Bond girls - what character did Jane Seymour play in the film 'Live and Let Die'?

Live and Let Die (1973) - IMDb IMDb 7 January 2017 5:00 AM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Live and Let Die ( 1973 ) PG | 007 is sent to stop a diabolically brilliant heroin magnate armed with a complex organization and a reliable psychic tarot card reader. Director: From $10.99 (SD) on Amazon Video ON DISC "No Small Parts" IMDb Exclusive: 'Manchester by the Sea' Star Casey Affleck Ben Affleck 's younger brother Casey Affleck has been nominated for a Golden Globe for his role in critically-acclaimed drama Manchester by the Sea . Take a look at some of his earlier roles. Don't miss our live coverage of the Golden Globes beginning at 4 p.m. PST on Jan. 8 in our Golden Globes section. a list of 23 titles created 08 Aug 2014 a list of 26 titles created 14 Mar 2015 a list of 24 titles created 08 Nov 2015 a list of 24 titles created 09 Nov 2015 a list of 24 titles created 5 months ago Title: Live and Let Die (1973) 6.8/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for     1     Oscar. Another    2 wins & 2 nominations. See more awards  » Videos James Bond is led to believe that he is targeted by the world's most expensive assassin while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder. Director: Guy Hamilton James Bond investigates the hijacking of British and Russian submarines carrying nuclear warheads with the help of a KGB agent whose lover he killed. Director: Lewis Gilbert A diamond smuggling investigation leads James Bond to Las Vegas, where he uncovers an evil plot involving a rich business tycoon. Director: Guy Hamilton Agent 007 is assigned to hunt for a lost British encryption device and prevent it from falling into enemy hands. Director: John Glen A fake Fabergé egg and a fellow agent's death lead James Bond to uncover an international jewel-smuggling operation, headed by the mysterious Octopussy, being used to disguise a nuclear attack on N.A.T.O. forces. Director: John Glen Agent 007 and the Japanese secret service ninja force must find and stop the true culprit of a series of spacejackings before nuclear war is provoked. Director: Lewis Gilbert James Bond investigates the mid-air theft of a space shuttle and discovers a plot to commit global genocide. Director: Lewis Gilbert James Bond woos a mob boss's daughter and goes undercover to uncover the true reason for Blofeld's allergy research in the Swiss Alps that involves beautiful women from around the world. Director: Peter R. Hunt James Bond heads to The Bahamas to recover two nuclear warheads stolen by SPECTRE agent Emilio Largo in an international extortion scheme. Director: Terence Young An investigation of a horse-racing scam leads 007 to a mad industrialist who plans to create a worldwide microchip monopoly by destroying California's Silicon Valley. Director: John Glen James Bond is living on the edge to stop an evil arms dealer from starting another world war. Bond crosses all seven continents in order to stop the evil Whitaker and General Koskov. Director: John Glen James Bond goes rogue and sets off to unleash vengeance on a drug lord who tortured his best friend, a C.I.A. agent, and left him for dead and murdered his bride after he helped capture him. Director: John Glen Edit Storyline Several British agents have been murdered and James Bond is sent to New Orleans, to investigate these mysterious deaths. Mr. Big comes to his knowledge, who is self-producing heroin. Along his journeys he meets Tee Hee who has a claw for a hand, Baron Samedi the voodoo master and Solitaire a tarot card reader. Bond must travel to New Orleans, and deep into the Bayou. Written by simon Roger Moo7re is James Bond See more  » Genres: 27 June 1973 (USA) See more  » Also Known As: Ian Fleming's Live and Let Die See more  » Filming


What is the name of the loincloth worn by male Hindus?

Loincloth - definition of loincloth by The Free Dictionary Loincloth - definition of loincloth by The Free Dictionary http://www.thefreedictionary.com/loincloth A strip of cloth worn around the loins. loincloth (Clothing & Fashion) a piece of cloth worn round the loins. Also called: breechcloth loin•cloth n., pl. -cloths (-ˌklɔðz, -ˌklɒðz, -ˌklɔθs, -ˌklɒθs) a cloth worn around the loins or hips. ThesaurusAntonymsRelated WordsSynonymsLegend: dhoti - a long loincloth worn by Hindu men garment - an article of clothing; "garments of the finest silk" Translations [ˈlɔɪnklɒθ] N → taparrabo m, taparrabos m inv loincloth loin (loin) noun the back of an animal when cut into pieces for food. lendestuk حَقْو، خاصِرَه филе alcatra zadní část hřbetu die Lende mørbradstykke φιλέτο lomo puusatükk فیله selkä filet , longe בְּשָר מוֹתֶן कमर butina bélszín daging pinggul afturhryggur lombata 腰肉 허리고기 nugarinė fileja daging batang pinang lendenvlees nyrestykke polędwica ملا،كمر alcatra filé, muşchi филе zadná časť chrbta zvieraťa ledvena pečenka slabine fransyska เนื้อตะโพก bel 腰肉 філейна частина پٹھے کا گوشت chỗ thắt lưng 腰肉 ˈloincloth noun a piece of cloth worn round the hips, especially in India. lendekleed مِئْزَر يُشَد على الخَصْر парче плат, който се носи около бедрата tanga bederní zástěrka der Lendenschurz lændeklæde ύφασμα που καλύπτει τους γοφούς (συν. στην Ινδία) taparrabo , taparrabos niudevöö لنگ lannevaate pagne כִּסוּי חֲלָצַיִים धोती, लुंगी komad tkanine koji se nosi oko bokova ágyékkötő kain pinggul, cawat lendaskÿla perizoma 腰布 (미개인의) 허리감개 strėnjuostė, strėnų juosta gurnu apsējs cawat lendendoek hofte-/lendeklede przepaska na biodra لنګ tanga şorţ (tradiţional) набедренная повязка bederná zásterka predpasnik odeća koja se nosi oko kukova höftskynke ผ้าพันเอว peştemal 纏腰布(尤指在印度) пов'язка на стегнах دھوتی cái khố 缠腰布


What is the name of the tune composed by Ronald Binge used by Radio 4 every evening before the last Shipping Forecast Bulletin?

Classic BBC Radio Theme ~ Shipping Forecast (Sailing By) - YouTube Classic BBC Radio Theme ~ Shipping Forecast (Sailing By) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 30, 2009 This is "Sailing By" composed by Ronald Binge in 1963, and performed by the Alan Perry/William Gardner Orchestra, and is the version used by the BBC for its late night shipping forecast. Sailing By is played every night on BBC Radio 4 at around 00:45 hrs before the late Shipping Forecast. Its tune is repetitive, assisting in its role of serving as a signal for sailors tuning in to be able to easily identify the radio station. It also functions as a buffer — depending on when the final programme before closedown finishes, Sailing By (or part of it) is played as a 'filler' as the shipping forecast starts at 00:48 hrs precisely. The initial reason for its introduction was because of the indeterminate finish time for the preceding Midnight News, leading to filling music being played until the Shipping Forecast was due to start. Sailing By was added to allow for a clear break between the end of the music and the start of the forecast Category


Derived from the Italian word for large loaf, what is the name of the Milanese fruit cake traditionally eaten at Christmas and New Year?

Panettone | Italian Fruit Cake, Christmas Bread | igourmet ABOUT PANETTONE Order Online at the #1 Source for Gourmet Food and Gift Baskets Buy Panettone online from igourmet.com! Please visit our online Panettone store and go shopping at the number one imported food delivery service in the USA. Panettone is a traditional northern Italian sweet yeast bread made with candied fruit that is popular in Italy and abroad during Christmas and New Year's holidays. It is popular both as a gourmet gift or for personal consumption. The word Panettone is derived from the Italian word ï¿½panettoï¿½ meaning a small loaf of bread. The suffix ï¿½-oneï¿½ is added to panetto which changes the meaning to a large loaf of bread. Americans often have trouble spelling the name of this typical Italian Christmas gift that is often compared to a fruitcake. Common misspellings include panetone (with one T) and pannetone (with two Ns and one T). As with many ancient foods, Panettone carries with it folklore and more than one legend as to its origin often linking tales of romance as inspiration for its creation. While ancient Romans made leavened bread with honey, Panettone found more broad appeal in Milan, Italy in the 15th century. It wasn't until the early 1900s that Panettone became a popular Christmas bread throughout all of Italy. This was due to increased production of the bread and competition between two rival Milanese bakers, Angelo Motta and Gioacchino Alemagna. Motta was credited with creating the distinctive tall dome shape of the bread that replaced the old traditional flatter appearance. Both the Motta and Alemagna brands were purchased by Nestle in the 1990s and since have been purchased by the Italian bakery business Bauli. Panettone has a distinctive tall cupola, or dome shape and has a light fluffy texture which is created by a time consuming process of curing its dough. It has a sweet, buttery texture and traditionally contains candied fruit such as orange and citron, raisins and lemon zest. Panettones are available in many varieties and may be stuffed with additives such as limoncello or chocolate chips. Panettone is typically served with hot beverages or a sweet wine such as Moscato d'Asti. Panettone is delicious for breakfast when toasted and smeared with butter or mascarpone cheese or when used in French toast. While Panettone currently is not name protected, there is an attempt to obtain Protected Designation of Origins (PDO) status for Panettone which would regulate methods, recipes and locations of the production of Panettone. Our authentic Italian Panettone is produced by a traditional, well respected Italian family-owned bakery. The cake dough for their Panettones is given 3 days to rise and their raisins are drenched in Marsala and Zibibbo, traditional Sicilian wines. Donï¿½t miss this authentic Italian creation, packed in luxurious gift wrapping. Order your Italian Panettone online at igourmet.com. To find the best gourmet foods and gift baskets online, begin your search at igourmet.com. Start Shopping


In fiction to which dub do Tracy Tupman, Nathaniel Winkle and Augustus Snodgrass belong?

