ever more compelling illustrations for the Gestalt point of view. As Heinz Heckhausen has pointed out this work is a masterpiece for those who come to it without an intense background in the psychology of perception; in a nontechnical style Metzger moves the reader toward a deeper experience, and sometimes an altered conception, of the visual world.
Following World War II Metzger devoted increasing energy to applied questions, especially those having to do with child-rearing, classroom education, and psychotherapy. His guiding principles in these applied endeavors were developed in his last two books, "Schöpferische Freiheit" (Productive freedom, 1949, 1962) and "Psychologie in der Erziehung" (Psychology in education, 1971). The theoretical starting point of these works is again Gestalt psychology with its assumption of a natural, nonforced order in nature, which led him to make his observations on the virtues of a theme of freedom among the goals of education. Metzger became eventually an outspoken advocate of Adlerian psychology with which he had become acquainted during his Berlin days through Fritz Künkel and later through Oliver Brachfeld who was in Münster from 1960 to 1965. Together with Brachfeld he founded in 1964 the German "Alfred Adler Society" which became in 1970 the "German Society for Individual Psychology".
Metzger was president of the 16th International Congress for Psychology in 1960 in Bonn. From 1962 until 1964, he was president of the "Deutsche Gesellschaft für Psychologie". He was also highly committed to activities associated with his membership in the "Association de Psychologie de la Langue Française". Metzger's legacy is carried forth in the "Society for Gestalt Theory and its Applications" (GTA), an international multidisciplinary organization, of which he was honorary chairman.


Patti Stiles

Patti Stiles is an actor, director, playwright, teacher and improvisation artist living in Australia.
She received her training at Calgary, Alberta's Loose Moose Theatre under Keith Johnstone. It was there she worked with Keith Johnstone in many forms of improvisation. She performed regularly in Theatresports, Gorilla Theatre and Life Game as well as performing in Keith's plays, directing and performing in the Theatre For Kids program and touring productions.
Stiles moved to Toronto Canada and was the Artistic Director of Dream Kitchen Theatre, which produced Theatresports. From there she moved to Edmonton Alberta and was Artistic Director of Rapid Fire Theatre from 1991 - 1996. Young performers in the company at this time include Mark Meer, Jacob Banigan, Josh Dean, Nathan Fillion whom she helped to train. Along with her AD duties Patti was involved with other theatre endeavours. She directed David Belke's production of The Maltese Bodkin which featured Nathan Fillion (in one of his first theatrical roles) and received an Elizabeth Sterling Haynes Award for Outstanding Fringe Production. In Edmonton Patti wrote her first play for Theatre For Young Audiences called "If Whales Could Tell Tales", which was commissioned by the Provincial Museum. She was involved in the Edmonton Fringe Festival as actor, director or producer as well as their opening / closing ceremonies and also the Edmonton Street Performers Festival as a roving character artist, director of Women In Comedy or performer in Late Night Madness. Patti was a founding member of "Die-Nasty: The Live Improvised Soap Opera" (nominated for several Canadian Comedy Awards and winner of the 2006 award for Best Improv Troupe) and holds the record as the first female improviser to improvise 53 hours straight in the annual Die-Nasty Soap-A-Thon.
For six months Stiles lived in London UK; during this time she worked with many of the impro companies in London. There she trained Deborah Francis White and Tom Salinski founders of The Spontaneity Shop and authors of The Impro Handbook which includes a dedication to her.
Stiles moved to Melbourne Australia and became the Artistic Director of Impro Melbourne from 2004 to 2009. During this time she wrote her second theatre for young audiences play Water of Life. She is also founder and Co-Director of Secret Impro Theatre and Artistic Director of Die Nasty AU, a Melbourne branch of the soap opera style created in Edmonton. Patti now has her own company in Melbourne Patti Stiles Impro focused on her improvisational teaching.
Stiles has played with improvisation performers including Colin Mochrie, Brad Sherwood, Wayne Brady, Joe Flaherty, Daniel Cordeaux, Rebecca De Unamuno, Julia Zemiro, Dan O'Connor, Ron Pederson, Jeff Haslam, Dana Andersen, and Alan Cox.
She is a three-time nominee for the Elizabeth Sterling Haynes Award for Theatre Excellence. TV credits for Stiles include "Neighbours" (AUS), "Stingers" (AUS), "John Safran's Race Relation's" (AUS).


Lowebow

A lowebow is a variation of the cigar box guitar, created by John Lowe in the 1990s. It involves a cigar box with two wooden rods projecting from it. Each wooden rod typically holds one string: a bass string attached to one rod and a standard acoustic guitar string attached to the other. This allows the player to pluck a one-string bass and a one-string guitar at the same time. Each of the two strings has its own electric pickup that feeds into an amplifier. Some variations contain multiple strings on the treble neck, similar to standard cigar box guitars. The lowebow was created with the one-man band in mind.


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The Free Association

The Free Association, or The FA, is a London-based improvised comedy theatre and school. It was founded in 2015 and operates two comedy venues and training centres in London. They are currently the largest provider of improvisation training in the UK.
The FA teach, produce and host live improvisational comedy from "The Free Association Theatre" in East London, on the border of Haggerston and Islington, and "The FA's Comedy Room" in Camden in North London.
In October 2018, The Free Association announced a partnership with Boom Chicago, a creative group, based in Amsterdam, The Netherlands, that writes and performs sketch and improvisational comedy at the Rozentheater. The partnership brings together Boom’s 25 years of improv history and the FA’s six-level curriculum with the aim to become Amsterdam’s premier location for improvisation training.
Philosophy.
As the UK's equivalent to American improv theatres UCB, IO and The Second City, the FA has brought the American-style of improvised comedy to the United Kingdom and adapted it for a British audience.
Playing with a flexible style between the "hard premise" of New York's UCB and the "organic" improv of Chicago's IO. The FA's main focus is the "game of the scene" and the "straight-man" - using these to create grounded comedic scenes.
FA house teams.
The following are teams that play regularly at The Free Association, either at weekends or on the weekly Harold Night show. They comprise graduates of The Free Association training programme.
Other shows.
The theatre also hosts ensemble shows performed by players from the House Teams. These include Jacuzii, The Ladies of FA County and Uncle Glen's Menagerie. Guest residencies from other London-based acts such as Do Not Adjust Your Stage, The Petting Zoo and Sorry take place monthly. Jacuzii has played at The Pleasance at the Edinburgh Festival Fringe from 2015 to 2018.
The Free Association performed a live version of Drunk History (UK TV series) at Comedy Central LIVE, a three-day stand-up festival at Southampton’s Hoglands Park on 5, 6 and 7 October 2018, with special guests including, Joel Dommett ("Skins", "Live in Chelsea", "Impractical Jokers UK", "I'm a Celebrity...Get Me Out of Here!"), Nish Kumar ("The Mash Report", "Newsjack") and Iain Stirling ("CBBC", narrator ITV2 reality series "Love Island").
Guest monologists.
The Free Association's headline Saturday Night show Jacuzii, and other 'special guest' nights welcome a guest monologist (frequently a celebrity) who uses a suggestion from the audience to inspire a truthful, personal monologue. The improvisers then use the monologue as inspiration for a series of scenes, which in turn inspire a response from the monologist.
The Free Association has performed with the following guest monologists and performers: Ralf Little, Nish Kumar, Oliver Chris, Tom Rosenthal, Phil Wang, Rachel Parris, Cariad Lloyd, Mae Martin, Steen Raskopoulos, Brett Goldstein, Rose Matafeo, Sindhu Vee, Matt Jones, Kirby Howell-Baptiste, Neil Casey and Jason Mantzoukas.
Training programme.
The FA training programme takes place over 6 levels and focuses on learning "The Harold", a form created by Del Close. The training is attended by performers, comedians, and individuals looking for extra confidence and a community.
The Free Association provides improvisation training for businesses, focusing on communication and collaboration through "FA at Work".
Additional work.
The Free Association's Michael Orton-Toliver and Chris Gau created the part-improvised "retro-scripted" comedy mockumentary Borderline for Channel 5 in 2016. The show features a number of Free Association-trained performers and was produced by The Royle Family's Ralf Little and directed by Breaking Bad's Matt Jones. Performers Ian Thomas Day, Chris Gau and Shaun Lowthian created the improvised character comedy podcast Fact Up in 2015, featuring guest performers from the theatre and actors, comedians and improvisers from outside The Free Association. Now running to over 150 episodes, the podcast featured on BBC Radio 4 Extra's Podcast Radio Hour in 2018, recommended by comedian Cariad Lloyd.
Kayleigh Llewellyn created In My Skin, winning Best Television Drama at the 2019 BAFTA Cymru Awards. She was also named as one of BAFTA's Breakthrough Brits in 2019.