Public History | Off the Deaton Path Off the Deaton Path Leave a reply A recent story on the national park at the site of the crash of Flight 93 in Shanksville, Pennsylvania, brought back all the raw emotions of September 11. The anger, the terror, and the realization that our lives can change in an instant was never more starkly on display than on that sun-lit Tuesday fifteen years ago. There will be many moments of reflection on this momentous anniversary. As we do, we should reflect on two other events from this past July that went by virtually unnoticed. July 1 marked the 100th anniversary of the beginning of the Battle of the Somme during World War I. On July 2, Elie Wiesel died at age 87, the Auschwitz survivor who spoke eloquently for those 6 million who could no longer speak for themselves. What will happen when those who give voice to hell in the flesh are gone? At the anniversary of September 11, it’s worth remembering that every event in history that evoked raw emotions was in time smoothed over and faded from memory. In our own time, the Somme and Wiesel’s death should remind us what can happen when the voices of resentment become dominant. We’ve already forgotten about the horrors of the Somme—and World War I in general. Probably not one American on the street could tell you what happened in that murderous and savage battle. Or at Passchendaele or Verdun. The Somme is a river in northern France, and the battle that took place there for 136 days in 1916 has become a metaphor for the useless slaughter of human life. The Germans were securely entrenched and strategically located when the allied British and French forces launched their frontal attack on a 21-mile front north of the River. Before they sent the men over the top, they shelled the dug-in Germans with a week-long artillery bombardment. For the Germans living through it, it was hell: A soldier who suffered through the bombardment at Verdun said that by day nine almost every soldier was crying. The bombardment was so loud and so intense it could be heard north of London. When the shells subsided for an instant, the air was filled with the buzzing of millions of flies who were eating the dead, and the terrifying high-pitched screams of the rats who often grew so big and bloated from feeding on the dead, it was said that they would attack and eat a wounded man if he couldn’t defend himself. It brought catatonic depression, shell shock, madness. Saturday, July 1, 1916, was the day of the biggest military fiasco in British history. At 7:30 that morning Field Marshal Douglas Haig, the commander of the British Expeditionary Force, ordered his men over the top, out of their trenches, to attack the German lines head on at the Somme. Within a matter of hours 21,000 British soldiers were killed, 40,000 wounded, many of them within sight of their own trenches. By noon 60,000 men lay wounded, dying, or dead. Let that soak in. 60,000. The Germans said they didn’t even have to aim, just shoot. The 1st Newfoundland Battalion lost 91% of its men within 40 minutes, which is why July 1 is Memorial Day in Newfoundland and Labrador. After that day, the Somme offensive deteriorated into a battle of attrition. In October torrential rains turned the battlefield into an impassable sea of mud, and by mid-November the Allies had advanced only 5 miles. Between July and November 1916, there were an estimated 1.3 million Allied and German casualties on the Somme. Among the British losses 73,412 were never recovered or identified. Let me repeat those figures: 1.3. million casualties in that one battle in a war that lasted over four years. Almost 75,000 missing. To give you some perspective, as of March 23, 2016, the total of those missing in action in Vietnam is 1,621. All those deaths and mangled bodies, for what? A few yards of mud. Almost no one today can tell you anything about it, or explain how the war began in a toxic brew of ethnic hatred, religious animosities, and tribalistic territorial alliances. The poison of the first world war culminated of course in the second one.


Which Shipping Forecast area lies south of South Utsire?

Shipping forecast - Met Office Shipping forecast Shipping forecast and gale warnings Issued at 0505 UTC on Wednesday 18 January 2017 For the period 0600 UTC Wednesday 18 January to 0600 UTC Thursday 19 January 2017 The general synopsis at midnight Low just east of Iceland 995 expected northern finland 983 by midnight tonight Sea area Gale warning - Issued: 2141 UTC on Tuesday 17 January 2017 Southwesterly gale force 8 expected soon Wind In northwest, southwesterly 5 to 7, occasionally gale 8 at first in northwest. In southeast, southerly 4 or 5, veering southwesterly 5 or 6. Sea state Southerly 4 or 5, veering southwesterly 5 or 6. Sea state Southerly 3 or 4, veering westerly 5 or 6. Sea state Occasional drizzle, fog patches at first. Visibility Moderate or good, occasionally very poor at first. Forties Southwesterly 4 or 5, occasionally 6 in north. Sea state Occasional drizzle, fog patches at first. Visibility Moderate or good, occasionally very poor at first. Cromarty West or southwest 4 or 5. Sea state Occasional drizzle and fog patches. Visibility Moderate or good, occasionally very poor. Fisher West or southwest 4 or 5. Sea state Occasional drizzle and fog patches. Visibility Moderate or good, occasionally very poor. German Bight West or southwest 4 or 5. Sea state Occasional drizzle and fog patches. Visibility Moderate or good, occasionally very poor. Humber West or southwest 4 or 5, becoming variable 3 later. Sea state Occasional drizzle and fog patches. Visibility Moderate or good, occasionally very poor. Thames Variable 3 or 4, becoming northeast 4 or 5. Sea state Easterly backing northeasterly 4 or 5, occasionally 6 later in south. Sea state Easterly backing northeasterly 4 or 5, occasionally 6 later in south. Sea state Easterly backing northeasterly 4 or 5, occasionally 6 later in south. Sea state Trafalgar forecast - Issued: 0015 UTC on Wednesday 18 January 2017 Wind Northeasterly 4 or 5, occasionally 6 in northeast. Sea state Moderate, occasionally rough in north and east. Weather Fitzroy Wind In southeast, northeasterly 5 to 7. In northwest, easterly or southeasterly 4 or 5, occasionally 6 later. Sea state In southeast, moderate or rough. in northwest, moderate, occasionally rough. Weather Easterly or southeasterly 4 or 5, occasionally 6 later. Sea state East or southeast 3 or 4. Sea state Moderate, but slight in east. Weather East or southeast 3 or 4. Sea state Southerly 5 or 6, occasionally 4 in southeast. Sea state Southwesterly backing southerly 5 or 6, occasionally 7 in northwest. Sea state Southwesterly backing southerly 5 or 6. Sea state Gale warning - Issued: 2141 UTC on Tuesday 17 January 2017 Southwesterly severe gale force 9 decreasing gale force 8 imminent Wind Southwest 6 to gale 8. Sea state Moderate or good, occasionally poor. Bailey Gale warning - Issued: 2141 UTC on Tuesday 17 January 2017 Southwesterly severe gale force 9 decreasing gale force 8 soon Wind West or southwest 6 to gale 8. Sea state Moderate or good, occasionally poor. Fair Isle Gale warning - Issued: 1554 UTC on Tuesday 17 January 2017 Southwesterly gale force 8 expected soon Wind West or southwest 6 to gale 8. Sea state Moderate or good, occasionally poor. Faeroes Gale warning - Issued: 2141 UTC on Tuesday 17 January 2017 Southwesterly severe gale force 9 decreasing gale force 8 soon Wind West or southwest 6 to gale 8, occasionally severe gale 9 at first. Sea state Very rough, occasionally high at first. Weather Moderate or good, occasionally poor. Southeast Iceland Gale warning - Issued: 2141 UTC on Tuesday 17 January 2017 Southwesterly severe gale force 9 decreasing gale force 8 soon Wind Westerly 6 to gale 8, occasionally severe gale 9 at first, becoming cyclonic 5 to 7 later. Sea state Very rough, occasionally high at first. Weather Wintry showers, rain later in south. Visibility There are no gale warnings currently in force for the selected sea area. Shipping forecast and gale warnings The shipping forecast is issued four times a day at 2300, 0500, 1100, 1700 UTC and covers a period of 24 hours from 0000, 0600, 1200


Which Gilbert and Sullivan opera has the alternate title 'The Peer and the Peri'?

Iolanthe (The Peer and the Peri),… | Details | AllMusic google+ Description               by John Palmer Billed as a "Fairy Opera," Iolanthe; or, The Peer and the Peri premiered on November 25, 1882 simultaneously at the Savoy Theater in London and the Standard Theater, New York. In London, the show ran for 398 nights, a success dwarfed by that of The Mikado less than two and a half years later. It was the first work by Gilbert and Sullivan to premiere at the Savoy, a theater built especially for their operettas. The audience at the Savoy on opening night of Iolanthe experienced the first fully electrified show on a London stage. (The Savoy had use electric light for the previous show, Patience, but could generate enough power to light only the auditorium.) The chorus of Fairies even had battery-powered stars in their hair. Gilbert originally had entitled the operetta, Perola, continuing the series of works featuring the letter "P" in their titles (Pinafore, Pirates of Penzance, Patience, and later, Princess Ida) At the last minute, Gilbert changed the name to Iolanthe, although the subtitle, The Peer and the Peri, probably satisfied his superstitious obsession. Critics have compared the quality of Iolanthe to that of Jacques Offenbach 's La Belle Hélène (1864) and Johann Strauss, Jr.'s Die Fledermaus. Perhaps the most impressive aspect of Iolanthe is its continuous dramatic impetus. Fourteen songs follow one another in rapid succession, all the while driven by a conflict between the Fairies and the Peers underpinned by Sullivan 's rhythmically intoxicating setting, culminating in the march, "Young Strephon Is the Kind of Lout." The wit of Gilbert 's dialogue and sparkle of his lyrics are matched only by the energy of Sullivan 's setting, imbued with his sense of both Mendelssohn ian grace and simple, Victorian popular song. In two acts, Iolanthe presents the convergence of two worlds. Strephon, an Arcadian shepherd, the fairy Iolanthe, Strephon's mother, and choruses of Fairies interact with earthly characters such as the Lord Chancellor and the Earls of Mountararat and Tolloller, supported by choruses of all levels of British aristocracy -- dukes, marquises, earls, viscounts and barons. Their worlds collide when Strephon interacts with members of Parliament. Fairy tale or not, Iolanthe focuses on contemporary issues, and makes reference to politicians and businesses whose significance is obscure to modern audiences . Both Peers and Peris live "on credit," and are indebted to others for their existence. Peris owe their life on Earth to higher powers and ancient myths, while Peers are in a position of privilege stemming from politics that go back hundreds of years. Sullivan 's overture to Iolanthe is one of his finest, and can be performed successfully apart from the operetta. Sullivan developed separate musical voices for the Fairies and the Parliamentarians. The Fairies, in particularly, have music that creates a sense of ethereal weightlessness and constant motion. Often, however, there is an incongruity between what they say and how they sing it, revealing that their fluidity is merely an illusion: "If you ask the special function / of our never-ceasing motion / we reply without compunction / that we haven't any notion." The choruses for the members of Parliament, however, are appropriately dignified, and the bucolic solos by Strephon, Phyllis, and Iolanthe stand in contrast to the pompous, prickly numbers for the Lord Chancellor. In Iolanthe, as in his other operettas, Sullivan 's harmonic language is not adventurous, but there are unusual moments, such as "The Nightmare Song," in which a harmonic transition depicts the rising sun. This divergence from the rest of the consummate patter-song, with its pedal-tone accompaniment, is striking. Parts/Movements No. 2, Tripping hither tripping thither No. 3, Iolanthe No. 4, Good morrow, good mother No. 5, Fare thee well attractive stranger No. 6a, Good morrow, good mother No. 6b, None shall part us No. 7, Loudly let the trumpet bray No. 8a, Entrance of Lord Ch


In the Asterix books, what is the name of Asterix's closest friend?

Asterix's home village is uncovered in France: Archaeological dig reveals fortified Iron Age settlement on 10-acre site | The Independent Asterix's home village is uncovered in France: Archaeological dig reveals fortified Iron Age settlement on 10-acre site Wednesday 31 March 1993 23:02 BST Click to follow The Independent Online ARCHAEOLOGISTS have discovered what they think is the 3,000-year-old home of the French cartoon hero Asterix. The buried remains of a large and heavily defended Iron Age settlement at the precise Breton spot where Asterix's creator, Rene Goscinny, located his hero's well-fortified home village, have been found by an Anglo- French team. Excavations at Le Yaudet (derived from the Gallo-Roman word for 'tribal centre') near Lannion, show that the settlement covered 10 acres and was defended by a massive bank and ditch. Incredibly, the fortified village is almost exactly as described in the 33 Asterix books. Goscinny was not aware of the existence of this real Asterix village when he wrote his stories in the Sixties and Seventies, but he had only one major detail wrong - the shape of the defensive palisade. The fortifications - 50ft from top of bank to ditch bottom - are straight, not curved as depicted in the Asterix books. But Goscinny and his artist colleague, Albert Uderzo, got the location spot on - in the right locality, on top of a high cliff on a promontory overlooking the Channel. The archaeological dig has also borne out Goscinny's claim that Asterix's village was never stormed by the Romans or occupied by Roman soldiers. It seems the 'tribal centre' merged quietly and peacefully into Gallo-Roman society. So far the excavations - directed by Oxford University Professor Barry Cunliffe and Dr Patrick Galliou, of the University of Brest - have yielded substantial quantities of Asterix-period pottery, and Celtic coins bearing the image of wild boar, the favourite food of Asterix's friend Obelix. And near by are some rare Iron Age menhirs (standing stones) of the precise size favoured by the indomitable Obelix whose job as a menhir delivery man has added a certain academic weight to the books. Archaeologists suspect the real Asterix village was the seat of the local chieftain, though whether his name was actually Abraracourcix, as in the French editions of the books, is, of course, open to question. He ruled over part of a Celtic tribal confederacy known as the Osismi. Archaeological work at a second Breton site has yielded evidence confirming the importance - emphasised in Goscinny's books - of lyre playing in Asterix's tribe. At St Symphorien Paule - possible headquarters of the Osismian king - has been found a 2ft stone statue (complete with lyre) of what looks like Asterix's tribal bard Cacofonix - loved by one and all as long as he does not sing. More about:


Which girl group took 'Manic Monday' to Number two in the UK charts in 1986?

The Bangles : Manic Monday (Released 27-1-1986) from the album Different Light - YouTube The Bangles : Manic Monday (Released 27-1-1986) from the album Different Light Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 3, 2010 Category


In the 1971 David Hockney painting 'Mr and Mrs Clarke and Percy', who or what is Percy?

Mr and Mrs Clark and Percy by David Hockney | my daily art display my daily art display Posted on June 9, 2011 by jonathan5485 Mr and Mrs Clark by David Hockney (1970-1971) I am, as you probably know by now, fascinated by interpretation and symbolism of paintings.  It fascinates me to read what art experts say about the meaning of certain aspects of a painting and of course in the majority of works the artist has died many years if not centuries ago.  This of course gives the experts and critics alike, free rein to interpret what the artist was thinking as he or she put brush to canvas without fear of the artist publicly announcing that their views are nonsense.  I guess in some small, and on isolated occasions, I have dipped my toe into the waters of interpretation and pontificated on what I believed the artist was thinking and meaning by his painting, knowing full well that the artist wouldn’t add a comment to my blog telling me I didn’t know what I was talking about!  Today I need to tread carefully with my discussion of My Daily Art Display featured painting as the artist is still alive and although I doubt very much he will be reading this, I don’t want to be belittled by adverse comments from the great man. My featured painting today is entitled Mr and Mrs Clark and Percy by David Hockney.  Hockney painted this between 1970 and 1971 and it is of the English fashion designer, Ossie Clark, and the textile designer and his then wife Celia Birtwell.  It was painted just after the couple’s wedding at which Hockney, a long term friend of the groom, was the best man.  It was a time when we had just emerged from the Swinging Sixties. She also worked from home designing textiles for Ossie Clark, who would use his skill in cutting and understanding of form, and so together with her knowledge of fabrics and textures they produced haute couture for the emerging ‘sixties culture.  Celia Birtwell acted as Hockney’s muse and model for some time after this painting. Here before us we have a double-portrait which harks back to a couple of double-portraits I have featured earlier in My Daily Art Display, such as The Arnolfini Portrait by van Eyck (Nov 27th 2010) and Mr and Mrs Andrews by Gainsborough (May 2nd 2011).  However, unlike those paintings, today double-portrait is not awash with symbolism but we still have a chance to interpret what we see.  Ossie Clark, who looks out at us with a somewhat anxious and questioning glance,  is seated, slightly slumped in a tubular chair in a very relaxed posture and standing across from him his Celia Birtwell.  The mere fact that she stands and he is seated could allude to her dominance in the partnership.  They are set apart by the vertical separation of the room’s full length casement window through which we can see a small balustraded balcony.  I wonder if the fact that they are set so much apart was a reference to their independent careers and lives. The setting itself, although not devoid of accoutrements, is quite minimalistic and informal,  which is the complete opposite to the way nineteenth century family rooms were depicted in family portraits of that time.  Then it was important that the artist made the viewer aware of the wealth of the people depicted and who often had commissioned the work.  Ornate furniture with rich tapestries and sumptuous clothing were the standard trappings of such works of art and we were left in no doubt with regards the class and wealth of the people depicted. In this painting, despite its lack of ostentatious wealth, we are aware that this is not a room of the poor.  The room, through its muted and plain colouring, gives it a cool feeling but amidst the cooler shades we do have the red in her dress and the blue of his jumper which stand out.  The book with the yellow cover makes an admirable contrast to the pale blue of the table.  On the floor sits a white plastic 60’s telephone. On the lap of Ossie Clark is the white cat which according to the painting’s title is called Percy.  Actually, although the couple had a cat called Percy, this was their other


The site of Pompeii is dose to which city, the capital of Italy's Campania region?

The Archaeological Site of Pompeii - Campania - Discover Italy You are in  Home  /  Discover Italy  /  Campania  / The Archaeological Site of Pompeii The Archaeological Site of Pompeii History of the Archaeological Site  Pompeii is located on a plateau formed by the Vesuvius volcano's lava flow. The city dominated the valley around the Sarno River, the delta of which hosted a busy port.  Information about the origins of the city are uncertain. The oldest available traces date back to the 7th-6th Centuries BC, when the first tuff walls, called pappamonte, were built to enclose an area of 63.5 hectares. A mixed population of Etruscans, Greeks and other Italic peoples led to the city's development.  At the end of the 5th Century BC, the Samnites descended from the mountains of Irpinia and Sannio, settled in the plain of the  Campania  Region (Campania means "fertile plain") and conquered the cities near to Vesuvius and the coast. They created an alliance, the Capital of which was Nucèria. During the Samnite period, the urbanization process enjoyed a great boost in ancient Pompeii: the construction of a new limestone fortification of the Sarno River, tracing a path similar to its predecessor, dates back to the 5th Cntury BC.  With the conclusion of the 4th Century BC the Samnite tribes began to feel the pressure of a Rome that was spreading over Southern Italy, and that between 343 and 290 B.C. conquered all of Campania. Pompeii entered as a partner (ally) into the political organization of the Roman res publica. However, in 90-89 B.C., the city, along with other Italic peoples, rebelled, calling for social and political dignity equal to Rome. Pompeii was besieged by the troops of Publius Cornelius Sulla, and in 80 B.C. the city capitulated and became the Roman colony of Cornelia Veneria Pompeianorum. After becoming a colony, it was rebuilt and endowed with private and public buildings, especially during the rules of the Emperors Augustus and Tiberius, from 27 B.C. to 37 A.D.  In 62 A.D. a violent earthquake struck the Vesuvius area. In Pompeii, the reconstruction began immediately, but it took an unusually-long time due the extent of the damage. Seventeen years later, on August 24, 79 A.D., the sudden eruption of Vesuvius buried Pompeii with ashes and lapillus.  The buried city was rediscovered in the 16th Century, but it was only in 1748 that the exploration phase began, under the King of Naples Charles III of Bourbon. It continued systematically throughout the 9th Century up to the most recent excavations, restorations and enhancements of the ancient city, with the rediscovering of its exceptional architecture, sculptures, paintings and mosaics.  The archaeological site of Pompeii spreads over 66 hectares, 49 of which have already been excavated. In 1858, director of the excavations  Giuseppe Fiorelli  had the idea of dividing the city into regions, or neighborhoods, and insulae, or blocks. The names of the houses were coined by the archaeologists over the centuries, under various criteria.  History of the Excavations  The excavations began in 1748, under King Charles of Bourbon, as a way of increasing the fame and prestige of his Kingdom of the Two Sicilies.  The digging proceeded sporadically, without a well-defined plan, and only a few years later was the site actually identified as Pompeii. A part of the necropolis outside Porta Ercolano was dug up, together with the Temple of Isis and part of the theatres quarter.  During the French occupation, in early 1800, activity expanded over the site, but gradually slowed again when the Bourbons were restored to throne. Works were concentrated on the area of the amphitheatre and the Forum, as well as around Porta Ercolano and the theatres district. The discovery of the House of the Faun, containing the large mosaic depicting Alexander the Great in Battle, caught the imagination of people all over Europe. Following the Unification of Italy in 1861, the designation of Giuseppe Fiorelli as director marked a turning-point in the excavations process. Since then the site has been ex


What is the name of the 1971 Spielberg film which pits Dennis Weaver against an unseen truck driver?