Bommalattam (2008 film)

Bommalattam () is a 2008 Indian Tamil-language action thriller film written and directed by Bharathiraja. The film stars Arjun Sarja and Nana Patekar, while Kajal Aggarwal, Rukmini Vijayakumar, Vivek, and Manivannan play supporting roles. This film marked the Tamil debut of Patekar. The music was composed by Himesh Reshammiya with cinematography by B. Kannan. The film released on 12 December 2008.
Originally filmed in Hindi under the title "Cinema", the film was released first in Tamil. The Hindi version retitled "Final Cut of Director" had a limited release in 2016. The film was dubbed into Telugu as "Ranna".
Plot.
The opening scene shows director Rana shooting a scene in his upcoming film with his film's heroine. As he is unhappy with the way the heroine behaves, he decides to find another heroine. He finally finds Trishna suited as his heroine but never discloses her identity to the media, and the film's wallpapers also do not show the hero or the heroine. Finally, the film gets completed, and Rana needs to attend a press meet regarding his film's release, but he does not go the press meet and is shown to have had an illegal relationship with Trishna. At this instant, the film producer calls him, and the media comes to know where he is and with whom. The media people gather at the hotel where Rana stays, and he manages to escape from them and get into a car. They start chasing him, and Rana kills Trishna by creating an accident-like situation.
In this situation, SP Vivek Verma, a CBI officer, takes charge for this murder case along with two previous murder cases which were also suspected to be done by Rana. As a suspicion, Rana is arrested and taken into CBI custody. There, Vivek starts his interrogation. In between this, a poet named Anitha, who is also a crazy fan of Rana, is shown as Vivek's lover, and she was also an assistant to Rana during his film shooting. Finally during interrogation, Rana reveals of how he found Trishna and their relationship.
Trishna was a dancer who used to dance in temples and small-time shows across Andhra Pradesh. Rana hires her as his new muse, and they are shown to share a very intimate relationship. When a hairdresser is left without a place to sleep, Rana offers her a place in his room, and another unit member informs Rana's wife.. The next morning, as Rana is once again shown to share a very close rapport with Trishna, his wife arrives, beats up the hairdresser, and accuses Rana of being a womanizer. Rana still continues shooting, appearing to be unperturbed by the incident but cries lightly while instructing his actors. He and his assistant are also shown to share a special and close relationship, as she comforts him later on. However, at the same village in which they are shooting, they face troubles in the form of the village chief, who is notorious and constantly lusts over Trishna. Rana states at one point that he would kill the chief should he cause more inconvenience. The next day, the chief is murdered. Vivek recalls this and states that Rana committed this murder, but Rana neither agrees or denies this statement.
Rana is later admitted to the hospital as he faints shortly after the interrogation, but Vivek pursues him there and recollects the incident of the second murder. After finishing their schedule at the village, the unit heads to Malaysia to continue the film shooting. There, Rana has to meet another nuisance in terms of the financier's son, who is also the film's second hero. He flirts around with Trishna and constantly tries to approach her, which she is uncomfortable with. Shortly afterwards, he is found murdered as well. Once again, Rana neither agrees or denies doing this murder. Anitha, upon witnessing what Vivek is doing, confronts him and accuses him of trying to pin down Rana. She offers her body in exchange of Rana being left alone, but Vivek reveals to her the complications that exist in the investigation. The badly burnt body in the car which fell from the cliff belongs to a man and not a woman, and all the evidence that exists at the crime scene are all fake, which are used for cinema.
With the mystery lingering, Rana is released due to the absence of strong evidence to convict him. He goes off to live in a secluded bungalow with his assistant. Vivek too arrives there and finally uncovers the mystery. Trishna is revealed as a boy and not a girl. Babu, being his real name, comes from a very poor background, and his mother raised him as a woman since childhood; thus, his demeanor has become womanly since small. Rana sees an opportunity to take up a unique challenge by introducing him as a heroine and at the same time provide financial aid to his struggling family. Babu had killed the village chief after the latter discovered Babu's gender identity and demanded that Babu sleep with him in return of the truth not being revealed. When the financier's son tells him that he has taken his picture while he is bathing (which he did not), Babu killed him too. Rana asks Vivek to give the boy the least available sentence, but Vivek decides to let the boy go. Rana thanks Vivek, but Vivek says that Rana is a greater human being than he is a director.
Production.
The film was launched in Malaysia in 2006. This was Nana Patekar's debut film in Tamil. Scenes involving him and Arjun were shot in Chennai. Nana and Bharathiraja fought in shooting; replying to this matter Bharathiraja said: "We fought with each other a couple of times. However the fights helped us to sharpen our thoughts and to shape the movie in a nice way". Nagravi of Insight media tiedup with the film and bought the rights. Bharathiraja went on to say that it is one of the best films he had made.
This was originally the debut Tamil film for Kajal Aggarwal, but since this film was delayed, "Pazhani" became her first Tamil release.
The voice of Nana has been dubbed by actor Nizhalgal Ravi.
Soundtrack.
The soundtrack was composed by Himesh Reshammiya in his second Tamil film composed after "Dasavathaaram".
Release.
Even though originally filmed in Hindi, the Hindi version was released in October 2016 and went unnoticed due to lack of promotions.
Nowrunning wrote:"Like aged and mellowed spirits, director Bharati Raja has matured and levitated towards one of his first loves — a whodunit". Behindwoods wrote: "Bommalattam is a perfectly crafted and executed investigative thriller. The surprise factor being Bharathiraja’s tautly woven screenplay – it negates the chance of tedium, even for a fraction of a second". Sify wrote: "hats off to Bharathiraja for creating a taut thriller which is a masterpiece of moods, anxieties and dread. Quite simply, unmissable". Rediff wrote: "Bharathiraja's screenplay lacks punch. He seems to have been confused about whether to give importance to the characters themselves, or the thriller portion." Hindu wrote: "The pluses of ‘Bommalattam’ place Bharatiraaja on a pedestal. The minuses play spoilsport".


Dream pop

Dream pop (also typeset as dreampop) is a subgenre of alternative rock and neo-psychedelia that is characterized by its preoccupation with sonic texture and atmosphere as much as melody, including characteristics such as breathy vocals, use of guitar effects, and dense productions. It often overlaps with the related genre of shoegaze, and the two genre terms have at times been used interchangeably.
The genre came into prominence in the 1980s, through the work of Cocteau Twins, A.R. Kane, and their contemporaries. Following the emergence of shoegaze, ambient pop developed as a variant of dream pop that incorporates electronic textures.
Characteristics.
Dream pop is thought to relate to the "immersion" in the music experienced by the listener. "The AllMusic Guide to Electronica" (2003) defined dream pop as "an atmospheric subgenre of alternative rock that relies on sonic textures as much as melody". Common characteristics are breathy vocals, the use of guitar effects, and a densely produced sound. The music tends to focus on textures and moods rather than propulsive rock riffs. Lyrics are often introspective or existential in nature. In the view of Simon Reynolds, dream pop "celebrates rapturous and transcendent experiences, often using druggy and mystical imagery". According to Rachel Felder, dream pop artists often resist representations of social reality in favour of ambiguous or hallucinogenic experiences.
History.
1960s–1970s: Origins.
Author Nathan Wiseman-Trowse explained that the "approach to the sheer physicality of sound" integral to dream pop was "arguably pioneered in popular music by figures such as Phil Spector and Brian Wilson". George Harrison's 1970 album "All Things Must Pass", with its Spector-produced Wall of Sound and fluid arrangements, led music journalist John Bergstrom to credit it as a progenitor of the genre. Musician Tessa Violet referred to the Beach Boys' 1970 song "All I Wanna Do" as the "OG dream pop anthem". The music of the Velvet Underground in the 1960s and 1970s, which experimented with repetition, tone, and texture over conventional song structure, was also an important touchstone in the genre's development.
1980s: Development and shoegazing scene.
"Rolling Stone"s Kory Grow described "modern dream pop" as originating with the early 1980s work of Cocteau Twins and their contemporaries, while "PopMatters" AJ Ramirez noted an evolutionary line from gothic rock to dream pop. Grow considered Julee Cruise's 1989 album "Floating into the Night", written and produced by David Lynch and Angelo Badalamenti, as a significant development of the dream pop sound which "gave the genre its synthy sheen."
The term "dream pop" was coined by Alex Ayuli of A.R. Kane, who used the phrase in the late 1980s to describe his band's sound, which combined distorted guitar, dub production, and drum machines. The label was subsequently adopted by music critic Simon Reynolds to describe A.R. Kane and later extended to the nascent shoegazing scene in the UK. In the 1990s, "dream pop" and "shoegazing" were interchangeable and regionally dependent terms, with "dream pop" being the name by which "shoegazing" was typically known in America. Reynolds had described dream pop bands as "a wave of hazy neo-psychedelic groups", noting the influence of the "ethereal soundscapes" of bands such as Cocteau Twins.
1990s–present: Influence and continued interest.
The late 1980s dream pop of A.R. Kane and My Bloody Valentine influences various 1990s acts such as Seefeel and Insides, who were drawn to techno and began utilizing elements such as samples and sequenced rhythms. Ambient pop music was described by AllMusic as "essentially an extension of the dream pop that emerged in the wake of the shoegazer movement", distinct for its incorporation of electronic textures.
Much of the music associated with the 2009-coined term "chillwave" could be considered dream pop. In the opinion of "Grantland"s David Schilling, when "chillwave" was popularized, the discussion that followed among music journalists and bloggers revealed that labels such as "shoegaze" and "dream pop" were ultimately "arbitrary and meaningless".
References.


Gusmiati Suid

Gusmiati Suid (1942–2001) was an Indonesian dancer and choreographer who specialized in traditional Sumatran, Malay and Minang dances. She studied and later taught dance at the ASKI Performing Arts Academy in Padang Panjang. In 1984, she decided to become a professional choreographer, devoting her efforts to the Gumarang Sakti Dance Company which she had created in 1982. Gusmiati toured widely with the company in the late 1980s and the 1990s, visiting India, France, Germany, the United States, Canada and New Zealand. In her choreographic compositions from 1985 to 1991, she succeeded in combining martial arts-based dances with her own interpretations of Minang music.
Biography.
Born on 16 August 1944 in the village of Parak Jua, Batusangkar, West Sumatra, Gusmiati was the daughter of the schoolteachers Gasim Shahab, an Arab, and Asiah, a native Minang. In line with local Muslim traditions, she was brought up by her maternal uncle, Wahid Sampono Alam, who instructed her in the local martial arts or silat from the age of four. This provided her with a solid basis for her future career as a dancer.
When she was nine, the family moved to Padang Panjang. While attending school there, she was introduced to Melayu dances by Sofyan Naan. Later, while at junor high school, she was recognized as a good dancer with an interest in traditional performing arts. She went on to attend the SPG Vocational Hight School for Teachers where Mrs Huriah Adam inspired her to devote her life to dancing. In 1960,
she began a teaching course specializing in Indonesian at FKIP Teachers College, graduating in 1964. She moved with her parents to Payakumbuh where she taught in a junior high school, forming an amateur dance group for her pupils where she choreographed her first short dances inspired by nature. In 1967, she returned to Batusangkar where she choreographed more short dances while teaching in another junior high school.
Gusmiati studied at the ASTI College of Traditional Performing Arts in Padang Panjang from 1972 to 1975. On graduating, she taught dance at a high school in Batusangkar and at a private school in Padang. In 1977, she created "Rantak", her first of her many significant dance compositions. From 1979 to 1981, she was an instructor at the Bunda Foundation dance group in Jakarta. In 1982, she moved back to Batusangkar where she founded the Gumarang Sakti Dance Company. The dances performed by the troupe were reworked in the Minang martial style but greater complexity. In 1985, she gave up her job as teacher in order to devote all her time to dance. From 1986, she and her family settled in Jakarta. Her two daughters, Suwita Yanti and Yessay Apriati danced in her troupe while her son, Yandi Yasin (known as Boi G. Sakti), studied dance at the Jakarta Institute of Arts.
After performing at the Asian Festival of Theatre and Martial Arts in Calcutta and at the Indonesian Festival of Choreography in Jakarta in 1987, she tool her troupe to Hong Kong (1989), France (1990) and the United States (1991). After performing at the Joyce Theatre in New York and representing her country at the Festival of Indonesia (KIAS), she was honoured with a Bessie, the New York Dance and Performance Award for "outstanding creative achievement... within an beyond the hallowed traditions of a great classical culture in "Music and Dance of Sumatra: Aceh and Minangkabau". In 1992, Gusmiati and her troupe performed across Canada and at the Festival of Asian Arts in Hong Kong. Thereafter they performed in Germany (1994), New Zealad (1995), Thailand (1996) and Singapore (1997).
Gusmiati Suid died in Jakarta on 28 September 2001. Following her death, her son Boi G. Sakti continues to run the Gumarang Sakti Dance Company.


Elizabeth Cameron Dalman

Elizabeth Cameron Dalman (born 23 January 1934) is an Australian choreographer, teacher, and performer. She founded Australian Dance Theatre and was its Artistic Director from 1965 to 1975.
Early life and education.
Born in Adelaide, South Australia, Elizabeth Cameron Dalman began her dance training with Nora Stewart, with whom she studied both classical ballet and the Margaret Morris modern dance technique.
In 1957 Elizabeth travelled to Europe, London, and later New York to continue her studies. In New York, she studied with Martha Graham, Murray Louis, James Truitte, and Alwin Nikolais. While studying in Germany in 1958, she met American choreographer Eleo Pomare and the two remained friends until his death in August 2008.
In 1994 she obtained Masters of Creative Arts degree from Wollongong University.
In 2012 Elizabeth was conferred a doctorate in dance (PhD) from the University of Western Sydney for her thesis entitled "The Quest for an Australian Dance Theatre".
Career in dance.
Returning to New York in 1962, she danced with the Eleo Pomare Modern Dance Company for two years. Back in Adelaide in 1965, she formed the Australian Dance Theatre and for ten years was artistic director.
In 1999, she founded WEEREEWA – A Festival of Lake George, which is held in Bungendore New South Wales bi-annually since 1999. The festival showcases local artists including dancers, painters, sculptors and photographers.
She is currently Director of the Mirramu Creative Arts Centre at Lake George, in New South Wales near Canberra. She is also a Mentor and Board Member of The Australian Choreographic Centre in Canberra and she studies indigenous dance forms.
Elizabeth continues to direct, choreograph, perform and teach, both in Australia and overseas.
Awards.
Elizabeth Cameron Dalman is a recipient of an Australian Artists Creative Fellowship; was awarded an OAM in 1995 for her contribution to contemporary dance in Australia; in 1997, received a Lifetime Achievement Award from the Australian Dance Awards for achievement in dance, and in 2015 was inducted into the Australian Dance Awards Hall of Fame.
In 2020 Anthea da Silva's painting Elizabeth won the inaugural Darling Portrait Prize.


Envirotech


Woob-woob-woob!