Duel Reviews & Ratings - IMDb IMDb 107 out of 122 people found the following review useful: You won't believe it's Spielberg 18 February 2004 *** This review may contain spoilers *** We all get stuck behind them sometimes: The huge trucks blocking your lane, blowing diesel fumes and spraying rocks from the ground all over your windshield. You try to pass them but sometimes it's just no use--they won't move out of the way, no matter how hard you try to mentally will them to do so. Steven Spielberg's "Duel" is just a simple movie about a traveling everyman who tries to pass a huge flammable truck on a state highway, and is then strangely stalked by this angered truck driver who seems to want him dead. The everyman is played by Dennis Weaver, and his character's name in the film is David Mann--a businessman driving across California for a business meeting who is desperately late and struggling to get around an obnoxious eighteen-wheeler blocking the highway. After he passes the trucker, it seems to trigger a sort of strange road rage game between the two men. At first everything seems to be quite normal, but then the truck swerves around David's car and slows down its speed again, keeping David behind schedule and driving behind a bunch of nasty fumes. Frustrated with the driver's arrogance, David decides to swerve around the truck again, and he soon finds himself on his way down the road, far away from the truck driver. But his escape is not quite so simple. The key to "Duel" is that we never see the truck driver, just like we never saw the shark from "JAWS" in its entirety. The truck driver haunting Mann seems to be a simple man who just suddenly goes nuts. Sometimes the best villains are those given no motivational background--Michael Myers from "Halloween" was described as "evil" by his own doctor, apparently killing for no reason whatsoever, and the shark from "JAWS" seemed to be the materialization of some sort of demon from hell. Their intentions are not clear--and that makes the film carry an intriguing mystery about it that makes it all the more watchable on a repetitive basis. I was never a very big fan of "The Hitcher," which ripped off "Duel" quite a bit. Both films essentially deal with supernatural, untouchable villains shrouded by a layer of mystery. We never found out very much about Rutger Hauer's character in "The Hitcher," or why he was doing what he was doing, but by introducing him to the audience it made us want to know more--and the film took the easy way out by just providing us with nothing whatsoever. Even after promising us that it would through the very mouth of Hauer's character. That's bad filmmaking. Spielberg does something different: He avoids the truck driver altogether. Apart from seeing his legs and a brief glimpse of his silhouette, the truck driver is completely shrouded by a dark cloud of mystery and intrigue. Had he been shown rising out of the truck disaster at the end of the film, burning alive like The Terminator, then the effect would be somewhat laughable. Spielberg does something much greater and more fantastic--this could, in technical terms, be called his most elaborately staged and perfectly executed film, even if it isn't the best on an overall basis. There's a great scene in "Duel" where Mann stops at a roadside diner and tries to analyze his situation. At that point in time anyone could be the villain--the guy eating a sandwich, the guy with cowboy boots having a soda, or even the woman standing by the exit. But we never know, and either does Mann, and it helps this film quite a bit. But what Spielberg does that is pure genius is showing us Mann's thoughts through voice-over narrative in a way it has never really been done before. We hear Mann talking to himself, but not in an aware way. It is as if we pick up his mental decisions and thoughts via the film--and it works magnificently. You've probably seen "Speed" by now, and so you know its breakneck speed and thrills. Well, take "Speed," throw in a homicidal truck driver, and set it in the early 70s, and you've got yours


In Greek mythology, who killed Medusa while looking at her in a mirror-like shield?

Medusa Medusa See More Medusa Pictures > Medusa was a monster, one of the Gorgon sisters and daughter of Phorkys and Keto , the children of Gaea (Earth) and Oceanus (Ocean). She had the face of an ugly woman with snakes instead of hair; anyone who looked into her eyes was immediately turned to stone. Her sisters were Sthenno and Euryale, but Medusa was the only mortal of the three. She was originally a golden-haired, fair maiden, who, as a priestess of Athena , was devoted to a life of celibacy; however, after being wooed by Poseidon and falling for him, she forgot her vows and married him. For this offence, she was punished by the goddess in a most terrible manner. Each wavy lock of the beautiful hair that had charmed her husband was changed into a venomous snake; her once gentle, love-inspiring eyes turned into blood-shot, furious orbs, which excited fear and disgust in the mind of the onlooker; whilst her former roseate hue and milk-white skin assumed a loathsome greenish tinge. Seeing herself transformed into such a repulsive creature, Medusa fled her home, never to return. Wandering about, abhorred, dreaded, and shunned by the rest of the world, she turned into a character worthy of her outer appearance. In her despair, she fled to Africa, where, while wandering restlessly from place to place, young snakes dropped from her hair; that is how, according to the ancient Greeks, Africa became a hotbed of venomous reptiles. With the curse of Athena upon her, she turned into stone whomever she gazed upon, till at last, after a life of nameless misery, deliverance came to her in the shape of death, at the hands of Perseus .


According to the New Testament, on which Mediterranean island did St John write the Book of Revelation?

The Book of Revelation by John the Apostle Where the Book of "Revelation" was received by John Patmos, Greece - where the Apostle    John was exiled John's love for Jesus was so strong, that he continued to defy the   Roman magistrate's order to no longer proclaim Jesus as Messiah,   Savior and Lord; even while a prisoner. On Patmos, John was thrown   in with violent criminals, but simply won many of the criminals to   faith in Jesus. It was on Patmos that John wrote down in a scroll all that "he saw   and heard". John's sworn testimony about how he received the   messages is given in the first chapter. According to Greek Orthodox Tradition John's vision came to him on a   Sunday after saying Mass and preaching the Gospel. Saint John, to   escape the heat of the day, remained in the cave where he said Mass.   It was here that one day the Lord came to Saint John in a vision.   When Saint John awoke, he dictated his revelation to his scribe.  It begins with this assurance: The    Revelation of Jesus Christ, which God gave unto him, to    shew unto his servants things which must shortly come to    pass; and he sent and signified it by his angel unto his    servant John: Who bare record of the word of God, and of    the testimony of Jesus Christ, and of all things that he    saw.  Blessed is he that readeth, and they that    hear the words of this prophecy, and keep those things    which are written therein: for the time is at hand.  Revelation 1:1-3 (KJV)   Cave of John the Apostle The Book   of Revelation, what God revealed to the Apostle John, is a great   prophecy mystery.  It's a riddle wrapped in an enigma. It has   drawn the attention of numerous scholars throughout the ages, all   trying to interpret the meaning of it.  The stakes are worth   the challenge to would-be code breakers, because the book of   Revelation describes the end of one world and the beginning of the   next.  A key to understanding most Old Testament prophecies is   to think Israel, the Jews, and Jerusalem in particular.  Just   as Jesus' mission was to save the Jews - it was the mission of the   prophets to pass God's Word and His warnings on to them. Parallel    Prophecies Revelation has been noted in some cases to "parallel" what God   revealed to the Prophet Daniel, some 600 years earlier.  For   instance, speaking about Jerusalem being in control of the gentiles   for "42 months", it appears that God is also telling us that the   Gentiles will do something in an area of the temple mount which God   was aware of beforehand -- so He marked it off.  It also tells   us that someone would control Jerusalem for 42 months.   But the court which is without the temple leave out, and    measure it not; for it is given unto the Gentiles: and    the holy city shall they tread under foot forty and    two months. Revelation 11:2 According   to Bible scholar Ellis Skolfield, Daniel 12 describes what will be   put into this area God marked out, and it tells us when it would be   built and agrees with John's "revelation" that Jerusalem would be   being under foot of the Gentiles for 42 months.  The Gentiles   are anyone who is not a Jew.  In this case the Muslims.  A   by-product of this is that if God thinks the Muslim shrine to the   pagan god Allah and the false prophet Muhammad is a pagan "abomination", then He is also telling us that Islam is false - and   it disgusts Him.  Also, of interest are the two prior verses in   Daniel (9-10), which tell as when this prophecy will be "cracked" we   will be in "the time of the end".  It also tells us of scoffers   (wicked that will always refuse to accept), who will most likely be   atheists, pagans, and pagan Muslims. Daniel           12:11 "And           from           the           time           that           the           daily           sacrifice           shall           be


The Martlet The Martlet The martlet is a small bird, usually depicted without feet and (in some cases) without beak. There is some dispute as to what kind of bird it is.  In English heraldry, it is a swallow; in French heraldry, it looks very much like a duckling.  In German heraldry, it is said to be a lark.  It was originally a small blackbird, then became a generic small bird, then a bird without feet and even later without beak, the species of the bird interpreted variously depending on the country. Various martlets: French, late 19th c. (left); English (A. C. Fox-Davies); French, mid-18th c. (Diderot Encyclopédie plates) According to Pastoureau: Traité d'Héraldique (2d ed., p. 150-1), the charge makes its first appearance c. 1185 in the arms of Mello in Normandy, and is at first confined to similarly canting arms (Merlot, Merloz, etc).  Therefore, it is initially thought of as a small blackbird, called merle in French.  From the mid-14th c., however, it  appears as a canting device for families named Oisery, Oisy, Loiseau, which indicates that it is now seen as a generic bird rather than any specific species.  Its depiction is still quite variable (with or without feet), and in any case it does not lose its beak before the late 15th c.  As the Oxford ENglish Dictionary says (s.v. martlet): "  It seems possible that the heraldic bird may originally have been intended for a `little blackbird', represented without feet by accident or caprice, or with symbolical intention."  Most likely, the need to save space led artists to skip the feet of the small birds that were often used as filler or bordure elements (the orle of martlets is common in early heraldry).  Also, in the late 15th c.,, some confusion or competition arises with the canette or duckling, and modern French heraldic textbooks state that a martlet is a duckling without beak and feet. The evolution in England was different, leading to a swallow.  The reason is undoubtedly folk etymology.  The Oxford English Dictionary continues: "The English heralds of the 16th c. or earlier identified the bird so depicted with the `martlet' or swift, which has short legs, whence its mod. specific name apus = Gr. apous footless.  It is noteworthy that the `martlets' (so called in the 16th c.) in the pretended arms of Edward the Confessor were at an early period portrayed with feet.  The anglicized form of merlete, marlet, does not occur in heraldic use, but appears in several 16th c. instances with the sense of martlet, i.e. a swift or a martin.  According to English heraldic writers, the use of the footless bird as a mark of cadency for younger sons was meant to symbolize their position as having no footing in the ancestral lands."  Woodward and Burnett (A Treatise on Heraldry, p. 266) confirm that: "[t]here are early examples of the martlet properly furnished with legs, but about the close of the 13th c. the custom arose by which the bird is represented without feet, and sometimes without a beak."  Gerard Brault (Early Blazon, p. 242) says that "The elimination of the feet (and later the beak) in depictions of the martlet may have been purely conventional".  He cites examples attesting to the variety of early depcitions: Mathew Paris shows the martlets of John de Bassingbourne without legs, those of Furnival with legs; the sparrow-hawks of Robert Muschet without feet; a 13th c. panel of Edward the Confessor's arms in Westminster abbey shows the martlets as doves (with feet). The fact is that Latin blazon always uses the same word no matter the country: merula, or blackbird (cf. Gibbon's Introductio ad Latinam Blasonam, 1682, p. 45 for an English example).   I think that the French word merlette, in the form of marlet, was confused with the word martlet (which exists independently in English as the name of a swift, derived from "martin") and the charge was interpreted in accordance; aided by the frequently missing feet and the vague notion that swifts never walk on ground because of their short legs. In the coat of arms of Cadillac , used by General Motors for the car of th


Who invented the clockwork radio in 1992?

Clockwork Radio - YouTube Clockwork Radio Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jun 29, 2009 University titles project, titles present the clockwork radio which was invented by Trevor Bayliss in his shed. Category


Which singer/actress founded Maverick Records in 1992?

Maverick - CDs and Vinyl at Discogs Maverick Maverick Profile: Maverick was an American record label owned by Warner Music Group , operated and distributed through Warner Bros. Records . The label was founded in 1992 by Madonna , Frederick DeMann and Veronica "Ronnie" Dashev. Active from the early 1990s through the middle 2000s, the label scored its more notable success with acts such as Alanis Morissette, Michelle Branch, The Prodigy, Deftones and Candlebox. Since 2008, however, the label has been in hibernation, with its retained acts now recording for Warner Bros. directly. In 2014, the brand was revived as a management group founded by former label Chairman and CEO Guy Oseary with Live Nation Entertainment. Label Code: LC 1485


Who wrote the novel 'The Warden' in 1855?