Nick Lazzarini

Nick Lazzarini (born August 4, 1984) is an American dancer. He is best known as the first season winner on the Fox reality show "So You Think You Can Dance". He is a trained dancer in jazz, lyrical, hip hop, ballet and modern dance styles.
Early life.
Lazzarini was born to Italian American parents. Lazzarini grew up in Mountain View, California in the San Francisco Bay Area. He graduated from Springer Elementary in Mountain View, California and Blach Intermediate School in Los Altos, California. Lazzarini began attending Showbiz when he was 8 years old. In the early 2000s, he travelled every other weekend from San Francisco to Fresno to dance at Dance Rage. He was trained under Keith Banks. His performance at Showbiz in 2001 caught the attention of "Dance Spirit" magazine, and they featured him on the cover of their October 2001 issue.
At the time of his appearance on "So You Think You Can Dance," he was living in Van Nuys, California.
Early career.
Lazzarini has been dancing since age four and began teaching and doing choreography at age fourteen.
In 2003, Lazzarini, competing as part of a dance group called Hot Under The Collar, appeared on CBS's "Star Search" remake.
Prior to competing on the Fox reality show, Lazzarini spent two years at the Dance Company of San Francisco and also toured Europe with the RAW dance company, which was founded by choreographer Mia Michaels, one of the judges on "So You Think You Can Dance".
"So You Think You Can Dance".
Lazzarini was the first person who auditioned for the show before it even began. Nigel and Bonnie Lythgoe approached him to see if he would be a good match for a show they were then planning. For his win on the first season of the show, Lazzarini received a cash prize of $100,000 and the use of a penthouse apartment in Manhattan for one year. According to judge Nigel Lythgoe, Lazzarini chose to exchange the value of the apartment for a cash equivalent.
Post "SYTYCD".
Lazzarini became the first person ever to appear on the cover of "Dance Spirit" twice, with the January 2006 issue. Beginning in March 2006, Lazzarini became a founding member (of 15) of the Evolution Dance Company, which debuted at the OC Pavilion in Santa Ana, California, alongside "SYTYCD" alumni Melody Lacayanga and Craig DeRosa. Choreographers in the company include Liz Imperio and Mia Michaels.
Lazzarini was formerly a faculty member of Jump Dance Convention (www.breakthefloor.com).
In November 2011, Oxygen Media announced that Nick, along with fellow dancers Travis Wall, Teddy Forance, and Kyle Robinson, is part of a series in development titled "All the Right Moves". This docu-series follows the four dancers as they work to start a new dance company in LA called Shaping Sound.
Personal life.
Lazzarini is best friends with Melody Lacayanga, and they have been since their teens. He is also best friends with dancer and choreographer Travis Wall, whom he has known since he was 9 years old.


Last Amendment

Last Amendment (formerly known as The Crass Collective and Crass Agenda) is the working title of a series of collaborations by ex-members of the anarcho-punk band Crass and others. Although Crass had formally split up in 1984, Penny Rimbaud, Gee Vaucher, Eve Libertine, Steve Ignorant, Andy Palmer and Pete Wright came together in November 2002 to put on a concert at the Queen Elizabeth Hall in opposition to the at that time proposed War on Iraq. Although they did not all appear on the stage at the same time, most of the ex-members of Crass participated in the event under the name of The Crass Collective, along with other performers such as Ian MacKaye, Goldblade, the English Chamber Choir, Fun Da Mental, Nabil Shaban, etc.
The Crass Collective continued to put on gigs and performances, usually of a collaborative nature, on a regular basis throughout 2003 at the Vortex Club in Stoke Newington, London. In October of that year however they changed the name of the project to Crass Agenda. Works by the collective have included Dada cabaret, an interpretation of Allen Ginsberg's poem "Howl", Crass' "Yes Sir I Will" and an update of Dylan Thomas' play "Under Milk Wood", in which property developers move into the mythical Welsh village of Llareggub.
Others that have worked as part of Crass Collective/Crass Agenda include disability rights advocate and actor Nabil Shaban, violinist and pianist Dylan Bates, saxophone player Ingrid Laubrock, John Sharian, Julian Siegel, Gene Calderazzo, Kate Shortt, guitarist and bass player Jennifer Maidman, Ed Jones, A-Soma and others. During 2004 Crass Agenda were at the forefront of a campaign against the closure of the Vortex jazz club, which has now relocated to Hackney.
In June 2005 the project was renamed Last Amendment, with their website, declaring the name Crass Agenda as being "no more". Their first live performance using this incarnation was on 30 June at the New Vortex club in Hackney, east London.


Max Herrmann (theatrologist)

Max Herrmann (14 May 1865 – 17 November 1942) was a German literary historian and theorist of theatre studies. He is considered to be the founding father of theatre studies in Germany.
Born in Berlin into a Jewish family, Herrmann, having passed his A-levels, in 1884 began studying Germanic Philology and History at the Universities of Freiburg, Göttingen and Berlin. In 1891 he became "Privatdozent" for Germanic Philology at the University of Berlin and in 1898 he married Helene Schlesinger. In 1900 he gave his first lectures on theatre studies at the Department of Germanic Studies in Berlin. In his interpretation and analysis of Johann Wolfgang von Goethe's play "Jahrmarktsfest in Plundersweilern" he not only included results based on research of the original sources but also the stage history of the play. After having been appointed professor in 1903 he continued working as a free-lance lecturer and contributed to a number of literary societies, such as the Society for Theatre Studies. In 1914 he published his most renowned work "Research on the History of German Theatre in the Middle Ages and the Renaissance" ("Forschungen zur deutschen Theatergeschichte des Mittelalters und der Renaissance") in which he further specified his approach. In 1916 he founded the "Library of German Private and Manuscript Prints" ("Bibliothek Deutscher Privat- und Manuskriptdrucke") at Berlin State Library.
Herrmann advocated vehemently the emancipation of theatre studies from German Studies. In 1919 he was offered a chair at the University of Berlin. When, in 1923, the Institute of Theatre Studies at Berlin University, world-wide the first of its kind, was founded despite much resistance from the more established disciplines, Herrmann was appointed its head, a function he fulfilled alternately with Julius Petersen.
When the Law for the Restoration of the Professional Civil Service was passed in April 1933, Max Herrmann was deprived of his professorship by being forced to go into retirement. On 8 September 1942 he and his wife were deported to the concentration camp Theresienstadt where Max Herrmann died in November 1942.
Until his deportation Herrmann worked on "The Development of the Professional Art of Theatre in Antiquity and Modern Times" ("Die Entstehung der berufsmässigen Schauspielkunst im Altertum und in der Neuzeit") irrespective of institutionlised harassment which meant, for example, that he was only allowed to read books while standing. The manuscript of the book was preserved by a student of Herrmann's, Ruth Mövius, and only published in 1962.
Berlin State Library awards every year on 10 May, the anniversary of the Nazi book burnings, the Max-Herrmann-Prize.


Going Hollywood

Going Hollywood is a 1933 American pre-Code musical film directed by Raoul Walsh and starring Marion Davies and Bing Crosby. It was written by Donald Ogden Stewart and based on a story by Frances Marion. "Going Hollywood" was released by Metro-Goldwyn-Mayer on December 22, 1933.
Plot.
The film tells how an infatuated school-teacher, Sylvia Bruce, follows Bill Williams, a popular crooner, to Hollywood where he is to make a picture. On board the train she obtains a job as maid to Bill's French fiancée and leading lady, Lili Yvonne, and meets the film's director, Conroy, and promoter, Baker. On arrival in Hollywood she is befriended by Jill and shares her rooms.
At the Independent Art Studio in Hollywood, where the film is being made, Lili's temperament and lack of talent cause Conroy much concern. Eventually, after losing her temper with a woman who asks for her autograph, Lili refuses to continue unless the woman is removed from the Studio. She is persuaded to stay and production continues
with her singing 'Cinderella's Fella' but Conroy is still not satisfied and an angry Lili walks out. Sylvia impersonates Lili's version of the song and ends with an
imitation of Lili's tantrums. Lili returns in time to hear Sylvia and there is a brawl in which Lili gets a black eye. Baker, who has also heard Sylvia, intervenes by
firing Lili and engaging Sylvia for the part.
Baker asks Sylvia to accompany him to a party but withdraws when Bill expresses his own interest in her. Bill takes Sylvia to dinner and the party but a quarrel ensues and she accuses him of insincerity. Bill deserts the film and goes with Lili to Tijuana where, drinking heavily, he receives a telephone call from the Studio with the ultimatum that if he does not return they will get a replacement. Lili advises him to let them do so and suggests that they fly together to New York and on to Paris. Sylvia finds him and pleads for him to come back to the Studio but returns without him.
In Hollywood there is difficulty with the player chosen to replace Bill and eventually Bill finally appears at the Studio to rejoin Sylvia in the film's closing sequence to sing 'Our Big Love Scene'.
The song 'Beautiful Girl' is sung by Crosby at the beginning of the film before his departure for Hollywood when technicians arrive to record it. When he boards the train at Grand Central Terminal there is a big production number where he and the chorus sing 'Going Hollywood'. He also sings a few lines of 'Just an Echo in the Valley'. Crosby is also heard singing 'Our Big Love Scene' on the radio when Jill is showing Sylvia her apartment. 'We'll Make Hay While the Sun Shines' is a dream-sequence production number with thunderstorm effects at the Studio and is featured by Crosby, Marion Davies, chorus and dancers. An impersonation act by The Radio Rogues is also filmed at the Studio and includes imitations of Kate Smith ('When The Moon Comes Over The Mountain'). Russ Columbo ('You Call It Madness But I Call It Love'), Morton Downey ('Remember Me?') and Rudy Vallee ('My Dime Is Your Dime'). Crosby sings 'After Sundown' at the party. 'Temptation' was an early film attempt to fit a song into the story pattern
and was presented dramatically by Crosby whilst drinking tequila in a bar at Tijuana.
Soundtrack.
Crosby recorded some of the songs for Brunswick Records and "Temptation", "We'll Make Hay While the Sun Shines" and "Beautiful Girl" reached the charts of the day peaking at Nos. 3, 8 and 11 respectively.
Release.
"Going Hollywood" was released on home video in May 1993. Warner released it on DVD in July 2013.
Reception.
The New York Times welcomed the film. "Blended properly with the holiday humors, Going Hollywood has enough basic liveliness to produce a sprightly and jocular mood at the Capitol. The overwhelming magnitude of the latter-day musical picture is gratefully absent from this one. It is warm, modest and good-humored. Bing Crosby has a manner and a voice, both pleasant, and the songs that Nacio Brown and Arthur Freed provide have a tinkle and a lilt. From the competent routine sentiments of “Our Big Love Scene” and the pleasing little pastoral lyric “We’ll Make Love When It Rains” they range down to that brooding song which Mr. Crosby, loaded with whisky and sorrow, sings across a Mexican bar while the glamorous Miss Davies is far away.
Variety's reaction was mixed as they commented: "Pretentious musical with class in every department but one. It has names, girls and good music, but its story is weak from hunger and the script will prevent a big click. Fair is its rating...Marion Davies is starred and Bing Crosby featured, but Crosby will draw the bulk of what this one gets. Other assets are the music, the fact that it’s good, and that it has girls and plenty of them . . . From start to finish Crosby is constantly singing. It must be good singing because it doesn’t get tiresome, despite that it's laid on so heavy. . . . At least three songs in the generally excellent score, as played by Lennie Hayton’s orchestra, sound promising. With Crosby there to sing ‘em the songs get a break, too.
"TV Guide" called it "fluffy fun" with a "literate and amusing screenplay". A reviewer on "Turner Classic Movies" praised Crosby's singing and said that his voice never falters. Jamie S. Rich of DVD Talk rated it 3.5/5 stars and wrote, ""Going Hollywood" is almost the perfect Hollywood movie musical cliché."
Box office.
The film grossed a total (domestic and foreign) of $962,000: $620,000 from the US and Canada and $342,000 elsewhere resulting in a loss of $269,000.
Radio adaptation.
"Going Hollywood" was presented on "Musical Comedy Theater" December 10, 1952. The one-hour adaptation starred Denise Darcel, Andy Russell, and Mary McCarty.