The Warden | novel by Trollope | Britannica.com novel by Trollope To Kill a Mockingbird The Warden, novel by Anthony Trollope , published in 1855. Trollope’s first literary success, The Warden was the initial work in a series of six books set in the fictional county of Barsetshire and known as the Barsetshire novels . The Rev. Septimus Harding, the conscientious warden of a charitable retirement home for men, resigns after being accused of making too much profit from the sinecure. Trollope continued Harding’s story in Barchester Towers (1857). Learn More in these related articles: Anthony Trollope April 24, 1815 London, Eng. Dec. 6, 1882 London English novelist whose popular success concealed until long after his death the nature and extent of his literary merit. A series of books set in the imaginary English county of Barsetshire remains his best loved and most famous work, but he also... 2 References found in Britannica Articles Assorted References place in English literature  (in English literature: The novel ) External Links Corrections? Updates? Help us improve this article! Contact our editors with your feedback. MEDIA FOR: You have successfully emailed this. Error when sending the email. Try again later. Edit Mode Submit Tips For Editing We welcome suggested improvements to any of our articles. You can make it easier for us to review and, hopefully, publish your contribution by keeping a few points in mind. Encyclopædia Britannica articles are written in a neutral objective tone for a general audience. You may find it helpful to search within the site to see how similar or related subjects are covered. Any text you add should be original, not copied from other sources. At the bottom of the article, feel free to list any sources that support your changes, so that we can fully understand their context. (Internet URLs are the best.) Your contribution may be further edited by our staff, and its publication is subject to our final approval. Unfortunately, our editorial approach may not be able to accommodate all contributions. Submit Thank You for Your Contribution! Our editors will review what you've submitted, and if it meets our criteria, we'll add it to the article. Please note that our editors may make some formatting changes or correct spelling or grammatical errors, and may also contact you if any clarifications are needed. Uh Oh There was a problem with your submission. Please try again later. Close Date Published: April 22, 2016 URL: https://www.britannica.com/topic/The-Warden Access Date: January 17, 2017 Share


In the TV series 'Rising Damp' what was the name of Rigsby's cat?

LeonardRossiter.com: Rigsby Online - Story of Rising Damp - The TV Series See Main Biographies page for appearances and biographies.  Rupert Rigsby played by Leonard Rossiter Landlord of the boarding house. Extremely prejudiced, especially toward students and blacks (examples of both of which reside in his home). Married (Veronica, during wartime, and on pain of death by her father's shotgun), but now separated. Has a shoplifting brother, Ron, in Accrington. Wears one set of clothes: holey green cardigan, minus most buttons, shiny grey trousers, worn red slippers (but still has his demob suit, minus its pockets' linings). Participation in World War II sketchy at best. Has tendency to embellish war stories. Dislikes children (after receiving a singed beard while playing Santa one Christmas). Has barred any romance in the house (probably based on jealousy). Lusts after Ruth Jones, a tenant and spinster. Only companion is Vienna, his flea-bitten cat.  Ruth Jones played by Frances de la Tour Tenant of the boarding house. University administrator, responsible for the accommodation of students.Thirty-something spinster with few previous beaus (one being a policeman who always wore his uniform, hence the need to keep swinging their arms to show they weren't handcuffed together). Has brought a womanly touch to the dingy lodgings (eg. blue water in the toilet) and never complains about her room (unlike the other tenants).  Continually rebuffs Rigsby's advances. Lusts after black student tenant Philip Smith, but eventually falls in love with and moves out to live with librarian Desmond, but returns after it doesn't work out. Eventually accepts Rigsby's hand in marriage but gets cold feet before the service.  Alan Moore played by Richard Beckinsale Tenant of the boarding house. Medical student at the local university. A kind, gentle sort of chap, with boyish good looks, which have, nevertheless, resulted in a noticeable absence of girlfriends, despite his boasting to the contrary. Still very much under his parents' wings (he goes home at the weekends), he is rather cowardly and gullible, but enjoys playing tricks on Rigsby with his room-mate Philip Smith. Graduates as a doctor and leaves the house.  Philip Smith played by Don Warrington Tenant of the boarding house. Town and country planning student at the local university. Alleges he is from Africa and has ten wives. A black, well-spoken, well-dressed gentleman, with tribal makrs and a long history of girlfriends, much to the annoyance of room-mate Alan. Is lusted after by Miss Jones, much to the annoyance of Rigsby. Has no interest in Miss Jones, much to the annoyance of Miss Jones. Is often the butt of Rigsby's racist, bigoted comments.  The Series     Series One was broadcast from December 13th 1974 to January 17th 1975, and was an immediate success. It was a personal triumph for Leonard Rossiter, his first sitcom role. Each week, viewers learned more and more about each of the characters. Rigsby would go to even greater lengths to win affection from Miss Jones, while being victim to Alan and Philip's pranks. Rigsby would carry around his overweight, slothful cat Vienna (which Leonard hated off-set. Although a cat-lover, he used to complain that Vienna smelled awful), barging into the boys' room without knocking, trying to catch them 'up to something', which they never were. Mocking Philip, his race and his culture, while trying to be a father-figure to Alan, Rigsby came over as cold, pretentious and chauvinistic, but at the same time vulnerable, a sad, lonely figure of a man who longed for love and happiness in his twilight years. As Eric Chappell says: "Rigsby wanted to be part of their lives, which became irritating for them... and he was always coming through doors without knocking, saying he had right of access - which really meant access to their lives, not just their rooms." The first series of any sitcom is much concerned with establishing the characters and their lives, and Eric displayed this very well in the scripts, which often drew on the script from The Banana Box


Which car manufacturer built the Javelin model in the 1940s/1950s?

Jowett | Tractor & Construction Plant Wiki | Fandom powered by Wikia Tractor & Construction Plant Wiki Share Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. One of only 12 surviving Jowett Javlins in the UK DCB 426 at the Lister Tyndale Steam Rally 2009 Jowett Cars Ltd was a car and engine manufacturer from Bradford, England from 1906 to 1954. Contents Edit The company was founded by the brothers Benjamin and William Jowett who started in the cycle business and went on to make V-twin engines for driving machinery ; some found their way locally into other makes of cars as replacements. In 1904 they became the Jowett Motor Manufacturing Company based in Back Burlington Street, Bradford. They designed their first car in 1906 but as their little workshop was fully occupied in general engineering activities, experiments with different engine configurations, and making the first six Scott motor cycles, it did not go into production until 1910. This car used an 816 cc flat twin water-cooled engine and three-speed gearbox with tiller steering . The body was a lightweight open two seater. Twelve vehicles were made before an improved version with wheel steering was launched in 1913 and a further 36 were made before the outbreak of the First World War when the factory was turned over to munitions manufacture. Two tiller steered models still survive. After the war the company moved to the Springfield Works, Bradford Road, Idle, outside Bradford, and they changed the company name to Jowett Cars Ltd. Car making started at the new factory in 1920. The first vehicle was the Jowett Seven using an enlarged version of the pre-war flat twin first to 831 cc and then to 907cc in 1921. The engine developed its maximum torque at low revs and was soon famed for its pulling power, reliability and economy. Commercial vehicles based on the car chassis were also built from 1922 and became an increasingly important part of the company's output. Jowett first exhibited at the London Motor Show in 1921 and gradually broke out of their previous local market. In 1923 coil ignition and electric starting were added and the four-seater "Long Four" was introduced in tourer form priced from £245 followed in 1925 by a closed saloon model, the previous short-chassis two-seater continuing in production. In 1929, the engine received removable cylinder heads to ease maintenance and braking was on all four wheels. Production was briefly suspended in September 1931 when fire swept through the works. 1934 saw the launch of the Jowett Kestrel with four speed gearbox and in 1935 there was the oddly named Jowett Weasel sports tourer. The first four-cylinder (flat four) car arrived in 1936 with the 1166 cc twin carburettor Jowett Ten which continued until the outbreak of war alongside the traditional twin cylinder models which grew to 946cc in 1937. In 1935 the company went public and in 1936 Benjamin Jowett retired. Brother William carried on until 1940. Production of cars stopped in 1940 but engine production for motor-generator sets continued alongside aircraft components and other military hardware. The company was bought by property developer Charles Clore in 1945 and he sold it in 1947 to the bankers Lazard Brothers. When production restarted after the Second World War, the twin-cylinder engine was dropped from the range of new cars, but continued in 1005 cc form to the end of production in the commercials, now comprising a light lorry, the Bradford van , two versions of an estate car called the Utility, and chassis front-ends and kits for outside coachbuilders, many abroad. The new cars were a complete change from what had gone before with the streamlined Jowett Javelin designed by a team led by Gerald Palmer. This had such advanced features as a flat four push-rod engine, independent front suspension with torsion bars front


"Which character in a 1991 film said ""I do wish we could chat longer but I'm having an old friend for dinner?"

Hannibal Lecter (Anthony Hopkins) in The Silence of the Lambs Character Analysis He Likes His Meat Rare Thinking of cannibals usually conjures up one image: a racist caricature of a tribal native with sharp teeth and a bone (from his last human meal) through his nose. Serial killer Dr. Hannibal Lecter is not that image. He's solitary, not part of a tribe. He wears tidy, pressed clothes. And he probably brushes and flosses after every meal, even if that meal did involve a nurse's tongue served extra rare. He's brilliant and sophisticated and knows it. Roger Ebert's description nails it: "His speaking voice has the precision of a man so arrogant he can barely be bothered to address the sloppy intelligence of the ordinary person" ( source ). Anthony Hopkins said he modeled his character after the HAL 9000 computer in 2001: A Space Odyssey—brilliant, logical, and unemotional. Check out the vocal resemblance—it's uncanny . The image of Lecter standing alone in a cell, or with his iconic face mask, seems to dominate the movie, even though he's only in the film for 16 minutes . Most of what we know about Lecter—he ate a census-taker's liver with some fava beans and wine, he bit a nurse's tongue out—is all told to us. It took place before the movie even started. At the end, we do see Lecter brutally murder two cops and use one of their skinned faces as a mask, in one of the film's more horrific sequences. So there's that. But before the possibility of escape, what does Lecter want? He wants a window. That's about it. LECTER: What I want is a view. I want a window where I can see a tree, or even water. It's almost quaint. But Dr. Lecter is a cultured man who appreciates the art and beauty in life, even if he does eat people. The drawings on his wall are of views from his memory. "Memory, Agent Starling, is what I have instead of a view," he tells Clarice. He's being punished for his crimes by having these views taken away; by helping Clarice catch Buffalo Bill, he'll be rewarded. Lecter is so smart and so deadly, that even though he's locked up in a cage with guns pointed at him from every direction and a mask at the ready of he gets hungry, we just know he's going to escape somehow and there will be blood. He notices everything, and all it takes is someone to carelessly leave a pen on the table, and Lecter's ten steps ahead of everyone else. That makes the film unbearably suspenseful. Quite an Introduction A big part of our fascination with Lecter is the way Demme stages his first appearance.  Dr. Chilton leads Starling down some stairs into what appears to be a medieval dungeon, describing all the awful things Lecter has done. We never see the picture of the nurse he mutilated—or the like—which lets our mind fill in the hideous details. Then we see a guard station with enough guns to storm the beach at Normandy, followed by a long walk down a row of cells containing the most hideous monstrosities we can imagine.  At the end is the monster we've just spent five minutes hearing about...neatly groomed, standing politely, and greeting us with an understated "good morning."  Now that's how you introduce a villain. A View to a Thrill Lecter gets an unexpected view when trying to get his transfer: a view into the mind of Clarice Starling. While feeding her clues to Buffalo Bill's identity, he wants to figure her out. The idea of it is a turn-on. LECTER: Quid pro quo. I tell you things, you tell me things. […] Quid pro quo. Yes or no? He does this to get inside her head without cutting off her skull and eating her brain (he saves that for the sequel). Anyway, he's a psychiatrist; he's trained to draw people out and probe deeply into their past. And he's very, very good at it. He figures Clarice out within minutes of their first meeting: LECTER: You're so ambitious, aren't you? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well-scrubbed, hustling rube with a little taste. Good nutrition has given you some length of bone, but you're not more than one generation from poor white trash,