Borbetomagus

Borbetomagus are a free jazz/noise rock group. They are cited by critics as pioneers of aggressive improvised noise music.
Biography.
Borbetomagus formed in 1979 when saxophone players Jim Sauter and Don Dietrich joined with electric guitarist Donald Miller. Sauter and Deitrich were fans of and frequent callers to Miller's radio show on WKCR (Columbia University) which lead to them collaborating. Bass guitarist Adam Nodelman was briefly a member, and they have occasionally collaborated with others.
Their aggressive music has been described as "a huge, overpowering, take-no-prisoners mass of sound." One extended technique they use is called "bells together" where Sauter and Dietrich place the bells (openings) of their saxophones against one other while playing.
While the core trio listed above has been responsible for most of Borbetomagus's music, they have collaborated with Swiss circuit bending duo Voice Crack, Dutch cellist Tristan Honsinger, German double-bassist Peter Kowald, multi-instrumentalist Milo Fine, the band Fat on their album Hit, and others. In 2006, they recorded a collaborative album with Hijokaidan live at the Festival International de Musique Actuelle de Victoriaville, Canada, and in 2007 their long out-of-print cassette "Live In Allentown" was released on CD with nearly twice as much material as the original. Sauter and Dietrich have also recorded a duo album and a collaborative album with Sonic Youth guitarist Thurston Moore.
Name.
Borbetomagus refers to the Celtic origin of the German city of Worms.
Influence.
They are considered widely influential on the Japanese noise music scene, as demonstrated by the re-release of their limited "Live At Inroads" cassette on CD by the Japanese label P.S.F. Records, as well as having a CD released by Osaka-based noise label Alchemy Records.
They have been influential on many American rock, free jazz, and noise musicians, such as Sonic Youth, Pelt, Thomas Ankersmit, and Kevin Drumm. Miller has worked with Pelt; he now resides in New Orleans, where he frequently collaborates live with Rob Cambre and others on E-Bowed guitars.


Biggus Diccus


Clusone Trio

Clusone Trio, also known as Trio Clusone or Clusone 3, was a Dutch musical group active from the late 1980s to the late '90s, composed of saxophonist/clarinetist Michael Moore, cellist Ernst Reijseger and drummer Han Bennink.
Initially planned to be a one-time collaboration for an early 1980s jazz festival in Clusone, Italy, the trio became a regular group by the end of that decade.
Their music was a blend of free improvisation and jazz, the latter typically in a post-bop or free jazz vein (but sometimes touching on swing music), and including both original compositions by the trio and interpretations of jazz standards. Additionally, their performances often featured a humorous edge due in no small part to Bennink's propensity towards quirky, slapstick humor. Somewhat unusually for a cellist, Reijseger often played pizzicato walking bass in the style of a jazz double-bassist or held and strummed the instrument like a guitar. They occasionally performed as the Clusone 4, with guests Guus Janssen on piano or Dave Douglas on trumpet.
Clusone Trio released six albums, the first two on Moore's small independent label before recording for larger labels like Grammavision or HatArt.


Bilintx

Indalecio Bizcarrondo, also known as Bilintx (San Sebastián, 1831–1876) was a Basque improvisational poet or bertsolari living in Spain, who wrote largely in the Basque language. He associated in the liberal circles of the city, with the likes of Serafin Baroja and Manterola, in the period extending between the two main Carlist Wars.
The imprint of his life's experiences, including a number of accidents and failed love affairs, are evident in his poetry. He is considered a Romantic in style, and was an enthusiastic reader of Spanish romantic poets such as Becquer. He worked also in the "bertso paperak" style, producing poems on sheets of paper that could be sold loose and sung by the people, some of which caught on in popular culture. "Bein batian Loyolan" (spelling of that period) remains one of his most memorable poems, nowadays sung to John Denver's tune "Annie's song" popularised by the local music band Egan in the 1980s.
He was killed by a Carlist grenade shelled on Donostia-San Sebastián on the San Sebastian Day during the Second Carlist War. Coincidentally, he died after months of suffering the same day the Charters (Foruak) were abolished on 21 July 1876.


Theatresports

Theatresports is a form of improvisational theatre, which uses the format of a competition for dramatic effect. Opposing teams can perform scenes based on audience suggestions, with ratings by the audience or by a panel of judges. Developed by director Keith Johnstone in Calgary, Alberta, in 1977, the concept of Theatresports originated in Johnstone's observations of techniques used in professional wrestling to generate heat, or audience reaction.
Derivatives.
ComedySportz, started in 1984 in Milwaukee, WI, tends to emphasise the sports competition format more than Theatresports, for example by having a referee who awards points and administers fouls. The Australian shows "Thank God You're Here" and "TheatreGames LIVE" follow a similar format to these shows. New York City's Face Off Unlimited has also adapted the concept to numerous productions. Two similar formats, Ligue nationale d'improvisation and Canadian Improv Games both also officially debuted in 1977 in Quebec and Ontario, respectively. The Canadian Improv Games had been doing competitive improv at various events as early as 1974.


Ebonics (word)

Ebonics (a portmanteau of the words "ebony" and "phonics") is a term that was originally intended to refer to the language of all people descended from black African slaves, particularly in West Africa, the Caribbean, and North America. Since the 1996 controversy over its use by the Oakland School Board, the term "Ebonics" has primarily been used to refer to the sociolect African American English, a dialect distinctively different from Standard American English.
Original usage.
The word "Ebonics" was originally coined in 1973 by African American social psychologist Robert Williams in a discussion with linguist Ernie Smith (as well as other language scholars and researchers) that took place in a conference on "Cognitive and Language Development of the Black Child", held in St. Louis, Missouri. His intention was to give a name to the language of African Americans that acknowledged the linguistic consequence of the slave trade and avoided the negative connotations of other terms like "Nonstandard Negro English":
We need to define what we speak. We need to give a clear definition to our language...We know that ebony means black and that phonics refers to speech sounds or the science of sounds. Thus, we are really talking about the science of black speech sounds or language.
In 1975, the term appeared in ", " a book edited and cowritten by Williams:
A two-year-old term created by a group of black scholars, Ebonics may be defined as "the linguistic and paralinguistic features which on a concentric continuum represent the communicative competence of the West African, Caribbean, and United States slave descendants of African origin. It includes the various idioms, patois, argots, idiolects, and social dialects of black people" especially those who have adapted to colonial circumstances. Ebonics derives its form from ebony (black) and phonics (sound, the study of sound) and refers to the study of the language of black people in all its cultural uniqueness.
Other writers have since emphasized how the term represents a view of the language of Black people as African rather than European. The term was not obviously popular even among those who agreed with the reason for coining it. Even within Williams' book, the term "Black English" is far more commonly used than the term "Ebonics".
John Baugh has stated that the term "Ebonics" is used in four ways by its Afrocentric proponents. It may:
or it may refer to what is normally regarded as a variety of
Common usage and controversy.
"Ebonics" remained a little-known term until 1996. It does not appear in the 1989 second edition of the "Oxford English Dictionary," nor was it adopted by linguists.
The term became widely known in the United States due to a controversy over a decision by the Oakland School Board to denote and recognize the primary language (or sociolect or ethnolect) of African-American youths attending school, and to thereby acquire budgeted funds to facilitate the teaching of standard English. Thereafter, the term "Ebonics" became popularized, though as little more than a synonym for African American English, perhaps differing in the emphasis on its claimed African roots and independence from English. The term is linked with the nationally discussed controversy over the decision by the Oakland School Board, which adopted a resolution to teach children "standard American English" through a specific program of respect for students' home language and tutoring in the "code switching" required to use both standard English and Ebonics.
While the term is generally avoided by most linguists, it is used elsewhere (such as on Internet message boards), often for ridiculing AAE, particularly when this is parodied as drastically differing from Standard American English. African American linguist John McWhorter argues that the use of the term does more to hinder black academic achievement than to help it, in that considering AAE to be a completely different language from English serves only to widen the perceived divide between whites and blacks in the United States. Walt Wolfram, a long-time researcher into AAE, points out that discussion of this variety of English "gets politicized and trivialized by the very term 'Ebonics.


Lorna

Lorna is a feminine given name. The name is said to have been first coined by R. D. Blackmore for the heroine of his novel "Lorna Doone", which appeared in 1869. Blackmore appears to have derived this name from the Scottish placename "Lorn"/"Lorne". In the U.S., according to the 1990 census, the name ranks 572 of 4275, and as a surname, Lorna ranks 62296 out of 88799.


The Fluffer

The Fluffer, a 2001 American independent film, is a triangular story of obsessive love set against the backdrop of the adult video industry. The film was written by Wash West and co-directed by West and his husband Richard Glatzer. "The Fluffer" features cameos from a number of figures in the adult entertainment industry, including Ron Jeremy, director Chi Chi LaRue, Karen Dior, Zach Richards, Derek Cameron, Chad Donovan, Thomas Lloyd, Jim Steel, Chris Green and Cole Tucker.
"The Fluffer" was an official selection of and premiered in 2001 at the 51st Internationale Filmfestspiele Berlin (Berlin International Film Festival). It was also selected for the Toronto International Film Festival that year, where it made its North American debut.
Plot.
Sean McGinnis is a film student who moves to Los Angeles to break into the movie business. While looking for work, he passes the time watching rented videos, preferring classic films. He sets out to watch "Citizen Kane", but the videotape has accidentally been switched with an adult movie called "Citizen Cum". Sean becomes instantly obsessed with the star of "Citizen Cum", Johnny Rebel. His interest in Johnny leads Sean to turn down work in the mainstream film industry to become a cameraman for Men of Janus, the production company that has Johnny under exclusive contract. On his first shoot, Sean ends up as a "fluffer" for Johnny, performing (offscreen) oral sex on him to help him maintain an erection and reach orgasm for the "money shot." He learns that Johnny's real name is Mikey, he is "gay-for-pay" and doesn't perform oral sex on other men or even kiss. Johnny has Sean fluff him on additional productions, and Sean's infatuation continues to grow. He confides his feelings for Johnny to co-worker Silver, who tells him that the relationship is hopeless because Johnny's a porn star and straight. Meanwhile, Johnny's girlfriend Julie, who works as a stripper under her stagename Babylon but who has tried to move into mainstream acting, learns she is pregnant.
Trying to break from Johnny, Sean begins dating an acupuncture student named Brian. However, Brian breaks up with Sean because of his emotional unavailability, the result of his continuing obsession with Johnny, and because Brian had a bad experience with a past boyfriend who could not have sex without watching porn.
Johnny's crystal meth use spirals out of control. He goes on a five-day binge and misses a scheduled film shoot. The film's producer Sam Martins forces Sean to fluff Johnny's replacement for the shoot. Johnny shows up late to the set and is fired. Julie decides to get an abortion since she cannot rely on Johnny to help raise a child. She breaks up with Johnny and changes the locks to her apartment.
At the studio an expensive video camera goes missing and company manager Chad Cox is found dead in his apartment. The police seek Johnny, under his real name Michael Rossini, for questioning. Johnny turns to Sean for help, and together they flee to Mexico. Once in Mexico, Sean sells his car for getaway money, and the two settle into a cheap Mexican motel. Johnny initially denies involvement in Chad's death but later confesses to Sean that he killed Chad accidentally during a fight over the payoff for stealing the camera for drug money. Stunned, Sean goes out to clear his head, returning later with tequila and snacks. That night, Johnny offers to let Sean service him sexually, but for the first time Sean declines. Sean shares in oblique terms memories of being sexually abused as a child by an adult male neighbor. Johnny starts to cry, saying he can relate because of some of the "fucked up shit" he's been through and that he was made to do things he didn't want to do. Sean comforts Johnny and for the first time calls him "Mikey." They kiss, and then fall asleep.
When Sean wakes the next morning, Johnny is gone along with all of Sean's money. Sean initially tries to hitchhike back to the United States, but ends up accepting an offer to go farther south to San Ignacio, an idyllic location he had previously suggested he and Johnny visit. Babylon packs up her apartment and drives north away from Los Angeles. Mikey survives in Mexico by committing armed robberies, his new gritty reality counterpointed as Sean reads a fan letter written to Johnny, who remains a figure of fantasy. Sean tosses the letter on the side of the road, leaving it - and Johnny - behind.
DVD release.
"The Fluffer" was released on Region 1 DVD on September 20, 2002 (R-rated version) and September 28, 2002 (Unrated Special Edition). The differences between the two versions are minor; the R-rated version has some dialogue overdubbed with less explicit lines and slightly less nudity.

Handset

A handset is a component of a telephone that a user holds to the ear and mouth to receive audio through the receiver and speak to the remote party via the built-in transmitter.
In earlier telephones the transmitter was mounted directly on the telephone itself, which was attached to a wall at a convenient height or affixed to a desk stand.
Until the advent of the cordless telephone, the handset was usually wired to the base unit, typically by a flexible tinsel wire.
The handset of a cordless telephone contains a radio transceiver which relays communication via a base station that is wired to the telephone line. A mobile phone does not require a base station and communicates directly with a cell site in specially designated frequency bands.
Handset symbol.
A graphic symbol that designates a handset is used on cordless and mobile phones to specify placing or ending a telephone call. Usually a button with green upright (off-hook) handset icon is used for starting a call, and a red lying-down (on-hook) handset is used for ending a call. Unicode provides the symbol.