What is the NATO phonetic alphabet call sign for the letter M?

Military Phonetic Alphabet - List of Call Letters Military Phonetic Alphabet By Stew Smith Updated December 14, 2016 NATO and the U.S. Military use the same phonetic alphabet.  However, it is widely accepted and used in international radio communications on sea, air, or land.  The International Radiotelephony Spelling Alphabet (IRSA) is what the U.S. Military Phonetic Alphabet is actually called. The phonetic alphabet was actually created by the International Civil Aviation Organization (ICAO) to help decipher similar sounding letters and numbers between different countries and organizations.   The phonetic alphabet is a list of words used to identify letters in a message transmitted by radio, telephone and encrypted messages. The phonetic alphabet can also be signaled with flags, lights, and Morse Code.  When on radio, spoken words from an approved list are substituted for letters. For example, the word "Army" would be "Alfa Romeo Mike Yankee" when spelled in the phonetic alphabet. This practice helps to prevent confusion between similar sounding letters, such as "m" and "n", and to clarify signals communications that may be garbled during transmission. In military missions, the use of phonetic alphabet has been used to communicate with the chain of command as to what phase of the mission has been successfully performed.  For instance, if a SEAL Team has arrived on the beach and were undetected to continue the mission, they may have designated that as the first "waypoint" and use the code word "Alpha".  This will tell the upper-level chain of command where you are and if you are on schedule. An early version of the phonetic alphabet appears in the 1913 edition of The Navy Bluejackets’ Manual. Found in the Signals section, it was paired with the Alphabetical Code Flags defined in the International Code. Both the meanings of the flags (the letter which they represent) and their names (which make up the phonetic alphabet) were selected by international agreement. Later editions included the Morse code signal as well. Military Phonetic Alphabet (adopted 1957) Letter


What was the codename for the British/American landings in French North Africa, begun in November 1942?

THE BATTLE FOR NORTH AFRICA - NYTimes.com Autos THE BATTLE FOR NORTH AFRICA By Drew Middleton; Drew Middleton is The Times's military correspondent. He is writing a book about the Allied landings in North Africa and the Tunisian campaign, both of which he covered. Published: November 7, 1982 The blacked-out transports and destroyers rocked gently in the Mediterranean as infantrymen clambered down nets and into waiting landing craft. Minutes later, the soldiers scrambled across beaches at Algiers, Oran and Casablanca. Some met the rattle of machine guns right off. Others were first picked up by searchlight beams and then shelled as they made their way inland. A lucky few encountered only darkness and silence. It was the early morning of Nov. 8, 1942. The Allied invasion of French North Africa had begun. The objective of the landings, code-named Operation Torch, was to bring the French North African territories under Allied control, and with them, it was hoped, the not inconsiderable French military resources on the African continent. The operation was also conceived as the second half of a pincer move intended to encircle the German forces and keep them from controlling the crucial Mediterranean region. At the time the landings were planned, in the late summer of 1942, the British Eighth Army's decisive victory at El Alamein in the Western Desert of Egypt was not envisaged. That battle was fought and won while the Torch convoys were still at sea. Forty years later, the initial landings and the Tunisian campaign that followed must be considered one of the turning points, militarily and politically, of World War II. In the seven months between the landings and the complete defeat of all Axis forces in Africa, the United States and Britain forged an Allied command that was the model for similar structures which planned and executed the operations that eventually broke the back of the enemy in Sicily, mainland Italy and, finally, in northwest Europe. The combat lessons learned in the hills of Tunisia and in the air above were carefully studied and refined. The logistics of maintaining a huge combined force far from its national bases, over an antique railway system and poor roads, would be applied in half a dozen later campaigns. And the integrated staff of Americans and Britons at Allied Force Headquarters at the St. George Hotel in Algiers became the model for larger staffs with greater missions. Moreover, the North African campaign pushed to center stage the remarkable group of military men who would eventually break the power of the Axis in the Mediterranean and Europe. One had already stepped into the spotlight. Lieut. Gen. Sir Bernard L. Montgomery, who had led the Eighth Army to its smashing victory that October over Field Marshal Erwin Rommel's Africa Corps and its Italian allies at El Alamein. (A significant result of that victory was that it forced the Germans to give priority to the reinforcement of the Africa Corps in Libya, thereby slowing down the feeding of troops and materiel into Tunisia.) Other Allied generals were waiting in the wings: Dwight D. Eisenhower, who had been designated overall commander in North Africa; George S. Patton and Omar N. Bradley, of the American forces; Gen. Sir Harold Alexander, commander of Allied ground forces in North Africa, and Air Marshal Sir Arthur W. Tedder, of the British forces. On that Sunday morning in 1942, however, they were hardly known outside their own services. By the followng May, after the German forces in North Africa had surrendered, their names would be familiar to newspaper readers in Missoula and Monmouth, Melbourne and Montreal. The summer of l942, the first of the war for the Americans, the third for the British, had not been easy for the Atlantic Allies. Most of East Asia had become a Japanese fiefdom. The long gray columns of the Nazi Wehrmacht had pushed southeastward into Russia and a new place name, Stalingrad, began to appear in newspaper headlines. German U-boats had taken a heavy toll of shipping in the North Atlantic. An Allied landing at Dieppe


Which musical instrument did Tommy Dorsey play?

Tommy Dorsey Dorsey, Thomas, Francis, Jr. (“Tommy,” “The Sentimental Gentleman of Swing”) Born: November 27, 1905, in Mahanoy Plane, Pennsylvania Died: November 25, 1956, in Greenwich, Connecticut Vocations: Actor, Disc Jockey, Jazz Musician and Bandleader, Publisher Geographic Location Pennsylvania: Mahanoy Plane, Schuylkill County Keywords: Dance-band leader; “I’m Gettin’ Sentimental Over You;” “Marie;” “On Treasure Island;” Radio personality; Swing Artist; The Bandstand; Trombonist Abstract: Born on November 27, 1905, Tommy Dorsey was a famous musician, most noted as the “Sentimental Gentleman of Swing.” His father taught him at a very early age to play the trombone. He developed his own style, denoted by a very up-beat tempo. Dorsey went on to play with many great musicians such as Frank Sinatra, Benny Goodman, and Glenn Miller. Despite their feuds, he and his brother Jimmy played together for many years. Dorsey embarked on other ventures including publishing a magazine, owning the Casino Gardens, purchasing a radio station, and acting. Dorsey died in Greenwich, CT, on November 25, 1956; he choked to death on food in his sleep. Biography: Tommy Dorsey was born November 27, 1905, to Thomas Frances Dorsey and Theresa Langton; he grew up in an Irish mining community in Schuylkill County. Thomas Dorsey was a self-taught musician and part-time music teacher. He taught both his boys music at a very early age. Dorsey played the cornet and later learned the trombone. Along with his father and brother Jimmy, he formed a own band in the 1920s. Dorsey’s fast tempo quickly took form as his own signature style, which eventually led to the demise of their brotherly relationship and musical careers together. In the beginning, the band they formed was called Dorseys’ Wild Canaries. During this period they played at Carlin’s amusement park in Baltimore. Around 1923, Jimmy joined the Scranton Sirens and soon persuaded Tommy to join him. After a considerable amount of band-changing and freelancing, the brothers again formed their own band called the Dorsey Brothers Orchestra in 1928. The band used brass instrumentation distinctive for big bands. The band also played bouncy versions of Bing Crosby’s songs, such as “Stay on the Right Side of the Road.” Dorsey married Mildred “Toots” Kraft and they had two children together. The marriage date is unknown but they lived in Freeport, New York. Around 1934, Dorsey moved the family to Bernardsville, New Jersey. The Dorsey Brothers Orchestra began playing steadily in New England in 1934 with Glenn Miller writing many of the arrangements. Despite their many years of working together, the brothers were fierce rivals and often had disagreements regarding tempo and style, which finally led to the break up of their band in 1935. Tommy and Jimmy played together only infrequently over the next 18 years. Tommy was a perfectionist and experienced heavy turnover in personnel from the inception of his band, the Tommy Dorsey Orchestra. Bud Freeman was in and out of the band and legendary drummer Buddy Rich joined in 1939. The orchestra initially was formed mainly from members of the Joe Hayme’s band. They made their debut at the Lincoln (later Edison) Hotel in New York. In October of 1935, they recorded Tommy’s theme song “I’, Gettin’ Sentimental Over You.” Tommy became famous for his smooth perfectionism on the trombone, a style that earned him the lasting nickname: “the sentimental gentleman of swing.” Dorsey also created a series of arrangements, similar to his ever popular “Marie,” with Frank Sinatra, such as “Blue Skies” in 1941. In the 1940s, Dorsey began to feature dreamy, romantic performances with Sinatra and the Pied Pipers, whose biggest hit together was “I’ll Never Smile Again.” The Tommy Dorsey Orchestra broadcasted nationally in 1936 from Dallas and then the Los Angeles area. Tommy took over the Jack Pearl comedian radio show in 1937. He soon started a newspaper called The Bandstand, which proved to be too expensive and was soon abandoned. In late 1939 his radio sponsorship ended. His work w


What is the name of the Adobe software that is used to create PDF (portable document format) files?

What is PDF? Adobe Portable Document Format | Adobe Acrobat DC PDF. Three letters that changed the world. What is PDF?   Portable Document Format (PDF) is a file format used to present and exchange documents reliably, independent of software, hardware, or operating system. Invented by Adobe, PDF is now an open standard maintained by the International Organization for Standardization (ISO). PDFs can contain links and buttons, form fields, audio, video, and business logic. They can also be signed electronically and are easily viewed using free Acrobat Reader DC software. We invented PDF. In 1991, Adobe cofounder Dr. John Warnock launched the paper-to-digital revolution with an idea he called The Camelot Project. The goal was to enable anyone to capture documents from any application, send electronic versions of these documents anywhere, and view and print them on any machine. By 1992, Camelot had developed into PDF. Today, it is the format trusted by businesses around the world. Because looks really do matter. Warnock's vision is alive, well, and evolving. When you save a document or image as an Adobe PDF, it looks just the way you intended it to. While many PDFs are simply pictures of pages, Adobe PDFs preserve all the data in the original file - even when text, graphics, spreadsheets, and more are  combined in a single file . PDFs have standards. You can be confident your PDF file meets ISO 32000 standards for electronic document exchange, including special-purpose standards such as PDF/A for archiving, PDF/E for engineering, and PDF/X for printing. You can also create PDFs to meet a range of accessibility standards that make content more usable by people with disabilities.   In 2002, Time Inc. standardized on PDF/X as its preferred delivery format for advertisements. It's all about security. When you work with electronic documents, it's important to make protection a part of your routine. You can password protect  your PDFs to prevent others from copying and editing. Redact them to permanently delete sensitive information. And even find and remove hidden data.   No paper printouts needed. Ever. When you need to electronically sign a PDF, it's easy using Adobe Acrobat Reader DC the Acrobat Reader mobile app , or the Adobe Sign mobile app . For managing legally-binding electronic or digital signature processes, try Adobe Acrobat DC or Adobe Sign . Get more out of scanned documents. You can  scan paper documents  and forms to Adobe PDF and get smart files that are easy to search, share, and store. Adobe PDFs use optical character recognition (OCR) technology, so you can edit and comment on the documents you've scanned. Learn how to


In which Bond film does Claudine Auger play Domino?

Domino (Claudine Auger) | James Bond Wiki | Fandom powered by Wikia Last Thunderball (film) Dominique Derval, known simply by her nickname Domino, is the mistress of Emilio Largo in the 1965 James Bond film, Thunderball . She was portrayed by French actress Claudine Auger and was dubbed by Nikki van der Zyl . The character was based upon Dominetta Vitali in the Ian Fleming novel, Thunderball . Contents [ show ] Film biography James Bond first heard about Domino during a briefing from M to all the double-0 agents in Europe. Bond had recognized her brother from a photograph, having seen him dead the night before at the Shrublands health clinic, and requests that he be allowed to investigate this potential lead as opposed to his original assignment. Domino is seen when Bond is swimming in Nassau, her foot gets stuck in a form of ocean floor but Bond sets her free. She swims up to her boat and thanks Bond. Bond swims back to his boat with his Nassau contact, Paula Caplan . Paula takes care of their boat as Bond is about to learn more about Domino. Domino and Bond have lunch on the beach. But Quist spies on the two. A sign that Domino had to go back to the Disco Volante . At the hotel Bond stayed in, Bond sees Domino with Largo, Domino was smoking a cigar, as Bond bid in the game against Largo. Domino tells Largo that Bond pressed her to a drink. Domino and Bond slow-dance outside but Largo collects her. At Largo's home, Palmyra, Domino is swimming when Bond visits. She leaves Bond with Largo to go make lunch. Largo invites Bond to the Nassau Junkanoo . After attending the Junkanoo with Bond, Domino tells Bond that Felix Leiter is trying to contact him. He leaves Felix with Domino, to go and search for Paula, who had been kidnapped by Fiona Volpe . It turns out Paula committed suicide by swallowing cyanide. Domino sees Bond in the water the next day, they go on shore and Bond tells the rather misunderstood Domino the entire predicament that her brother was killed by Largo and Largo plans to make a nuclear holocaust with the bombs SPECTRE gave him. She helps Bond kill Vargas and spies on board the Disco Volante but is caught and tortured by Largo. Domino shoots Largo in the back. After being released by a repentant Kutze , she proceeds up to the ship's bridge to find Largo holding Bond at gunpoint. As he prepares to pull the trigger Domino shoots him in the back with a harpoon. He turns and collapses dead on the ship's wheel, jamming the controls. Unable to move the body and with seconds to spare, Bond, Domino and Kutze leap overboard as the Disco Volante runs aground and explodes violently. The two are subsequently saved by the CIA and are carried off into the air by a sky hook.


What is the title of the signature tune, composed by Arthur Wood, of Radio 4's programme 'The Archers'?

BBC Signature Tunes Home Page Signature Tunes Housewives' Choice was a record request programme broadcast   on the Light Programme every weekday morning from 1946 until the arrival of   Radios 1 and 2 in 1967. It had a different presenter each week, and the signature   tune was In Party Mood by Jack Strachey. A programme called Children's Choice ran from 1952,    following the Housewive's Choice format. Children's Favourites replaced it two years later. Until 1965 it was presented by Derek McCulloch,    known from Children's Hour as Uncle Mac. The Reithian spirit prevailed and    the programme included not just records made for children, or pop, but light    classical pieces and even hymns. The signature tune was Puffin' Billy.    The launch of Radios 1 & 2 saw the programme, now called Junior Choice,    broadcast on both channels with a new sig tune and more pop content. The    programme ran until 1982. Family Favourites was a record request programme which linked   families in the UK with members of the armed forces serving in Germany and   elsewhere. As Two-Way Family Favourites it brought together London   and Cologne but later it included more distant (and non-military) links including   Australia, New Zealand, Canada and Hong Kong. The signature tune was With   a Song in My Heart. Related page Trevor Hill     recalls the origins of Family Favourites and the choice of the signature     tune. Down Your Way ran from 1946 to 1992, introduced    by Horse Guards, Whitehall from the London Lankmarks Suite by Haydn Wood. The programme visited a different location each week, interviewing    residents and playing their choice of music. It was hosted by Stewart MacPherson    (1946-1950), Richard Dimbleby (1950-1955), Franklin Engelmann (1955-1972),    Brian Johnston (1955-1987) and then by a different host each week. The music of Eric Coates was often used. By the Sleepy Lagoon still   is, with added seagulls. Desert Island Discs began in 1942 and   can claim to be the longest running factual programme on radio. It was devised   by Roy Plomley, who presented the programme for 43 years. Michael Parkinson   took over in 1985 following Plomley's death. Sue Lawley followed in 1988 and   Kirsty Young in 2006. Plomley himself was the castaway on two occasions, the   interviewers being Leslie Perowne and Eamonn Andrews. Another Coates piece, Calling All Workers, introduced Music While You Work which began in June 1940. It was intended    to improve morale in wartime factories and thus increase productivity. It    continued after the war up until 1967 when the Light Programme ended. With    two editions a day, the programme was usually live, though some were recorded    in later years. It featured dance orchestras, brass and military bands,    light orchestras and small instumental groups. Music Magazine was co-edited by Julian Herbage and his wife   Anna Instone. Presented by him (from 1952) and produced by her, the programme   ran from 1944 to 1973. Julian had joined the BBC in 1927 and Anna became head   of gramophone programmes. The tune used was Schubert's An die musik ("To music"). Originally broadcast from the 1930s to the 1960s Paul    Temple was a detective series. The signature tune was Coronation    Scot by Vivian Ellis. Paul and his wife Steve were played by several    actors over the years but probably the best known voices were those of Peter    Coke and Marjorie Westbury. Some of the stories have been remade in the    21st century with Crawford Logan and Gerda Stevenson in the lead roles. Devil's Galop by Charles Williams was the sig of Dick Barton   - Special Agent which began in 1946 at 1845 on the Light Programme.   The serial followed the adventures of ex-Commando Captain Richard Barton MC   and his sidekicks Jock Anderson and Snowy White. They solved various crimes,   escaped from all sorts of scrapes and often saved the nation from disaster,   each evening


In The Pickwick Papers, what is the name of Pickwick's landlady who sues him for breach of promise?

The Pickwick Papers Summary     Charles Dickens | Plot Summaries | Illustrations | Photographs | Site Map | The Pickwick Papers The Pickwick Papers (The Posthumous Papers of the Pickwick Club, shortened to The Pickwick Papers, 1836) was the first novel by English writer Charles Dickens. It is considered a masterpiece of British literature. Summary and Publication History The novel was published as a serial, issued in instalments, as was common with many other works at the time. Dickens was commissioned to write the book by his publisher, who originally wanted Dickens to merely provide the text to complement illustrations by Robert Seymour , who had proposed to draw a series of illustrations surrounding the comic adventures of the members of a sporting club. However, Dickens indicated that he knew nothing about hunting and other sports activities, and so he redefined the work. The original concept of a group of characters experiencing comical adventures was retained, but in Dickens' version the characters belonged to the Pickwick Club, named after its founder and perpetual president Samuel Pickwick. The objective of the club is to explore life and to this end, Pickwick and the other members of the Club make journeys out of London to various parts of England, meeting quaint and bizarre character along the way. Some critics have seen similarities between the Pickwick Papers and other picaresque novels such as Don Quixote, Robert Seymour was relegated to a secondary role, and now instead of Dickens providing the text to illustrations created by Seymour, Seymour was required to illustrate Dickens's writing. Only part way through the publication of the book, Seymour committed suicide, apparently despondent over a number of reverses including his lack of creative control over the Pickwick Papers. A controversy developed as to whether Seymour ought to have been credited with the idea for the Pickwick Papers, but Dickens and his publisher denied that Seymour had any meaningful input. Mr Pickwick Chases his Hat - Illustration by Robert Seymour The Pickwick Papers became a publishing phenomenon. Readers eagerly awaited each new instalment; those who could afford to buy a copy would read it to their friends and relatives who could not. The success of the book was due to Dickens' creation of a cast of eccentric, humorous characters as well as his nostalgic portrait of England which contrasted with the cynical reality of the time. The Pickwick Papers was published in 19 episodes spread over 20 months; the last instalment was of double length and cost two shillings since Dickens had skipped the May 1837 issue due to the death of his sister, Mary Hogarth. Each instalment was usually published at the end of the month. As the author's first novel, The Pickwick Papers had a somewhat troubled history: the first two issues included four illustrations by Robert Seymour and 24 pages of text. After the suicide of the artist, the latter was replaced by RW Buss for the third instalment and the composition of the editions was changed to two illustrations and two pages of text each. However, Buss did not like the work and so he was replaced in turn by Hablot Knight Browne (Phiz) for the fourth instalments. This was the beginning of a very fruitful collaboration between Phiz and Dickens; Phiz continued to work for the author for over 23 years. The Pickwick Papers describes the travels of Mr. Samuel Pickwick, founder of the Pickwick Club, with his friends Nathaniel Winkle, Augustus Snodgrass and Tracy Tupman through early nineteenth century England. The book features a cast of bizarre characters and situations. There is no overriding plot to the novel, but rather a series of somewhat connected vignettes involving the characters. One story involves a lawsuit between Mr. Pickwick and his landlady, who, due to a misunderstanding, sues Mr. Pickwick for breach of promise to marry. The landlady wins the lawsuit and is awarded damages, but Mr. Pickwick stubbornly refuses to pay her and so is imprisoned in the Marshalsea , the prison for debtors ( a recurrin


Which Shipping Forecast area lies south of Sole?