Susan Brown (American actress)

Susan Brown (May 4, 1932 – August 31, 2018) was an American television and film actress and interior designer. She was best known for her roles on daytime soap operas, particularly "General Hospital"; in 1979, she was nominated for a Daytime Emmy Award for her role on the show.
Early life.
Brown was born in San Francisco, California. She graduated from the University of Southern California and later attended the American Theatre Wing in New York City.
Career.
Brown's first soap role was on "From These Roots" in 1959, taking over temporarily from leading actress Ann Flood. Afterwards, she also subbed for Flood on numerous occasions in the role of Nancy Karr on "The Edge of Night". She later had regular roles on the short-lived soaps "The Young Marrieds", "Bright Promise" and "Return to Peyton Place", playing Constance MacKenzie.
In 1977, Brown joined the cast of "General Hospital" as Dr. Gail Adamson Baldwin, Monica Webber's foster mother who married widowed attorney Lee Baldwin (Peter Hansen). In 1979, Brown was nominated for a Daytime Emmy Award for Outstanding Supporting Actress. She left the series on December 12, 1985, and made occasional appearances from 1989 to 1990 before returning on September 30, 1992 on a recurring status.
In between stints, Brown played Victoria Lane's mother, Janet, on "Santa Barbara" and businesswoman Adelaide Fitzgibbons (who was romantically involved with the much younger Kirk Anderson (Tom Wiggin) on "As the World Turns"). When "General Hospital"s spin-off series "Port Charles" began, the Baldwins were established as the core family, although once Kin Shriner (who played Scott Baldwin) returned to "General Hospital", their appearances were reduced.
Brown, however, continued to be seen on occasion for special events on both shows. Along with Peter Hansen, she made her final appearance in 2004 in an episode honoring the late Anna Lee, who played Lila Quartermaine, whose character was also killed off.
Along with her soap career, Brown performed on Broadway, primetime television, and films. She guest starred on "Death Valley Days", "Kojak", "Marcus Welby, M.D.", "Barney Miller", "Hotel", "Beverly Hills, 90210", and "Frasier". She was a regular cast member on the short-lived ABC legal drama, "Mariah" in 1987.
Brown also appeared in a number of films; in 1971, she appeared in a science fiction feature film, "The Andromeda Strain". In addition, Brown appeared in made-for-TV movies, including playing Nancy Reagan in and Pat Nixon in "The Final Days".
Personal life and death.
Brown owned an interior design firm and assisted various soap stars and television friends with her decorating services. She died on August 31, 2018, in Los Angeles from undisclosed causes at the age of 86. She had been suffering from Alzheimer's disease. As per her last will and testament, upon her death, she was cremated by The Neptune Society and her ashes scattered at sea.


Steve Lawrence

Steve Lawrence (born Sidney Liebowitz; July 8, 1935) is an American singer and actor, best known as a member of a duo with his wife Eydie Gormé, billed as "Steve and Eydie." The two first appeared together as regulars on "Tonight Starring Steve Allen" in 1954 and continued performing as a duo until Gormé's retirement in 2009. Gormé died August 10, 2013.
Early life.
Lawrence was born as Sidney Liebowitz in the Brooklyn borough of New York City to Jewish parents, Max, a cantor in the Bronx, and Helen. He attended Thomas Jefferson High School.
Career.
In the late 1950s, Steve Lawrence was drafted into the United States Army and served as the official vocal soloist with The United States Army Band "Pershing's Own" in Washington, D.C.
Lawrence had success on the record charts in the late 1950s and early 1960s with such hits as "Go Away Little Girl" (U.S. #1), "Pretty Blue Eyes" (U.S. #9), "Footsteps" (U.S. #7), "Portrait of My Love" (U.S. #9), and "Party Doll" (U.S. #5). "Go Away, Little Girl" sold over one million copies and was awarded a Gold record. However, much of his musical career has centered on nightclubs and the musical stage. He is also an actor, appearing in guest roles on television shows in every decade since the 1950s, in shows such as "The Danny Kaye Show", "The Judy Garland Show", "The Julie Andrews Hour", "Night Gallery", "The Flip Wilson Show", "Police Story", "Murder, She Wrote", and "". His appearances on "The Carol Burnett Show" (1967–78), with and without wife Eydie, were especially ubiquitous. He served as a panelist on the original What’s My Line? (1950–67). In the fall of 1965, Lawrence was briefly the star of a variety show called "The Steve Lawrence Show", "one of the last television shows in black and white on CBS."
He and Gormé appeared together in the Broadway musical "Golden Rainbow", which ran from February 1968 to January 1969. Although the show was not a huge success (a summary of this experience is chronicled in unflattering detail in William Goldman's 1968 book "The Season"), the show contained the memorable song "I've Gotta Be Me." This song was originally sung by Lawrence at the end of the first act of the musical; Sammy Davis, Jr. would later record a version of the song that became a "Billboard" Top 25 hit on its Hot 100 pop singles chart in 1969.
He starred as Gary McBride in the 1972 film "Stand Up and Be Counted", opposite Jacqueline Bisset and Stella Stevens. In 1980, he was introduced to a new generation of fans with his portrayal of Maury Sline in "The Blues Brothers" and later reprised the role in the 1998 sequel "Blues Brothers 2000". His other films include the Steve Martin comedy "The Lonely Guy" (1984) and the crime thriller "The Yards" (2000).
In 1984, he and comedian Don Rickles hosted ABC's "Foul-Ups, Bleeps & Blunders".
In 1985, Steve and Eydie Gorme played Tweedledee (Gorme) and Tweedledum (Lawrence) in Irwin Allen's film adaptation of "Alice in Wonderland".
He played Mark McCormick's father, Sonny Daye, in two episodes of "Hardcastle and McCormick". In 1999, he appeared as the much-talked about, but never really seen, Morty Fine, father of Fran Fine in a few of the final episodes of "The Nanny". In 2011, he portrayed Jack, a wealthy love interest of Betty White's character, Elka Ostrovsky, on "Hot in Cleveland". In 2014, he guest-starred in an episode of "Two and a Half Men" on CBS, and sang the theme song to the parody miniseries "The Spoils of Babylon".
On June 25, 2019, "The New York Times Magazine" listed Steve Lawrence among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.
Personal life.
Lawrence and Gormé married on December 29, 1957, at the El Rancho Hotel in Las Vegas, Nevada.
They had two sons together; David Nessim Lawrence (b. 1960) is an ASCAP Award-winning composer, who composed the score for "High School Musical", and Michael Robert Lawrence (1962–1986), who died suddenly from ventricular fibrillation resulting from an undiagnosed heart condition at the age of 23. Michael was an assistant editor for a television show at the time of his death and was apparently healthy despite a previous diagnosis of slight arrhythmia.
Gormé and Lawrence were in Atlanta, Georgia, at the time of Michael's death, having performed at the Fox Theater the night before. Upon learning of the death, family friend Frank Sinatra sent his private plane to fly the couple to New York to meet David, who was attending school at the time. Following their son's death, Gormé and Lawrence took a year off before touring again.
On August 10, 2013, Eydie Gormé died.
In June 2019, following public speculation about his health, Lawrence announced that he was in the early stages of Alzheimer's disease and that treatment to slow its progression had so far been successful.
Awards.
Lawrence received a New York Drama Critics' Circle Award and a Tony Award nomination for his performance as Sammy Glick in "What Makes Sammy Run?" on Broadway (1964), and two Emmy Awards, one for production for "Steve & Eydie Celebrate Irving Berlin" (1978).
With Gormé, he has been the recipient of two Emmys for "Our Love is Here to Stay", a tribute to George and Ira Gershwin; a "Best Performance By a Vocal Duo or Group" Grammy Award for "We Got Us"; a Film Advisory Board's Award of Excellence and a Television Critics Circle Award for "From This Moment On", a tribute to Cole Porter.
The duo also won a Las Vegas Entertainment Award for "Musical Variety Act of the Year" four times, three of them consecutively. They were honored with a lifetime achievement award from the Songwriters Hall of Fame, and in 1995 were the recipients of an "Ella Lifetime Achievement Award" from the "Society of Singers", a non-profit organization that helps professional singers with counseling and financial assistance.


Amy B. Smith


Heinrich Blochmann

Heinrich Blochmann, known as Henry Ferdinand Blochmann (8 January 1838 – 13 July 1878), was a German orientalist and scholar of Persian language and literature who spent most of his career in India, where he worked first as a professor, and eventually as the principal at Calcutta Madrasa, now Aliah University in present Kolkata. He is also remembered for one of the first major English translations of "Ain-i-Akbari", the 16th-century Persian language chronicle of Mughal emperor Akbar, published in 1873.
Early life and background.
Born at Dresden on 8 January 1838, he was the son of Ernest Ehrenfried Blochmann, printer, and nephew of Karl Justus Blochmann. He was educated at the Kreuzschule and the University of Leipzig (1855), where he studied oriental languages under Heinrich Leberecht Fleischer, and then (1857) was in Paris.
Career.
In 1858 Blochmann came to England, intent on visiting India, and enlisted in the British Indian Army in 1858 as a private soldier. Soon after his arrival in Calcutta he was set to do office-work in Fort William, and gave lessons in Persian. After about a year he obtained his army discharge, and for a time entered the service of the Peninsular and Oriental Company as an interpreter. He was befriended by William Nassau Lees, the principal of the Calcutta Madrasa (now Aliah University), and Blochmann obtained, at the age of 22, his first government appointment (1860) as assistant professor of Arabic and Persian there. In 1861 he graduated M.A. and LL.D. at the University of Calcutta, choosing Hebrew for the subject of his examination. In the following year he left the Madrasa to become pro-rector and professor of mathematics, at Doveton College; but returning to the Madrasa in 1865, he remained there for the rest of his life, and was principal when he died.
Blochmann made archæological tours in India and British Burma, but generally resided in Calcutta. In 1868 he became philological secretary to the Asiatic Society of Bengal. He died on 13 July 1878, and was buried in the Circular Road cemetery, Calcutta.
Works.
Blochmann's major work was his translation of the "Ain-i-Akbari" of Abu'l-Fazl ibn Mubarak; the earlier version of Francis Gladwin was more in the way of a summary. Blochmann did not live to do more than translate the first volume (Calcutta, 1873), and the work was completed by Henry Sullivan Jarrett. Blochmann's notes dealt with the Emperor Akbar and his court, and the administration of the Mughal Empire; and prefixed to the translation was a life of Abul-Fazl. This translation was revised, from 1927, by Douglas Craven Phillott and Jagunath Sarkar. Another significant work was "The Prosody of the Persians", Calcutta, 1872.
For the Asiatic Society of Bengal, Blochmann wrote in the "Journal" and "Proceedings". These papers included his series of "Contributions to the History and Geography of Bengal".
Family.
Blochmann married an Irish woman, who survived him, and left three children.


Hill-topping (biology)

Hill-topping (more often spelt hilltopping) is a mate-location behaviour seen in many insects including butterflies, dragonflies, bumblebees, wasps, beetles and flies.
Males of many butterfly species may be found flying up to and staying on a hilltop - for days on end if necessary. Females, desirous of mating, fly up the hill. Males dash around the top, competing for the best part of the area - usually the very top; as the male with the best territory at the top of the hill would have the best chance of mating with the occasional female, who knows the "top male" must be strong and thus genetically fit. Many authors consider this as a form of lekking behaviour. Many butterfly species including swallowtails, nymphalids, metal-marks and lycaenids are known to hill-top.
In some "Acraea" butterflies, widespread infection by "Wolbachia" results in a rarity of males and in these species the females widely engage in hill-topping behaviour. Female butterflies at hill-topping sites are predominantly of unmated individuals.
Studies have shown that even slight elevation differences on flat terrain can trigger hill-topping behaviour. Flowering or tall trees may induce hill-topping behaviour.
The concentrating effect of hill-topping on butterfly populations makes such locations of special conservation significance.


Ernst Martin

Ernst Eduard Martin (5 May 1841, Jena – 13 August 1910, Strasbourg) was a German philologist of Romance and Germanic studies. He was the son of gynecologist Eduard Arnold Martin (1809–1875).
He studied at the universities of Jena, Berlin and Bonn, obtaining his habilitation in 1866 at the University of Heidelberg. Later on, he worked as a professor at the universities of Freiburg, Prague (from 1874) and Strasbourg (from 1877). Beginning in 1883, with Wilhelm Wiegand, he was editor of the journal "Strassburger studien; Zeitschrift für geschichte, sprache und litteratur des Elsasses".


Robert Ludwig Kahn

Robert Ludwig Kahn (April 22, 1923 – March 22, 1970) was a German-American Jewish scholar of German studies and poet. At the time of his death, he was professor of German at Rice University.
Early life and education.
Kahn was born as Ludwig Robert Kahn in Nuremberg, the second child of Beatrice (, 1896-1943) and Gustav Kahn (1884-1942), a Jewish businessman. He was educated at a Jewish school in Nuremberg from 1929 to 1933, then from 1933 to 1939 at the (later named after its founding director Ephraim Carlebach), the Jewish gymnasium in Leipzig. The parents had moved to Leipzig, which had a large Jewish community and was located in "red Saxony", as life in Nuremberg was becoming increasingly unbearable for Jews. However, they were not free from Nazi persecution. In 1938, Kahn's older sister Susan Freudenthal (, born 1920) emigrated to the United States, aided by her uncle, Josef Freudenthal. The uncle was unable to also pay for Robert's emigration. Shortly after the November pogroms, the father was arrested and imprisoned at Buchenwald concentration camp and Sachsenhausen concentration camp but released again in February 1939.
The family attempted to escape from Germany, but plans to emigrate to the United States failed. In May 1939, Kahn was sent to England with a Kindertransport. He attended Kendra Hall School in Croydon from 1939 to 1940 and West Ham Municipal College in 1940. He was then interned in a camp on the Isle of Man as an enemy alien and sent on to a camp on the Île aux Noix in Quebec, Canada. He was able to take classes in this camp, and passed the Junior and Senior Matriculations at McGill University in 1941 and 1942, respectively. Around this time, he changed the order of his names, calling himself "Robert". He was taken in by a Jewish couple who gave him the opportunity to pursue university studies. He studied at Dalhousie University and obtained his BA in 1944 and his MA (in history and philosophy) in 1945. His thesis topic was "Goethe and the French Revolution". He was awarded the Avery Distinction and the Joseph Howe Poetry Award at Dalhousie.
After the end of World War II, Kahn found out what had happened to his parents: Kahn's father died in March 1942, after his two sisters had been taken by the Nazis. Kahn's mother was deported to Auschwitz in February 1943 and was killed there.
From 1945 to 1948, Kahn studied German Literature and Philology at the University of Toronto, and received a doctoral degree in German Literature in February 1950, with a thesis about Kotzebue. His advisor was Hermann Boeschenstein.
Academic career and death.
Kahn worked at the University of Washington in Seattle from 1948 to 1962, starting as Instructor (until 1950 Acting Instructor) of German Language and Literature, becoming Assistant Professor in 1955 and Associate Professor in 1960. In 1961/1962, he held a fellowship of the Alexander von Humboldt Foundation for research at the Deutsches Literaturarchiv Marbach in Marbach am Neckar. From 1962 until his death in 1970, Kahn was Professor of German at Rice University in Houston, Texas, where he served as Chairman of the Department of Foreign Languages in 1963/64 and as Chairman of the Department of Germanics from 1964 until 1970, when he was replaced after controversy about his leadership. Kahn took his own life on March 22, 1970, on his ranch in Round Top, Texas, shortly after the beginning of spring break. Kahn's suicide has been blamed on defamation by other faculty members and connected to survivor guilt.
Personal life and poetry.
In 1951, Kahn married Lieselotte Margarete Kupfer (1921-2013), who became known as Lisa Kahn, also a poet and scholar of German studies. They had two children: Peter G. Kahn (born 1953) and Beatrice Margarete Kahn (born 1959). Robert Kahn became a US citizen in 1956, Lisa in 1958.
Some of Kahn's poems were published during his lifetime in German and American magazines, and his , which has been described as reminiscent of Paul Celan's , was broadcast on the German radio station Saarländischer Rundfunk in 1968. Kahn was invited to the 1966 meeting of the Group 47 in Princeton (that made Peter Handke famous) and read some of his poems there. Other authors reading at this meeting included Erich Fried, Günter Grass, and Walter Jens. A collected edition of Kahn's poems, (Songs without music) edited by Lisa and illustrated by Peter Kahn, was published in 1978. Besides his own poetry in German, Kahn also translated poems of Nelly Sachs into English.
The Society for Contemporary American Literature in German's annual poetry prize has been named after Robert L. Kahn from 1988 to 2013 and is now called the Lisa & Robert Kahn Prize for Poetry in German.
Research works and interests.
Kahn's main research topics were German literature in the age of Goethe and Romanticism. He published articles about authors such as Friedrich Schlegel, Ludwig Tieck, Novalis and about themes like the concept of romanticism. He edited the first volume of the East German Akademie-Verlag's edition of the works of Georg Forster, "A Voyage Round the World", and contributed to the fourth volume, which included related content. At the time of his death, he was contributing to Ernst Behler's edition of Schlegel's letters.