Sea areas in UK Met Office shipping bulletins   61ï¿½00'N 00ï¿½00'    61ï¿½00'N 04ï¿½00'E   58ï¿½30'N 04ï¿½00'E   58ï¿½30'N 00ï¿½00'   NORTH     UTSIRE   61ï¿½00'N 04ï¿½00'E   61ï¿½00'N 05ï¿½00'E   59ï¿½00'N 05ï¿½35'E   59ï¿½00'N 04ï¿½00'E   SOUTH     UTSIRE   59ï¿½00'N 04ï¿½00'E   59ï¿½00'N 05ï¿½35'E   58ï¿½00'N 07ï¿½05'E   57ï¿½45'N 07ï¿½30'E   57ï¿½45'N 04ï¿½00'E   FORTIES   58ï¿½30'N 01ï¿½00'W   58ï¿½30'N 04ï¿½00'E   56ï¿½00'N 04ï¿½00'E   56ï¿½00'N 01ï¿½00'W   FORTH   55ï¿½40'N 01ï¿½50'W   56ï¿½00'N 01ï¿½00'W   57ï¿½00'N 01ï¿½00'W   57ï¿½00'N 02ï¿½10'W   CROMARTY   57ï¿½00'N 02ï¿½10'W   57ï¿½00'N 01ï¿½00'W   58ï¿½30'N 01ï¿½00'W   58ï¿½30'N 03ï¿½00'W   TYNE   54ï¿½15'N 00ï¿½20'W   54ï¿½15'N 00ï¿½45'E   56ï¿½00'N 01ï¿½00'W   55ï¿½40'N 01ï¿½50'W   DOGGER   56ï¿½00'N 01ï¿½00'W   54ï¿½15'N 00ï¿½45'E   54ï¿½15'N 04ï¿½00'E   56ï¿½00'N 04ï¿½00'E   FISHER   57ï¿½45'N 04ï¿½00'E   56ï¿½00'N 04ï¿½00'E   56ï¿½00'N 08ï¿½10'E   57ï¿½05'N 08ï¿½35'E   57ï¿½45'N 07ï¿½30'E   GERMAN     BIGHT   56ï¿½00'N 08ï¿½10'E   56ï¿½00'N 04ï¿½00'E   54ï¿½15'N 04ï¿½00'E   53ï¿½35'N 04ï¿½40'E   52ï¿½45'N 04ï¿½40'E   HUMBER   52ï¿½45'N 01ï¿½40'E   52ï¿½45'N 04ï¿½40'E   53ï¿½35'N 04ï¿½40'E   54ï¿½15'N 04ï¿½00'E   54ï¿½15'N 00ï¿½20'W   THAMES   51ï¿½15'N 01ï¿½25'E   51ï¿½15'N 02ï¿½55'E   52ï¿½45'N 04ï¿½40'E   52ï¿½45'N 01ï¿½40'E   DOVER   50ï¿½45'N 00ï¿½15'E   50ï¿½15'N 01ï¿½30'E   51ï¿½15'N 02ï¿½55'E   51ï¿½15'N 01ï¿½25'E   WIGHT   50ï¿½35'N 01ï¿½55'W   49ï¿½45'N 01ï¿½55'W   50ï¿½15'N 01ï¿½30'E   50ï¿½45'N 00ï¿½15'E   PORTLAND   50ï¿½25'N 03ï¿½30'W   48ï¿½50'N 03ï¿½30'W   49ï¿½45'N 01ï¿½55'W   50ï¿½35'N 01ï¿½55'W   PLYMOUTH   50ï¿½05'N 05ï¿½45'W   50ï¿½00'N 06ï¿½15'W   48ï¿½27'N 06ï¿½15'W   48ï¿½27'N 04ï¿½45'W   48ï¿½50'N 03ï¿½30'W   50ï¿½25'N 03ï¿½30'W   48ï¿½27'N 06ï¿½15'W   43ï¿½35'N 06ï¿½15'W   48ï¿½27'N 04ï¿½45'W   TRAFALGAR   35ï¿½00'N 15ï¿½00'W   35ï¿½00'N 06ï¿½15'W   41ï¿½00'N 08ï¿½40'W   41ï¿½00'N 15ï¿½00'W   FITZROY   48ï¿½27'N 15ï¿½00'W   41ï¿½00'N 15ï¿½00'W   41ï¿½00'N 08ï¿½40'W   43ï¿½35'N 06ï¿½15'W   48ï¿½27'N 06ï¿½15'W   SOLE   50ï¿½00'N 06ï¿½15'W   50ï¿½00'N 15ï¿½00'W   48ï¿½27'N 15ï¿½00'W   48ï¿½27'N 06ï¿½15'W   LUNDY   52ï¿½30'N 06ï¿½15'W   50ï¿½00'N 06ï¿½15'W   50ï¿½05'N 05ï¿½45'W   52ï¿½00'N 05ï¿½05'W   FASTNET   51ï¿½35'N 10ï¿½00'W   50ï¿½00'N 10ï¿½00'W   50ï¿½00'N 06ï¿½15'W   52ï¿½30'N 06ï¿½15'W   IRISH     SEA   54ï¿½50'N 05ï¿½05'W   54ï¿½45'N 05ï¿½45'W   52ï¿½30'N 06ï¿½15'W   52ï¿½00'N 05ï¿½05'W   SHANNON   53ï¿½30'N 15ï¿½00'W   50ï¿½00'N 15ï¿½00'W   50ï¿½00'N 10ï¿½00'W   51ï¿½35'N 10ï¿½00'W   53ï¿½30'N 10ï¿½05'W   ROCKALL   58ï¿½00'N 10ï¿½00'W   58ï¿½00'N 15ï¿½00'W   53ï¿½30'N 15ï¿½00'W   53ï¿½30'N 10ï¿½05'W   54ï¿½20'N 10ï¿½00'W   MALIN   57ï¿½00'N 05ï¿½50'W   57ï¿½00'N 10ï¿½00'W   54ï¿½20'N 10ï¿½00'W   54ï¿½45'N 05ï¿½45'W   54ï¿½50'N 05ï¿½05'W   HEBRIDES   60ï¿½35'N 10ï¿½00'W   57ï¿½00'N 10ï¿½00'W   57ï¿½00'N 05ï¿½50'W   58ï¿½40'N 05ï¿½00'W   BAILEY   62ï¿½25'N 15ï¿½00'W   58ï¿½00'N 15ï¿½00'W   58ï¿½00'N 10ï¿½00'W   60ï¿½35'N 10ï¿½00'W   FAEROES   63ï¿½20'N 07ï¿½30'W   61ï¿½10'N 11ï¿½30'W   59ï¿½30'N     07ï¿½15'W   61ï¿½50'N 02ï¿½30'W   FAIR     ISLE   61ï¿½50'N 02ï¿½30'W   59ï¿½30'N 07ï¿½15'W   58ï¿½40'N 05ï¿½00'W   58ï¿½30'N 03ï¿½00'W   58ï¿½30'N 00ï¿½00'   61ï¿½00'N 00ï¿½00'   SOUTHEAST     ICELAND   63ï¿½35'N 18ï¿½00'W   61ï¿½10'N 11ï¿½30'W   63ï¿½20'N 07ï¿½30'W   65ï¿½00'N 13ï¿½35'W


In the Asterix books, what is the name of the 93-year-old, oldest inhabitant of the village?

Geriatrix | The Asterix Project | Fandom powered by Wikia Asterix the Gladiator Geriatrix (French: Agecanonix) is the oldest inhabitant of Asterix 's village: he is said to be 93 years old in Asterix at the Olympic Games (which would place his birth around 143 BC). While drunk, he says he feels ten years younger: to which Asterix replies, "Well, that makes you 83, and it's time you were in bed"). Some translations make him no more than 80 – and as such he demands respect (generally more than he is given). Nonetheless he dislikes being treated as old and will attack anyone who comments to that effect. In particular he often beats up Fulliautomatix for refusing to fight back due to his age, and actually cries out to be attacked. Geriatrix is seen to sit on the village council at times, on the face of it an entitlement deriving from being the oldest in the community. An example is on p.11 of Asterix and the Cauldron where he sits with Vitalstatistix , Cacofonix and Getafix , in deciding upon Asterix's punishment for having violated their honor code. In Asterix and the Roman Agent he acquires a club which he later uses to knock down The Mansions of the Gods . Geriatrix is against foreigners who are not from his village. He is a veteran of the Battle of Gergovia and the Battle of Alesia , and refers to them when excited ("It'll be just like Gergovia all over!") or distraught ("It's just like Alesia all over again!"). He has an eye for the young ladies and has a very young and beautiful wife (who appears to be in her twenties) of whom he is very possessive — particularly when Obelix is around. His wife has never been given a name either in the French original or in the English translations.


Which girl group took 'Robert de Niro's Waiting' to Number 3 in the UK pop charts of 1984?

Burning The Ground: DjPaulT's 80's and 90's Remixes » Blog Archive » Bananarama – Robert De Niro’s Waiting (US 12″) Burning The Ground: DjPaulT's 80's and 90's Remixes Thank you for making your secure Paypal donations to BTG! - DjPaulT Social Subscribe to BTG via Email Enter Email Address DjPaulT Disclaimer The contents of this blog are free and for promotional use only. Please support the artist by purchasing their music, merchandise, and attending their concerts. Some of the information on this blog is collected from music related pages and websites. (Discogs, Wiki, Allmusic, etc.) Posted by DjPaulT on December 4th, 2011 BURNING THE GROUND EXCLUSIVE 1984 “Robert De Niro’s Waiting…” is a song written and recorded by English girl group Bananarama. It was the second single released from their self-titled second album in 1984. The single is one of the group’s strongest performing releases, peaking at number three in the UK singles chart (the single to date stands in a three-way tie as Bananarama’s highest-charting UK hit). It made a brief appearance on the U.S. Billboard Hot 100, peaking at number ninety-five. An extended version of the song was available on the 12″ single. The B-side of both 7″ and 12″ singles was a song called “Push!”. Also included on the 12″ single, was an unlisted track; a different version “Link” from Bananarama. SIDE A: